Cornish Cartoonist Residency Fellowship Offered; Today’s Daily Shouts By… Ali Solomon; Podcast Of Interest: Mort Gerberg; Video of Interest From The National Cartoonists Society; Fave Photo Of The Day: 3 NCS Award Winners

The Center For Cartoon Studies up in White River Junction, Vermont has announced its fourth Residency Fellowship.  According to the announcement:

This residency is made possible by former CCS board member, cartoonist Harry Bliss, whose work regularly appears in The New Yorker. “I want to attract the best cartoonists working today and create a residency that is a one-of-a-kind opportunity for storytellers who are pushing the boundaries of the medium,” Bliss said.

Link here for all the info, including a short promotional video.

The deadline for applying is August 15th!

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Today’s Daily Shouts…

…(Game of Thrones-ish, but of course) is by Ali Solomon, who began contributing to The New Yorker in 2018. 

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Podcast Of Interest: Mort Gerberg

Hot on the heels of Mort Gerberg’s exhibit in New York and various promotional venues for his latest book (pictured) is an interesting podcast with via Podbean.  

 

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NCSFest Video of Interest

There’s a little something called the NCSFEST (i.e., the National Cartoonists Society Festival) happening this weekend on the left coast.  Here’s a link to a video featuring several New Yorker colleagues, including Arnold Roth, Jason Chatfield, and Lars Kenseth (his scene at the 5:12 mark is a highlight, along with Mr. Roth’s affectionate Gold T-square moment at the very end of the video). 

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Fave Photo Of The Day

 Three fine folks with their NCS Awards (category indicated): l-r, Peter Kuper (Graphic Novels), Maria Scrivan (Greeting Cards), and Joe Dator (Gag Cartoons).  Congrats to all!

–photo from social media via Maria Scrivan

 

A Tour Of Harry Bliss’s “Ink Slingers” Exhibit In New Hampshire

 
While browsing New Yorker cartoonist/cartoon info online yesterday I came across this enticing entry:
 
“Ink Slingers,” an exhibition of cartoon drawings from the collection of New Yorker cartoonist, and Cornish resident, Harry Bliss, is on view at Philip Read Memorial Library in Plainfield. The show, which includes original drawings by cartoonists and illustrators, is on view through June.
 
I contacted Mr. Bliss for more information on the exhibit and was delighted and grateful that he agreed to send, via photographs and text, the entire exhibit to the Spill.  Below are Mr. Bliss’s photos of the pieces as they are hung (it’s a wonderful extra touch that you can make out his image reflected in a few of the pieces) as well as his accompanying text for each piece. I’m showing the entire exhibit here, with New Yorker  cartoonists work first, and then work by George McManus (“Bringing Up Father”), Bill Peet, Milton Caniff, Russell Myers, and Walt Kelly.
 
Enjoy!
 
 
 

This is a New Yorker cartoon by Charles Addams. Addams was a student at the University of Pennsylvania for a brief time, though my friend Ed Koren would argue this point (Ed Koren is wrong). Addams studied architecture at Penn and that’s why he was so good at delineating all of the details in the Addams family home. When I was a child growing up in upstate New York I would pour over Charles Addams cartoons and I especially loved all those details – so lush and the drawing was skillful and had such personality. This particular cartoon is an early Addams, probably 1937 or earlier and he hadn’t invented his Addams family characters yet, but the attention to detail is still there. The caption is: “I think we need to make a few changes at the training table.” Addams didn’t write most of his gags, he employed gag writers, very common back then. Charles Addams is the reason I began working for The New Yorker.

This is a color sketch for a proposed cover for The New Yorker by Garrett Price, a fantastic cover artist and cartoonist who did nearly 100 covers for The New Yorker over the years. Here we see people on a bus, probably tourists, looking out at the United Nations. In the far right corner you can see all the flags… Stylistically, this is uncharacteristic of Price’s work, but I love the unorthodox application of paint, Van Gogh-like swirls and all. This is a fine example of what we cover artists have to send in when we pitch covers for the New Yorker. Sometimes they’re not as finished as this, in a rush, black and white, but mostly they are finished like this, in full color so our non visual editors really get the idea.

 

I love this illustration. It’s by Robert Grossman. It’s all airbrush and it’s a portrait of Howard Hughes. Robert Grossman was one of the greatest cartoonist of the 20th century. He was a master of caricature and airbrush and his work spilled out onto the pages of Ramparts, Rolling Stone, The Village Voice, and every other left-leaning magazine you can think of. He did album covers for The Grateful Dead, The Who and countless more…and of course, the movie poster for the hilarious film Airplane. Google him!

 

This is by my dear friend and Vermont cartoonists Ed Koren. Ed has been a cartoonist for The New Yorker magazine since the late 1960s and I am proud to call him my friend. I grew up enjoying his furry characters in the pages of The New Yorker magazine when they arrived at our home. A few years after we had met, in the early 2000’s, I was struggling a bit, finding it hard coming up with ideas. Ed gave me a wonderful piece of advice that I will never forget, He said ‘just draw’. Seems so simple, but it really works. The organic process of sitting down, putting pen to paper and watching the line move about on the surface will inevitably morph into something…and before you know it, your creativity is off and running!

 

This is an original by a wonderful New Yorker cartoonist who passed away a few years ago, Leo Cullum. Leo got his start at The New Yorker in the early 70s, I think. I have always loved the expression of deadpan on his characters. There is a sardonic visual mirth hidden in those eyes – typical of many of the 1980s New Yorker cartoons.

 

This is one of my cartoons that ran in The New Yorker a few years back. It’s done in black ink and graphite on acid free sketchbook paper. I have many therapy-based cartoons. Why? For so many reasons, too many to list here. If I were to list the reasons, you would feel like my therapist and then I would have to pay you.

 

This is the title page for a story that I did for my cover editor at The New Yorker, Francoise Mouly and her husband, the cartoonist, Art  Spiegelman. They had published a series of oversized picture books entitled Little Lit: Comics for Kids, and asked me to contribute a story. All of the stories in the first volume are based on folktales and I chose ‘The Baker’s Daughter and Irish folk tale about a selfish girl who pays for her lack of empathy. The experience of working with Art Spiegelman was one I will never forget. I spent two days in his studio breaking down this story into panels and pages…Comics. Everything Art had communicated to me back then I still employ in the work I do today.

 

Bringing Up Father:
This strip is by George McManus and he is one of the greatest comic strip artists of the 20th century. I have three of his strips in my collection, one of them is a Sunday and is absolutely gorgeous. There’s no mistaking McManus‘s style, his use of texture and steady black line work along with perfectly placed blacks makes him unique amongst all cartoonists working at this time.

 

Bill Peet was a remarkable children’s book artist, writer and also a Disney animator who wrote 101 Dalmatians for the film. I had always loved Bill Pete’s books, marveled at his expressive/gestural drawings and his use of colored pencil, really a gifted colorist and a wonderful draftsperson. I had communicated with Bill In 1999 and we sent a few letters back-and-forth. Then, one day I opened my mail to find this wonderful little sketch that he gave to me. He tried to write a little note on it, but his wife let me know that he just didn’t have it in him to finish, he was very old and did not have a steady hand.

 

This comic strip is by the great Milton Caniff. It’s a Terry and the Pirates daily strip, done in black ink with a brush. This is typical of Caniff’s work throughout the run of this particular comic strip, which was immensely popular. Caniff, along with Will Eisner often employed cinematic techniques in their work, using different perspectives, POVs, and dramatic lighting to get a specific effect.

 

One of the nice things about being a syndicated cartoonist is that often times I get the opportunity to trade original art with another cartoonist I admire. In this case, I traded an original drawing of mine for this wonderful large panel of Broom Hilda by Russell Myers. I grew up loving Broom Hilda as a kid, all those terrific Sunday strips in the Comics section of The Rochester Democrat and Chronicle newspaper. I always knew I needed to have an original in my collection and Russell was kind enough to trade with me.

 

This is a graphite drawing done by my uncle Harry back in the 1970s. My uncle was a fantastic artist and quite successful in and around Rochester New York. He and my father and my other uncles (too many artists!) opened a graphic design studio in Rochester (Studio 5 Graphics) – working for Kodak, French‘s, Xerox and other businesses back in the day when ad agencies outsourced design work. As much as I loved my uncles work, I felt he was too heavily influenced by the work of one of his heroes, Andrew Wyeth. Once, on a book tour, I had the chance to meet Andrew and Betsy Wyeth in 2008, spent 2 1/2 hours at their home in Chadds Ford Pennsylvania in front of a massive stone fireplace, laughing and talking about art and life. Andy was genuinely charmed by the crude sincerity of some of my cartoon drawings…I’ll never forget this.

 

This gorgeous Sunday original Pogo page is by Walt Kelly, arguably one of the greatest cartoonists of all time. He’s a cartoonists cartoonist. I don’t know any cartoonist who doesn’t marvel at Kelly’s brush work. Even more remarkable is all of the hand-lettering, all done by Kelly. Who can forget Pogo’s great line spoken as he looks out at his polluted swamp, “I have met the enemy, and he is us.” Sobering words that still resonate.

 

For further information on the exhibit, visit the library website here.

Again, my thanks to Harry Bliss for allowing us to take the tour.

 

 

Darrin Bell Wins Pulitzer For Editorial Cartooning; The Tilley Watch, The New Yorker Issue Of April 22, 2019; Today’s Daily Cartoonist: Elisabeth McNair; Bliss & Martin, Cont’d

Darrin Bell Wins Pulitzer For Editorial Cartooning

From The Washington Post, April 15, 2019, “How the Trayvon Martin tragedy led to Darrin Bell’s historical editorial cartooning Pulitzer.”  Mr. Bell began contributing to The New Yorker in 2016. Link to his website here.

(Above: Mr. Bell, and one of his New Yorker cartoons, published July 9, 2018)

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The Cover:  Loveis Wise’s piece is added to the magazine’s collection of “covers about grooming.”  Read about it here.

The Cartoonists:

The Cartoons: Becky Barnicoat makes her New Yorker debut this week. Ms. Barnicoat is the 8th new cartoonist to join the magazine’s stable this year, the 3rd this month, and the 33rd to be brought in since Emma Allen became cartoon editor in May of 2017.

Of note: a double-page “Sketchbook” by Liana Finck.  

The Illustrators (in acknowledgement of their graphic presence per issue, the Spill will, from time-to-time, list the issue’s illustrators):

Philip Montgomery, Tillie Walden, Isabell Seliger, Laura Breiling, Jack Mitchell, Diego Patino, Alec Soth, Amy Lombard, Joost Swarte, Joao Fazenda, Devin Yalken, Luci Gutierrez, Zohar Lazar, Tyler Comrie, (photo courtesy of) Ben Taub), (photo courtesy of) Mohamedou Salahi, Eiko Ojala, Cristiana Couceiro, Ana Galvan, Rune Fisker, John Rogers (photo)/Mike McQuade (illus.), Bendik Kaltenborn

And speaking of illustrators, Christoph Niemann’s redraw of Rea Irvin’s iconic Talk masthead remains in place nearly two years after it was installed. For those who wish to read about the original, go here

Below: Mr. Irvin’s Talk Masthead

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Today’s Daily Cartoonist/Cartoon

Dogs and taxes, by Elisabeth McNair.  Ms. McNair began contributing to The New Yorker in July of 2018.  Link here to her website.

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Bliss & Martin, Cont’d

Noted here in late March, Harry Bliss has been working with a high profile gagwriter.  Today there’s news of a book of cartoons in the works.

 

 

 

 

A Steve Martin & Harry Bliss Collaboration; The Tilley Watch Online, March 17-22, 2019

A Steve Martin & Harry Bliss Collaboration

Slipped onto newyorker.com late in the day yesterday was the above Bonus Daily cartoon.  Sharp-eyed readers will note that the drawing is co-authored: Bliss/Martin.  I asked Harry Bliss if his collaborator was indeed the Steve Martin, and if so, how it came to be that they worked together.  Mr. Bliss responded in an email:

Yes, it is that Steve. Steve was having dinner with Francoise [Francoise Mouly, the New Yorker’s Art Editor]  and others and mentioned he had a couple dog cartoon ideas, also mentioned he was a fan of my work, so Francoise put us together. This was about three weeks ago and since then we have been collaborating daily, sort of creative email back-and-forth ‘dance’ on various cartoon ideas, most of which will either appear in the magazine and in syndication. It’s a total blast.

Mr. Bliss began contributing to The New Yorker in 1998. Link here to his website.  

Note: this isn’t the first time Mr. Martin has collaborated  with a New Yorker artist.  He and Roz Chast co-authored the 2007 book,The Alphabet From A to Y With The Bonus Letter Z!

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The Tilley Watch Online, March 18-22, 2019

Contributing to the Daily cartoon this week:  the above-mentioned Harry Bliss with Steve Martin,  Jason Adam Katzenstein, Peter Kuper (twice), Elisabeth McNair, Barry Blitt (a Bonus Daily), and Lila Ash.

Over on Daily Shouts, these were the contributing New Yorker cartoonists: Ellis Rosen (with Karen Chee), Liana Finck, Julia Wertz, Olivia de Recat (with Julia Edelman), and Christine Mi.

To see all of the above, and more link here.

 

 

 

Latest New Yorker Cartoons Rated; More Spills: Bliss, Finck, Chast

Latest New Yorker Cartoons Rated

Cartoon Companion is back with a look at all 18 cartoons in the latest New Yorker (the issue of September 24th). Seth Fleishman’s itchy grim reaper was awarded “top toon” … Read it all here.

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Here’s a piece about Good Rosie!, Harry Bliss’s latest children’s book (Kate Dimillo wrote it, Mr. Bliss illustrated it).

…Last night’s book event at Greenlight Bookstore for Liana Finck was packed.  Ms. Finck, whose book Passing For Human, is just out, appeared with Brooklyn’s own Roz Chast.  Among the New Yorker colleagues in the audience: Hilary Campbell, Ed Steed, Bob Eckstein, Emma Allen (the magazine’s cartoon editor), Avi Steinberg, Karen Snider, and Felipe Galindo.

Here’s a photo from the event courtesy of Mr. Eckstein (Ms. Chast is on the left, Ms. Finck on the right):