It wouldn’t be fair, I suppose, to start my blog post with “Once upon a time a boy was born named Charles Monroe Schulz on the 26th of November 1922…etc… etc.”. Although as a starting sentence it might seem triggering, it doesn’t depict how I interpret Peanuts. For me, it is an ongoing caricaturized autobiography or a biography of what it is to be human rather than a very familiar and famous comic strip. Therefore, allow me to start this text in the following way: Continue reading “Artist Highlight: Charles M. Schulz, Part 1”
“I ain’t a Kat… and I ain’t Krazy… it’s what’s behind me that I am… it’s the idea behind me, Ignatz, and that’s wot I am.”-Krazy Kat.
Krazy Kat was never a massive commercial success but it helped define the rules of an emerging art form and inspired multiple varying interpretations. Jon Carroll of the San Francisco Chronicle said it was “to comic books what Chuck Berry is to rock and roll.” Comiczine described it as “Tom & Jerry if it had been written by James Joyce and illustrated by Pablo Picasso.” Continue reading “THE KURIOUS KONTRADICTIONS OF A KRAZY KAT”
Jane’s Journal, the Diary of a Bright Young Thing, was launched in the Daily Mirror in 1932. Drawn by Norman Pett, it was his response to a challenge to create a comic strip that would be as popular with adults as the famous Pip, Squeak & Wilfred (started in the Mirror in 1919) was with children.
William Norman Pett was born in 1891. After being invalided out of the armed forces during the Great War, he took a correspondence course in drawing from Percy Bradshaw’s Press Art School, which also taught many other cartoonists. Later, he taught art at the Mosley Road Junior Art School and at Birmingham Central School of Art. In the 1920s Pett worked as a Punch cartoonist as well as producing cartoons for other publications. Pett initially used his wife Mary as a life model for Jane. When Mary developed other interests, Pett then used another artists’ model that he met at the Central School of Art, Christabel Leighton-Porter, as his new life model. Continue reading “Jane’s Journal, The Diary of a Bright Young Thing (1932-1959)”
In this new and exciting project, the Cartoon Museum will discuss highlights of our collections (comics&cartoons) with museum staff and guests. In this second episode, Tim Pilcher interviews Dave Gibbons about their collaboration on the book How Comics Work. Here is what they had to say about it!
Gibbons, Dave and Tim Pilcher. 2017. How Comics Work. London: Rotovision. “A masterclass taught by Britain’s first Comics Laureate , Dave Gibbons, this is the most authoritative guide on how comics are made today. Packed full of rare and unpublished material from Gibbons’ archive it reveals insider tips on how comics such as 2000 AD and Watchmen were made. Written in collaboration with award-winning writer and editor Tim Pilcher, this unique guide takes you through each stage of the comic’s creation process, from scriptwriting, to moving through character and superhero design, to lettering and colouring and finally on to covers and logo design. Throughout this insightful course are real-life examples of Gibbons’ art, revealing how he solved actual problems with practical solutions, and unique behind-the-scenes insights into the creative process. Learn the stages of layout and page planning through the initial designs of Give Me Liberty; discover Gibbons handy tips for lettering using never-before-seen examples from The Originals; and find out the secrets of successful writing with sample scripts from The World’s Finest and The Secret Service.”
Garretson Beekham Trudeau was born in New York City in 1948. At school he specialised in painting, but later developed an interest in the graphic arts and spent much of his time at Yale University (1966-70) drawing cartoons for Yale’s humorous magazine, The Yale Record, and the student newspaper The Yale Daily News. He became a postgraduate student at the Yale School of Art, gaining a master’s degree in graphic design in 1973. His cartoon strip Bull Tales, produced while he was still an undergraduate, developed into the Doonesbury strip in 1970. Within 10 years of its first appearance, Doonesbury was syndicated in 900 American newspapers. Trudeau was awarded the Pulitzer Prize for Editorial Cartoons in 1975, the first to receive this accolade. He sees himself as a typical baby boomer with a liberal East Coast outlook. Continue reading “Doonesbury by Garry Trudeau”
In this new and exciting project, the Cartoon Museum will discuss highlights of our collections (comics&cartoons) with museum staff and guests. First up, an interview with curator of the Comics Gallery and head of the HLF Comic Creators Project, Steve Marchant on the amazing Jack Kirby!
In this new blog series, the Cartoon Museum would like to offer a space for our active volunteers to share a bit about themselves. Our volunteers help us run the museum on a day to day basis. They make sure that we present our best side to the public. They are friendly, knowledgable, and artistic and they are always ready to help our visitors navigate the museum. So let’s get to know them a little bit better, shall we? For our first installment we shall meet Stefan Alexander, comic artist and illustrator.
The Scottish cartoonist responsible for presenting adults with a revolutionary science fiction comic strip in the form of Jeff Hawke is Sydney Jordan. It was through this art form that he was able to inject fantasy into the mundane lives that most adults lead. Born and bred in Dundee, Scotland, Sydney Jordan grew up in a city where the publishing house D.C. Thomson released a plethora of comic books every week. Jordan’s fondest memories of his childhood are the times he spent reading those comic books and the joyful and spirited conversations he had with his father about them. Jordan familiarized himself more with comic book illustrations by working in a studio that was run by former employees at the Thomson publishing house. He claimed this experience allowed him to learn from experts in the field. A couple of years later, Jordan acquired an interest in space and planes, around the time of the Second World War, after joining the Miles Aeronautical Technical School for aviation designers. After struggling to find a job in aviation, Jordan took his passion and used it to work in the comic strip industry. He started out as the artist, Len Fullerton’s helping hand. Continue reading “Jeff Hawke: A Revolutionary Science Fiction Comic Strip”
By Emmba K. Shibley
If you’ve ever sat at a desk with a piece of paper in front of you, chances are you’ve spent a moment (…or two) doodling in the margins. After all, it can be great fun to caricature an annoying colleague or doodle out a daydream, and doing so is in our DNA: humans have been documenting true events through visual art for 17000 years, dating all the way back to scenes of hunting triumphs painted on cave walls (Duncan et al 2016).
But what if making cartoons based on your own life was your profession?
For some comic artists, it is. Autobiographical comics, nicknamed autobios by the genre’s creators and fans, can range from daily or even hourly journal-like cartoons to hefty tomes of graphic memoir that tell the story of an entire lifetime. Continue reading “Stranger than Fiction: Comics and Cartoons About Real Life”