The Weekend Spill: Emily Hopkins Essay; The Tilley Watch Online, The Week Of March 9-13, 2020

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Essays Of Interest…Includes Emily Hopkins

Pretty Bitches: On Being Called Crazy, Angry, Bossy, Frumpy, Feisty, And All the Other Words That Are Used To Undermine Women has just been released by Seal Press. Edited by Lizzie Skurnick, it includes an essay by New Yorker cartoonist Emily Hopkins (Emily Richards at the time of her New Yorker debut) is included.

More: See Ms. Hopkins’ Secret Showcase of My Family Portraits here.

Ms. Hopkins entry on the Spill‘s A-Z:

Emily Richards (now Emily Hopkins) New Yorker work: 2004 – . Born, Boston, Massachusetts, 1970.  Grew up in Oregon, Hawaii, West Virginia, and Virginia.  Attended Williams College and West Virginia University. Received a masters degree at Johns Hopkins University. Worked, initially, as a New Yorker fact checker before becoming a New Yorker cartoonist. When Ms. Richards married New Yorker cartoonist Marshall Hopkins they became the third married New Yorker cartoonist couple in the magazine’s history (Mary Petty & Alan Dunn were the first, Liza Donnelly & Michael Maslin were the second). Ms. Richards (Hopkins) is the first known black female New Yorker cartoonist.

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A listing of New Yorker cartoonists who contributed to newyorker.com this past week

The Daily Cartoon: Peter Kuper, Andy Dubbin, Jon Adams, Pat Achilles, Teresa Burns Parkhurst.

Daily Shouts:  Avi Steinberg( with Irving Raun & Mia Mercado), Jeremy Nguyen (with Taylor Garron).

…and Barry Blitt’s Kvetchbook.

See the week’s cartoons and humor pieces here.

 

 

 

 

 

Personal History: Sketchbooks; Today’s Daily Cartoonist & Cartoon

In 1972 or 1973, several years before my work was first accepted into The New Yorker, I began drawing in the black sketchbooks you see above. At the time it seemed like a good idea, and it remained a good idea until the late 1970s, when having arrived at Sketchbook #73 (yes, I numbered them), I suddenly stopped. The reason for stopping was simple. I was no longer drawing the way I’d drawn for the past eight or so years.

The sketchbooks are not filled with what most would call sketches — they are filled (predominantly) with cartoons, usually captioned — and as finished as I thought they should be. Those pre-New Yorker drawings were not worked on — I just drew them from scratch right onto the sketchbook pages. If I did something I hated, I’d rip out the page.

Above: it was rare to draw in a small sketchbook, but it happened when I came to sketchbook #53, (February 20, 1978)… the caption: “Do you think he’d like a stick of Dentine?”; below is sketchbook #73 (August 1979) a titled drawing: Mr. Geng Has Coconuts In The Pool Problems

In the years I drew in the books, I would go to my local copier place and turn my most recent sketchbook over to the copy person. The drawings to be copied out of the book were marked off.  Those drawings were my weekly batch. For some reason I decided to take each copy, cut it down to less than 8 1/2″  x 11″ and rubber cement it on to thin illustration board. Then I’d take the pile of mounted cartoons uptown to The New Yorker. No one asked me to do this, or suggested I do it — it was a time wasting system I developed all on my own.  I’ve put those mounted drawings in trash cans; the plan is to burn them some day. The rubber cement has turned the drawings dark brown.

In 1977, when I got my foot in the door at The New Yorker, my output (for lack of a better word) increased. I no longer had the patience to do a completed drawing on each sketchbook page. Instead of drawing in the sketchbook, I began drawing on copy paper. I bought reams of copy paper, and eventually cases of copy paper (my Rapidograph loves copy paper). Bits and pieces of drawings and sentence fragments, or just a word or two,  now make it onto paper until the cartoon gods decide to show me the way. When that happens, a drawing is swiftly put down on paper — much like the old sketchbook days.

I’ve not shown all the sketchbooks I worked in. Some were given away over the years, and a few are somewhere in the Spill archives waiting to be found (for instance, books #1 -10 are not shown.  Years ago I placed them someplace “special” and of course have no idea now where that special place is).

When the sketchbook “system(?)” ended I began placing work in manilla folders marked by month and year.  Each folder contained a month’s work — actual work pages, not finished drawings. That system ended a few years back when I ran out of manilla folders and didn’t want to bother buying more.  So I began just piling up the work sheets.  The finished drawings (i.e., the rejected work) are in their own piles, awaiting who knows what fate.  The published drawings are in their own piles. Things sure have become complicated.

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Today’s Daily Cartoonist & Cartoon 

Jon Adams on working from home.

Mr. Adams began contributing his work to The New Yorker in October of 2017. Visit his website here.

The Weekend Spill: Chast & Marx In Connecticut; The Tilley Watch Online for the Week of February 24th-28th, 2020

Chast & Marx In Connecticut

Roz Chast & Patricia Marx will be at the Ridgefield Public Library on March 13th, promoting their most recent book,You Can Only Yell At Me For One Thing At A Time.

It’s probably safe to assume there’ll be some ukulele playing at this ticketed event (five bucks).

Ms. Chast began contributing to The New Yorker in 1978. Visit her website here.

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An end of the week listing of New Yorker artists who contributed to newyorker.com features

The Daily Cartoon: Drew Dernavich, Jon Adams, Teresa Burns Parkhurst, Brendan Loper, Avi Steinberg, Peter Kuper.

 

Daily Shouts: Olivia de Recat, Liana Finck .

…and: Barry Blitt’s weekly Kvetchbook

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The Wednesday Tilley Watch: Interview Of Interest: Liana Finck; Cuneo At The New York Comics & Picture-Story Symposium; Today’s Daily Cartoonist & Cartoon

Interview Of Interest: Liana Finck

From Publishers Weekly, February 25, 2020, “Liana Finck on Pop-up Magazine and Taking Her Cartoons To the Stage”

Ms. Finck began contributing to The New Yorker in 2013. Visit her website here.

 

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John Cuneo At The New York Comics & Picture-Story Symposium

A crowded room last night at the New School for John Cuneo‘s fab fun informative talk as part of Ben Katchor‘s New York Comics & Picture-Story Symposium. Spotted in the crowd, besides, of course, Mr. Katchor: New Yorker cover artist Marcellus Hall, illustrator Joe Ciardiello, illustrator Chris Buzelli, illustrator Katherine Streeter, illustrator Stephen Kroninger, Ad Director Soojin Buzelli, photographer Deborah Feingold, New Yorker cartoonists Bob Eckstein, Robert Leighton, Evan Forsch, Carol Isaacs (aka The Surreal McCoy)*, and Attempted Bloggery‘s Stephen Nadler (who kindly provided the photos above).

*Carol Isaacs’s film The Wolf of Baghdad will be screened tomorrow night in NYC.  Info here.

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Today’s Daily Cartoonist & Cartoon

Politics, by Jon Adams. Mr. Adams has been contributing to The New Yorker since 2017. Visit his website here.

 

Liza Donnelly Returns To Oscar’s Red Carpet; A New Yorker State Of Mind: Thurber’s First New Yorker Drawing; The Tilley Watch Online, The Week Of February 3-7, 2020

Liza Donnelly Returns To Oscar’s Red Carpet

Liza Donnelly will be back on Oscar’s Red Carpet tomorrow night for her fifth year of live-drawing.  Five years ago she made Oscar history by being the very first cartoonist to draw while on the Red Carpet. She began posting drawings yesterday, and will continue posting today, leading up to her coverage of tomorrow night’s big shindig. Follow her on Instagram & Twitter: @lizadonnelly

Above: Ms. Donnelly yesterday on the mostly still-covered red carpet.

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Thurber’s First New Yorker Drawing

A Spill fave blog, A New Yorker State Of Mind: Reading Every Issue Of The New Yorker, takes a close look at the issue of January 31, 1931, which boasts James Thurber’s inaugural New Yorker cartoon appearance. Read it here.

According to Edwin T. Bowden’s James Thurber: A Bibliography (Ohio State University Press, 1968), Thurber’s previous published drawing appeared in his college’s magazine,Ohio State’s Sun-Dial, March 1918.

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A listing of New Yorker artists who contributed to newyorker.com features during the week

The Daily Cartoon:

Ellis Rosen, Jon Adams, J.A.K., Chris Weyant, Trevor Spaulding

Daily Shouts: Ali Fitzgerald, J.A.K., Olivia de Recat (with Sarah Vollman)

...and Barry Blitt’s Kvetchbook.