The Cover: Christoph Niemann returns for the Technology Issue. Read Francoise Mouly’s Q&A with him about his cover.
The Cartoonists & Cartoons:
Electronically flipping through this new issue (appropriately enough for the Technology Issue) I was happy that the cartoons just kept-a-comin’; there are seventeen of them to be exact. All of them are placed well (i.e., they have plenty of breathing room, and sit well on the page).
Here are random thoughts about some of the cartoons in the new issue…
Joe Dator’s laundromat drawing (page 50): When asked why The New Yorker didn’t run color cartoons*, The New Yorker‘s founder and first editor, Harold Ross reportedly said, “What’s so funny about red?” What he didn’t say was,“What’s so funny about beet red?” Mr. Dators’ drawing, incorporating beet red, is hilarious.
I hovered over Victoria Roberts’ campers and bear drawing (p.46), enjoying the drawing itself. We’re used to seeing many of Ms. Roberts drawings set indoors — it’s fun to see her drawing of a tent, and a bear (or a man in a bear suit).
Jason Patterson’s ice cream trucks heading south for the winter (p. 25) is also fun to linger on. Its concept seems out of the Jack Ziegler school of zany. Such a good drawing.
Also of note, graphically, and otherwise-ly: Ellie Black’s little red riding hood drawing (p.78)…and Maggie Mull’s Beautiful Mind-ish drawing on page 70; nice to see it stretched out on the page.
Shannon Wheeler’s broccoli opera drawing on page 77. Its execution is reminiscent of some of William Steig’s middle period work (check out Steig’s 1942 collection, The Lonely Ones).
And of note in a different department: the magazine’s assistant cartoon editor, Colin Stokes’ Shouts & Murmurs piece,“Running With Scissors” (p.33).
The Rea Irvin Talk Masthead Watch: Mr. Irvin’s classic masthead drawing (below) has yet to return. Hope springs eternal here on The Spill. Read about it here.
*There were two color cartoons in Ross’s era, very early on in the magazine’s life; both appeared in the issue of December 12, 1925. A full page by Ralph Barton, and a double page spread by Rea Irvin. Mr. Barton did not use red in his drawing, Mr. Irvin did.