Peter Kuper Direct Draws Little Donald’s Sneeze; A Case For Pencils Spotlights Hartley Lin’s Tools Of The Trade; Today’s Daily Cartoonist & Cartoon…And Yesterday’s; Seth’s City; Today’s Daily Shouts Cartoonist; More Spills: Chast, Blitt

Calling his recent New Yorker piece, Little Donald’s Sneeze (After Winsor McCay’s ‘Little Sammy Sneeze’) a “Photoshop fest” Peter Kuper decided to do a sort of take 2 — without Photoshop.  Edward Sorel has referred to working this way as direct drawing.

In an email, Mr. Kuper told the Spill:

“I had to check if my McCay drawing chops were intact so I drew this up. My admiration for McCay went up another 1000% as I noted every detail he included, every costume, a full band and on and on. Unbelievable.”

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Jane Mattimoe’s Case for Pencils Spotlights Hartley Lin

Jane Mattimoe’s latest Case for Pencils cartoonist is Hartley Lin, who began contributing to The New Yorker in 2018.  After reading the Lin Case, why not check out the other cartoonists that’ve shared their tools of their trade. Good stuff!

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Today’s Daily Cartoonist & Cartoon

Avi Steinberg on the ubiquitous sour dough bread. Mr. Steinberg began contributing to The New Yorker in 2012.

…And Yesterday’s: David Ostow, on what is or isn’t significant these days.

Mr. Ostow began contributing to The New Yorker in November of 2018.

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Seth’s City

From Architecture Boston, April 30, 2020, “To Roam His Dominion” — this piece on Seth’s city. Seth (Gregory Gallant) began contributing to The New Yorker in 2002.

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Today’s Daily Shouts Cartoonist

Sara Lautman and Jessica Delfino give us: “How Are You Doing With All Of This?”

Ms. Lautman has been contributing to The New Yorker since 2016. Visit her website here.

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…From The New York Post, May 1, 2020, “Cartoonist Roz Chast is locked down in Connecticut with her anxieties” — this piece includes info on this May 8 virtual event.

…Barry Blitt’s latest Kvetchbook has been posted.

 

 

 

Thurber Thursday: Personal History — The Thurber Article That Caused Me To Fly

Thurber Thursday: Personal History — The Thurber Article That Caused Me To Fly

When I ran across the above small article in early 1987, I was in my mid 30s, and had yet to step foot in an airplane. I drove anywhere I needed to go outside of the New York/Metropolitan area.  At the time the furthest south I’d traveled was Washington, D.C., the furthest north, Montreal; the furthest east: Eastport, Maine; the furthest west, Altoona, Pennsylvania (and that was by accident — I got lost taking a friend to State College, Pa).

But the idea of traveling to Ohio by car seemed, well, exhausting, so I agreed to fly to Columbus with fellow New Yorker cartoonist & Thurber fanatic (and soon to be wife), Liza Donnelly.  We booked a room at the Great Southern Hotel, where Thurber’s 92 celebratory drawings were hung, and flew out to Columbus in late February. Did I enjoy the flight? No. I can’t even go on a see-saw without experiencing “issues,” so being in a plane wasn’t fun. But what we found in Columbus was worth the anxiety of being up in the air.

The morning we arrived in Columbus we immediately headed over to The Thurber House. It wasn’t open yet, so Liza and I took pictures of each other on the front steps. We were standing on the porch of the house where the bed fell and the ghost got in… unbelievable.

We later toured the house, using this swell guide:

What can I say?  Being in the house was, for Thurber obsessives, probably comparable (if, say, you’re a Beatlemaniac) to traveling to Abbey Road and walking on the famous crosswalk.

Of our short stay at the Great Southern Hotel (shown left), I don’t remember our room, or even the hotel itself (other than it was enormous).

What I do remember was walking the hallways lined with original Thurber drawings. I can’t remember focusing on any one drawing while there  — the submersion was overwhelming. Luckily, the organizers provided a catalog of all the work shown.

So, yes, the flight was worth it (I would’ve preferred driving back home though). Other than flying home to New York from Columbus, the next time I flew was five years later… back to Columbus for this event at the Thurber House:

 

 

 

 

Video Conversation Of Interest With Roz Chast; Today’s Daily Cartoonist & Cartoon

Video Conversation of Interest With Roz Chast

From The Center For Cartoon Studies, this short conversation between Roz Chast and Charles Forsman.

Ms. Chast has been contributing to The New Yorker since 1978.  Visit her website here.

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Today’s Daily Cartoonist & Cartoon

Christopher Weyant on home deliveries.  Mr. Weyant has been contributing to The New Yorker since 1998. Visit his website here.

 

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The Monday Tilley Watch, The New Yorker Issue Of May 4, 2020

The Cover: In Francoise Mouly’s Q&A with this week’s cover artist, Chris Ware, she informs us that the issue is anchored by “a kaleidoscopic account of a single day in New York.”  And so we see a cover, in Mr. Ware’s patented style, loaded with snapshots of the city —  a cover nearly devoid of people.

The Cartoonists:

Liza Donnelly, Robert Leighton, Amy Hwang, Roz Chast, Mick Stevens, Liana Finck, Julia Suits, Frank Cotham, Lars Kenseth, Peter Steiner, Karl Stevens, Edward Steed, Elisabeth McNair, Ali Solomon

The Cartoons:

First thing I noticed zipping through this week’s cartoons (via the slideshow on newyorker.com) is that 9 of the 14 drawings contain non-humans. Is this unusual? I don’t know; haven’t kept track of the human/non-human ratio of the cartoons over the years [if anyone has, please let me know — I’d love to see the numbers]. What may be unusual are the three drawings in a row containing two animals apiece: Ed Steed’s two cows, Elisabeth McNair’s pig and squirrel, and Ali Solomon’s two seals.

The remaining half-dozen cartoons featuring non-humans: Peter Steiner’s shark (fins), Lars Kenseth’s multitude of rabbits, Roz Chast’s cow, Liana Finck’s dog(?), and Amy Hwang’s snails. This week’s lead cartoon, by Liza Donnelly, is a direct nod to NYC’s shut-down (it features a none-too-pleased caged subway rat).

The high percentage of animals in the issue reminded me of this passage from Brendan Gill’s Here At The New Yorker:

“Once, Geraghty [the magazine’s Art editor from 1939-1973] mentioned to me that the art department ‘bank’ contained a deplorably high number of jokes featuring conversations between animals. I proposed that the artwork of an entire issue of the magazine be devoted to talking-animal jokes, thus reducing the bank and just possibly causing our readers to lose their minds.  My proposal was accepted, the issue came out, and as far as the magazine could judge, the prank went largely unobserved.” 

Other Cartoons That Caught My Eye:

It seemed pre-ordained that Roz Chast would do a panic buying drawing. Love her (signed) photo drawing of “Der Bingle.” Mick Stevens’s me time drawing is a fine/fun piece of work; applause applause for the way Frank Cotham handled the damned in his splendid media attention drawing. I’ve no idea how Mr. Cotham’s cartoon is sized (I don’t have access to the digital edition yet) but this cartoon would certainly work beautifully on a half-page.  (Update, now that the digital issue is available:  Mr. Cotham’s drawing has been run a bit larger than most of the issue’s cartoons…not a half-page tho.)

The Rea Irvin Talk Masthead Watch:

Without having the digital issue in front of me I’ve no idea if Mr. Irvin’s classic Talk masthead (below), shown the door, and replaced by a redraw in the Spring of 2017, has finally returned.  Here’s more information on it.(Update: the redraw still appears. The classic remains in storage)

Behold the real deal!

 

 

 

 

The Latest American Bystander; Jason Chatfield’s Covid-19 Diary; Daily Cartoon & Daily Shouts Cartoonists (Yesterday’s & Today’s)…And Barry Blitt’s Kvetchbook

The latest American Bystander (March 2020) has landed on my desk —  it’s a treat!  Here are The New Yorker cartoonists whose contributions you’ll find in the issue (and in the case of John Cuneo, on the issue’s cover):

George Booth (besides a full-page Booth drawing there’s a lovely photo of Mr. Booth on the very last page), Roz Chast (a two-page spread of her cartoons), Sam Gross (in “Sam’s Spot”, a regular Bystander feature), Peter Kuper, David Ostow, Ali Solomon, Rich Sparks, Cerise Zelenetz, and P.S. Mueller.

A bonus in every issue — I see it as a bonus anyway — are the numerous full page ads for books by cartoonists (no surprise, I’m particularly fond of the books by New Yorker contributors). In this issue we see an ad for Rich Spark’s cartoon collection, Love And Other Weird Things, Ben Katchor’s The Dairy Restaurant, Robert Grossman’s Life On The Moon, Roz Chast’s & Patty Marx’s You Can Only Yell At Me For One Thing At A Time, Peter Kuper’s adaptation of Joseph Conrad’s Heart Of Darkness, and John Donohue’s All The Restaurants In New York.

Go here to the Bystander‘s website to order a copy and/or subscribe.

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Jason Chatfield’s Covid-19 Diary

The New Yorker cartoonist Jason Chatfield draws and writes about his recent experience with the “invisible enemy.”  So very glad to hear he and his wife have fully recovered. 

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Daily Cartoonists & Daily Shouts Cartoonists (Yesterday’s & Today’s)…and Barry Blitt’s Kvetchbook

Today’s Daily cartoonist & cartoon: J.A.K. on who’s speaking. Mr. K. began contributing to The New Yorker in 2014.

Two Daily Shouts Cartoonists Today:

  1. Ali Fitzgerald: “America!: Dr. Fauci Reads A Bedtime Story To Anxious Adults”

2. Emily Flake: “Homeschool Spirit Week!”

Yesterday’s Daily cartoonist:  Emily Flake, who began contributing in 2008. Audio Flake: this from Gil Roth’s Virtual Memories podcast.

Yesterday’s Daily Shouts cartoonist: Zoe Si’s “Substitutions In The Time Of Quarantine, Rated”

…and Barry Blitt’s Kvetchbook: “Our President Concocts A Cure For The Coronavirus”