The Monday Tilley Watch, The New Yorker Issue Of September 23, 2019

The Cover: How great it is to see a J.J. Sempe cover.  A very short Q&A with Mr. Sempe here.

The Cartoonists & Cartoons:

Some random thoughts:  Enjoyed Amy Hwang’s guillotine/watermelon drawing (p. 30) — guillotine drawings are rare but usually memorable (Tom Cheney’s from February 24, 1997 for instance, or this one from George Booth, also published in 1997, in the June 9th issue).  Ms. Hwang’s hooded henchman is not alone in the issue.  Another appears in Emily Flake’s court jester drawing (p.39).  It’s sort of a first cousin to another Cheney guillotine drawing published November 1, 2010.

Much enjoyed Robert Leighton’s frogs drawing (p.63). I just had to look up previous lily pad frog drawings and came across this beauty from the great Warren Miller published March 5, 1990 (one of several frog on lily pad drawings referencing Monet).

There’s a lot going on graphically in Bruce Eric Kaplan’s very funny drawing (p.45) but a wee meatball is the star.

The Rea Irvin Talk Masthead Watch: Mr. Irvin’s classic heading shown below is still a-missin. Read about it here.

 

The Monday Tilley Watch, The New Yorker Issue Of September 16, 2019

The Cover: Ivan Brunetti returns with a cat person/dog person cover. Read here what he had to say about the cover.

The Cartoonists & Cartoons:

I spend the wee hours of every Monday morning looking through the latest issue of The New Yorker (it’s posted online at around 4am). I look at every cartoon at least twice, then I close my laptop and think about the cartoons I just saw. The ones that stick with me — the ones I think about the most, are the ones noted here on The Monday Tilley Watch.  And so it is this week with these four (in no particular order):

Liana Finck’s (p. 40) umbrella drawing grabbed me immediately. It reminded me of an early New Yorker drawing by her published in 2014 (she began contributing to The New Yorker in 2013) titled Snow Falling On Accountants (I liked that one so much it’s now part of the Spill‘s collection of originals). The drawing has a 1970/1980s-era William Stieg-ian quality to it.

Roz Chast’s Wizard of Oz drawing (p. 54). I’m a fan of Ms. Chast’s outdoorsy drawings (like this one for instance).  I associate Oz with spectacular color (the film is black & white til Dorothy lands in Oz and opens up the door of her farmhouse). We’ve all seen enough of Ms. Chast’s terrif color work so that I can (possibly) be forgiven for imagining this drawing colorized.

The lead off drawing in the issue is by Adam Douglas Thompson. I like the simplicity of this cartoon — the way Mr. Thompson’s shown us exactly what we need to see, and no more.  Rats (and mice) have a long New Yorker cartoon history (here’s a favorite Sam Gross drawing from 1999).

David Borchart’s end of summer drawing (p. 39) is quite fab. Mr. Borchart, as he usually does in his work, gives us a world to think about. And, of course, the drawing itself is spectacular (note how the ferry leaves a wake).

Cartoon placement/sizing: All of the cartoons in this issue have been given good breathing room. A few examples: William Haefeli’s (p.31), Sharon Levy’s (p.59), and Lars Kenseth’s (p.22).

Rea Irvin’s Lost Masthead: Gone since the Spring of 2017, but not forgotten here.

 

 

 

The Monday Tilley Watch, The New Yorker Issue of September 9, 2019

The Cover:

It’s the Style Issue this week….thus the bountiful polka dots on Malika Favre’s eighth cover for the magazine. A Q&A with the artist here. If you link to the Q&A you’ll see the polka dot dress swirl.

I can’t see that many polka dots (and red) on the cover without thinking of Peter Arno’s March 23, 1935 New Yorker cover. It was also used as the cover for The Seventh New Yorker Album.

The dalmatians cover is perhaps overly familiar to me because it’s the front endpaper of my biography of Arno. Hey, what can I say? I like dogs…and Arno.

 

The Cartoonists and Cartoons

With the appearance of another team effort (third? fourth?) by Pia Guerra and Ian Boothby I think we’re in new territory as far as crediting a writing team goes for single panel cartoons in the magazine. Someone please correct me if there has been another duo credited beyond one or two appearances (Robert Crumb and Aline Kominsky-Crumb come to mind, but their work is in a different realm, i.e., their “thing” is not single panel cartoons). The duo of Guerra & Boothby have given us a slightly different take on the usual cartoonist’s representation of Noah’s Ark (the drawing appears on page 78). Instead of the long ramp leading up to the ark, it’s more of a tailgate.  It works well here.

Of note: Elisabeth McNair’s drawing of the tortoise and the hare (p. 72). If you remove the art hanging on the wall, and the door frame, the cartoon could easily be seen as descended from the school of (Charles) Barsotti minimalism. Love the turtle’s expression.

Also of note: Hilary Fitzgerald Cambell’s spooky “campfire” story-time drawing (p.49). At first glance I thought the scene was outdoors, but then saw the light sockets in the background with a charging electronic device (a phone?) connected to one of them. That it plays a trick on the eyes — intended or not — is pleasing, as is the drawing itself.

Further of note: Ed Steed adds another drawing to the cartoon canon of mounted something (in this case, someone) or others on the wall (p. 25).

Being the great grandson of bakers, and a fan of baked goods in general, it was a nice surprise  seeing pastries as a focus in Amy Hwang’s drawing (p. 43). Also a nice surprise: seeing Glen Baxter’s drawing (p.68). While a number of cartoonists box in their drawings, Baxter’s boxes somehow seem part of the drawing within, if that makes any sense (is the word “integral” — maybe, maybe not).

Rea Irvin’s Talk Masthead: Still not home. Read about it here.

 

 

 

 

 

Robert Leighton’s New Book; The Monday Tilley Watch, The New Yorker Issue Of September 2, 2019; Today’s Daily Cartoonist & Cartoon

Robert Leighton’s New Book: Just out from Workman, Puzzlelopedia, by long-time New Yorker cartoonist and puzzle meister, Robert Leighton (with fellow Puzzability team members Amy Goldstein and Mike Shink). Spill visitors might remember this piece on one of Mr. Leighton’s classic New Yorker drawings (below).

Here’s Mr. Leighton’s entry on the Spill‘s A-Z:

Robert Leighton Born May 23, 1960, Long Island, NY. A puzzle writer as well as a cartoonist, Leighton is one of three partners who founded the puzzle-writing company, Puzzability. See: The New Yorker Book of Cartoon Puzzles and Games (Black Dog & Leventhal Publishers, 2006), authored by Puzzability. Mr. Leighton’s New Yorker work: 2002 – .  Website: https://www.robert-leighton.com/

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                   The Monday Tilley Watch, The New Yorker Issue Of September 2, 2019

                         The Cover: Here’s Kadir Nelson on his latest cover (titled “Heat Wave”).

                         The Cartoonists & Cartoons:

Maggie Larson’s name isn’t listed above, so I’m mentioning her here as she contributes a two-column wide color Sketchpad drawing titled “The Subway Valley Floor.” Eighteen pages later is a  full page color Liana Finck Sketchbook contribution,“Some Relationship Models” (Ms. Finck’s name appears on the Table of Contents).

There are but nine single panel cartoon contributions in this issue (I think most would agree that Ms. Larson’s and Ms. Finck’s drawings fall outside of that classification by virtue of their assigned haedings). Illustrations, as has been the case in modern times, occupy more graphic real estate than the cartoons.  There are sixteen of them (including photographs), including four full pages.

                     Rea Irvin’s Talk Masthead: Switched out in May of 2017 for a redrawn version, Mr. Irvin’s iconic Talk masthead (shown below) sadly continues to collect dust. Read about it here.

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Today’s Daily Cartoonist & Cartoon

Tim Hamilton on G7.  Mr. Hamilton began contributing to The New Yorker in 2016. Visit his website here.

 

 

 

The Monday Tilley Watch, The New Yorker Issue Of August 26, 2019

The Cover: Way to go, Ed Steed! Mr. Steed’s debut New Yorker cover is a gem.  See the cover and read this short interview about it with Mr. Steed.

It’s always a thrill, and always a reason to cheer when a New Yorker cartoonist’s work appears on the cover. Our presence there took a major hit once the singular title of art editor (last enjoyed by Lee Lorenz) was split in two back in the Tina Brown era. One job became two jobs: a cartoon editor for the cartoons, and an art editor for the covers. For the better part of the magazine’s history, the cartoonists were in the majority as cover contributors (over 60%). That dropped to a single digit percentage in the years since the cover editor’s position was created. Mr. Steed’s breakthrough is encouraging.

The Cartoonists & Cartoons:

A Spill round of applause for several cartoons in the issue that caught my eye: Tim Hamilton’s lion at a party (p.65) is a stand out. Perhaps I’m a sucker for drawings depicting a person held in clenched jaws.  I’m also quite fond of P.C. Vey’s worked-his-way-up-the-ladder chef in a cubicle (p.63). Mr. Vey has given us a very good drawing. Lila Ash’s trapeze artists (p.79) are also a lot of fun; the drawing clicks perfectly with a caption that heavily depends — even more so than usual in this case — on timing.

The over-all cartoon picture for the issue: Just ten cartoons amid a multitude of illustrations (four of the illustrations are full page). I wonder if my colleagues ever submit cartoons as intended full page drawings. Something to ask next time we gather en masse.

Breathing room around the cartoons is good this issue. Frank Cotham’s drawing (p.52) could’ve used a bit more space so we can appreciate and dive into all that’s going on in his court room. Perhaps, as is sometimes the case, that’s not an issue in the print issue.

Rea Irvin’s Talk Masthead:  It’s been twenty-seven months since it was abandoned in favor of a (gasp!) redraw. Read about it here.

Here’s the real thing: