The Tilley Watch Online: July 9-13, 2018; Wouldn’t It Be Nice?

This week’s Daily Cartoon: Trump 3, World Cup 1.  The contributing New Yorker cartoonists were Jon Adams, David Sipress, Brendan Loper, and Darrin Bell

And over on Daily Shouts, the contributing New Yorker cartoonists were : Liana Finck, Jeremy Nguyen (with Annelise Capossela), Farley Katz (with Kathryn Doyle), Olivia de Recat, and Mick Stevens

You can see all of the above, and more here.

_____________________________________

Wouldn’t It Be Nice?

Here’s an interesting title I happened across this morning while searching online (it’s available from a bookseller in Toronto). 

Here’s the listing:

Green printed wrappers (16 cm.) with name of Jaffray B. Smith embossed in gilt to lower corner of front panel; staple-bound. Contents: [2], 17, [1] pages. Well-illustrated, with 6 full-page illustrations by Irvin, one of those being a double-paged workflow diagram, and a small photograph of Dictograph intra-office telephone equipment. An incredible advertisement for the Dictograph Interior Telephone System, centred upon a narrative of miscommunication by humorist Benchley and illustrated by the New Yorker’s Rea Irvin

Wouldn’t it be nice to see Rea Irvin’s “6 full-page illustrations”?  

Here’s Irvin’s entry on the Spill‘s A-Z:

Rea Irvin (pictured above. Self portrait above from Meet the Artist) *Born, San Francisco, 1881; died in the Virgin Islands,1972. Irvin was the cover artist for the New Yorker’s first issue, February 21, 1925. He was the magazine’s first art editor, holding the position from 1925 until 1939 when James Geraghty assumed the title. Irvin became art director and remained in that position until William Shawn succeeded Harold Ross. Irvin’s last original work for the magazine was the magazine’s cover of July 12, 1958. The February 21, 1925 Eustace Tilley cover had been reproduced every year on the magazine’s anniversary until 1994, when R. Crumb’s Tilley-inspired cover appeared. Tilley has since reappeared, with other artists substituting from time-to-time.

 

 

The Monday Tilley Watch: The New Yorker Issue of May 21, 2018

It’s always a great pleasure to see one of John Cuneos covers on the magazine. His restless pen never fails to amuse and amaze.  Read what Mr. Cuneo had to say about his swampy cover on this week’s issue.

The Tilley Tweak Watch:   Is it my imagination or is this a first: the Talk of the Town masthead (that would be the year old new masthead, not Rea Irvin’s classic masthead) appears on the left side of the magazine’s gutter instead of the right side.  If someone can point to an earlier issue sporting it on the left side please contact me. 

Below: The masthead in its usual place, on the right side.

 Below:  this week’s masthead on the left side.

And just for fun, here’s a blast from the past: the Talk masthead from May 24, 1947 featuring Rea Irvin’s classic design:

Speaking of design, here’s a little quiz: without first looking at this week’s issue which one of the photos below do you think is the actual photograph appearing on the lead page of Goings On About Town? The other two belong to ads. (*The answer is below)

And now (finally!) on to two cartoons in the issue that really struck me. I’m a big fan of seeing things I’ve never seen before. It’s a difficult thing to do in cartoonville. Mick Stevens’ drawing leads off the issue with a wonderful drawing. We don’t see many rut drawings. I’d say the same for the second drawing in the issue, courtesy of Ed Steed.  Applause for both drawings:

For the record, here are the cartoonists appearing in this issue:

Also for the record: this issue contains sixteen cartoons and nineteen illustrations. The illustrations (including photographs) are given five full pages (including the GOAT photo, which, for those wondering is… * the middle photo above).

— see you next week

 

   

 

 

 

 

 

 

 

 

The Monday Tilley Watch: The New Yorker Issue of April 30, 2018

Baseball in the air, on the field and on the cover of the latest issue of The New Yorker (actually, stickball’s on the cover, which appears, to me anyway, as if it’s a page out of an illustrated book).

Fewer illustrations/photos this week than last, but still, there are three full pages (including a full page photo of Hitler), and close to full page photo on the Goings On About Town lead page. How I wish we could see cartoons occupy a larger space every so often. Below are two pages from the issue of November 15, 1930. You can see how the drawings dominate the page and how the type follows the drawing. For instance: in the drawing on the left, by the great Barbara Shermund, the hanging plant is allowed to push up and compress the column of text. Notice too how the space afforded her beautiful drawing allows us to get far more visually involved in her work than if it had been squished in a rectangle.   

And now on to the issue’s cartoons.  A fun issue, mostly.

  It starts off well with a Danny Shanahan politically tinged(?) monkey drawing. Going out on a limb here, but Mr. Shanahan’s fabulous monkeys are the obvious heirs to Charles Addams’ takes on our ancestors.

Next up, three pages later, Jason Adam Katzenstein (aka JAK) goes to where many-a-cartoonist before him has gone: to the myth of Sisyphus. After I sped through an online refresher course about the King’s uphill struggle, I realized how this scenario beloved by cartoonists has oftimes become untethered from its backstory. No matter — that’s how we cartoonists roll. As Robbie Robertson wrote: “Ya take what ya need and ya leave the rest…”

Speaking of backstories, three pages later Ben Schwartz gives us Beethoven on stage. What’s really interesting about the drawing is Mr. Schwartz’s sly nod to the great Al Hirschfeld.  Do I, or do I not see Nina-esque shout-outs in the drapes. I do.

Five pages later, a Mick Stevens cave man drawing (he also had one two issues back). I like that he’s used the words stalagmites and stalactites. A little memory trick I learned back in fourth or fifth grade — how to tell the difference between stalagmites and stalactites: stalactites are the ones pointing down; they need to hold on “tite” to the ceiling. 

Three pages later, a shrink meets legume drawing by the wonderful Victoria Roberts. A fun and funny drawing. What more can one ask for.

Next up,  a domestic situation courtesy of Will McPhail. Funny. Another three pages brings us to a sidewalk scene from Pia Guerra. Dogs lined up to use a fire hydrant. I found myself wishing for a line-jumping dog instead of a fireman…

Two pages later another intensely graphic drawing from William Haefeli. Detail-city! And very slice-o-life.

Three pages later, a typically formatted (three panel) Roz Chast drawing. The word “Comix” pops out here. On the very next page, A Haefeli-like (in its use of detail) drawing by Jeremy Nguyen. Yet another slice-o-life drawing. I like how he’s given us two folks in silhouette in the foreground — that’s different. 

Four pages later a subway drawing from P.C. Vey (although here the subway is not central to the drawing — the situation could’ve taken place in any number of situations). A few pages later A Zach Kanin drawing focused on recreational drugs. On the very next page, A Lars Kenseth drawing.  You know it’s his work within a nano-second of turning the page. No one draws like this. I don’t rate cartoons like the Cartoon Companion boys do, but occasionally I applaud a drawing. 

On the next page Kim Warp  has drawn a Spill favorite scenario: a bakery (in this case, a cupcake bakery). I didn’t realize at first that there as an enormous Charles Addams-like cupcake involved in the drawing (initially saw the drawing on a tablet screen before switching to a laptop).  An unusual cartoon in that I think it works both ways (with the big cupcake, and without).  Sweet. 

On the following page, a Paul Noth drawing with a splash of color.  You have to be familiar with the commercial character who’s central to this cartoon. Three pages later a Carolita Johnson umbrella triptych just in time for May showers. Six pages later, immediately following that aforementioned full page photo of Hitler, is an Amy Hwang domestic situation — another go-to for many cartoonists: the couple discovered in bed by a significant other. Three pages later, the last cartoon of the issue (not counting the caption contest drawings): an online whack-a-mole scenario from Sam Marlow.

Finally: we are oh-so-close to the one year anniversary of the disappearance of Rea Irvin’s classic Talk Of The Town masthead. Here’s a Spill piece about it from last Fall when I was convinced the masthead would soon return. Not giving up hope on this, folks! 

Here’s the missing masthead:

 

*Dept of Corrections: an earlier version of the Monday Tilley Watch for the April 30th issue incorrectly listed Sam Marlow as Sam Means.

 

 

 

 

 

 

 

 

 

The Monday Tilley Watch: The New Yorker Issue of April 16, 2018

Tom Gauld’s cover for this new issue is one of the best covers I’ve seen in the post-Lee Lorenz as editor era (Mr. Lorenz was the New Yorker‘s art editor from 1973 through 1993, and cartoon editor from 1993 through 1997. During his years as art editor he edited both covers and cartoons). Here’s Mr. Gauld talking about his Spring offering. 

Ink Spill puts its hands together for the cover.

My first run through of the issue earlier today made me wonder if this was the Illustration Issue (there isn’t an official Illustration Issue, but if there was, this could be it).  Here’s what I saw:

Goings On About Town, is as usual nearly a full page photograph.

A small color illustration in the Theater section.

A nearly half-page illustration for Night Life.

A three column wide photograph for Food & Drink.

A more than quarter-page photograph for Personal History.

A two column wide illustration for Shouts & Murmurs.

A nearly half-page photograph for The Sporting Scene.

A full page illustration for Profiles.

A page-and-a-half illustration for The World of Fashion.

A full page photograph for Fiction.

A three-quarter page illustration for The Theater.

An large illustration center of the page for Vinson Cunningham’s review in Books.

A more than quarter-page illustration for James Woods review in Books.

A center of the page illustration for Cinema.

And now to the cartoons:

The very first cartoon is by the veteran Mick Stevens. It’s an inside a whale cartoon. I immediately paused to consider the bend in the gullet of the whale. Having never been inside a whale I don’t know what it looks like in there but the cartoonist in me has always thought the inside of a whale was one huge space, like an airplane hanger. So yes, the bend caused me to stop and think awhile.

Up next five pages later is a super-dee-duper detailed William Haefeli drawing. Its graphic-ness (I don’t think that’s really a word) is startling. Perhaps it’s the use of so much black space (windows especially).  

Five pages later a Paul Noth drawing (Mr. Noth has a new book out, so congrats to him). This is an airlines passengers themed cartoon. As someone who has almost never flown I’m outta the loop on the whole boarding routine, so…

Two pages later a Seth Fleishman captionless drawing (as mentioned in previous posts here, Mr. Fleishman is solidly in the captionless cartoon school — which isn’t to say there are never captions). Here we have brick-oven pizza blended with a fossil fuel. I can’t get enough of pizza parlor cartoons. I’m sure everyone remembers this classic from Gahan Wilson.

Six pages later, a P.C. Vey cartoon. Not sure anyone else could’ve done this (maybe the aforementioned Mr. Wilson). There’s a tiny bit of sinisterism (is that a word?) in the air with this drawing. Seven pages later an outta the box (or boxes) Roz Chast drawing. We’ve become accustomed to her comics-like structure of three panels (or more). This single panel is striking, graphically.

Equally striking on the very next page is a teethy Edward Koren drawing starring one of his famous beasts. Perhaps the best placed drawing in the issue (there are several cartoons vying for worst placed cartoons). Breathing room galore for Mr. Koren’s dental drawing.

Four pages later Kate Curtis three bears cartoon (one bear unseen, as is Goldilocks). The window in the drawing looks out onto a dark forest. My gaze kept returning there, expecting to see something. But no…

Three pages later an ashes in an urn drawing from David Sipress. Comedic use of ashes in urns summons up (for me) this scene from Meet the Parents Mr. Sipress makes use of Milton Glaser’s I heart NY campaign, introduced in 1977. 

Two pages later a Ben Schwartz scientists observing behavior cartoon. The cartoon rests on the hope that the reader has some familiarity with a particular author mentioned. If you’re not familiar with the author then it’s off to Wikipedia for a crash course.

Four pages later, Julia Suits has a toga drawing featuring some lovely draping. On the very next page Trevor Spaulding has a cartoon related to a recent cultural movement.  Interesting drawing.

Three pages later a somewhat complex drawing from Lars Kenseth combining fringe mob activity with fine art (see Mickey Blue Eyes for more on this). 

Seven pages later, the last drawing in the issue (not counting those that are part of the caption contest): a Carolita Johnson cartoon in a slim space on the bottom of page 72. The drawing is about lip balm which strangely(?) reminds me of an interview I saw the other day with Joseph Kennedy III wherein he discusses “Chapstick-gate.” 

And that’s that, except for this *

*Rea Irvin’s classic Talk of the Town masthead design has been missing for nearly a year now. Just as a reminder, it looks exactly like this:

 

 

 

 

 

The Monday Tilley Watch: The New Yorker Issue of February 26, 2018

Always glad to return to weekly issues of the magazine after doubles. This new issue sports a cover that seems like the sum of the equation: Olympics + North Korea =.

  Here’s what cover artist Mark Ulriksen had to say about it on newyorker.com

The Olympics + North Korea equation continues with the very first spot drawing appearing on the opening page of The Talk of The Town. And, as long as we’re mentioning that page,  let’s get this out of the way: Rea Irvin’s classic Talk masthead is still a-missin’.  Here’s what it looks like:

Could be wrong, but it seems like there are slightly more Otto Soglow spot drawings scattered throughout Talk than usual (along with Tom Bachtell’s always top-notch drawings). 

Doesn’t take long to get to the first cartoon of the issue (it’s on page 18). P.C. Vey delivers a very P.C. Vey-like piece of work (that’s always a good thing).  Love the little fish Mr. Vey has drawn, but wish it was still swimmin’. Five pages later Lars Kenseth takes us to the land of the pitchman. Funny drawing. Love how Mr. Kenseth uses the language. I did something in that vein a long time back — in the New Yorker, April 6, 1981, to be exact.  I remember it being a ton-o-fun playing with the structure of the television pitch. 

On the very next page one of my favorite subjects: the old west (or possibly it’s a cowboy and his horse in the contemporary west).  Zach Kanin’s coffee-drinking horse is well drawn.  I wish the cowboy’s face was easier to see on the digital edition — this is where print (might) come in handy. 

Nine pages later, a well-placed-on-the-page Frank Cotham cartoon. Cartoonists usually love to show gangsters about to toss a guy off a pier.  Mr. Cotham gives us a prequel. Nice.

Four pages later Roz Chast with an at-home Olympics moment.  A very Chastian drawing any which way you look at it. Another four pages brings us to the second-ever New Yorker drawing (unless I’m mistaken) by Olivia de Recat.  Similar to her first in that it’s mostly text. This one is approximately 97% text (handwritten text).  Her first was perhaps 91% text.  Though we don’t see them as much as we used to, the aforementioned Ms. Chast has done a number of text-driven (to use a Tina Brown era term) drawings over the years. Without doing research (unforgivable, I know!) I’m going out on a limb by suggesting Ms. Chast may have pioneered this particular form of New Yorker cartoon. If anyone wants to shoot that down, please contact me.

Five pages later, Maddie Dai weighs in on a fellow’s mid-life crisis times two.  His motorcycle (which lacks a gas tank — maybe it’s one of those new electric bikes) has at least one (unintentional?) funny feature: the bike’s training wheels are attached to the hub of the rear wheel.  If this cartoon bike was a real bike the training wheels would spin around with the tire, complicating things even further for the crisis guy.  No matter — it’s a nice drawing. 

On the very next page, a debut New Yorker cartoon by Navied Mahdavian*, that answers the oft-asked question, “What did we do before the internet?” Funny drawing.

Four pages later, veteran cartoonist, Mick Stevens gives us death having just died.  Looking at Mr. Stevens’ drawing I asked myself if this fell into the double negative column.  If death dies, isn’t death then alive? Way too much of a headache-inducing thought for this cartoonist (me, not Mr. Stevens).

Eight pages later Sara Lautman takes us to a contemporary bar moment. Found myself studying the shelves and bottles of booze in the background.  There’s a Robert Weber-ish looseness to that area.

Seven pages later a Bruce Eric Kaplan gem of a caption.  And on the very next page, the last drawing of the issue (not counting those on the Caption Contest page).  Liana Finck gives us a bird chase. Not sure what the surface is that they are on — is it pavement with a sidewalk in the rear?  It probably doesn’t matter.  The big bird — the one that’s chasing the little bird —  has an expression indicating confidence she/he will succeed, despite the lack of arms. 

*For those keeping track, Navied Mahdavian is the thirteenth new cartoonist introduced under the magazine’s current cartoon editor, Emma Allen, since she was appointed in May of 2017, and the second newbie introduced so far in 2018.

— See you next Monday

 

 

The Monday Tilley Watch: The New Yorker (Anniversary Issue) February 12, 2018

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

 The cover of the New Yorker‘s 93rd Anniversary issue is by Malika Favre. On newyorker.com  Ms. Favre says, “I wanted to capture the poise and pose of the original Eustace Tilley, but do it as something simple and modern.” (You can read more of what she had to say about it here).   

Rea Irvin’s Eustace Tilley hasn’t been on the cover of the magazine since 2011. Perhaps next year.

This anniversary issue includes more tampering with graphics.  Contributors and department headings article headings appear in a new font (i.e., not the so-called Irvin font).

For instance: in the screen grab above, “American Chronicles” and  “Jia Tolentino” appear in the new font. Is this some kind of slow motion move away from the Irvin typeface. Let’s hope not. Nicholas Blechman, the magazine’s creative director told Magculture in June of 2017:

The New Yorker is a magazine shaped by time. Very little has changed since the first issue in 1925, and that respect for legacy is part of our visual identity. Since I arrived in 2015, we’ve been fine tuning an incredibly resilient and elegant design. Our road map for design changes in the print magazine is mostly complete. I think the table of contents could be tweaked, and the design of the Fiction page could also be tinkered with. Most of the big innovations you will be seeing at The New Yorker will be online, as we contemplate a web redesign and introduce improvements to The New Yorker Today app.

One wonders why the “fine tuning” for a design Mr. Blechman called “incredibly resilient.” The design of the egg is incredibly resilient — is there a soul out there who believes the egg should be fine-tuned.

Alright, with all that out of the way, it’s on to the drawings. I’m keeping it short this week, just mentioning a handful of cartoons.  There’s a terrific drawing by Edward Koren, a nod to Valentine’s day with a drawing by Mick Stevens, A really funny Joe Dator drawing, another subway drawing — this one’s by P.C. Vey (hey, are subway drawings the new desert island drawings?). There’s a Farley Katz drawing from the school of film director instructing an actor (a lesser used theme, but still potent as ever.  See what Peter Arno did with it in an un-pc drawing back in 1952). 

In a break from recent tradition and a return to olden times, there are a whole lot of “spot” drawings by various illustrators (at least one is a cartoonist as well).  Each pays homage to Rea Irvin’s Tilley. For the record, here’s a screen grab of all the contributors:

For more on each drawing in the issue check out the Cartoon Companion at the end of the week, when they’ll post their ratings. 

Finally, here’s the classic Rea Irvin Talk masthead you won’t see in this anniversary issue: