Comics Journal Of Interest; Today’s Daily Cartoonist & Cartoon

Comics Journal Of Interest

The Summer-Fall Comics Journal features a “Career-Spanning” interview with Gary Groth (founder and President of Fantagraphics Books).

Read a little more here.

Roz Chast’s entry on the Spill‘s A-Z:


Roz Chast (pictured above. Photo by Bill Franzen) Born, Brooklyn, NY. New Yorker work: 1978 – . Key collections: Unscientific Americans (Dolphin/Doubleday, 1982), Theories of Everything ( Bloomsbury, 2006) Can’t We Talk About Something More Pleasant?: A Memoir (Bloomsbury, 2014). Website:


Today’s Daily Cartoonist & Cartoon

Jon Adams on quarantine fatigue. Mr. Adams began contributing to The New Yorker in October of 2017. Visit his website here.




55 Years Ago Today; A Timely 1960 Frank Modell Cartoon; Today’s Daily Cartoonist & Cartoon; Today’s Daily Shouts Cartoonist; A Cartoonist At The Culture Desk; The Passing of Mad’s Mort Drucker

55 Years Ago Today

The other day I mentioned that April 10th is the 55th anniversary of the publication of Mort Gerberg’s first New Yorker drawing (I Spilled the drawing published in that issue of April 10, 1965).  It was, however, not the first drawing he sold to the magazine. His first sale appears above (quite a beginning!).  It appeared in the issue of October 30, 1965. The Spill congratulates the artist on his 55th!


A Timely 1960 Frank Modell Cartoon  

This Frank Modell drawing appeared in The New Yorker February 27, 1960. I’d say that by now most of us have a pretty good idea the answer to the question.

My thanks to Daniel Borinsky for finding and sending the drawing along.

Frank Modell’s entry on the Spill‘s A-Z:

Frank Modell (photograph taken early 1990s) Born, Philadelphia, Pennsylvania, September 6, 1917. Died, May 27, 2016, Guilford, Connecticut. New Yorker work: 1946 – 1997. Mr. Modell began his New Yorker career as assistant to the Art Editor, James Geraghty. He soon began contributing his cartoons (and cartoon ideas for others), with his first drawing appearing July 20, 1946. Besides his work for The New Yorker, he was a children’s book author and an actor (he appeared, most notably, in Woody Allen’s 1980 film, Stardust Memories). Key collection: Stop Trying To Cheer Me Up! (Dodd, Mead, 1978).


Today’s Daily Cartoonist & Cartoon

Comforting bunny talk from P.C. Vey. Mr. Vey began contributing to The New Yorker in 1993.

Visit his website here.


Today’s Daily Shouts Cartoonist

From Hilary Fitzgerald Campbell: “Movies Remade for Socially Isolated Viewing”

Ms. Campbell began contributing to The New Yorker in November of 2017.  Visit her website here.


From The Culture Desk

Paul Karasik on the death of John Prine.

Mr. Karasik began contributing to The New Yorker in 1999.



The Spill Notes The Passing Of The Great Mad Artist, Mort Drucker

I have to believe that untold numbers of New Yorker cartoonists self-educated by looking through MAD magazine. A large part of that education would’ve included taking in Mort Drucker’s gazillions of drawings. Mr. Drucker, who passed away this week at age 91, was one of the Mt. Rushmore figures in Mad’s stable (the Usual Gang of Idiots).

The National Cartoonists Society Tweeted the below:

And here are just a few pieces published since the news broke:

From Mad Magazine: “RIP Mort Drucker 1929-2020” by The Editors.

From The New York Times: “Mort Drucker, Master Of The Mad Caricature, Is Dead At 91” by J. Hoberman.

From The Washington Post: “Mort Drucker who drew humor from life in Mad Magazine dies at 91” by Matt Schudel.

From The Washington Post:  “Mort Drucker’s legendary Mad magazine caricatures spoofed Hollywood — and Hollywood loved them” by Michael Cavna.

From Rolling Stone “Mad magazine cartoonist Mort Drucker dead at 91” by Jon Blistein

…and from the New Yorker cartoonist, Jason Chatfield, this tribute.


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.


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.

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.


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.


A listing of New Yorker artists who contributed to 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.



Today’s Daily Cartoonist & Cartoon; Cartoonist Interviews Of Interest: Liana Finck, Bob Eckstein

Today’s Daily Cartoonist & Cartoon

And now there are three. Brooke Bourgeois — new to The New Yorker stable this year –on yesterday’s historic vote.



Interviews Of Interest

Two recent interviews by two cartoonists with new books.

From Comics Beat, December 18, 2019, “Indie View: Liana Finck puts her whole self into ‘Excuse Me'”  — this interview Ms. Finck, who began contributing to The New Yorker in 2013. Visit her website here.

From, December 17, 2019, “Art Versus Commerce: Q&A With Author-Cartoonist Bob Eckstein” — this interview with Mr. Eckstein, who began contributing to The New Yorker in 2007.  Visit his website here.