Fave A Train Photo Of The Day: Lars Kenseth & Ben Schwartz; Hilary Fitzgerald Campbell Pencilled

Fave Photo Of The Day: Lars Kenseth & Ben Schwartz

What’re the odds? Left Coaster, Lars Kenseth (on the left) ran into fellow New Yorker cartoonist, Ben Schwartz on the A Train yesterday.  

— photo courtesy of Mr. Kenseth

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Hilary Fitzgerald Campbell Pencilled

Hilary Fitzgerald Campbell is in the spotlight on this week’s A Case for Pencils,  Jane Mattimoe’s wonderful blog about New Yorker cartoonists tools of the trade. Read it here! 

The Monday Tilley Watch, The New Yorker Issue of June 25, 2018; A Few Images Posted from the Upcoming New Yorker Encyclopedia of Cartoons

Noted that this week’s cover (above right) is by Harry Bliss, one of the New Yorker‘s cartoonists.  Noted because the majority of the magazine’s covers were once handled by its cartoonists (somewhat more than 60% a year by my iffy calculations). The number of cartoonists contributing covers these days can be counted on one hand: Mr. Bliss, Roz Chast, Bruce Eric Kaplan, Danny Shanahan, and George Booth.

The change came, as so many changes did, with the arrival of Tina Brown as editor in 1992.  At a meeting of cartoonists called by Ms. Brown just before she took the reigns as editor of The New Yorker, a bunch of us sat around a large table in an upstairs conference room at the fabled Algonquin. Arriving late (Amtrak issues), I sat next to then art editor Lee Lorenz and asked him what I’d missed.  He leaned over and whispered, “She’s going to bring in a lot of illustrators.” He then added something else, which you’ll have to wait to read in my memoir.

Some of Mr. Bliss’s cover has that Hitchcockian “Rear Window” feel to it; the structure of the cartoon (using balconies) has been put to good use by a few cartoonists over the years. Here’s an example that readily came to mind: a Liza Donnelly drawing that appeared in the January 20, 2014 New Yorker:

To read what Mr. Bliss had to say about his cover, go to this mini-interview here on  newyorker.com.

From the Depart of Just Sayin’:  The number of illustrations in this issue outweigh (in space) the number of cartoons appearing.  Sixteen illustrations (not including Tom Bachtell’s wonderful drawings that are laced through the Talk of The Town). Three of the sixteen are full page. Seventeen cartoons this week, one a full page by Liana Finck

The sizing of cartoons in this issue is generally very good. Most every drawing  gets some breathing room (just one is shoe-horned into a tight space).  

Three drawings noted: Ben Schwartzs bargain hunter’s mounted big game is fun. Charles Addams had a field day with this scenario throughout his spectacular New Yorker run.  Here’s one example .

Love Edward Koren‘s restaurant drawing. Some New Yorker drawings are referred to as evergreens — they always work, no matter the year, the trends, the political landscape, the whatever. Mr. Koren’s drawing is an evergreen.

The Spill‘s candidate for New Yorker drawing of the year (thus far) is Joe Dator‘s Abe Lincoln cartoon. (You can find it here on the magazine’s slideshow of the current issue’s cartoons. It’s number 13.)  When Harold Ross, the New Yorker‘s founder and first editor was asked why his magazine did not run color cartoons his response was, “What’s so funny about red?”* Mr. Dator’s drawing is a perfect example of what is funny about pink and orange, and yellow, and green and purple.

Spill round of applause for the above drawings.

*The New Yorker did run one color drawing in Ross’s time, Rea Irvin’s two page color spread, The Maharajah of Puttyput Receives a Christmas Necktie From the Queen. It was in the issue of December 12, 1925.

Still missing: Rea Irvin’s iconic Talk of The Town masthead. Here’s a Spill piece about its disappearance and replacement.

This is what the real thing looks like:

 

 — See you next week

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A Few Images Posted From the Upcoming New Yorker Encyclopedia of Cartoons

The above from the publisher’s website. Well it’s not much, but it’s better than nuthin’.  I could only get the middle image to open up for a better view. Will post more when there’s more to post.

 

 

 

 

 

 

 

 

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.

 

 

 

 

 

 

 

 

 

Tilley Watch Online: Week of April 16-20, 2018; Exhibit Reminder: The Evolution of Cartoon and Comic Art

 

But of course another Trumpian week for the Daily cartoonists: Ellis Rosen (Comey/Trump); Lars Kenseth (Trump); Ben Schwartz (Lion King?); Brendan Loper (Fox News), Peter Kuper (Trump & Co.)

And these were the contributing New Yorker cartoonists on Daily Shouts: Liana Finck, Olivia de Recat, and Teresa Burns Parkhurst (with John Ficarra)

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Exhibit Reminder

  A chance to see work by a wide range of artists including the great Anatol Kovarsky (on display: three of his original New Yorker covers and studies for those covers). More info here!