Friday, February 07, 2025
It's the Mike Lynch Cartoons Blog Anniversary!
Thursday, February 06, 2025
New York Review Comics Publishes First Collection of "The Smythes" by Rea Irvin
News from the New York Review Comics people:
"We are so excited to announce a book coming out later this year from NYRC, Rea Irvin's The Smythes. Irvin was The New Yorker’s first art editor and creator of the magazine’s mascot, Eustace Tilly.
"The Smythes was Irvin’s first and only foray into a newspaper comics following The Smythes —comprised of hapless businessman John, Margie, his formidable wife, plus their two forgettable children, Willie and Maudie—through day-to-day life and madcap adventures in 1930s America.
"Handpicked by acclaimed cartoonists R. Kikuo Johnson and Dash Shaw—who also wrote the introduction together—this selection of Smythes strips are the first time it's ever been collected in a single book. An afterword by comics historian Caitlin McGurk sheds new light on Irvin’s work and life.
"As we're finishing this collection, we are still looking to get color scans of some key strips. If you have any Smythes in your home, attic, or elsewhere, please write to us at nyrcomics@nybooks.com. Thank you, and looking forward to sharing this rediscovered classic!
"Cover by R. Kikuo Johnson."
Rea Irvin (1881-1972) had been a newspaper illustrator, a cartoonist, a sometimes actor. Born on the West Coast, he moved to New York City and produced drawings for a variety of publications. In 1924, he was fired from his art director position at Life Magazine and then came aboard the then-new New Yorker magazine. He created its first cover, along with the left hand band on cover, and the typeface for the magazine. He figured the magazine would most likely fold in a couple of issues.
James Thurber: "... [T]he invaluable Irvin, artist, ex-actor, wit, and sophisticate about town and country, did more to develop the style and excellence of The New Yorker's drawings and covers than anyone else, and was the main and shining reason that the magazine's comic art in the first two years was far superior to its humorous prose."
Rea Irvin also created The Smythes, first appearing in the spring of 1930 in the New York Herald Tribune. A domestic humor feature, in the clean line style, this centennial year of The New Yorker magazine marks the very first time that it's been collected in any form. While the humor may be a bit dated, the style is wonderful to behold. There are only a few samples of The Smythes online.
This one via Tumblr:
From the book announcement on Instagram:
Looking forward to this collection that is well due!
Wednesday, February 05, 2025
Gerry Mooney: How to Scam a Commercial Artist
My friend Gerry Mooney describes a scam going around that's aimed at illustrators and cartoonists. This is worth a read, as Gerry lays bare their techniques, as well as revealing the name and phone number that the scammer gave. Here's Gerry's email with the background as well as an update.
Here's Gerry's email:
Thank you so much for posting your information on the scam. I wasted a bit of time on mine, but I was amazed that April used the same name to scam me.
I did a Google search when she first contacted me and it yielded little, but this morning as I sat down to write a contract I just Googled her phone number and came upon you, so you saved me from having to take the process to the next level. Obviously, I had my suspicions and I was trying to think how I could write a bullet proof contract, but seeing her name in a correspondence with you was absolute confirmation that it was not possible.
Tuesday, February 04, 2025
Video: The Fantastic Four: First Steps | Official Teaser
Marvel Studios' #TheFantasticFour: First Steps arrives in theaters July 25. I hope it's good. Love the midcentury vibe, which was what the FF was all about back in Lee/Kirby days of the 1960s.
Monday, February 03, 2025
PRO CARTOONIST & GAG WRITER Mid-Feb 1962
Here
is the complete PRO CARTOONIST AND GAG WRITER for Mid-February
1962. This pro-zine was put together by the late, great Arnold Wagner.
Famous Artists School founder Albert Dorne is caricatured on the cover,
and there's an interview with him, conducted by LOOK Magazine cartoon
editor Gurney Williams. More highlights:
- Virgil "VIP" Partch launches his syndicated "Big George" panel,
- veteran gag cartoonist Chon Day is interviewed by Arnold Wagner,
- Johnny Hart launches his new "funny caveman" strip, B.C.,
- and the many insider features, including ads and "clip and file" market listings to paste into your Rolodex.
- Edited from a December 16, 2009 blog entry.
Friday, January 31, 2025
Charlie Chaplin - Final Speech from The Great Dictator
"We think too much and feel too little. More than machinery we need humanity. More than cleverness we need kindness and gentleness. Without these qualities, life will be violent and all will be lost ...." -- The Great Dictator.
With thanks to John Klossner.
Thursday, January 30, 2025
Jules Feiffer 1929 - 2025
Jules Feiffer was a real force in comics and movies for generations. I know I read an interview where he said he made more money from movies than cartooning, but I am so glad he was driven to draw. He had done it all: The Spirit, The Village Voice, graphic novels, children's books, plays, movies. He wrote the first book about comic book history in 1965: The Great Comic Book Heroes. He won the Pulitzer. Go look at the Gene Deitch's cartoon adaption of his Munro graphic novel, which won an Oscar in 1961. Or go see a young Jack Nicholson in Mike Nichols' movie adaptation of his Carnal Knowledge play. I guess everyone knows he wrote the screenplay for Robert Altman's Popeye movie. Look at these cartoons about Nixon from The Village Voice. There is so much material.
He started as a kid, taking a subway train from his family apartment down to the office of Will Eisner to ask for a job. Eisner was blunt, telling him he needed to work on his drawing skills. This did not daunt Feiffer, who would work as a gofer for Eisner, then began to write plots and soon, whole scripts for Eisner's Spirit feature. Within a decade, he was drawing the regular weekly feature "Feiffer" for The Village Voice in 1959. It would be syndicated in 100 publications. He won the Pulitzer in 1986 and would continue drawing it until 2000.
I had a couple of experiences with Jules Feiffer. One of the best things I ever heard about comics was when he had a Powerpoint presentation at a National Cartoonists Society convention and he showed an old Segar Popeye Sunday comics page of a big fight that Popeye had in a boxing ring. He talked about each of the panels and enthusiastically described the thrill he had when he was a little kid, reading this for the first time. Popeye gets knocked out of the ring in a spectacular punch and flies way over the crowd. This, of course, just makes Popeye determinedly mad and he gets up waaaay in the distance and begins walking forward, treading on the heads of the onlookers, back to the ring to deliver a masterful blow. The enthusiasm that he had for this mindblowing strip was just as fresh decades later. If anyone has a scan of the strip, please let me know and I will add it here.
Related:
Wednesday, January 29, 2025
Dennis Lynch, PhD 1937 - 2025
My dear Dad, Dennis Lynch, passed away at home on Monday, January 20th. He was 87. He’s survived by his wonderful wife, and my sister, my stepsister, and me and my wife.
In addition to being a Dad, he was a college professor, teaching radio, TV and film production. After officially retiring, he was a docent at the Carnegie Museum of Natural History, as well as active in local theater in Pittsburgh where he lived. He was always a great storyteller and introduced me to all the good funny things in life that I still love: The Marx Brothers, Pogo Possum, Bob Newhart, Jack Benny, and so much more. He could be a critical parent, but it came from a place of love. He was curious, exacting and loved a risqué story. I will miss him more than I could ever reasonably relate.
We had a remembrance get together “celebration of life” this past Friday. So many people came and so many stories were told. I want to believe maybe he was there, somewhere, offering, as a friend of his put it, some wry commentary on the proceedings.
Here's what I said on Friday night, at a gathering of something like 40 people. Maybe more. And everyone stayed for a couple of hours.
We are gathered here to have a celebration of the life of Dennis Lynch: raconteur, bon vivant, professor, the best story teller I knew, and my Dad.
Here are a few memories.
1969, Iowa City, IA: Teaching Max the family dog to bark to let us know that he wanted to go outside. Dad put Max outside, shut the door and then, Dad got on all fours (like a dog), and started barking. Max looked very confused. It didn't work.
1972, Lawrence, KS: As a kid, I had all those whiny kid questions like, "Why is it my turn to take out the garbage?" and "Why do I have to clean up the dog poop in the yard?" And the answer from Dad was NOT "because I say so." The answer was, beginning in 1972, "Because I have a PhD, that's why!" Because, finally, he received his degree from the University of Kansas that year.
1974, Shaker Hts., OH: Here's a little known fact: Dad was an inventor. He did, like all of us, hate TV commercials. So, he connected a wire from the audio jack in the back of our RCA Victor TV to an on/off switch that killed the "blabbing" commercials. He called it the "blab switch." And if he was out of range of the switch, and heard the commercials come on he would yell, "Hit the blab! Hit the blab!"
1983, Akron, OH: I took Professor Lynch's film production class at the University of Akron. We shot and edited a short film a week, showing it in class on Fridays. We learned that length does not equal quality. Dad would, before the class saw the finished movie, take the end of the film and walk to the back of the classroom, unreeling the film. If the the footage ended about half-way to the wall, he would say, "This is a B+, maybe even an A." If he was able to walk all the way to the far wall, he would say, "This is a D." The class laughed at the theatrics of this, but when the film was put back on the reel, threaded into the projector, and we all actually watched it; he was right. Shorter is better.
2007: After more than twenty years of renting in NYC, we decided to buy a house. My Father's advice: there are three things to bring when house hunting:
a compass - to see what part of the house received southern exposure;
a marble - to make sure it does not roll when placed on the floor;
a pencil - to take to the basement. If the pencil can fit in a crack in the wall, DO NOT BUY THE HOUSE.
10 Years ago: I thought he was going to die. His wife, Linda, had passed away, and he was having some health issues. But, as he told me, he was "not done yet." He met Barbara and had a happy marriage. I thank her for ten more years of Dad.
Dad had a lot of favorite things in life: Reading, Broadway (Sondheim, Lupone), E.B. White, Nero Wolfe, Orson Welles, Robert Flaherty, Tilley hats, Swiss Army knife, Craftsman tools, pepperoni pizza, a wee dram, The Quiet Man ("You've got a fine, steady hand."), a risque joke -- to name a few.
He would recount a scene from a documentary about the movie cinematographer James Wong Howe. There is a shot where James and Mrs. Howe are walking away from the camera. I think this was supposed to be the ending shot of the movie. Although there was to be no sound, there was a mistake: the microphones on the Howes were left on. Anyway, Dad could not tell this bit without his voice breaking. So, there they are, the Howes are walking away from the camera for what was supposed to be the beautiful ending shot of the film, and after a short time, Mrs. Howe asks James, "How long do we have to keep walking?" And James Wong Howe responds: "Until the man says 'cut.'"
But I don't want to end on this sad note. I have a joke. I was saving this risqué joke to tell Dad when I saw him, and now, well, here it is.
A man is in love with three women. He cannot decide on which woman he will marry, so he gives each of them $5,000 to see what they will do.
Woman #1 blows it all on a beautiful designer dress.
Woman #2 buys the man an expensive watch.
Woman #3 reinvests that $5,000, makes $10,000, and returns his initial $5,000 to him.
So the question is: which woman does he marry?
And the answer is ....
The one with the biggest tits.
Now I won't be able to tell this joke without MY voice breaking.
Friday, January 17, 2025
Bill Watterson: Give Your Comics "a Distinguishing Spark of Life"
"Really, it's the writing that counts. More than just being funny, you have to convince readers to care about your characters by developing rounded personalities people can get involved with. That will give a strip a distinguishing spark of life. Unfortunately, it's not something anyone can explain how to do. Just practice, and have a lot of patience."
-- Bill Watterson, in a 1986 letter to Mike Lynch
The hardest thing to do is a job with no clear, standard path. I mean, if you work hard and pass the tests, you can become a doctor, a lawyer, a professor. But to go into a creative field, there's no guarantee that hard work and persistence will cut it. But for some people -- people like me -- cartooning is a calling.
Back in the 1980s, I was working a couple of fast food jobs and reading Love and Rockets, and newspaper comic strips. Bill Watterson's Calvin and
Hobbes comic strip had launched in the fall of 1985. It was, as we all know now, a thing of cartoony beauty.
I wrote him a letter. I asked: How do I do what you do? What's the path? And then I suggested we meet. (I had learned he lived nearby. Now how I got THAT information I don't know.)
I had no idea if he would write back, but in June 1986, he did. Declining my lunch offer, he then went into what he felt the key was in developing a good comic strip: character development. "Just practice, and have a lot of patience," he wrote.
I didn't know then what I know now. I was able to become a professional cartoonist. By the next decade, I had begun a
cartooning career. I drew a magazine cover and got a book deal. It was
beginning to happen. By
the 2000s, I was off and running, with lots of clients. Thanks to Bill
Gallo, Stan Goldberg, Frank Springer and other cartoonists I had met,
they recommended me to be on the
board of the National Cartoonists Society. In addition to drawing
cartoons for The New York Daily News, Reader's Digest, The Wall Street
Journal, etc., I was also teaching and
lecturing. A big change. Mr. Watterson was right. Patience and
persistence were key.
This letter is currently up for sale at ComicLink.
I'm away for a time. Tomorrow's my birthday. I'll be flying out to see family. I hope to be back before too long. Persist!
Thursday, January 16, 2025
Tuesday, January 14, 2025
Graham Nolans' WORDS OF IRON: "Don't be afraid to do samples"
Here's famous Batman artist, and the man behind his own line of comic books, Compass Comics, Graham Nolan talking about what you do when an editor asks for some free samples.
Monday, January 13, 2025
Roy Crane Scrapbook: Drawing Women
Here's the "Roy Crane Scrapbook," a feature from the Cartoonist PROfiles magazine
No. 38, June 1978. Click to super-size, of course. I do not recall if
this was a continuing feature in Jud Hurd's great magazine, but to find
this by accident the other day was very exciting. [EDIT: It was an
occasional feature in the early days of the magazine.]
Here's Mr. Crane:
"Almost all of the pictures on the preceding pages have these things in common which might be called 'Our Goal.'
"A pretty face ... drawn simply and with care.
"Graceful curves even to the finger tips
"Nice hair
"Interesting action to command attention
"Small waists, feet, ankles
"Simplicity
"And never mind what a girl really looks like."
This all looks like Mr. Crane himself pasted these up for the magazine.
"Pretty girl TYPES. Search for character.
"What a variety of eyes and lips! No two alike. Search for character in the eyes and lips."
"And how to make them DISTINCTIVE
"First, as with men, learn her dominant character trait.
"Is she to be bad, glad, or sad? Innocent, sophisticated, or aloof? Lively or demure? A schemer or a dreamer? Etc.
"What is to be her intended impact on the reader? Her general attitude?
"Only when you know the answer to these questions can you be expected to work out a satisfactory character."
"TYPES. As in the case with men, it's a job of fitting together a JIGSAW PUZZLE
"BEST BETS FOR GETTING INDIVIDUALITY:
"1. THE HAIR
"2. THE EYES There are innumerable shapes.
"3. THE LIPS These are but a few. Stuudy [sic] other pictures on these pages.
"4. THEIR RELATIONSHIP, ONE WITH ANOTHER For example: Is the upper lip long or short? Is the chin short, weak, rounded, pointed, cleft, etc? How long is the nose? Is the face broad, or long, and how shaped? How do they fit together?"
-- The following has been a rerun from the ol' blog dated March 20, 2009.
Friday, January 10, 2025
Thursday, January 09, 2025
You're a Good Sport, Charlie Brown Read Along Cassette and Book
In October 1975, CBS aired its 14th Peanuts animated Special, "You're a Good Sport, Charlie Brown." Soon after, you could buy this Read Along Book and Tape. Here's the experience of those tapes and the book via YouTube. Enjoy this pre-VHS, pre-DVD, pre-streaming way of home media from fifty years ago.
This was the last special to air during Peanuts composer Vince Guaraldi's life.
Via Wikipedia:
"Music score
"You're a Good Sport, Charlie Brown was the last Peanuts television special to air during Vince Guaraldi's lifetime. Guaraldi died of a sudden heart attack on February 6, 1976, several hours after he had finished recording music cues for the television special It's Arbor Day, Charlie Brown. That special aired posthumously on March 16, 1976. You're a Good Sport, Charlie Brown was also the last Peanuts special conducted and arranged by John Scott Trotter, who died on October 29, 1975 — one day after the special was broadcast.[3] Trotter had worked in conjunction with Guaraldi on every Peanuts television special starting with It's the Great Pumpkin, Charlie Brown (1966).[4]
"The music score for You're a Good Sport, Charlie Brown was something of a departure from Guaraldi's other scores as the music fused his jazz style with the funk, disco and pop music of the 1970s that was popular at the time coupled with the use of the Minimoog and ARP String Ensemble synthesizers.[3]
"All music cues were composed by Guaraldi[5] and recorded by the Vince Guaraldi Trio on September 12 and 24, 1975, at Wally Heider Studios, featuring Seward McCain (electric bass) and Mark Rosengarden (drums).[6]
"The program's theme song, "Motocross" is performed in eight different variations.[5] As the variations are difficult to distinguish, scene descriptions in which they appear are added to help differentiate.[3][5]"
Wednesday, January 08, 2025
Happy Birthday, Peter Arno
It would be his 121st birthday today.
Michael Maslin, who wrote the great bio of Arno (Peter Arno: The Mad, Mad World of The New Yorker's Greatest Cartoonist), weighs in and quotes many New Yorker cartoonists on the man.
Here's one of my favorite stories about Peter Arno (1904 - 1968):
Some
cartoonists like the beginning bit (the coming up with the idea, honing
the gag bit I mean) and some like the process (the sketching and
layout) and others prefer the end (the sale). My favorite part is coming
up with the gag and
drawing the doodle in my sketchbook. Not so with Mr. Peter Arno.
Arno would draw and redraw his cartoons sometimes dozens of times. There is a true story that cartoonist Mel Casson would
tell, about visiting Mr. Arno in his penthouse apartment. I'll do my
best to relate it here, from memory of him telling it some 20 years ago
as part of a National Cartoonists Society Connecticut Chapter
speech he gave.
So, a few decades back, Mel Casson and a friend went to
visit the one and only famous New Yorker cartoonist Peter Arno. He had
invited them to his apartment. And it really was a penthouse apartment.
The lobby elevator went up, and the doors opened onto the interior Arno landing,
from which one could see the Arno living room and -- there he was -- Peter
Arno himself, mixing drinks.
It was a pleasant visit and Arno was a wonderful host. After sitting down, having
a drink and talking shop, Arno asked the younger cartoonists, "Do you want to see my studio?"
Well, of course! Who wouldn't want to see Arno's studio?!
So,
Arno walked over to a door, and opened it. They walked in. Arno
switched on a light. The room had curtains all around, from floor to
ceiling, covering the wall, the windows. "I can't have any
distractions," explained Arno. The only furniture: a large drawing
board, lamp and chair. And on the drawing board, laid out in two rows,
were twenty original drawings.
These were 20 originals
of the same cartoon, drawn over and over. But, coming closer, the
cartoons were not exactly the same. Each one was had a slight difference: an arm
bent a different way, a head turned, one character was upstage of the
other, to the right in another, etc. Each one was a fully inked Arno
piece of original comic art, ready for publication.
I remember Casson
telling Arno how surprised he was that he (Arno) did all of this work,
painstakingly laboring over the cartoon, drawing and redrawing it in so
many different, subtle ways -- all in finished ink and wash. Casson
suggested drawing a series of thumbnails or pencil sketches instead of
going to all this time and effort to create twenty finishes.
Arno explained that
this was always the way he worked: drawing many different variations of
the cartoon until he was satisfied. Casson repeated that it was so much
work, drawing a large size finished piece over and over and over again.
"But you don't understand," explained Arno, motioning to the 20 cartoons, "This is my favorite part."
Related:
Harry Lee Green brings a lovely sampler of Peter Arno's amazing layout and masterful wash style from the collections SIZZLING PLATTER and HELL OF A WAY TO RUN A RAILROAD.
Tuesday, January 07, 2025
Video: Peter Kuper on The Dummy Show - 01-03-2025
Peter Kuper chats with John Kelly about his early years drawing self-published comics while growing up in Cleveland, his encounters with Crumb and Pekar, and the life of a teen cartoonist. This is a terrific journey with Peter about his passion for comics and his subsequent career.
Monday, January 06, 2025
Ann Telnaes: Why I'm quitting the Washington Post
From Ann Telnaes' Substack:
"I’ve worked for the Washington Post since 2008 as an editorial cartoonist. I have had editorial feedback and productive conversations—and some differences—about cartoons I have submitted for publication, but in all that time I’ve never had a cartoon killed because of who or what I chose to aim my pen at. Until now.
"The cartoon that was killed criticizes the billionaire tech and media chief executives who have been doing their best to curry favor with incoming President-elect Trump. There have been multiple articles recently about these men with lucrative government contracts and an interest in eliminating regulations making their way to Mar-a-lago. The group in the cartoon included Mark Zuckerberg/Facebook & Meta founder and CEO, Sam Altman/AI CEO, Patrick Soon-Shiong/LA Times publisher, the Walt Disney Company/ABC News, and Jeff Bezos/Washington Post owner.
"While it isn’t uncommon for editorial page editors to object to visual metaphors within a cartoon if it strikes that editor as unclear or isn’t correctly conveying the message intended by the cartoonist, such editorial criticism was not the case regarding this cartoon. To be clear, there have been instances where sketches have been rejected or revisions requested, but never because of the point of view inherent in the cartoon’s commentary. That’s a game changer…and dangerous for a free press.
"Over the years I have watched my overseas colleagues risk their livelihoods and sometimes even their lives to expose injustices and hold their countries’ leaders accountable. As a member of the Advisory board for the Geneva based Freedom Cartoonists Foundation and a former board member of Cartoonists Rights, I believe that editorial cartoonists are vital for civic debate and have an essential role in journalism.
"There will be people who say, 'Hey, you work for a company and that company has the right to expect employees to adhere to what’s good for the company.' That’s true except we’re talking about news organizations that have public obligations and who are obliged to nurture a free press in a democracy. Owners of such press organizations are responsible for safeguarding that free press— and trying to get in the good graces of an autocrat-in-waiting will only result in undermining that free press.
"As an editorial cartoonist, my job is to hold powerful people and institutions accountable. For the first time, my editor prevented me from doing that critical job. So I have decided to leave the Post. I doubt my decision will cause much of a stir and that it will be dismissed because I’m just a cartoonist. But I will not stop holding truth to power through my cartooning, because as they say, 'Democracy dies in darkness.'
"Thank you for reading this."
Please support Ann's work by subscribing to her Substack here.