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’. 

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

 

 

 

 

 

 

 

 

The Monday Tilley Watch: The New Yorker Issue of November 20, 2017

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

Wow, three weeks in row without a political cover. This latest cover, of two children chalking out a hopscotch pattern on the ground, has a title, as have all covers since Tina Brown instituted the practice. I’ve always wondered why it’s necessary to title a cover.  Shouldn’t the piece tell you everything you need to know all by its lonesome? A graphic island unto itself? In this case, the title is “Coding 101”; many folks (or at least I) never would’ve caught the reference to coding on the hopscotch pattern.  Honestly, all I saw was kids doing a kid-like thing.  I initially thought: how wonderfully simple (too simple it turns out).  Never having played hopscotch, you could’ve fooled me — and it did — that this cover had an underlying meaning. For the record, I do have one connection to the game: I did a hopscotch drawing back in 1989. No coding appears in the drawing.

After a quick trip through Goings On About Town (or GOAT) we arrive at the Christoph Neimann Talk of the Town Masthead. Notice how I’m no longer referring to it as the Rea Irvin Talk of The Town Masthead. Mr. Irvin created the masthead and it stayed in place, with a few tweaks along the way (made by Mr. Irvin) for 92 years,  This past Spring Mr. Niemann was commissioned to redraw the masthead. Absolutely no knock against his work, but the original really never should’ve been replaced.

Here’s Mr. Irvin’s classic:

Now on to the cartoons and cartoonists.  The first cartoon in the issue is by J.A.K. (Jason Adam Katzenstein). The drawing depends on understanding the caption’s reference to the Large Hadron Collider.  I remember when the collider was all over the news years ago (2008 specifically).  Seeing it referred to here in this drawing I immediately thought there was some collider news event I’d recently missed. A quick search didn’t turn up anything exciting in the news (exciting, that is, to this non-scientific mind). What I did see on Wikipedia is how darn huge the collider is (they don’t call it “large”  fer nuthin’).

Mr. Katzenstein’s drawing — how he drew the collider — made me think of a great Jack Ziegler drawing involving something we tend to think of as small (plumbing pipes).  Unlike Mr. Katzenstein’s collider, Mr. Ziegler went to town in the juxtaposition department, making the small humongous; Mr. Katzenstein made the humongous small-er.  I’m  showing Mr. Ziegler’s here as it appeared on the page in the issue of March 3, 1980. It’s a thing of beauty. While working I often keep in mind this quote from Mr. Ziegler: “…it’s always nice when cartoonists know how to draw so that they can give us something pleasant and fun to look at.”

Six pages later, a Hitchcockian-flavored drawing from Julia Suits. Who can forget this Tippi Hedren moment from Hitchcock’s The Birds? Ms. Suits cartoon adds poppy seeds, and voila!

On the facing page is a Frank Cotham cave man drawing. Similar to his drawing last week in mashing very old (last week medieval and contemporary times) with now.  Here it’s mashing very very very old with now. The cartoon is placed/spaced well on the page.

Ten pages later a drawing by newbie Alice Cheng (her first appearance was this past February), who has employed a semi-forgotten go-to situation: house mice.  This is a Charles Addams moment (bringing in a crime scene with police and the media). Nicely done.  Four pages later a cowboy campfire drawing by Zach Kanin.  I’ll take a cowboy and campfire drawing any day of the week — love them.  Here, Mr. Kanin seems to channel the wonderful wackiness of  the aforementioned Mr. Ziegler. 

And speaking of semi-little-used go-to situations, the very next drawing (by Amy Kurzweil) gives us signs in a store front window. Store front windows with signs once appeared regularly in The New Yorker (I did my share as did many colleagues).

On the very next page is a well placed Roz Chast drawing.  Anxiety in an airplane.  You can just imagine, but you don’t have to, of course. Ten pages later an Ed Steed strip-like drawing along the bottom of the page.  Larkness visible.

Seven pages later, a Charlie Hankin drawing based on the  famous story of Icarus. It never seems to turn out well for poor Icarus. I like Mr. Hankin’s take on the the myth.

Three pages later is the New Yorker (print) debut for Hilary Fitzgerald Campbell; a more than meets the eye drawing.  Good wording. Another three pages brings us to a drawing by William Haefeli. It can be said of a number of New Yorker cartoonists that their work is instantly recognizable (think BEK).  Mr. Haefeli’s work is solidly in that category. The caption for this drawing is priceless. The drawing, as was Ms. Cambell’s, is well placed on the page.

Nine pages later is a Tom Chitty drawing of robots (they appear to be sitting at the same coffee shop table as J.A.K. s collider couple, although the seats are different).  The little flower at the heart of this drawing reminds me (exactly in its look) of a battery-powered plastic flower in a plastic pot my mother gave to me. When you turn it on the flower rotates and “Don’t Worry, Be Happy” starts playing. Would these robots have a real flower or a mechanical flower?

The last drawing in the issue is by Sara Lautman.  Oddly/coincidentally, the drawing incorporates a round-top table (just like Mr. Chitty’s drawing and Mr. Katzenstein’s). But the focus here is on the genie that’s appeared, and his up-dated wisdom (do genies dispense wisdom? Sure, why not). He appears to be drawn in the Disney Robin Williams genie mold more than the Barbara Eden look (below: Disney’s genie on the left, Lautman’s in the center, Barbara Eden’s genie, far right ):

 

— See you next Monday.

 

 

 

   

 

 

 

 

 

The Monday Tilley Watch: The New Yorker Issue of November 6, 2017

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

 I think it’s safe to say we have in our hands this week the New Yorker’s official Fall issue what with John Cuneo‘s beautiful giant leaf descending cover. 

For a change, I looked through this week’s issue (the digital issue, of course) on my laptop instead of on my tablet. It’s helpful seeing everything in an immediately readable format instead of having to zoom in, but it also removes a layer of mystery I’ve come to enjoy: seeing the cartoons small, and trying to figure out (sometimes) who did them and guessing what the caption might be. Back to the tablet next week.

Skipping through the front of the magazine, I did pause to admire the illustration on page six by Roman Muradov. It sort of has a Arthur Getz and Eugene Mihaesco mash-up feel — a 1960-ish vibe.  Nice.

Passing by the “redraw” of Rea Irvin‘s  iconic never-shoulda-been-replaced Talk of The Town masthead (above) we get to the first cartoon on page 22, a couple of beavers, courtesy of Kaamran Hafeez.  One of the beavers suffers from an age-old problem that was used to great effect on The Mary Tyler Moore Show when  newsman Ted Baxter read, on air: “I’ve just been handed a bulletin: ‘You have something on your front tooth!'” Curious about whether there was any significance to running a beaver drawing now, I consulted Wikipedia for a snap education. The entry included this:“Maintenance work on the dam and lodges is particularly heavy in autumn.”

Here’s a photo of a beaver, just because:

 Five pages later is a Zach Kanin drawing of a fitting room. I like the louvered fitting room doors, which could easily double for those steel roll-down gates you see on storefronts. Below left: Kanin louvered door.  Right: steel roll-down gate.

Eight pages later a Paul Noth mobster-tinged bar scene based on  “if a tree falls in the forest…” Nice expression on the woodsman’s face.  Good caption. Four pages later an Ed Steed drawing (i.e., dark). Shades of Charles Addams’ kids home from camp drawing

On the very next page, Julia Suits takes us out west to the reliable compound of cowboys at a campfire plus modern technology (I’ve done it myself a few times — it’s an irresistible scenario). Can’t see a cowboy campfire without thinking about Mel Brooks’ classic scene. Three pages later an interesting garage drawing by Ellis Rosen. One of our grandmasters, George Booth did a number of memorable garage drawings. Here’s one (published in the issue of December 28, 1998):

Mr. Booth has had a lot of company over the years. Mr. Ellis gives us a lovely drawing with an excellent caption. And, bonus: it sits well on the page. An Amy Kurzweil drawing is on the very next page.  A chess scenario, perfectly timed for Halloween. I like this drawing, but did find myself pondering why the chess pieces have arms. Are these actual chess pieces dressed up for Halloween, or are they people dressed up in chess pieces for Halloween who have decided to further Halloween-ize their chess costumes? So many questions…

Five pages later a Roz Chast triptych (her preferred construct in recent years). The third panel is a gem.

Six pages later, a Sara Lautman drawing leaning heavily on a pun. Five pages later, appearing just a day after International Cat Day, is an Amy Hwang cat drawing. If you want even more cartoon cat drawings, find these somewhere online or in your favorite used book store:

Five pages later, veteran Mick Stevens brings us back to much earlier times. I’m aware of the cartoon takes of Moses passing by a burning bush (hmmm, that was him, wasn’t it?) and him famously getting hold of the tablets containing the Ten Commandments. But the Biblical-era press conference is new to me.  I note that Moses looks weary.

Three pages later another cartoonist trope: the wedding scene. This one’s by Emily Flake. Understanding the definition of the word “algorithm” as used in the caption is key to understanding this drawing.  Someone should really do a book of New Yorker  dating/mating/algorithm related drawings (there was a dating cartoon in the magazine two weeks ago).

Four pages later, the last drawing in the issue (not counting the caption contest work): a banana peel domestic situation via J.A.K. (Jason Adam Katzenstein). The only thing as funny as someone slipping on a banana peel is someone getting slapped with a pie in the face. Danny Shanahan gave us both:

To see a slideshow of all the cartoons in this week’s issue, go here to the Cartoons page of newyorker.com and scroll down past the Daily Cartoon, Caption Contest to Cartoons from the Issue.

–See you next Monday

 

 

 

   

 

 

New Yorker Cartoonists Gather for Cartoon Bank Event

Just a few days after a gathering of New Yorker cartoonists in Brooklyn (for the Not Ok exhibit) there was another gathering — this one last night at 1 World Trade Center.  Conde Nast, The New Yorker’s parent company hosted at get-together to introduce its new Cartoon Bank team to the artists. In the photo above from left to right: Felipe Galindo, Liana Finck, Colin Stokes, Jeremy Nguyen, Colin Tom, Farley Katz, Robert Leighton, and Ben Schwartz.

Above: the placard greeting visitors to the event.

Liza Donnelly provided all the photos here as well as this synopsis of the event:

We were greeted with glasses of wine and fancy little bites of food served on trays, and met by very friendly folks from Condé Nast. At 6:00 on the dot, there were already around six cartoonists there, and many more started filtering in —  the number reaching probably 40-50+ cartoonists. Everyone seemed so happy to be able to just hang out with each other and catch up. I saw friends I hadn’t seen for decades, and met new friends. It was a lovely mixture of new cartoonists and seasoned cartoonists, talking together. Remarks were made by our Condé Nast hosts, as well as from New Yorker editor David Remnick, who went casual in a short sleeved shirt. New cartoon editor, Emma Allen also spoke and welcomed the cartoonists.

There were classic cartoons framed on the gallery wall (all art from those in attendance). Interestingly, the breathtaking view from the 34th floor of the World Trade Center where the event was held quickly took a back seat to talking and laughing with pals. The whole evening had a fun buzz- and by 8:30 when I left, a large group was still lingering.

Photo Sep 25, 6 33 23 PM.jpg

Left photo: foreground, Huguette Martel, David Borchart on the left in profile; Evan Forsch is directly above Ms. Martel, looking over his glasses.  Robert Leighton in checked shirt. Photo right: Tom Hachtman in background, left. Chris Weyant in black polo shirt facing away from camera, Marisa Acocella Marchetto center. Mark Alan Stamaty in background in plum colored shirt talking with Tom Bachtell.

Below: the New Yorker’s cartoon editor, Emma Allen on left, then Ed Steed,  Julia Suits and the magazine’s assistant cartoon editor, Colin Stokes

Below, left photo: David Borchart, Pat Byrnes, John O’Brien; Right photo: New Yorker editor, David Remnick addresses the crowd.

Below, left photo: Frank Cotham, Sam Gross, Ed Steed. Photo right: Julia Suits and Bob Eckstein

Below: Andrea Arroyo, Felipe Galindo and Peter Kuper

Below, left photo: Liana Finck and Liza Donnelly. Photo right: Sam Marlow and Ellis Rosen

Below: Felipe Galindo and George Booth

Below: front and center, Barbara Smaller with Chris Weyant, and to the left, Huguette Martel speaks with Arnie Levin

Below left photo: Emily Flake, Jeremy Nguyen, Sara Lautman.  Photo right: Joe Dator and Ben Schwartz.

Below: Colin Tom, J.A.K. (Jason Adam Katzenstein) and Pat Byrnes, in profile

Below: Glen Le Lievre, John Jonik, and John O’Brien

Below: New Yorker publisher, Lisa Hughes speaks with George Booth. In the background, center, is Teresa Nash, part of the Cartoon Bank team.

 

Below left photo: Tom Bachtell, Marisabina Russo. Photo right: David Sipress, Ben Schwartz.

Below, foreground,  Emma Allen talks with Frank Cotham. That’s George Booth on the left and Barbara Smaller on the far right.

 

Below: Mark Alan Stamaty, Marcellus Hall, and Peter Kuper

Below: Marisa Acocello Marchetto and Sam Gross (Tom Hachtman in the back, right)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Monday Tilley Watch: The New Yorker issue of September 25, 2017

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

As this is the Style Issue I decided to tackle the issue while listening to Starring Fred Astaire, a set of songs recorded by Mr. Astaire between 1936 through 1940. What a great photograph. What style. What a great top hat.

And now to the issue:

In the habit of expecting some political commentary on the cover of the new issue, I paused to examine the cover art, wondering if president Trump’s face was hidden in the leaves (ala the hidden Beatles on the Rolling Stones album, Their Satanic Majesties Request cover).  No such luck.

It takes seconds, once past the cover, to get to the very first cartoon.  If it’s a theme issue, there’s an excellent chance the first cartoon will tie-in to the theme. Bingo!  The first drawing,  by Carolita Johnson, whose first New Yorker cartoon appeared in the issue of October 20, 2003, features Elton John-ish stage shoes. As is always the case, my mind associates what I’m seeing with what I’ve previously seen in the New Yorker, and the first thought was this fabulous Steinberg cover from May of  1993: 

 

Flipping through the Goings On About Time (or GOAT) section, page 28 stood out.  Why? It is a page completely devoid of graphics (no illustration, photographs, etc.). The layout is a throwback to what was once common place in the magazine. The only design element is the renovated Rea Irvin nervous horizontal line across the top (“renovated” in that it is slightly less nervous than his original lines).   Beautiful nonetheless. 

We don’t arrive at the next cartoon until page 40, where we’re greeted by Tom Chitty’s frankfurter-ish figures involved in the age-old scenario of a couple arriving at a home,  bringing a bottle of wine. Mr. Chitty’s first New Yorker appearance was in the issue of October 13, 2014. Nice use (essential use!) of the phrase “limited expectations” here. Four pages later is a David Sipress cartoon. I note that Mr. Sipress’s drawing and Mr. Chitty’s drawing share similar standard rectangular space on the lower left of their respective pages. The drawings have just enough breathing room on the page.  Mr. Sipress’s first New Yorker appearance: July 1998. Perhaps Mr. Sipress will someday give us a ten years later sequel to this drawing (it’s about a couple possibly about to explore the idea of whether or not to have children).  I’m curious if they had children and if they did, if it was the right decision for them. 

Eleven pages later we come to a Charlie Hankin courtroom scene (Mr. Hankin’s first New Yorker appearance: August 2013). The drawing is given some nice breathing room at the upper right hand corner of the page.  I love courtroom scenes (Perry Mason, and all that).  The Monday Tilley Watch, as I keep reminding visitors (and myself), is not an overtly critical column. However, with a nod to my friends over at Cartoon Companion, I occasionally find myself wanting to applaud a certain drawing. This week I applaud Mr. Hankin’s drawing. There’s a (James) Thurber, (Charles) Barsotti feel to it — and that is always a very good thing.

Mr. Hankin’s drawing is immediately followed by a BEK drawing (and we’re back to the lower left rectangular space).  I think of every issue of the magazine as having at least one anchor artist, and hopefully three or four. Mr. Kaplan is the definition of an anchor artist. Contributing since 1991, his work does not disappoint.

Three pages later, given a full page, is the now much talked about Hillary Clinton cover that would have been had she, well, you know.  Two pages later, a cartoon by another anchor cartoonist: Roz Chast (first New Yorker cartoon: 1978).  With cargo clothing as Ms. Chast’s focus (remember, this is the style issue) I cannot help but think of the late Leo Cullum’s classic drawing from the issue of August 17, 1998:

 

Sidenote: good spacing (breathing room) for Ms. Chast’s drawing.

On the very next page is a Liana Finck drawing (first New Yorker drawing: 2013). The subject is one of those “head-in-the-hole” props you see at carnivals.  Here’s an example I lifted off of (out of?) the internet:

Ms. Finck’s drawing has a decidedly Charles Addams quality to it (I was wondering if we could get through today’s Monday Tilley Watch without mentioning Addams).  I like that Ms. Finck’s cartoon camera has a strap. Three pages later is a well-placed Emily Flake drawing (first New Yorker drawing: 2008).  I’ve never used Uber or their app-minded competition (cabs I have used), but I gather what’s happenin’ here. I wonder if the clown is a reference to the current clown film (It) scaring the pants off of everyone, or is it just a generic scary clown thing. 

Turning the page we have a cartoon by newbie, Curtis Edwards. I spent time examining the “vintage” clothing in this drawing, it being the Style Issue and all.  Note to myself: E.T. looks kind’ve like a turtle. I will remember that next time I’m drawing a turtle, or E.T..  On the opposite page from Mr. Edward’s drawing is a Will McPhail cartoon (first New Yorker appearance: 2014). Mr. McPhail’s is a romance tinged football drawing. Again, my mental library of imagery takes me immediately to this 2003 New Yorker cover  by Harry Bliss:

Next up is a hot air balloon drawing by Ed Steed (first New Yorker cartoon: 2013). I know zero about hot air balloons — was only up in one once.   I’m deeply sorry the  bearded passenger had to toss his musical instrument out of the balloon’s passenger basket.  My first thought — a typical cartoonist’s mash-up thought —  was that I would’ve tossed the actual speech balloon, say perhaps in the vicinity of where a caption would ordinarily go, thus saving a perfectly good cartoon accordion, but hey, I wasn’t there — it wasn’t my call.

Fifteen pages later we come to a domestic bean-centered P. C. Vey drawing, nicely placed. Mr. Vey’s been contributing to the magazine since 1993.  I hate to admit it, and I don’t like recalling it, but I’ve seen even bigger cans of beans than the one Mr. Vey’s cartoon character is eating from. Five pages later is a Sara Lautman energetic carnival drawing.  Her first New Yorker cartoon appeared in March of last year.  The way Ms. Lautman uses the word “things” — it’s printed as “Thiiiings”  — makes the word vibrate.  

And that is that until next Monday. By the way, I have not abandoned my campaign to encourage the return of Rea Irvin’s long running iconic masthead to the Talk of The Town.  I leave you with a common chant of wisdom, commonly heard on sports fields:

“Don’t mess, don’t mess with the best…”

Here’s the best:

 

 

 

 

 

 

The Monday Tilley Watch (Part 1)

Double issues (as we’ve just experienced) have a way of creating the impression it’s been ages since the last new issue. So, yay, finally: the late August New Yorker (dated, for the record:  August 21, 2017). There are a lot of cartoons in this issue, so the Monday Tilley Watch will be broken up into two parts. I’ll post the second half in a few days…possibly tomorrow (a Tuesday Tilley Watch?)

The cover, by Adrian Tomine, is certainly summery (and a sort of summary of some summers). 

Skipping through the front of the magazine (this is, after all, a look at the drawings in the issue) I pause to note that Rea Irvin’s classic Talk of the Town masthead is still on holiday (wishful thinking that it might’ve returned!).  Now on to the cartoons:

The first, Mr. Tator Tot, is descended from the world of Mr. Potato Head and is pure Danny Shanahan.  I can see these being sold in nice little packages wherever toys are sold (with a warning that they should be kept out of the hands of small children).  As a side note, when Mr. Shanahan was discussing this drawing with me not long ago we went off into a brief recounting of the various potato-related drawings we’d both done.  Someone should do a New Yorker book of potato cartoons.  The next drawing (I’ll shorthand it as “hip disease”)  is by Jason Adam Katzenstein, who is closing in on his third anniversary of appearing in The New Yorker. I’m a big fan of doctor office drawings. The eye chart in this one really caught my…eye (sorry). I’d say someone should do a book of New Yorker doctor cartoons, but it’s been done, and done well. 

A few pages later we come to a summertime baseball in the park drawing by yours truly. For those who keep track of things, this is my second major appliance-related drawing in the magazine (there was at least one cartoon of mine featuring a small appliance (a blender) back in the 1980s).  Seven pages later we come to a Tom Toro desert island drawing (Mr. Toro was profiled here on the Spill not long ago, talking about his new book Tiny Hands, among other things). The desert island fellow, judging by his look, has somehow managed to survive on the island for a very long time. Good for you, island guy. I’m a little worried about the cruise ship being so close to shore, but then remind myself that this is a cartoon. (fyi: Mr. Toro’s been contributing to The New Yorker since 2010).  Next up is a drawing by newish-comer, Kate Curtis (she’s been contributing to the magazine for about a year-and-a-half).  I love set piece cartoons (folks sitting at a dining room table or a kitchen table, people in bed or sitting on living room sofas, etc.). Challenging, and so much fun when they work out well, as this one has. Several pages later is another newcomer, Maddie Dai (Her first New Yorker cartoon appeared this past June).  A hopscotch drawing! We don’t see many of those.  This one has a Charles Addams-ish flavor to it.  And speaking of Mr. Addams, who did a number of wonderful gingerbread house drawings in his time, our next drawing, by Liana Finck, is of a house made of kale.  Worth noting here: as has been the case for at least the past five issues of the magazine, the placement and sizing of most drawings has been splendid. (Ms. Finck’s first cartoon appeared in The New Yorker, February 2013). The next drawing, by Sara Lautman (first cartoon in The New Yorker: March, 2016) is a blast of color…and madras (!) — making for an exciting visual. A few pages later, and again, well-placed and sized, is an Ed Steed cartoon. Love the child-like house on the horizon. Mr. Steed’s first appearance in the magazine: March 2013. There’s a Sketchbook by Will McPhail a few pages following Mr. Steed’s drawing.  The use of the Sketchbook — and I could be very wrong — goes back to the Tina Brown era. Next up is a drawing by Emily Flake (like Mr. Toro, she was the subject of a piece on The Spill not long ago). Ms. Flake has been contributing to the magazine since September of 2008. This is a set piece drawing, with a lot of emotion.

Part 2 of The Monday Tilley Watch coming later this week…