The Tilley Watch Online; A New Yorker Cover is Honored

The current president is the subject of 4/5s of this past week’s Daily Cartoons. Only Lars Kenseth’s cowboy stock market drawing did not reference Mr. Trump. The other New Yorker cartoonists represented: Peter Kuper (twice), Pat Byrnes, and Jason Chatfield (with Scott Dooley).

Over on Daily Shouts, New Yorker cartoonists Tom Chitty, Liana Finck (continuing her advice column), and Ed Steed contributed.

See all their work here and more.


A New Yorker Cover is Honored

Here’s Michael Cavna’s Comic Riffs piece about David Plunkert’s cover of August 28, 2017, named cover of the year by the American Society of Magazine Editors.

The Monday Tilley Watch: The New Yorker Issue of February 5, 2018

An ice skating cover (titled “Figured Skaters”) on this week before the magazine’s 93rd birthday issue. On the way to the cartoons I’m sensing less graphics and more text in the Goings On About Town section.  Or is it just my imagination. Take away the weekly near full page photograph and the magazine seems edging to its graphic roots. For an idea of what I’m getting at, here’s a GOAT section from the March 14, ’59 issue atop a couple of GOAT pages from the new issue.


Now on to the cartoons and cartoonists.  The very first cartoon, by Ellis Rosen, takes us to familiar territory for many a New Yorker cartoonist (including this one): the wise man on the mountaintop. Mr. Rosen gives us a competitive situation that includes further incentive for prospective wisdom seekers.  I would love to see what the other mountain top looks like once the pizza oven is installed.  

Four pages later, Liana Finck takes us to medieval times with another cartoonist favorite: King and castle.  Even better: King, castle and moat. I can’t quite make out what is in the castle window.  Is it the Queen, or a kitty? Maybe it doesn’t matter.  A drawing that looks as if it might be in color (the moat), but run in b&w.  

Five pages later, a Will McPhail drawing and it’s yet another cartoonist fave scenario: the house mouse.  This is the first white house mouse cartoon in my memory (versus the usual grey mouse) And I believe it’s also the first cartoon that shows a house mouse wearing what appears to be eye makeup (the makeup makes sense what with the lighted vanity mirror).  Then there are the high heels visible through the mouse baseboard hole. A lot of elements to pause and consider here, but I’ll leave that to the Cartoon Companion guys when they post their take on the new cartoons later this week. That minimal caption is short and sweet.

Ten pages later we are taken even further back in time than Ms. Finck’s drawing with a cave drawing by this cartoonist.  It’s a mash-up.  On the opposite page a William Haefeli drawing bookstore drawing. I’m a big fan of bookstores and bookstore drawings — glad to see this cartoon. On the very next page a David Sipress domestic scenario —  the subject is the upcoming Super Bowl.  I don’t know anything about the Eagles or the Patriots (other than the headlines)  but this drawing seems to be playing to the Greater Metropolitan NYC area football fan base. Could be wrong. (I feel badly for the child on the sofa. He doesn’t appear to have a drink or snacks for the big game). 

Five pages later, a Roz Chast woman on a sofa drawing. She shows us a stressful time, long long ago before we were able (sometimes) to know who was calling without answering the phone. Caller ID: great invention.

Three pages later perhaps my favorite Frank Cotham drawing ever.  Jack Ziegler once said to me  “it’s always nice when cartoonists know how to draw and give us something pleasant and fun to look at.”   Well Mr. Cotham has given us that.  Atmosphere to spare, and a splendid caption. Bravo.

Five pages later a Bruce Eric Kaplan drawing.  Politics finally enters into a cartoon in the issue.  Mr. Kaplan’s caption well-honed, as usual. On the very next page is a Pia Guerra drawing (she’s a newbie, but not a brand new newbie).  Curiously, a Terminator drawing.  I confess I had to check on the name, Sarah Connor after initially forgetting that that is the name of a main character in the series (sorry, my Terminator recall is rusty). Two pages later, Emily Flake gets all religious with a priestly drawing.  Clergy drawings were once a staple in the cartoonists kit (think Charles Addams and Peter Arno, among many others).  As with looking up Sarah Connor I looked up “sleeve” as it’s used in the caption.  Never really thought about how communion wafers were packaged.  You live, you learn.

Three pages later, Jeremy Nguyen does a take on an iconic television ad.  I like the way Mr. Nguyen has approached this drawing: clean and simple: books, typewriter, the ubiquitous potted house plant, the writer(?) sprawled on the floor. 

Six pages later a debut drawing by Olivia de Recat, whose work has appeared in the Daily Shouts in very recent times. This has the feel of a postcard (see the cover of Bruce Springsteen’s first album, Greetings From Asbury Park).  It has ripped edges, so maybe an old post card?  Having just read the large NYTs piece on postcard collectors, I have them on my mind ( postcards and the collectors).  

Finally, the last cartoon (not counting the caption contest):  Paul Noth does a bang-up job on a ventriloquist drawing.  I love drawings that come outta nowhere (well, it actually came from Mr. Noth, but you all know what I mean).


–see you next week for the big double anniversary issue. Will Rea Irvin’s classic Eustace Tilley return to the cover?  Pressing our luck, wouldn’t it be great to see Mr. Irvin’s classic Talk of the Town masthead return.  Here’s what it looks like so you’ll know it when you see it:





Tilley Watch Online; New Yorker Cover Artists on Exhibit: More Hoff Hooplah

It was mostly Loper week on the Daily.  His work appeared Tuesday, Thursday and Friday (on Friday the drawing was co-credited with Evan Allgood).  The other two days saw work by Mary Lawton and Lars Kenseth.

Over on Daily Shouts, New Yorker cartoonists included Jeremy Nguyen (co-credited with Karen Chee), and Liana Finck (her continuing “advice” piece). 

Here’s a catch-all link for all the New Yorker‘s online Humor pieces


New Yorker Cover Artists Work on Exhibit

From Rochelle News-Leader, January 27, 2018, “Cartoons, comics featured at Kish Art Gallery”

A group show of Chicago area artists includes work by New Yorker cover artists Chris Ware and Ivan Brunetti.


More Hoff Hooplah from Attempted bloggery

Attempted Bloggery continues its focus on many things Hoff (Syd Hoff).  See it all here.

The Monday Tilley Watch: The New Yorker Issue of January 29, 2018

The Monday Tilley Watch is a meandering take on the cartoons in the current issue of The New Yorker.

Always a pleasure to see a colleague’s work pop up as a New Yorker cover as I open up the digital edition early Monday morning. We (“we” meaning the New Yorker‘s contributing cartoonists) used to be responsible (my unofficial estimate) for 60% of the covers during the year. Since Tina Brown’s era it’s somewhere around 1% to 5%. Roz Chast, Bruce Kaplan, Danny Shanahan, Harry Bliss, and George Booth would be the five percent. In 2017, just Ms. Chast’s and Mr. Kaplan’s work appeared on the cover.  In 2016, it was just Mr. Shanahan’s; in 2015 just Mr. Bliss’s work appeared on the cover — well, you get the idea). This one by Ms. Chast is graphically eye-catching.  It was ever-so-slightly difficult to appreciate on the tablet, so it was off to the laptop for a bigger image. I think the cover perfectly captures some people’s notion  (or reality) of January in New York City. The scarf knitted, then lost days later on the train, is shown on the magazine’s strap (the traditional vertical border running on the left side of the magazine’s covers) — it’s a nice touch.

Moving into the magazine I noted an attractive snippet of a Grant Snider drawing from a Daily Shouts piece. The blues reminded me of William Steig’s blues he used in a great number of his children’s books.

Oh, here’s a thought: why not reinstate Rea Irvin’s iconic Talk of The Town masthead in the magazine’s 93rd anniversary issue — just a few issues away. How great would that be! Mr. Irvin’s is directly below, with the re-do directly below it. 

To read more on the Mr. Irvin’s gem and its replacement, check out this Spill piece

Now on to the magazine’s cartoons. The first, by Amy Kurzweil, appears on page 19. A somewhat dark (yet not-so-dark!) take on flight delays.  I’m guessing many would enjoy a bonus three hours of life.  Nice handling of the plane out on the tarmac. Eleven pages later, the aforementioned Bruce Kaplan has a couple of kitties chatting in a living room.  As one who came later to cat appreciation, I appreciate the sentiment of the drawing, as well (as usual) as the drawing itself.

Noted along the way from Ms. Kurzweil’s drawing to Mr. Kaplan’s: Rui Ruireiro’s spot drawings making good use of yellow.  I see the predominant use of yellow in the New Yorker (especially if it involves a yellow cab, such as on page 28) and I’m immediately reminded of Steinberg’s masterful use of it on a cover back in 1979:

Four pages following Mr. Kaplan’s kitties, a wonderful Edward Koren drawing (wait, is there any other kind?). As with the last number of Koren cartoons published this one is given ample space to breathe on the page. Textbook placement. 

On the very next page a drawing by a relative newcomer, Pia Guerra. Who knew guessing weights at a carnival could lead to violence.  By the look of the weight guesser he has yet to be pummeled.  

Three pages later, a rather large funnel, or, ah, tunnel, drawing by Colin Tom (sorry, no website for Mr. Tom, that i know of. Please advise). I kind’ve wish this wasn’t in a boxy border (it’s obvious by now — maybe?– that I believe New Yorker cartoons thrive in a roomy habitat). On the very next page, an Amy Hwang drawing with a terrific caption.  I was about to note that this was a cat-free Hwang drawing when I spied a framed kitty on the cubicle wall.

The cartoons keep-a-comin in this issue: two more on the next two pages. The first by David Sipress and and the next by Paul Noth. Mr. Sipress’s recalls David Letterman’s, “I do and do and do for you kids — and this is what I get.” Mr. Noth’s refers to one of my favorite scenarios: the old women who lives in a shoe. In this case she’s spending some down time at a bar. I must say that the self-proclaimed old woman in Mr. Noth’s drawing appears quite young.  Perhaps she’s just starting out in life, in the shoe? Ten pages later a subway drawing couched as a personal hygiene drawing by Carolita Johnson. Clipping one’s nails while riding the subway seems risky. 

On the very next page, a Joe Dator drawing that set-off the Spill‘s applause meter. I’m leaving the applause meter out for Tom Chitty‘s drawing five pages later. 

Another five pages later, a Mick Stevens doctor’s office. I spent a lot of time trying to figure out  if what appears to be a jar of rubber glue on the front right of the desk is in fact a jar of rubber glue.  Four pages later a Frank Cotham drawing in a very familiar Frank Cotham scenario. On the very next page, the last drawing of the issue, not counting the caption contest: a charming charming Liana Finck drawing. I don’t know why, but I wanted the Earl of Sandwich to be the one asking the other guy the question. The cartoonist’s fuss-o-meter never rests.   









A Syd Hoff Salute From Attempted Bloggery; Donald Reilly’s Work at Cooper Union

A Syd Hoff Salute From Attempted Bloggery

Well this will be fun.  Attempted Bloggery begins a salute to the late great Syd Hoff today.  See it here!

Here’s Mr. Hoff’s entry on the Spill’s  A-Z:

Syd Hoff ( Pictured above. Source: Esquire Cartoon album, 1957) Born 1912, New York City, died May 12, 2004, Miami Beach, Florida. New Yorker work: 1931 – 1975. Website:


Donald Reilly’s Work at Cooper Union

From Cooper Union, “Donald Reilly’s New Yorker Legacy”

— the above piece found its way to the Spill courtesy of David Pomerantz. My thanks to him.

…and an additional piece Spilled a few years ago about CU alum Edward Sorel, Liana Finck, and Jon Agee: “Cooper Cartoonists at The New Yorker”


Mr. Reilly’s entry on the Spill’s A-Z:

Donald Reilly ( Pictured above in the mid 1980s. Photograph by Liza Donnelly) Born, Scranton, Pa. November 11, 1933; died, Wilton, Ct., June 18, 2006. Graduated from Muhlenberg College in 1955 with a bachelor’s degree in English; received a certificate in fine arts from Cooper Union in 1963. NYer work: 1964 -2006; 1,107 cartoons and 16 covers. Rumored to have been on the shortlist in consideration to succeed James Geraghty as The New Yorker’s Art Editor (Lee Lorenz, in his book The Art of The New Yorker 1925 -1995, said Reilly was “Geraghty’s choice” to succeed him). William Shawn eventually appointed Lee Lorenz to the position in 1973

The Monday Tilley Watch: The New Yorker Issue of January 22, 2018

The Monday Tilley Watch is a meandering take on the cartoons in the current issue of The New Yorker.

 I enjoy the little drama of seeing the new New Yorker cover pop up on the screen early Monday morning when I go to the digital issue; sometimes there is no Monday morning  drama because the cover has been released (online) days earlier. The magazine occasionally does this with of-the-moment covers. That’s the case this week — Anthony Russo‘s “In the Hole” appeared online days ago (I continue to wonder why New Yorker covers need titles, a practice that began with Tina Brown’s second issue, October 12, 1992). The last untitled New Yorker cover, issue of October 5, 1992  was Edward Sorel‘s punk in a hansom cab — the first Tina Brown era cover:

The very next issue, October 12, 1992:

This latest issue’s cartoons start off well with Bruce Kaplan‘s Alice in Wonderland drawing. It’s graphically more complex than his usual style. The caption is excellent. Way to go.

Next up, four pages later, is a Farley Katz concert drawing. I enjoyed hovering over this drawing, looking at the details, especially the drums and drummer. Just three pages later, a couple of texting turtles via Liana Finck. For some reason — I don’t believe I’ve ever thought or said this before about any cartoon (other than one of my own) — I really wanted this drawing to be ever-so-slightly colored-in. Perhaps the largeness of the landscape surrounding the turtles reminded me of how Guy Billout handles his pages.  

Six pages later, a fun Drew Dernavich drawing of a situation almost every driver has encountered: the hunt for a space. Coupled with a long-time favorite cartoonist scenario (the person crawling along the desert) and bingo!  My only wish here would have been for the cartoon to have more breathing room around it.  On the very next page, another drawing that would’ve benefited from a little bit more space on the page (hey what can I say, in the balancing act between text and cartoons, I always notice when there’s an imbalance). In Maddie Dai‘s cartoon we return to the Sistine Chapel (where Julia Suits was not too long ago). Reminder: if you haven’t seen the Michelangelo exhibit at the Met, better hurry.

Five pages later, a splendid Edward Koren drawing. And…it’s placed beautifully on the page.  You can’t ask or more, folks.

On the very next page, a history lesson from Sara Lautman:  how did the Great Lakes come to be called the Great Lakes.  Interesting drawing —  I like the scenario Ms. Lautman’s given us. 

Three pages later, a cold & flu season contribution from P.C. Vey.  The little drawing within the drawing is very funny. The aforementioned Julia Suits has the next drawing (on the very next page after Mr. Vey’s). The drawing makes use of the “what happens in Vegas stays in Vegas” armature. The setting is very George Boothian.  

On the opposite page a William Haefeli drawing drawing upon the Bob Newhart showism: “Don’t go to bed mad.” Words of wisdom then and now. On the next page, a Teresa Burns Parkhurst captionless drawing (and the second cold & flu drawing in the issue).  Elevator bank drawings are not seen all that often anymore. I like that the drawing was allowed to spread across three columns, allowing us to mosey on over to the pay-off.

Five pages later, Shannon Wheeler brings a very in-the-news item on home.  This could easily have been one of those drawings that are sometimes placed below the table of contents.  Good stuff. 

Six pages later, an Ed Steed scenario ( a category within itself). Dead (?) fish, in a cage, not a tank. The use of color offsets the mystery…just a little.

Eight pages later, courtesy of Mick Stevens, an advice-seeking court jester. Don’t know if this drawing has anything to do with current domestic politics (in particular, a current politician) but it feels like it does.  On the opposite page, a Mary Lawton “meet the…” scenario. “Meet the…” drawings seem to be making a comeback. This particular one seems true-to-life (with the exception of the two hours displayed on the sign.  I’ve a feeling you could meet those people during all business hours). 

Five pages later, the last drawing of the issue (not counting the caption contest cartoons).  Tom Toro‘s penchant for detail is put to great use. Funny drawing. I wish it wasn’t slammed up against an ad though. I don’t believe the balancing act mentioned earlier (with text and cartoons) should ever include advertisements and cartoons. Cartoons hugging editorial text: yea. Cartoons hugging ads: nay.  Just sayin’. 


Update: Rea Irvin’s classic Talk of The Town masthead still missing. This is what it looks like: