Cartooning: James Montgomery Flagg's Nervy Nat

James Montgomery Flagg is best known for his iconic recruitment posters like the one above, but he was also an accomplished magazine illustrator and cartoonist as well.

In 1890 at the age of 12, James presented himself and a group of sketches at the offices of St. Nicholas Magazine, the leading illustrated children's publication of the time. He was shown to the office of one of the editors who looked at his drawings and determined that he showed promise. The editor praised the boy's work and encouraged his parents to seek out art training for him. Flagg took classes at the Art Students' League in New York, and within two years, he was a regular contributor to St. Nicholas, and Life magazine, and eventually landed a staff position at Judge. Alongside great artists like Grant Hamilton and Eugene Zimmerman, Flagg flourished, becoming one of the top illustrators of his day.


Flagg was very versatile, and his sketches of beautiful women were just as well drawn as his caricatured cartoons. He was outspoken and critical of the art community. He once said that "the difference between the artist and the illustrator is that the latter knows how to draw, eats three square meals a day, and can pay for them."

From 1903 to 1907, Flagg drew a comic strip for Judge titled, "Nervy Nat". Here are some examples of the strip from 1906 and 1907.













For more on pioneering cartoonists, see... Father of Cartooning: T. S. Sullivant, Cliff Sterrett's Polly & her Pals Part One and Part Two; Milt Gross Sunday Pages Part One, Part Two and Part Three; Harrison Cady's Birds' Eye Views and Rube Goldberg's Side Show

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Biography: George Herriman

Capsule biography from Martin Sheridan's book,
"Comics and their Creators" (1942)
Here is a treat. Buried in the stacks of Cartoons Magazines that Marc Schirmeister loaned us to digitize, I found a a great article on George Herriman from June of 1917...







Enjoy!

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

CAPPtivating Heroes: Jack Jawbreaker and Fearless Fosdick Fight Crime!

Today, I'm proud to bring you another entry in Mike Fontanelli's important series of articles on Al Capp's life and career. It's not good enough to bounce through a few pages of these stories and glance at the pictures. You have to sit down and READ them to get the full impact. If you don't have time right now, bookmark this page and come back later. I'm sure you'll find these stories as mind-blowing as I do! -Stephen Worth

Capp's writing was first-rate, his characterizations were multitudinous and superb, his artwork was stunning, his compositions clever and arresting. For pure humor he was unequalled, and he blithely produced some of the most devastating satire and parody in our history. What elevates Capp even further... is his unfailingly prescient comments on human nature. --Richard Marschall, Nemo Magazine, April 1986

[Capp] was far more an intellectual than he allowed the public to see. 'Li'l Abner' was his joke on the dismal world around him. His humor welled- up from the melancholy pits of a strapping kid made an amputee at age nine- just when the other boys were learning to kick a football, and scruff along scattering leaves on autumn afternoons. --Milton Caniff, 1985

Li'l Abner was a comic strip with fire in its belly and a brain in its head. --John Updike, 1991

Nearly all comic strips, even today, are owned and controlled by syndicates, not their cartoonist creators. But in 1947 Al Capp brazenly defied his own syndicate, United Features. He sued them for $14 million, publicly embarrassed them in Li'l Abner, and successfully wrested back ownership and artistic control of his creation.


"Jack Jawbreaker Fights Crime!" (1947) may start out as an innocuous spoof of Superman, but don't be fooled! It's an angry and devastating satire of Jerry Siegel and Joe Shuster’s notorious exploitation by DC Comics...




Capp’s classic Dick Tracy parody, Fearless Fosdick, was in some ways his most significant creation- at least in terms of lasting influence. It was almost certainly Harvey Kurtzman's major inspiration for creating his innovative, irreverent Mad magazine, which began as a comic book that specifically parodied other comics in 1952. That alone makes Fearless Fosdick, indirectly, one of the prime influences on postwar American popular culture.


Similarities between Li'l Abner and the early Mad are unmistakable: the incongruous use of Yiddish terms, the nose-thumbing disdain for pop cultural icons, the persistent "black" humor, and most unmistakably, the extremely broad visual styling. Even the trademark comic "signs" that clutter the backdrops of Will Elder's panels would seem to have precedence in Li'l Abner- in the residence of Dogpatch entrepreneur Available Jones. Tellingly, Kurtzman resisted parodying either Li'l Abner or Dick Tracy in the comic book Mad, despite their prominence.


Sharp-eyed viewers of Warren Beatty's big screen adaptation, Dick Tracy (1990) will have detected a direct, onscreen homage to Fearless Fosdick. The opera Tracy is attending when his 2-way wrist radio suddenly calls him to duty is titled "Die Schlmpf" on the concert program, after Elmer Schlmpf, the maniacal- albeit deceased- fiend from "The Poisoned Bean Case".

Like the Shmoo, Fosdick's popularity would eventually rival that of the nominal star of the strip, Li'l Abner’s. So popular did Fosdick prove to be in his own right that he was licensed for use outside the strip, as a commercial pitchman for Wildroot Cream-Oil hair tonic. Fosdick's image on tin signs and advertising displays became a prominent fixture in barbershops across America, as well as in animated TV commercials.


The Wildroot jingle- instantly familiar to radio listeners in the fifties- was performed by everyone from Bil Baird's puppets to Nat King Cole, who once sang it on Woody Herman's radio show. It went like this...

King Cole Trio: Wild Root Charlie
(AAC Audio File / 2 MB)

Get Wildroot Cream-Oil, Charlie!
It keeps your hair in trim
Y'see it's non-alcoholic, Charlie,
It's made with soothing lanolin!

You'd better get Wildroot Cream-Oil, Charlie!
Start using it today
You'll find that you'll have a tough time, Charlie
Keeping all those gals away!

A long-running series of comic strip-format ads appeared in newspapers, magazines and comic books, usually featuring Fosdick battling his arch-villain nemesis, "Anyface". Anyface was a murderous, shape-changing scoundrel whose plastic features could be molded into any identity. He was always given away by his telltale dandruff and messy hair, however. The Wildroot print ads joined Li’l Abner’s national ad campaigns for Cream of Wheat cereal and Procter & Gamble detergents- and later, Hairless Joe and Lonesome Polecat’s supermarket pitches for Kickapoo Joy Juice- when Capp’s volatile moonshine concoction was licensed as a soft drink in 1965.


Here is an article from Pageant magazine from May of 1952 featuring a story on Fosdick's father "Fearful Fosdick", and two of the more memorable run-ins with the mysterious Anyface...









In 1952, a puppet show based on Fearless Fosdick premiered on NBC on Sunday afternoons. Thirteen episodes were filmed featuring the Mary Chase marionettes. The TV show was presumed lost for decades, but vintage kinescopes have recently begun to resurface. According to publisher Denis Kitchen, there are currently efforts underway to release these exceedingly rare Fosdick episodes on a set of DVDs.

Our next story first appeared in 1948- before Monty Python, before Mad and Humbug, before Woody Allen’s classic stand-up routine about TV sets and elevators. Even years before Ernie Kovacs and "The Goon Show", Capp was already doing the kind of demented and surreal "sick" humor that would come into vogue just a few short years later.


The classic story "The Case Of The Chippendale Chair" was certainly ahead of its time. It shows Al Capp in peak form and at fever pitch, hitting on all cylinders...
















To be continued...
-Mike Fontanelli 2008


Be sure to let Mike know in the comments what you think of these articles. -Steve


Cartoonist Eddie Fitzgerald comments on this post at his blog, Uncle Eddie's Theory Corner

For more on Al Capp, see... Al Capp Part One: Li'l Abner Without Apologies, Part Two: A CAPPital Offense- Fearless Fosdick, Part Three: ReCAPP- A Bio Of The Creator Of Li'l Abner, Part Four: CAPPital Ideas- The Modus Operandi of Li'l Abner, Gene Byrnes' Complete Guide To Cartooning: Part One- Newspaper Comics and People On Paper (MGM/1945)

Stephen Worth
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Political Cartoons: America On The Brink of War 1916

This post is just the tip of the iceberg... see reason number 8 on our The Top Ten Reasons To Support The A-HAA for links to more great info on the history of animation told through the careers of great cartoonists.


Politics is on everyone's mind today, so here are some more rare political cartoons from the collection of archive supporter, Marc Schirmeister. These three articles come from the January, 1916 issue of Cartoons magazine. They paint a vivid picture of the United States on the brink of entering a World War.

SEASON OPENS FOR PEACE DOVES





UNCLE SAM IN EUROPEAN CARICATURE






IN THE STORM CENTER OF EUROPE







See our previous post on this subject... Cartoons Magazine January 1916

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Marc Deckter Challenge Bonus Round

This past weekend, a few more great supporters stepped up to bat to help us buy hard drives to back up the digital treasures we've collected over the past couple of years. The Marc Deckter Challenge is officially over until the next fundraising drive in the Spring, but I cajoled Marc into sharing some more wonderful comic strips from his collection with us to celebrate the support of the following great folks... our new Archive Hero, Barbara Miller, Cameron Bowes, Amir Avni, Keith Fuselier, Michael Bunker, Patrick Sevc, and Lou Copeland. Thanks for your help! It's greatly appreciated.

SALESMAN SAM
By C. D. Small
Created in 1921 by cartoonist George Swanson, Salesman Sam chronicles the life of Sam Howdy, a salesman at the J. Guzzlem General Store. The strip pioneered the screwball school of cartooning that gave birth to Milt Gross' Dave's Delicatessen and Bill Holman's Smokey Stover. Swanson refined the cartoon "take", a device later taken to extremes at MGM by cartoon director Tex Avery. It's likely that Avery was a fan of this strip, because it also includes another favorite Avery comic device, the sign in the background wryly commenting on the action.

In 1927, the popularity of Salesman Sam led King Features Syndicate to hire Swanson away from the Newspaper Enterprise Association. NEA continued the strip after Swanson's departure with magazine cartoonist, C. D. Small. This is one of the rare examples of an artist picking up another artist's creation and actually amplifying and improving it. Archive supporter, Mike Fontanelli speculates that perhaps the reason that this strip isn't as well known is because of comic fans' natural aversion to strips being continued by syndicates without the original creator involved. Thanks to Marc Deckter and the contributors to the ASIFA-Hollywood Animation Archive, now the true story can be told.










MILT GROSS DAILIES
Around 1931, Milt Gross took an unique approach to his daily newspaper comic strip. Instead of establishing a title and set of characters, he established several titles and several sets of characters. The Meanest Man featured a mysterious little man in black who secretly sabotaged people in everyday situations. I Did It And I'm Glad starred a little milquetoast whose frustrations erupt in violence. Draw Your Own Conclusion set up a comic situation and left the payoff to the reader's imagination. Banana Oil coined a phrase which meant pretty much the same thing as "hogwash" or "hooey". Here's a heaping helping of prime daily Gross...













Thanks again to all of the great folks who supported the ASIFA-Hollywood Animation Archive during the Marc Deckter Challenge. We promise to give you more than your money's worth over the next six months.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Marc Deckter Challenge Day Seven

Many thanks to Alex Vassilev for sponsoring this comic.

A PERSONAL WORD
There's power in numbers. At the beginning of this fundraising drive, I announced that the ASIFA-Hollywood Animation Archive Blog had just logged its two millionth unique visitor. If every one of those readers contributed the token amount of one dollar to the cause, we would be cutting the ribbon on a brick and mortar museum of animation today. But unfortunately, that isn't the way the world works.

There are a precious few individuals in this world who feel strongly about what they believe in- strong enough that they support their cause for everyone's benefit, not just their own. Over two million people have benefitted from the ASIFA-Hollywood Animation Archive, but these 14 people are the ones who feel what we are doing here is important enough to turn their appreciation into action during this week's fundraising drive...

Will Finn, Sherm Cohen, Dino's Pizza, Matthew DeCoster, Frank Hutchinson, Paul Higgins, Chappell Ellison, Brian Homan, Max Ward, Dennis Hyer, Brian Horst, Adam Caldwell, Alfredo Guisepp Castelli, and Vipin Sharma

Along with Marc Deckter, who made this challenge possible, and the faithful assistance of the handful of dedicated volunteers and supporters listed in the sidebar, these individuals are enabling us to bring the riches of a century of cartooning to you for FREE.

You've heard people referred to as "one in a million"... The people who support the ASIFA-Hollywood Animation Archive truly are that kind of person.

TODAY'S CONTRIBUTOR
Dennis Hyer contributed earlier in the week, and decided to contribute again. Thanks, Dennnis!








IF YOU VALUE THE ASIFA-HOLLYWOOD ANIMATION ARCHIVE, SUPPORT IT
I hope you will keep this in mind in the six months until our next fundraising drive. If you can help us, please do. Many thanks to those who added the ASIFA-Hollywood Animation Archive to the blogroll on their site this week.

Thank you
Stephen Worth
Director
ASIFA-Hollywood
.

Stumble It!

Marc Deckter Challenge Day Six

Many thanks to Vipin Sharma for sponsoring this comic.

THIS IS THE LAST DAY TO PARTICIPATE
IN THE MARC DECKTER CHALLENGE.
DON'T LET US DOWN!
Today marks the sixth day of our bi-annual fundraising drive. We've caught up with our backlog of comic page sponsorships, so it's up to you to support us today for tomorrow's final day of Sunday page treats. There's still one more chance to do your part and contribute to help us purchase hard drives to carry us through the next six months of digitization. Here's how it works...

THE MARC DECKTER CHALLENGE
One of our most steadfast supporters is Marc Deckter. Marc is allowing us to digitize hundreds and hundreds of rare 1930s Sunday pages from his extensive collection. Last year, Marc issued a challenge to readers of this blog. Today, he is challenging you to help again.

Contribute $20 to the ASIFA-Hollywood Animation Archive through the PayPal link below, and Marc will provide us with a vintage Sunday page to publish here on the website. Donate $50 and he will share three of them... donate $100 and he will allow us to post eight pages. Purchase one of these hard drives and have it shipped to the Archive, and Marc will post FORTY rare Sunday pages! Marc has classic Otto Messmer Felix the Cat, Chic Young's Blondie, Cliff Sterrett's Polly and Her Pals, Milt Gross Count Screwloose and other great pages ready to go. All you have to do to see them is contribute. As the total rises, Marc is prepared to throw in some extra treats, like he did last year. When you contribute, everyone benefits.

IT'S TIME TO SUPPORT THE ARCHIVE

TODAY'S CONTRIBUTORS
Archive volunteer and all-around great guy, Max Ward brings you these great Milt Gross pages...




Our good friend, Will Finn started the ball rolling on the Marc Deckter Challenge last week, and today he comes back to sponsor more great comics. Thanks, Will!








Marc Deckter pitched in this early Gross Nize Baby strip just because he's feelin' philanthropic today!


WANT TO SEE MORE?
You've got one more chance to participate in the Marc Deckter challenge. Tomorrow we will be posting the last set of Sunday pages for those who feel strongly enough about this project to support it. If this site has provided something of value to you through the hundreds of articles we've posted over the past couple of years, this is your opportunity to give something back. Every day for the next week or so, I'll post the names of the folks who are contributing to make this site possible along with the Sunday pages they sponsor. Please consider joining in and doing your part. If you believe in what we're doing at the ASIFA-Hollywood Animation Archive and you have benefitted from our posts in the past, you'll want to contribute so we can bring you even more.

If you can, link to this post from your website or blog. Encourage your friends to join in the challenge. Let's all pull together, and take this project to the next level.

Thanks!
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Marc Deckter Challenge Day Five

Here's a special treat brought to you by Joseph "JoJo" Baptista.

Today marks the fifth day of our bi-annual fundraising drive. Two great supporters stepped up to bat today, so there's a lot of exciting things to see- so much in fact, that I'll be rolling over a couple of contributors' comics until tomorrow. There's still time to do your part and contribute to help us purchase hard drives to carry us through the next six months of digitization. Here's how it works...

THE MARC DECKTER CHALLENGE
One of our most steadfast supporters is Marc Deckter. Marc is allowing us to digitize hundreds and hundreds of rare 1930s Sunday pages from his extensive collection. Last year, Marc issued a challenge to readers of this blog. Today, he is challenging you to help again.

Contribute $20 to the ASIFA-Hollywood Animation Archive through the PayPal link below, and Marc will provide us with a vintage Sunday page to publish here on the website. Donate $50 and he will share three of them... donate $100 and he will allow us to post eight pages. Purchase one of these hard drives and have it shipped to the Archive, and Marc will post FORTY rare Sunday pages! Marc has classic Otto Messmer Felix the Cat, Chic Young's Blondie, Cliff Sterrett's Polly and Her Pals, Milt Gross Count Screwloose and other great pages ready to go. All you have to do to see them is contribute. As the total rises, Marc is prepared to throw in some extra treats, like he did last year. When you contribute, everyone benefits.

IT'S TIME TO SUPPORT THE ARCHIVE

TODAY'S CONTRIBUTORS
Today, I have two new Archive Heros to introduce to you. The first is Chappell Ellison, who visited the archive recently to see the Grim Natwick exhibit. Here's a batch of great Otto Messmer Felix the Cat Sunday pages!








Next up is our new Archive Hero, Brian Homan. For Brian, Marc has selected a variety of Sunday pages... potpourri!







WANT TO SEE MORE?
If this site has provided something of value to you through the hundreds of articles we've posted over the past couple of years, this is your opportunity to give something back. Every day for the next week or so, I'll post the names of the folks who are contributing to make this site possible along with the Sunday pages they sponsor. Please consider joining in and doing your part. If you believe in what we're doing at the ASIFA-Hollywood Animation Archive and you have benefitted from our posts in the past, you'll want to contribute so we can bring you even more.

If you can, link to this post from your website or blog. Encourage your friends to join in the challenge. Let's all pull together, and take this project to the next level.

Thanks!
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Marc Deckter Challenge Day Four

This great Milt Gross Sunday page is brought to you by a contribution by our friend in Milan, Italy, Alfredo Guisepp Castelli.

Today marks the fourth day of our bi-annual fundraising drive. We had great response today, so there's a lot of exciting things to see- so much in fact, that I'll be rolling over a couple of contributors' comics until Tuesday. The material Marc Deckter is sharing with us here is truly remarkable, and your contributions are greatly appreciated. There's still time to do your part and contribute to help us purchase hard drives to carry us through the next six months of digitization. Here's how it works...

THE MARC DECKTER CHALLENGE
One of our most steadfast supporters is Marc Deckter. Marc is allowing us to digitize hundreds and hundreds of rare 1930s Sunday pages from his extensive collection. Last year, Marc issued a challenge to readers of this blog. Today, he is challenging you to help again.

Contribute $20 to the ASIFA-Hollywood Animation Archive through the PayPal link below, and Marc will provide us with a vintage Sunday page to publish here on the website. Donate $50 and he will share three of them... donate $100 and he will allow us to post eight pages. Purchase one of these hard drives and have it shipped to the Archive, and Marc will post FORTY rare Sunday pages! Marc has classic Otto Messmer Felix the Cat, Chic Young's Blondie, Cliff Sterrett's Polly and Her Pals, Milt Gross Count Screwloose and other great pages ready to go. All you have to do to see them is contribute. As the total rises, Marc is prepared to throw in some extra treats, like he did last year. When you contribute, everyone benefits.

IT'S TIME TO SUPPORT THE ARCHIVE

TODAY'S CONTRIBUTORS
Today's contributors also happen to be good friends of mine. First is cartoonist Sherm Cohen. For Sherm, Marc has picked a real rarity... Salesman Sam. Dating from 1930, these dailies by C. D. Small are not well remembered. But they sure are great! I'll have more on this pioneering strip in the near future.







The next batch of classic Felix strips is sponsored by our new Archive Hero, Dino's Pizza. Located just a few blocks down Burbank Bl at Hollywood Way, Dino's is my favorite lunchtime hangout. They make the best pizza in town. Thanks, Dinos for your support (and your great salads too!)










Here are two treats from Marc as an extra bonus for these good friends...




WANT TO SEE MORE?
If this site has provided something of value to you through the hundreds of articles we've posted over the past couple of years, this is your opportunity to give something back. Every day for the next week or so, I'll post the names of the folks who are contributing to make this site possible along with the Sunday pages they sponsor. Please consider joining in and doing your part. If you believe in what we're doing at the ASIFA-Hollywood Animation Archive and you have benefitted from our posts in the past, you'll want to contribute so we can bring you even more.

If you can, link to this post from your website or blog. Encourage your friends to join in the challenge. Let's all pull together, and take this project to the next level.

I'll be back in the Archive on Tuesday preparing a batch of great vintage comic strip Sunday pages courtesy of our latest Archive Heros, Chappell Ellison and Brian Homan.

Thanks!
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Marc Deckter Challenge Day Two

This great Sunday page was sponsored by Adam Caldwell. Three cheers for Adam!

Today marks the second day of our bi-annual fundraising drive. Today, two readers stepped up and contributed to share some great vintage Sunday pages with you. There's still time to join in yourself and contribute to help us purchase hard drives to carry us through the next six months of digitization. Here's how it works...

THE MARC DECKTER CHALLENGE
One of our most steadfast supporters is Marc Deckter. Marc is allowing us to digitize hundreds and hundreds of rare 1930s Sunday pages from his extensive collection. Last year, Marc issued a challenge to readers of this blog. Today, he is challenging you to help again.

Contribute $20 to the ASIFA-Hollywood Animation Archive through the PayPal link below, and Marc will provide us with a vintage Sunday page to publish here on the website. Donate $50 and he will share three of them... donate $100 and he will allow us to post eight pages. Purchase one of these hard drives and have it shipped to the Archive, and Marc will post FORTY rare Sunday pages! Marc has classic Otto Messmer Felix the Cat, Chic Young's Blondie, Cliff Sterrett's Polly and Her Pals, Milt Gross Count Screwloose and other great pages ready to go. All you have to do to see them is contribute. As the total rises, Marc is prepared to throw in some extra treats, like he did last year. When you contribute, everyone benefits.

It's time to support the ASIFA-Hollywood Animation Archive...

TODAY'S CONTRIBUTORS
Frank Hutchinson lives on the other side of the planet from the ASIFA-Hollywood Animation Archive, but he still gets a lot out of what we do here. Frank is generously sponsoring these great comics for you to enjoy today...







To thank Adam and Frank for their support, Marc Deckter is kicking in this special treat...



DO YOU WANT TO SEE MORE?
There's a LOT more where these came from! Every day for the next week or so, I'll post the names of the folks who are contributing to make this site possible along with the Sunday pages they sponsor. Please consider joining in and doing your part. If you believe in what we're doing at the ASIFA-Hollywood Animation Archive and you have benefitted from our posts in the past, you'll want to contribute so we can bring you even more.

If you can, link to this post from your website or blog. Encourage your friends to join in the challenge. Let's all pull together, and take this project to the next level.

Thanks!
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Marc Deckter Challenge Day One

This great Sunday page was sponsored by Dennis Hyer. Thanks, Dennis!

Today was the first day of our bi-annual fundraising drive. Several readers stepped up and contributed to share some great vintage Sunday pages with you. There's still time to join in yourself and contribute to help us purchase hard drives to carry us through the next six months of digitization. Here's how it works...

THE MARC DECKTER CHALLENGE
One of our most steadfast supporters is Marc Deckter. Marc is allowing us to digitize hundreds and hundreds of rare 1930s Sunday pages from his extensive collection. Last year, Marc issued a challenge to readers of this blog. Today, he is challenging you to help again.

Contribute $20 to the ASIFA-Hollywood Animation Archive through the PayPal link below, and Marc will provide us with a vintage Sunday page to publish here on the website. Donate $50 and he will share three of them... donate $100 and he will allow us to post eight pages. Purchase one of these hard drives and have it shipped to the Archive, and Marc will post FORTY rare Sunday pages! Marc has classic Otto Messmer Felix the Cat, Chic Young's Blondie, Cliff Sterrett's Polly and Her Pals, Milt Gross Count Screwloose and other great pages ready to go. All you have to do to see them is contribute. As the total rises, Marc is prepared to throw in some extra treats, like he did last year. When you contribute, everyone benefits.

It's time to support the ASIFA-Hollywood Animation Archive...

TODAY'S CONTRIBUTORS
We can all thank Matthew DeCoster, our latest Archive Hero for this mother lode of great Milt Gross and Otto Messmer pages...









To thank Matthew for his extra generous support, Marc Deckter is kicking in this special treat...


Next up is Archive supporter, Paul Higgins contributing to bring you these great Dave's Delicatessen strips...







And here's a special thank you to Brian Horst...



NOW IT'S YOUR TURN
Every day for the next week or so, I'll post the names of the folks who are contributing to make this site possible along with the Sunday pages they sponsor. Please consider joining in and doing your part.

If you can, link to this post from your website or blog. Encourage your friends to join in the challenge. Let's all pull together, and take this project to the next level.

Thanks!
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Another Milestone: Time For The Marc Deckter Challenge!

OVER 2,000,000 SERVED!

Every day, web surfers from all over the world take advantage of the amazing resources we present here. Great things are being accomplished. The word is getting out thanks to the generosity of our sponsors and contributors, as well as the hard work of our volunteers. Over the weekend, our hit counter clicked over the two million mark on unique visitors. That's a remarkable achievement that we can all feel proud about.

However, right now, the ASIFA-Hollywood Animation Archive is facing a challenge. We've filled up all of our available hard drives and we desperately need more to continue with this important project. We need six 1.5 TB hard drives to house the material we will be digitizing over the next six months.

Twice a year, I take time out from my regular posting schedule to ask you, the readers of this blog, to support our efforts. Two million people, each contributing a small amount, can move mountains. Unfortunately, not everyone on the internet is willing to give back for the riches they receive. The precious few who will step up to the plate to support the causes they believe in are the ones who make a difference for everyone. For the next week or so, I'm calling on those of you who feel strongly about what we are doing here to reach into your pocket and contribute to help us purchase the hard drive space that makes all of this possible.



THE MARC DECKTER CHALLENGE
One of our most steadfast supporters is Marc Deckter. Marc is allowing us to digitize hundreds and hundreds of rare 1930s Sunday pages from his extensive collection. Last year, Marc issued a challenge to readers of this blog. Today, he is challenging you to help again.

Contribute $20 to the ASIFA-Hollywood Animation Archive through the PayPal link below, and Marc will provide us with a vintage Sunday page to publish here on the website. Donate $50 and he will share three of them... donate $100 and he will allow us to post eight pages. Purchase one of these hard drives and have it shipped to the Archive, and Marc will post FORTY rare Sunday pages! Marc has classic Otto Messmer Felix the Cat, Chic Young's Blondie, Cliff Sterrett's Polly and Her Pals, Milt Gross Count Screwloose and other great pages ready to go. All you have to do to see them is contribute. As the total rises, Marc is prepared to throw in some extra treats, like he did last year. When you contribute, everyone benefits.

It's time to support the ASIFA-Hollywood Animation Archive...

OUR FIRST CONTRIBUTOR
Will Finn is one of this project's most faithful supporters. Just as he did last year, Will is the first to kick in to get the ball rolling. Thanks, Will!







NOW IT'S YOUR TURN
Every day for the next week or two, I'll post the names of the folks who are contributing to make this site possible along with the Sunday pages they sponsor. Please consider joining in and doing your part.

If you can, link to this post from your website or blog. Encourage your friends to join in the challenge. Let's all pull together, and take this project to the next level.

Thanks!
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

CAPPital Ideas: The Modus Operandi of Li'l Abner

"I think [Al Capp] had a lot of talent, no question. He was a good artist. He could capture the peak expression- what made something ultra-funny or ultra-nasty or ultra-cute. He was a very brilliant guy, although a little screwed up. But he was talented, no question. I think he was quite the artist." --Frank Frazetta, Comics Journal Feb. 1995

Al Capp had been the uncredited and underpaid ghost for Ham Fisher on Joe Palooka, an experience so unpleasant that he made it a point to value his own assistants. Some of them, like Andy Amato and Harvey Curtis, made whole careers with him. Capp's key assistant staff received a generous incentive- ten percent of the profits the strip generated, on top of their regular salaries.

Beginning in 1954, a young Frank Frazetta was paid the then princely salary of $500 a week- primarily to pencil the Sunday sequences from Capp's roughs. By his own account, Frazetta enjoyed a one-day work week for years, allowing him to play baseball the other four days! Capp eventually put a stop to Frazetta's 8-hour work week by halving his salary. But Frazetta quit instead, in January of 1962.


Other artists, like Moe Leff and Bob Lubbers, who drew Long Sam, Capp's alternate hillbilly comic strip (see above) were tapped to assist as well, especially on the extensive specialty, promotional and licensed commercial work. The Cream Of Wheat and Wildroot Cream Oil magazine ads alone numbered in the hundreds.


Frazetta expert David Winiewicz has described the everyday working mode of operation of Li'l Abner from its golden period:

"By the time Frazetta began working on the strip, the work of producing Li'l Abner was too much for one person. Capp had a group of assistants who he taught to reproduce his distinctive individual style, working under his direct supervision. Actual production of the strip began with a rough layout in pencil done by Al Capp, from Capp's script or a co-authored script, and the page would pass to Andy Amato and Walter Johnson. Amato would ink the figures, then Johnson added backgrounds and any mechanical objects. Harvey Curtis was responsible for the lettering and also shared inking duties with Amato... In order to make sure that the work stayed true to his style, the final touches would be added by Capp himself. He enjoyed adding a distinctive glint to an eye or an idiosyncratic contortion to a character's face. The finished strip was truly an ensemble effort, a skillful blending of talents."

Capp's latter-day reputation for using assistants is ironic. Nearly every great comic strip artist (with the exception of Charles Schulz) utilized anonymous, behind-the-scenes assistants. But no other cartoonist engineered media coverage of them, complete with photographs, in a major national magazine piece. Capp did, in a November 1950 issue of Time magazine, when he insisted that the article also feature his colleagues Andy Amato and Walter Johnson. Publicizing one's assistants was unheard of at the time, and is still considered highly irregular. As a direct result, Capp is often remembered today for not having worked on his own strip, a persistent myth that the assistant artists themselves refuted.





The evidence indicates that Capp had the leading hand in the creation of Li'l Abner. Original strips I've seen have often included Capp's pencil doodles on the back. They show his thought process clearly, and are the origin of the material on the other side. Many of Capp's exploratory sketches survive in just this way, to show that Capp designed the characters carefully and thoughtfully himself.

The only time Capp really gave an assistant a free hand visually was in an early (1954) Frazetta-penciled story. Capp was curious to see him bring a fresh look to the daily strip, especially in terms of more lavish and realistic Johnny Comet style inking. Frazetta was also allowed to design a lead villain- a self-caricature, even named "Frankie". (see below) When editors complained about the experimental stylistic departure, the Capp look was reinstated.


Capp orchestrated his assistant staff much like an animation director, according to their individual strengths. At the same time, he maintained creative control over every stage of production. Capp himself originated the stories, finalized the dialogue, designed the major characters, rough penciled the preliminary staging and action of each panel, oversaw the finished pencils, and inked the faces and hands of the characters- for 43 years. Yet to this day, Capp's detractors still falsely claim that Capp "never touched the strip" in an inexplicable ongoing effort to discredit him.

Although a team effort production-wise, few comic strips were as uniquely personal a creation as Li'l Abner. The finished product reflected the singular personality of its creator- Al Capp. As any fool kin plainly see...

In these two sequences, Capp kids his fellow cartoonists- Mary Worth writer, Allen Saunders and longtime pal Milton Caniff (Terry and the Pirates, Steve Canyon) The pitch-perfect parody, Steve Cantor was scripted and laid out by Capp, penciled by Frazetta, probably inked by Amato and Johnson, and lettered by an actual assistant at the Caniff studio- probably Frank Engli– it all blends seamlessly to create a truly classic Sunday sequence from 1957...





Even in the later years, Capp would occasionally knock one out of the park. The following hilarious continuity appeared in 1967, long after the strip's nominal heyday. The jaw-dropping Lips Of Marcia Perkins is no less than Capp's covert, satirical commentary on venereal disease! It could only have gotten past the censors because they didn't understand it...








TO BE CONTINUED...

Special thanks to my pal, Atlanta-based animator Joe Suggs, for some 9th inning pinch-hit assistance on this article. -Mike Fontanelli, 2008
For more on Al Capp, see... Al Capp Part One: Li'l Abner Without Apologies, Part Two: A CAPPital Offense- Fearless Fosdick, Part Three: ReCAPP- A Bio Of The Creator Of Li'l Abner, Gene Byrnes' Complete Guide To Cartooning: Part One- Newspaper Comics and People On Paper (MGM/1945)

See also, Milton Caniff: A Remembrance, Steve Canyon Dalies, Steve Crevice in Whack Comics, Boodie Rogers' Babe Comics Part One, Part Two, and Part Three; Basil Wolverton On Cartoon Sounds Part One and Part Two; Jack Davis in Mad magazine, Jack Kirby in Not Brand Echh Number One, Marie Severn in Not Brand Echh Number Two, Forbush Man in Not Brand Echh Number Five, Basil Wolverton's Powerhouse Pepper; George Lichty's Grin and Bear It

Stephen Worth
ASIFA-Hollywood
Animation Archive
.

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The State of Cartooning: Newspaper Comics

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.


David Apatoff's collection of newspaper comics got me to thinking about the sorry state of cartooning today. I don't think most people realize just how far the market for cartoons has fallen over the past few decades. Newspaper comics are the clearest example of how quickly a once vital artform can go the way of the dodo bird. This weekend, take a close look at your local Sunday funnies. Compare them to these comics from nearly 70 years ago. Keep in mind that this is just an average Sunday from an average newspaper of the time period. I think you'll be shocked at how different it is from what passes for comics in today's papers.


Until I had a chance to look through David Apatoff's collection and actually see a complete Sunday comics section, I had no idea how huge and diverse the Sunday comics section was in the past. Not all these comics are classics, but even the worst of them are more interesting than the crop in current papers. It's a crime how lousy newspaper comics have become.


Here are some statistics to think about, courtesy of Mike Fontanelli's research... At the time this newspaper comic section was published, Li'l Abner had a circulation of over 80 million, and Capp made $200,000 a year from the strip- not counting licensing and other ancillary income. At that time, the population of the United States was 145 million, and adjusting for inflation, Capp's salary in 2008 dollars would be 2.2 million dollars a year. Capp's cartoon was read every day by more than half of the United States, and he made much more money any modern day print cartoonist makes from his work. But Capp wasn't alone. Chic Young made $5,000 a week from Blondie. Milton Caniff, Chester Gould, George MacManus, Hal Foster... all of these men made MUCH more than the typical cartoonist today does, and their work was seen and enjoyed on a single day by more people than current artists can hope for in a decade. The difference in scale is mind boggling.


This week, I had the opportunity to spend an afternoon chatting with Ralph Bakshi. I can't seem to shake one comment he made when he visited the archive and saw what we were doing here. Ralph said, "Cartooning is in jeopardy." He explained that artists who would have become cartoonists in the past are going into other fields, because the market for cartooning has deteriorated so much. In the past, a cartoonist could do a newspaper strip, or contribute one panel gags to magazines, or do spot illustrations for advertisements, create comic books or make animated cartoons. Today, every single one of those branches of cartooning is struggling for survival. There are animated cartoons today that are neither animated, nor cartoons. The comic book business is suffocating under the weight of an unsupportable business model. Magazines rarely run cartoons, and advertisements are usually just Photoshopped collages. Some markets, like newspaper comics may not survive at all. It's clear that if you're determined to become a cartoonist today, you can expect to be swimming against the current.


It's difficult not to be depressed. I'm not sure what can be done to reverse the trend. I can only hope that this website will act as a catalyst to inspire the artists who truly love the medium to create something totally new and exciting. We can only hope that artists will stick with the art of cartooning and build up a totally new market on the internet, because that's our best hope for the resurgence of cartooning. Perhaps today's hard work and sacrifices will spawn a market for cartoons that replaces and surpasses all the old models. I sure hope that happens, and I'm doing what I can to see that it does.


I hope you cartoonists out there understand what I'm saying... I'm not saying that there are no good cartoonists and no good cartoons today. I'm saying that the market for cartooning has been allowed to dwindle down to nothing. That isn't good for the business of cartooning or for cartoonists who want to make a living drawing. I'm reminding you here that there was a time when cartoonists didn't think small or settle for being boxed into a "niche market". To them, becoming successful was the goal, and they didn't consider that to be the same as "selling out". The aimed straight for the mainstream with a variety of challenging, well drawn comics, and they hit it big. Let's find a way to do that again.

The New Orleans Times Picayune
First Comic Section
Sunday, June 25th, 1939






Second Comic Section






Third Comic Section





For more great newspaper cartoons, see... Milt Gross Sunday Pages and Dailies Part One, Part Two, Part Three, Part Four, Part Five, Part Six and Part Seven; Chic Young's Blondie, Rube Goldberg's Side Show; George Lichty's Grin and Bear It, Cliff Sterrett's Polly & Her Pals Part One, Part Two and Part Three; and Harrison Cady's Birds' Eye Views

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

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Cartooning: Jimmy Swinnerton

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.


Today, in David Apatoff's great blog Illustration Art I read the amazing life story of pioneer newspaper cartoonist Jimmy Swinnerton. David's article is titled, Jimmy Swinnerton At The Dawn of Comic Strips, and it's well worth reading.

David's vivid history lesson inspired me to dig into our collection and post some more examples of Swinnerton's pioneering genius. These images were donated by Jonathan Barli of Digital Funnies. Jonathan contributed thousands of high resolution scans of rare newspaper comics two years ago, and we are just now finishing up processing the images for inclusion in our database. Jonathan offers CD-ROMs of Swinnerton's Little Jimmy and Canyon Kiddies for sale, and I highly recommend them. Make sure to click through the link and visit his site.

As I always say when I post newspaper comics... if you're one of those folks who don't click on the images because you don't think it's worth the time it takes to read... YOU DON'T KNOW WHAT YOU'RE MISSING!








Here are some illustrations by Swinnerton from the late 20s...










Many thanks to Jonathan Barli and David Apatoff for their great work!

For more great newspaper cartoons, see... Milt Gross Sunday Pages and Dailies Part One, Part Two, Part Three, Part Four, Part Five, Part Six and Part Seven; Chic Young's Blondie, Rube Goldberg's Side Show; George Lichty's Grin and Bear It, Cliff Sterrett's Polly & Her Pals Part One, Part Two and Part Three; and Harrison Cady's Birds' Eye Views

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Biography: Al Capp 3- ReCAPP- A Bio Of The Creator Of Li'l Abner

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.



Alfred Gerald Caplin (aka Al Capp) was born September 28, 1909 in New Haven, CT. He was best known as the creator of the classic comic strip Li’l Abner. At the age of 9, he jumped off the back of an ice wagon directly into the path of an oncoming streetcar. As a result of the accident, he had to have his leg amputated below the hip. This childhood tragedy likely helped shape Capp’s cynical worldview, which, funny as it was, was certainly darker and more sardonic than that of the average newspaper cartoonist. Capp wore a prosthetic leg.  Rather than hide the fact, he openly joked about it all his life.


Capp began his career in comics as an assistant to Joe Palooka cartoonist Ham Fisher. The relationship soon soured, and Capp launched his own strip, Li’l Abner in August, 1934. What began as a simple hillbilly burlesque soon evolved into a masterpiece of satirical fiction, renowned for its vivid characters and top notch draftsmanship. The outlandish storylines and biting social commentary make Li’l Abner unique among newspaper comics of the day.

The strip featured the adventures of Abner Yokum, a loutish, stupid, but good-natured hayseed who lived in Dogpatch, KY with his scrawny but superhuman Mammy, and shiftless, childlike Pappy. Abner was always in the marital crosshairs of Daisy Mae Scragg, his sexy, well-endowed but virtuous (to a point)  girlfriend. In 1952, Daisy Mae achieved her goal and the couple was married in the strip with great fanfare. This event was considered newsworthy enough to be featured on the cover of Life magazine.

Capp peopled his comic strip with an assortment of wonderful personalities, including Marryin' Sam, Joe Btfsplk, Lena the Hyena, Hairless Joe, Lonesome Polecat, Evil-Eye Fleegle, General Bullmoose, and a host of others. Most notably, certainly from a G.I. standpoint, were the beautiful, full-figured women like Wolf Gal, Stupefyin' Jones and Moonbeam McSwine- all of whom found their way onto the painted noses of fighter planes during WWII. Perhaps Capp's most popular creations were the Shmoos, gourd-shaped creatures whose incredible usefulness and generous nature made them a threat to civilization as we know it.

Throughout his life, Capp volunteered his time to hospitals, entertaining patients, especially to fellow amputees. He set an example for them, proving that the loss of a limb did not mean that one couldn't live a full and rewarding life.  He was also involved with the Sister Kenny Foundation, which did charity volunteer work for crippled children.

At its peak, Li’l Abner appeared in more than 900 newspapers, with an estimated daily readership of 80 million Americans. Around the country, colleges and communities staged "Sadie Hawkins Day" events. A Broadway play based on Li’l Abner opened in 1956, and was an instant success, and remains a favorite for local productions.  It was made into a motion picture in 1959.  In 1968 a theme-park called Dogpatch USA opened in Jasper, Arkansas based on Capp's work and with his support.


Along with a team of assistants, Capp kept the adventures of the denizens of Dogpatch in the papers through the 1970s. The fantasy artist, Frank Frazetta penciled the Sunday page continuities from 1954 to 1962, when a salary dispute ended their professional relationship. Capp still wrote the stories, thumbnailed the layouts and inked the faces and hands himself.


Capp revelled in taking jabs at hypocrites of all persuasions. In the mid-1960s, he turned his attention to liberal counterculture figures. He toured college campuses as a speaker, taking confrontational stands on current events. After witnessing student riots in his own neighborhood of Cambridge, Massachusetts (near Harvard) he took on anti-war protesters and demonstrators with a vengeance. In 1971, Capp was charged with "attempted adultery" by a female student at the University of Wisconsin at Madison. The fallout cost him circulation, with hundreds of papers dropping his strip. Capp removed himself from public speaking and continued to produce Li'l Abner until failing health forced him to retire in 1977. He died two years later of emphysema, on November 5th, 1979.


In 1946, Capp created an autobiographical comic book, Al Capp By Li’l Abner, which was distributed by the Red Cross to encourage thousands of amputee veterans returning from WWII...



















TO BE CONTINUED...

Let me know what you think of this article in the comments.
-Mike Fontanelli, 2008

For more on Al Capp, see... Al Capp Part One: Li'l Abner Without Apologies, Part Two: Fearless Fosdick, A CAPPital Offense, Gene Byrnes' Complete Guide To Cartooning: Part One- Newspaper Comics and People On Paper (MGM/1945)

See also, Boodie Rogers' Babe Comics Part One, Part Two, and Part Three; Basil Wolverton On Cartoon Sounds Part One and Part Two; Jack Davis in Mad magazine, Jack Kirby in Not Brand Echh Number One, Marie Severn in Not Brand Echh Number Two, Forbush Man in Not Brand Echh Number Five, Parody: Whack Comics Part One and Part Two; Basil Wolverton's Powerhouse Pepper; Milt Stein's Supermouse Comics No. 4; Virgil Partch's Wild, Wild Women; Here We Go Again and Man The Beast; George Lichty's Grin and Bear It; Milt Gross Sunday Pages Part One, Part Two and Part Three; and Jim Tyer Funny Animal Comics

Stephen Worth
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Biography: Al Capp 2- A CAPPital Offense

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.

"They always want me to say who is the best writer in America today, and I can't think of any name but Al Capp... One of the symptoms or diagnostics of literature should be that it is read, that it amuses, moves, instructs, changes and criticizes people. And who in the world does that more than Capp? I think Capp may very possibly be the best writer in the world today." -John Steinbeck, 1953

PLAYBOY: John Steinbeck once described you as "possibly the best writer in the world today". What's your reaction to that?

CAPP: I revere John Steinbeck far too deeply to question his literary judgment!" --Playboy Interview, 1965

"Not many people know that I worked with Al Capp for a year at Terry-Toons on a cartoon adaptation of Fearless Fosdick. Capp is one of the great unsung heroes of comics. I've never heard anyone mention this, but Capp is 100% responsible for inspiring Harvey Kurtzman to create Mad magazine.

Just look at Fearless Fosdick- a brilliant parody of Dick Tracy with all those bullet holes and stuff. Then look at Mad's "Teddy and the Pirates", "Superduperman" or even "Little Annie Fanny". Forget about it. Slam dunk. Not taking anything away from Kurtzman who was brilliant himself, but Capp was the source for that whole sense of satire in comics. Kurtzman carried that forward and passed it down to a whole new crop of cartoonists, myself included.

Capp was a genius. You wanna argue about it? I'll fight ya, and I'll win." -Ralph Bakshi, 2008

Li'l Abner's "ideel"- Fearless Fosdick- first made his bullet-riddled debut in 1942. As everyone knows, Capp's famous strip-within-a-strip began as a direct parody of Chester Gould's classic newspaper comic, Dick Tracy. But like all of Capp's creations, it soon developed into a multi-leveled satire of contemporary American society at large.


Fearless Fosdick provided a running commentary on, among other things, the lowly lives of policemen, the capriciousness of the general public, and the thankless role of society's "heroes". With Capp, as with Chaplin, there's always a social subtext to the fun, which in my opinion, separates the men from the boys in comedy. These themes are very much in evidence in our first Fosdick story pick, "The Poisoned Bean Case"...


"The Poisoned Bean Case" is, simply put, one of Capp's masterpieces. It seems to be a special favorite with fans too, both for its astronomical body count and its sheer outrageousness. Believe it or not, this blood-drenched parody ran in family newspapers in the fifties, in Eisenhower's America, on Sundays, no less!

In the following brilliantly demented pages, no one is spared Capp's merciless needle. From the venality of the justice system to the crookedness of the media; from the corruption of big business to the fickleness and stupidity of a complacent populace. The diabolical plot, which concerns product tampering, presages the 1982 Tylenol case by some 30 years.


As a cautionary note to readers encountering this story for the first time: you are hereby warned. It's impossible not to get swept up in the maelstrom of fury that's about to be unleashed. "The Poisoned Bean Case" doesn't so much unfold, as simply detonate! For comics fans who like their irony dark, raw and relentless- we proudly present Al Capp at or near the peak of his powers...


Fearless Fosdick in...
THE POISONED BEAN CASE











TO BE CONTINUED...

Let me know what you think of this article in the comments.
-Mike Fontanelli, 2008


For more on Al Capp, see... Al Capp Part One: Li'l Abner Without Apologies, Gene Byrnes' Complete Guide To Cartooning: Part One- Newspaper Comics and People On Paper (MGM/1945)

See also, Boodie Rogers' Babe Comics Part One, Part Two, and Part Three; Basil Wolverton On Cartoon Sounds Part One and Part Two; Jack Davis in Mad magazine, Jack Kirby in Not Brand Echh Number One, Marie Severn in Not Brand Echh Number Two, Forbush Man in Not Brand Echh Number Five, Parody: Whack Comics Part One and Part Two; Basil Wolverton's Powerhouse Pepper; Milt Stein's Supermouse Comics No. 4; Virgil Partch's Wild, Wild Women; Here We Go Again and Man The Beast; George Lichty's Grin and Bear It; Milt Gross Sunday Pages Part One, Part Two and Part Three; and Jim Tyer Funny Animal Comics

Stephen Worth
ASIFA-Hollywood
Animation Archive
..

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Donation: David Apatoff's Boyhood Collection of Newspaper Comics

There was a time when heroes arrived on your doorstep each and every morning... Flash Gordon, Prince Valiant, Tarzan, Terry and the Pirates, and dozens of others... every day without fail. On Sundays, they were in COLOR.


It was a great time to be a kid. For a nickle, you could travel to Dogpatch or Mars or Shanghai. Kids across the country commandeered the comics page at the breakfast table and carefully clipped their favorite stories. They filled scrapbooks, pinned them up on their walls, stashed them in neat little piles under their bed until their mothers complained of the fire hazard.


Moms never understood... they'd use most amazing image of a pterodactyl attacking a sabre toothed tiger to line the birdcage and not even see the irony. Moms are like that. But kids knew that the funny papers were a treasure trove for people with the imagination to appreciate them. Especially kids who loved to draw.



Newspaper comics were an encyclopedia of cartooning styles, and the heroes weren't just the characters in the strips... there were heroes on the other side of the pen too. We've profiled a few here in the past... Milt Gross, Alex Raymond, Milton Caniff, George McManus, Al Capp, Rube Goldberg and Walt Kelly, to name just a few. These men were the direct descendants of Thomas Nast. Their drawings had power.


Some of those kids grew up and never forgot the power of cartooning. David Apatoff is one of them. His blog, Illustration Art is a terrific resource for cartoonists and illustrators interested in all aspects of the artform. David was one of those kids who carefully collected the work of his heroes. And he just donated his boyhood collection of comic strips to the ASIFA-Hollywood Animation Archive.


The collection includes hundreds of comic pages, mostly from the late 30s and early 40s. David collected complete Sunday sections, as well as prime examples from his favorite comic strips... Prince Valiant, Flash Gordon and Tarzan. There are also special poster size pages that ran as specials in the 60s featuring Pogo, Dick Tracy, Peanuts and Dennis the Menace.


If you'll excuse me, I have a little digression to make at this point. I want to tell you a story about something that happened to me a couple of weeks ago...

There's a boy who's a big fan of the archive. He saw the article on us in the L.A. Times and made his mom bring him in for a visit. He lives in San Francisco, but he has family in Los Angeles and visits several times a year. He's only eight or nine, but he can discuss the differences in directoral style between Freleng and Jones, he knows the true story of the creation of Bugs Bunny, and he's interested in the Ub Iwerks Mickey Mouse cartoons. On his first visit, I gave him a copy of Leonard Maltin's Of Mice and Magic as a gift. He devoured it from cover to cover, and sent me a copy of the book report he did on it for class. On his visits he never fails to impress me with his enthusiasm for animation.

Last time he was here, he asked me if we could sit down and talk. He said he had an important question to ask me, and he had asked his family and teacher, but he wasn't satisfied with their answers. He wanted my opinion. He looked me straight in the eye and asked me, "Mr. Worth, was I born too late?"

I was stunned.

That's a question that every cartoonist I've ever met has asked. That same realization hit me like a ton of bricks when I was in college. Ralph Bakshi called me the next day, and I told him what this nine year old had asked me, and all he could say was "Oh my God."

The kid was waiting for my answer. I sat quietly for a second to gather my wits. I looked back at him squarely in his eyes. "I'm not going to lie to you." I said. "The short answer to your question is 'yes'. We were both born too late. The 20th century was one of the most interesting times to live in all history. The world will never be the way it was ever again. I just got a taste of the very end of that golden age myself."

"But that doesn't mean that you can't do great things. You've got a whole life ahead of you. Study hard. Work hard. Always try to improve yourself. Learn from the past and apply it to your own work. Try to be better than the rest, and leave the world a little better than you found it. With any luck, you and people like you will build a new golden age."

That answer satisfied him. He knew it was the truth.


OK. I'm speaking to all you cartoonists out there now... Look at these amazing comics that David Apatoff so generously donated. I'll be scanning them for this blog very soon. While you study them, never forget that the dreams of a million kids resided in those yellowed pages. Compare these comics to the comics in your newspaper. What happened? Why are we cheating our audience so shamefully? Cartoonists have an obligation to go out there and give kids today new dreams that are just as great as the old ones.


Many thanks to David Apatoff for this incredibly generous and thoughtful gift. I'm sure it will inspire great things.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Biography: Capps Off- Li'l Abner Without Apologies

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.

Some comic artists are appreciated because of their antiquated charm, the musty perfume they carry from another age. But Capp strikes us more and more as timeless, priceless and ageless. -Richard Marschall, NEMO Magazine, April 1986

Today, we're happy to be able to introduce a series of posts on one of the greatest cartoonists ever to grace the funny papers with his presence... Al Capp. Mike Fontanelli has been a fan of Li'l Abner since he was very small. He's grown up to be a fine cartoonist and an authority on Capp's life and work. He's digging into his personal collection of "Cappiana" to illustrate these posts. Thanks, Mike!


CAPPS OFF!
Li'l Abner Without Apologies
Al Capp was an individual of no small complexity, and his intricate personality could be off-putting to say the least- or even downright contradictory. Two books on the artist published recently, The Enigma Of Al Capp (by Alexander Theroux) and Capp's autobiographic book, My Well-Balanced Life On A Wooden Leg tell polar opposite stories.


Capp's star seems to have fallen recently. Contemporary critics seem inclined to recall only his controversial later years, which were marked by divisive anger and a bitterness of the kind to which satirists seem particularly susceptible. Unfortunately, this oversimplification of Capp's complicated persona has overshadowed his creation, invalidating his real legacy. The body of work Capp left behind tells another story, one that's been neglected- or worse, suppressed- in recent years. Those who are aware of Capp's true importance to the history of cartooning can't help but feel a critical reassessment is long overdue.


Revisiting the pages of Li'l Abner in 2008, modern readers will be aghast at the still astonishing plotlines, highly original concepts, and vivid, hilariously ludicrous characterizations. As you'll see in the examples we'll be presenting over the next couple of months, Li'l Abner went where no other comic strip has ever dared to go before or since.


By any modern standard, Li'l Abner must be reckoned an American masterpiece of cartoon satire. The best of Capp's great body of work could arguably hold its own against any classic work of satire, from Candide to Gulliver's Travels, from The Pirates Of Penzance to CATCH-22. While no less an authority than John Steinbeck once recommended Capp for the Nobel Prize in literature, (and he duly deserved a Pulitzer Prize before Gary Trudeau was even born) Capp's rightful place as a modern American equal to Jonathan Swift has still to be recognized.



"With Li'l Abner," writes Richard Marschall, "Capp was calling society absurd, not just silly; human nature not simply misguided, but irredeemably and irreducibly corrupt. Unlike any other strip, and indeed unlike many other pieces of literature, Li'l Abner was more than a satire of the human condition. It was a commentary on human nature itself."


While Al Capp presented himself to the world "warts and all", there's been an effort of late to portray only the warts. We at the ASIFA Hollywood Animation Archive are grateful for this opportunity to present the rest of the story.

To start out, here is one of the finest stories in the history of the strip, "Loverboynik, or Ketch A Critic By The Toe". It's a timely spoof of two diametrically opposed pillars of mid-20th century manhood: Charles Atlas and Liberace. According to Capp, Liberace was "cut to the quick" when this story first appeared in 1956, and even threatened legal action.


This superb example of Capp's masterfully controlled plotting technique, breathlessly combines humor and suspense into a seamless whole. The tension doesn't let up until the hilarious and characteristically bizarre resolution. It also showcases some of the most memorably harrowing aspects of the strip (gulp!) Sadie Hawkins Day, (gasp!) Nightmare Alice, and (shudder!) The Scraggs...










TO BE CONTINUED...
Mike Fontanelli, 2008

Let Mike know in the comments what you think of his article!

For more on Al Capp, see... Gene Byrnes' Complete Guide To Cartooning: Part One- Newspaper Comics and People On Paper (MGM/1945)

See also, Boodie Rogers' Babe Comics Part One, Part Two, and Part Three; Basil Wolverton On Cartoon Sounds Part One and Part Two; Jack Davis in Mad magazine, Jack Kirby in Not Brand Echh Number One, Marie Severn in Not Brand Echh Number Two, Forbush Man in Not Brand Echh Number Five, Parody: Whack Comics Part One and Part Two; Basil Wolverton's Powerhouse Pepper; Milt Stein's Supermouse Comics No. 4; Virgil Partch's Wild, Wild Women; Here We Go Again and Man The Beast; George Lichty's Grin and Bear It; Milt Gross Sunday Pages Part One, Part Two and Part Three; and Jim Tyer Funny Animal Comics

Stephen Worth
ASIFA-Hollywood
Animation Archive
..

Stumble It!

Cartooning: Cartoons Magazine January 1916

This post is just the tip of the iceberg... see reason number 8 on our The Top Ten Reasons To Support The A-HAA for links to more great info on the history of animation told through the careers of great cartoonists.


Yesterday, Archive supporter Marc Schirmeister stopped by with a treasure trove of information on the early days of cartooning. A big stack of Cartoons magazines from the WWI era through the late 1920s. These magazines are amazing... they include articles about Pat Sullivan, George Herriman and Winsor McCay, editorial cartoons from around the globe, and incredible advertisements for correspondence courses in cartooning. Here is a sampling of editorial cartoons, divided by subject matter from the January 1916 issue, along with an article from the Portland Oregonian titled...

THE MODERN CARTOON
When it is declared that there are nowadays no great cartoonists or illustrators, it ought to be recalled that the conditions controlling the art of newspaper caricature and pictorial lampooning are not what they were fifty, or twenty, or even ten years ago. Let us go back no farther than Thomas Nast, who was the most famous, and usually regarded as the greatest of all American cartoonists. Mr Nast's first and only notable work was with Harper's Weekly. During the Civil War, a tremendous episode in our history, he began his work. No one who has examined the usual political and personal caricatures of that day can fail to recognize their wretched and brutal character- miserable as art productions and savage in spirit and expression. Mr. Nast did much to make the profession of caricaturist respectable. His talents as an artist were considerable, but his insight into affairs, his understanding of the motives of men, and his ability to give them pictoral form are the real secrets of his power.


There was no rival for Thomas Nast. He was alone in a field practically untilled. He rarely drew more than a single cartoon a week, and it is easy to see that he had ample time for the study of events and for the full play of his genius. To a great extent the weekly drawing of Nast was inspirational, for undoubtedly he was a man of temperament as well as a student of current history. He was not called upon for a daily offering, and was therefore not oppressed by the exacting and remorseless grind of daily journalism.

PRESIDENTIAL CANDIDATES OF 1916






When Thomas Nast left Harper's Weekly, after years of remarkable service to his employment and to the cause of truth and decency in public affairs, he made no impression through his contributions to the newspapers. His vogue was gone. He died a heartbroken man. It is an open question whether he might not have sustained his great reputation if he had remained with Harper's. In his latter days other caricaturists had come to the fore and Nast and Harper's no longer enjoyed a monopoly in that line.

RESTLESSNESS IN INDIA






Who looks nowadays to an American weekly for cartoons? Yet it is true that in Great Britain the cartoon remains the particular posession of the weekly, and it is the same in Germany. There is a wide difference however, in the German and British methods, for the Briton seeks to make of his cartoon an elaborate work of art, and the German confines himself to simple lines and memory impressions. The Englishman often uses models and excels as a draughtsman. The German burlesques his subject, and strives for humorous and grotesque effects. There is no real American school, as there is a British school and a German school. But there are thousands of American cartoonists giving the public their daily output, and making their appeal on every possible subject of human interest.

CARTOONS FROM JAPANESE PUNCH





There is now no Thomas Nast of American journalism. Under our conditions, it is doubtful there could be. But there are a great many fine artists drawing good cartoons and excellent cartoonists making pictures that could by no stretch of the imagination be called sound art. On the whole, the average is very high, and certainly an irrepairable loss would be suffered by journalism if the services of the cartoonist were to be dropped. The cartoon has come to be an effort to editorialize in a picture the current daily feature of the news or of public thought.

PORK BARREL POLITICS





The old cartoon- the Nast picture- was a complex affair, always with a central theme, but with many figures and contributing or incidental suggestions. Now it is different. The modern cartoon is a simple thing, with one idea. It requires no study to understand its meaning or to comprehend its scope. It can be absorbed at a glance. It may not be art, but it is something even better...

It is the symbol of truth.

ADVERTISEMENTS






If you would like to see more from the pages of Cartoons magazine, let me know in the comments. Whenever I put up this many pages at one time, I wonder whether anyone is actually reading this stuff! Let me know if I should scale back my postings to more bite sized bits.

If you found this post to be interesting, see the... W. L. Evans Cartooning and Caricature Course Brochure, Lesson One and Lesson Two, Preston Blair and John K's $100K Animation Drawing Course, Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips, Part Three: Single Panel and Sports Cartoonists, Part Four: Editorial Cartoons & Comic Books, Part Five: Sketching, Part Six: Magazine Cartooning and Part Seven: Magazine Cartooning (continued); Nat Falk's "How To Make Animated Cartoons" Part One: The History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made, Part Four: How To Draw Cartoons and Part Five: How To Animate, Willard Mullin on Animals.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

2007 Review: 6 Milton Caniff

As the ASIFA-Hollywood Animation Archive completes its second year in operation, it's time to review the accomplishments of the past year. Here's a countdown of the ten most important subjects we've covered in 2007. See if your list matches mine. (View the complete list.) Click on the links to read more on this topic.


From Milton Caniff And Norman Rockwell In Coronet Magazine September 11th, 2007
NUMBER 6: MILTON CANIFF

This year, we were very fortunate to be able to digitize and share artwork from the estate of comic legend, Milton Caniff. Archive supporter, John Ellis is producing a series of DVDs of the classic TV series, Steve Canyon, and generously agreed to share his research on Caniff and Steve Canyon with the ASIFA-Hollywood Animation Archive.


Milton Caniff in his studio ca. 1947
(click for a larger view)
Ellis shared his thoughts about Caniff with us in our first post on the subject, Milton Caniff's Steve Canyon Dalies...

Milton Caniff has been referred to as "The Rembrandt of the Comic Strip", and oft by himself as "an Armchair Marco Polo", but in fact this whirlwind of a comic strip innovator and writer was essentially a sincerely nice man who loved to draw. Yes this gentleman born in Hillsboro Ohio in 1907 created and drew Terry and The Pirates from 1934 to 1946, which absolutely set the standard for the adventure comic strip. True, he raised the bar with Steve Canyon, which unlike Terry, he owned lock stock and barrel from the first daily strip in January 1947 through to June 1988, the final installment published shortly after his death. Absolutely he worked rain or shine, seven days/strips a week for 54 years, even from his hospital bed, the deadlines never ended.

From Milton Caniff's Steve Canyon Dalies March 28th, 2007
In his article, "Detour Guide For An Armchair Marco Polo" from Gene Byrnes' Complete Guide To Cartooning Caniff writes...

There has been a tendency recently for artists to automatically assume they cannot write their own stories because they see so many double by-lines. I contend that any man who can invent pictures can invent situations and dialogue. In fact, it should be easier for the artist to pilot his own action because he is not likely to write himself into one of those undrawable dilemmas in manuscripts about which illustrators have complained for years.

Milton Caniff with Jack Benny from
Milton Caniff- A Remembrance May 30th, 2007
Caniff's nephew, Harry Grant Guyton shared some of his memories of his "Uncle Milt"...

Of course Milton Caniff was a stickler for accuracy, but his fans were eagle-eyed. I was with him at Holloman Air Force Base in New Mexico. He climbed into the cockpit of a fighter plane (an F-104 I believe), and spent maybe five minutes in it. That evening, he used it in Steve Canyon. He had committed the control panel in that cockpit to memory, and months later when the strip was published, he received numerous letters saying that had Steve been flying as high as Milt implied in the strip, one of the gauge readings was wrong.

From Milton Caniff And Norman Rockwell
In Coronet Magazine September 11th, 2007
MORE CANIFF ARTICLES

• Byrnes' Complete Guide To Cartooning Part One March 6th, 2007


• More Steve Canyon Dalies May 30th, 2007


• Parody- Steve Crevace in Whack! Comics May 8th, 2007


• Comic Artists At Work: People On Paper (MGM/1945) April 19th, 2007

John Ellis promises more great material on Milton Caniff in the coming year. You can find out information about the Steve Canyon TV series at his blog...

Steve Canyon on DVD

Go To Number 5 on the list of Top Ten Subjects of 2007

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

2007 Review: 10 Milt Gross

As the ASIFA-Hollywood Animation Archive completes its second year in operation, it's time to review the accomplishments of the past year. Here's a countdown of the ten most important subjects we've covered in 2007. See if your list matches mine. (View the complete list.) Click on the pictures to see lots more on this topic.


From "Milt Gross Sunday Pages Part Four" May 18th, 2007
NUMBER 10: MILT GROSS

Thanks to Archive supporters Mark Kausler, Marc Deckter, Kent Butterworth and Marc Crisafulli, the ASIFA-Hollywood Animation Archive has a fantastic collection of comics by Milt Gross.


From "Fulfilling The Milt Gross Challenge" October 17th, 2007

Milt Gross is one of the greatest cartoonists who ever lived, but most of his work has been out of print for many years. He was a master of both words and images. His books Nize Baby, Dunt Esk De Night In De Front From Chreesmas are classics of ethnic New York dialect humor. His masterpiece, He Done Her Wrong, which Gross described as "The great American novel- and not a word in it- no music too", tells a story entirely in funny pictures.


From "Banana Oil!" August 21st, 2007
Milt Gross began his career as an animator in New York, and his comics reflect the same sort of baggy pants humor and keenly observed exaggeration that one might find in a Fleischer cartoon. His style appears loose and free on first glance. Every frame bursts with new and interesting ideas. But behind the energy and fun are carefully thought out compositions and expressive posing. Like Chaplin and Keaton, Gross was a master at making hard work and concentration look easy and natural. Students of animation can learn a lot from studying these techniques.


From "Dave's Delicatessen" July 24th, 2007
Currently, the only book by Gross that remains in print is He Done Her Wrong. This is a shame, because as great as this book is, there's a lot more to Milt Gross. The humor in Gross' comics is timeless. Thanks to Mark, Marc, Marc and Kent, the ASIFA-Hollywood Animation Archive has become one of the best places to study his work. Stop by and view the Sunday pages and daily strips in our archive database sometime soon.

Go To Number 9 on the list of Top Ten Subjects of 2007

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Cartooning: Byrnes' Complete Guide To Cartooning Part Seven

This post is just the tip of the iceberg... see reason number 8 on our The Top Ten Reasons To Support The A-HAA for links to more great info on the history of cartooning told through the careers of great artists.

Magazine Illustration by Jan Balet (See Lief Peng's Flickr set for more images by Jan Balet.)

We continue our series of posts on Gene Byrnes' Complete Guide To Cartooning with the second part of the section dealing with Magazine Cartooning... I'm afraid I don't have much information on these artists. If you can contribute a fact or two, please post them to the comments below.

MICHAEL BERRY
Michael Berry contributed pretty girl cartoons to Pictorial Review, Esquire, Liberty and The New Yorker.






JOHN RUGE
John Ruge's elegant girl drawings appeared in Colliers in the late 40s and Playboy in the early 50s. His comic about an Irish Setter named Clancy was also popular.




RALPH STEIN & STAN HUNT
Ralph Stein was the author of a collection of pinup girl art titled The Pinup From 1852 to Now. He wrote the Popeye newspaper comic in the 1950s, and was an avid classic car enthuiast. Stan Hunt was a regular contributor to The New Yorker. He attended the New York School of Art and apprenticed under Willard Mullin. He passed away in 2006 at the age of 77.




RICHARD SARGENT
Richard Sargent contributed images to Pictorial Review and The Saturday Evening Post.




JAN BELET
Jan Belet was a childrens book illustrator who also did artwork for several women's magazines.




RICHARD TAYLOR & FRANK OWEN
Richard Taylor was a cartoonist for The New Yorker and Playboy. Frank Owen was a cartoonist for The Saturday Evening Post He was the one who came up with the original story idea for the Disney's cartoon, Morris, the Midget Moose.



THE IMPORTANCE OF CARTOONS IN ADVERTISING
By Don Herold


A STUDY IN LAUGHS



ROY DOTY

Over the past half century, Roy Doty has been a cartoonist and illustrator with over 60 children's books to his credit. He was awarded a Reuben by the National Cartoonist Society in 2006. See RoyDoty.com to see what he's up to lately.




Many thanks to Marc Crisafulli and David King for sharing this great book with us.

If you found this post to be interesting, see... Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips and Part Three: Single Panel and Sports Cartoonists, Part Four: Editorial Cartoons & Comic Books, Part Five: Sketching, and Part Six: Magazine Illustration

Also see... Nat Falk's "How To Make Animated Cartoons" Part One: The History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made, Part Four: How To Draw Cartoons and Part Five: How To Animate. Also, see... Willard Mullin on Animals.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Comics: Fulfilling The Milt Gross Challenge

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.


Here's the conclusion of the Marc Deckter Challenge Sunday pages. This gluttonous orgy of Milt Gross goodness comes to you courtesy of Amir Avni, Dragan Kovacevic, Michael Webb, Anonymous, Charlie Judkins, Alexander McCarron, James Middleton, Enrique May, J. Todd Constantine, and Greg Checketts. These folks stepped up to the plate and supported the ASIFA-Hollywood Animation Archive so we can continue bringing great material like this to you for the rest of the year. We all owe them our thanks. The Archive is only as good as you make it. We appreciate your support.

And as I always say... if you're one of those folks who don't click on the images because you don't think it's worth the time it takes to read... YOU DON'T KNOW WHAT YOU'RE MISSING!

Count Screwloose & Babbling Brooks Sunday Pages (1930-31)














And Two More Dave's Delicatessens...



For more Milt Gross cartoon goodness, see... Milt Gross Sunday Pages and Dailies Part One, Part Two, Part Three, Part Four, Part Five, Part Six and Part Seven. Also see... Milt Gross' Cartoon Tour Of New York Part One, Part Two and Part Three; Chic Young's Blondie, Rube Goldberg's Side Show; George Lichty's Grin and Bear It, Cliff Sterrett's Polly & Her Pals Part One, Part Two and Part Three; and Harrison Cady's Birds' Eye Views

Many thanks to Marc Deckter for sharing this wonderful stuff with us.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Comics: Milt Gross Courtesy of Will And Marc

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.


Today's post is brought to you through the courtesy of Marc Deckter and Will Finn. These two great guys dug deep into their collections and pockets to ensure that the ASIFA-Hollywood Animation Archive is able to continue to bring you the great inspiration you have come to expect. We all owe them a debt of gratitude for their generosity.


The ASIFA-Hollywood Animation Archive isn't one of those stuffy institutions financed by huge corporate endowments. It's a grassroots resource that is supported by the artists and animation fans that directly benefit from it. That means you. Every penny that comes in gets rolled right back into making the Archive even better. But if the people who benefit from it don't support it with their donations, it will cease to exist. What would you do if you woke up one morning and found that animationarchive.org came up as "Server Not Found"? Please contribute using the PayPal links at the top of each post.


And as I always say... if you're one of those folks who don't click on the images because you don't think it's worth the time it takes to read... YOU DON'T KNOW WHAT YOU'RE MISSING!

Banana Oil Dailies (1925)






Count Screwloose & Babbling Brooks Sunday Pages (1930)







For more Milt Gross cartoon goodness, see... Milt Gross Sunday Pages and Dailies Part One, Part Two, Part Three, Part Four and Part Five and Part Six. Also see... Milt Gross' Cartoon Tour Of New York Part One, Part Two and Part Three; Chic Young's Blondie, Rube Goldberg's Side Show; George Lichty's Grin and Bear It, Cliff Sterrett's Polly & Her Pals Part One, Part Two and Part Three; and Harrison Cady's Birds' Eye Views

Many thanks to Marc Deckter for sharing this wonderful stuff with us, and to Will Finn for stepping up to the challenge.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Comics: More Great George Lichty Grin And Bear It Comics

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.


Here are more great comics by George Lichty donated by Archive supporter Christopher Lopez. Lichty was one of the comic page's longest working artists. His style changed little over the years. Compare the examples below from the late thirties to the Sunday pages from the 50s we posted a couple of months back. Lichty's distinctive free flowing lines were a staple of the funnies for over half a century. He may have drawn slouches, but I think you'll agree, as an artist, he was no slouch himself!



Here (thanks to Joseph Campana) is the entry on Lichty from Martin Sheridan's Comics And Their Creators...




1939 DAILY STRIPS






1937 SUNDAY PAGES















Thanks Christopher!

If you enjoyed this post, see Byrne's Complete Guide To Cartooning feature on George Lichty, Our First Post On George Lichty's Grin And Bear It, Virgil Partch's Here We Go Again, The Wild Wild Women and Man The Beast; Milt Gross Sunday Pages Part One, Part Two and Part Three; Basil Wolverton's Powerhouse Pepper; Jim Tyer Funny Animal Comics; Cliff Sterrett's Polly & Her Pals Part One, Part Two; Part Three; Harrison Cady's Birds' Eye Views; and Milton Knight's Great Brown Pericord Motor.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Comics: More of Chic Young's Blondie

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.


The other day, Archive supporter Joe Campana stopped by for a visit. He brought along a book for us to digitize... Comics And Their Creators was written by Martin Sheridan in 1942. It's a treasure trove of biographical information on great comic strip artists. Today, I am presenting the chapter on Chic Young, along with some rare original Sunday pages from the collection of Marc Crisafulli.

















Many thanks to Marc Crisafulli for sharing these rare original comics pages with us; and to Joe Campana of Animation Who And Where for lending us Comics And Their Creators.

For more info on Chic Young, see... Chic Young's Blondie, Byrnes' Complete Guide To Cartooning Part Two and People On Paper. Also see... George Lichty's Grin & Bear It, Dudley Fisher's Right Around Home, Otto Messmer's Felix the Cat, Polly & Her Pals Part One, Part Two and Part Three, Milt Gross Sunday Pages Part One, Part Two and Part Three and Part Four; and Rube Goldberg's Side Show.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Biography: Milton Caniff and Norman Rockwell in Coronet

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about comics.


The Milton Caniff Estate recently loaned the ASIFA-Hollywood Animation Archive copies of two issues of Coronet magazine from 1942 and 1947 to digitize. Here are three articles of interest to cartoonists and illustrators...



AMERICA'S PIONEER JAP FIGHTER
By Howard Whitman








NORMAN ROCKWELL: The People's Painter
By Jack H. Pollack






CONFESSIONS OF A COMIC STRIP ARTIST
By Milton Caniff





Thanks to John Ellis and the estate of Milton Caniff for sharing this with us!

If you enjoyed this post, see... Coronet Magazine December 1945, Milton Caniff's Steve Canyon Sunday Pages, Steve Canyon Dalies, People On Paper, Byrnes' Complete Guide To Cartooning Part One- Meet The Men Behind the Comics and Part Two- Studying Comic Strips, Dispatch From Disney's Part One and Part Two, Propaganda Part One and Part Two, Dan Gordon's Superkatt, Rube Goldberg's Side Show and Alex Toth Model Sheets

STEVE CANYON TV SHOW


The Steve Canyon Special Edition DVD is out now! To order it and for more info on the Steve Canyon TV show, see... www.stevecanyondvd.blogspot.com

STEVE CANYON AT AMAZON

Fantagraphics has a great book on Caniff's career, and Checker has released year by year reprints of the classic Steve Canyon strip. Caniff was a master storyteller, and the first few years of Steve Canyon are examples of his genius at the height of its powers. Click on the pictures for more info.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Milt Gross: Banana Oil!

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.


The hoi-polloi are out in droves tonight to celebrate this great day!

It's Marc Deckter Appreciation Day!


All of Marc's fans and admirers are jumping on the bandwagon, writing appreciative blog postings. Here's John K's.

For the past couple of weeks, we've been working on digitizing a batch of nearly 200 Milt Gross Sunday pages and dalies that Marc generously loaned to us. That adds up to over a million laughs!


Three cheers for Marc Deckter!


And as I always say... if you're one of those folks who don't click on the images because you don't think it's worth the time it takes to read... YOU DON'T KNOW WHAT YOU'RE MISSING!

Banana Oil Dailies (1924)







Count Screwloose & Dave's Delicatessen Sunday Pages (1930-1933)






For more Milt Gross cartoon goodness, see... Milt Gross Sunday Pages and Dailies Part One, Part Two, Part Three, Part Four and Part Five. Also see... Milt Gross' Cartoon Tour Of New York Part One, Part Two and Part Three; Chic Young's Blondie, Rube Goldberg's Side Show; George Lichty's Grin and Bear It, Cliff Sterrett's Polly & Her Pals Part One, Part Two and Part Three; and Harrison Cady's Birds' Eye Views

Many thanks to Marc Deckter for sharing this wonderful stuff with us!

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Comics: Milt Gross' Dave's Delicatessen

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.


Archive supporter, Marc Deckter stopped by today with a pile of deteriorating Milt Gross Dave's Delicatessen dalies. The newsprint had become brittle and brown and the strips were fragmenting into chips. I put them carefully on the scanner and digitized them before they had a chance to turn to dust.


Milt Gross is one of the underappreciated cartoonists that the ASIFA-Hollywood Animation Archive is dedicated to documenting. Between these wonderful early examples courtesy of Marc Deckter, the Sunday pages lent to us by Mark Kausler and the great book A Cartoon Tour of New York from Kent Butterworth, our collection of Gross is second to none. If you haven't seen any of our previous articles on Gross, check out the links at the end of this post.

And as I always say... if you're one of those folks who don't click on the images because you don't think it's worth the time it takes to read... YOU DON'T KNOW WHAT YOU'RE MISSING!



























Read John K's comments on this post...

For more Milt Gross Sunday pages, see... Milt Gross Sunday Pages Part One, Part Two, Part Three and Part Four. Also see... Milt Gross' Cartoon Tour Of New York Part One, Part Two and Part Three; Chic Young's Blondie, Rube Goldberg's Side Show; George Lichty's Grin and Bear It, Cliff Sterrett's Polly & Her Pals Part One, Part Two and Part Three; and Harrison Cady's Birds' Eye Views

Many thanks to Marc Deckter for sharing this wonderful stuff with us!

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Comics: George Lichty Grin And Bear It Orgy!

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.


Archive supporter Christopher Lopez saw our feature on George Lichty a month or two back and decided to donate a big stack of vintage Grin And Bear It dalies and Sunday pages. I grew up with George Lichty's cartoons in the funnies every day, and as a kid, I didn't give much thought to them. But seeing his work from a wide range of years is a revelation. At first glance, Lichty's drawings appear sloppy, with formulaic oafish characters with their jaws agape. But look closer... His compositional sense and skill at putting across a visual gag is remarkable. There's nothing sloppy about his use of perspective either. His lines seem to be alive!


Along with the batch of comics, Christopher included an article on Lichty from 1952. It mentions a feature in the Saturday Evening Post titled "Does Lichty Really Hate People" (does anyone out there have a copy of that article we could scan?) and offers some choice tidbits on Lichty's working habits and lifestyle...

He works best in a crowded, noisy newspaper office. His desk is heaped so high with old drawings, discarded captions, letters he has forgotten to mail, cigarette stubs and fan mail that ever fourth day the janitors are ordered to dig through the debris just to make sure that Lichty is still alive and breathing.

Lichty has a few happy passtimes... He likes to putter around the house. When in doubt he lays little brick walls that wind aimlessly around the Lichty garden. He also plays the bass drum, sometimes at home, but more often as a member of the Guckenheimer Sour Kraut Band, a unique musical institution that he says is perpetuating a dying art form. He is not certain what the art form is, but anyway, he admits it is dying.

Now if that isn't a great description of the life of a cartoonist, I don't know what is!

Lichty was one of the comic page's longest working artists. His style changed little over the years. Compare the examples below from the late thirties to the Sunday pages from the 50s. Lichty's distinctive free flowing lines were a staple of the funnies for over half a century. He may have drawn slouches, but I think you'll agree, as an artist, he was no slouch himself!



Here (thanks to Joseph Campana) is the entry on Lichty from Martin Sheridan's Comics And Their Creators...





1939 DAILY STRIPS






1937 SUNDAY PAGES
















MID 1940s DAILY STRIPS











1950s SUNDAY PAGES











Thanks Christopher!

Check out the fascinating link between Coal Black and de Sebben Dwarfs and George Lichty in John K's All Kinds of Stuff.

If you enjoyed this post, see Virgil Partch's Here We Go Again, The Wild Wild Women and Man The Beast. Also see... Milt Gross Sunday Pages Part One, Part Two and Part Three; Basil Wolverton's Powerhouse Pepper; Jim Tyer Funny Animal Comics; and Milton Knight's Great Brown Pericord Motor.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

6.3.09
.

Stumble It!

Cartooning: Byrnes' Complete Guide To Cartooning Part Six

This post is just the tip of the iceberg... see reason number 8 on our The Top Ten Reasons To Support The A-HAA for links to more great info on the history of animation told through the careers of great animators.


Thanks to Clarke Snyder for this great Hurst ad.
We continue our series of posts on Gene Byrnes' Complete Guide To Cartooning with the first part of the section dealing with...

MAGAZINE CARTOONING
Introduction by Charles D. Rice


PERRY BARLOW
Perry Barlow worked along side a star-studded group of cartoonists at The New Yorker which included, among others, James Thurber, Peter Arno, Gardner Rea, Charles Addams, Whitney Darrow Jr, Sam Cobean and William Steig. From its inception, The New Yorker was, as its founding editor Harold Ross described it, "a reflection in the word and picture of metropolitan life". The images were equal with the words, and this magazine contributed greatly to the development of cartooning. Here, Barlow discusses his ideating process for a Halloween cover.




WILLIAM VON RIEGEN
Von Riegen was featured in our previous post from this book, Part Four: Sketching. His gesture drawings were greatly admired.



EARL OLIVER HURST

Earl Oliver Hurst has been profiled extensively at Shane Glines' excellent Cartoon Retro site. Hurst was primarily a "pretty girl" cartoonist whose work appeared in Colliers, True and American Weekly. His ads for Jantzen are particularly popular among current cartoonists. If you would like to see more, there is a great book on Hurst at Amazon... The Art Of Earl Oliver Hurst







KURT STOESSEL
H. Kurt Stoessel was born in 1909 in Germany, and studied at the Art Institute of Chicago. He was an illustrator and art director for several national magazines including The Atlantic. He lived and worked in Boulder, Colorado his entire career, and passed away on this day in 1984.






FRED COOPER
You may not know the name of Fred Cooper but you certainly have seen his work. He was a letterer, poster designer, illustrator, cartoonist, writer and teacher. Leslie Cabarga describes him as the original "clip art" artist- his "big head" cartoon characters were seen in dozens of magazines of the teens and twenties, and continue to be in use to this day. For more on this influential cartoonist, see Allan Holtz's tribute in Strippers, and Cabarga's book The Lettering and Graphic Design of F.G. Cooper



GLUYAS WILLIAMS
We mentioned Gluyas Williams in an earlier post on Collier's Magazines From the 1930s. Williams was one of the most prolific and influential cartoonists of the 1920s. His work appeared in The New Yorker, Colliers and Life. Robert Benchley wrote, "I believe that Williams' drawings will be preserved for expert contemplation both as data on the manners and customs of our day, and as graceful and important examples of its art." For more great work by cartoonist Gluyas Williams, see David King's gluyaswilliams.com



ROBERT OSBORN
Robert Osborn was a cartoonist whose style influenced the UPA artists greatly. He worked with John Hubley on the film, Flat Hatting, which is available for download at Cartoon Brew Films.



BARTOLI
Bartoli's ink drawings appeared on the covers of quite a few issues of Holiday magazine in the late 40s and 50s. I haven't been able to find out much information about him. Perhaps someone out there knows and will post some biographic info on him to the comments below.




Many thanks to Marc Crisafulli and David King for sharing this great book with us.

If you found this post to be interesting, see... Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips and Part Three: Single Panel and Sports Cartoonists, Part Four: Editorial Cartoons & Comic Books, and Part Five: Sketching

Also see... Nat Falk's "How To Make Animated Cartoons" Part One: The History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made, Part Four: How To Draw Cartoons and Part Five: How To Animate. Also, see... Willard Mullen on Animals.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Comics: Chic Young's Blondie

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.


Chic Young was one of the most successful newspaper cartoonists of his time. His first syndicated strip, Dumb Dora ran from 1924 to 1930. He retired the strip to create a "pretty girl" comic (ala Polly & her Pals) titled Blondie. It was an instant hit. Young penned Blondie until his death in 1973. The strip is still in print, under the byline of his son, Dean.


The other day, Archive supporter Joe Campana stopped by for a visit. He brought along a book for us to digitize... Comics And Their Creators was written by Martin Sheridan in 1942. It's a treasure trove of biographical information on great comic strip artists. Today, I am presenting the chapter on Chic Young, along with some rare original Sunday pages from the collection of Marc Crisafulli.

















Here are some of the very earliest Blondie Sunday pages...


July 19th, 1931


August 9th, 1931


August 16th, 1931


August 23rd, 1931


September 6th, 1931
Many thanks to Marc Crisafulli for sharing these rare original comics pages with us; and to Joe Campana of Animation Who And Where for lending us Comics And Their Creators.

For more info on Chic Young, see... Byrnes' Complete Guide To Cartooning Part Two and People On Paper. Also see... Polly & Her Pals Part One, Part Two and Part Three. Also see... Milt Gross Sunday Pages Part One, Part Two and Part Three and Part Four; and Rube Goldberg's Side Show.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Comics: Dudley Fisher's Right Around Home

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.



You might remember an earlier post I did on the "Bird's Eye View" comics from Boy's Life magazine by Harrison Cady. (If you haven't seen it, by all means, check it out!) Here is a similar format comic, courtesy of our friends at Digital Funnies... "Right Around Home".

Dudley Fisher was born in Columbus, Ohio in 1890. He studied to be an architect, but dropped out to take a job as a layout artist at the Columbus Dispatch. After returning from WWI, Fisher created a comic strip called "Jolly Jingles". Year after year, he cranked out rhyming verse until he couldn't stand it any more. In December of 1937 he decided to take a break from jingles and draw what Christmas on his grandmother's farm would be like (if he had a grandmother and she lived on a farm!) He drew it as one big full page panel and readers immediately took to it and clamored for more. King Features picked up the strip and titled it "Right Around Home". These great Sunday pages date from early in the run- 1939.












When asked by a young artist what sorts of pens and paper to use to draw cartoons, Fisher recommended not worrying about things like that, saying "I feel certain that Michaelangelo could have done a masterpiece on meat wrapping paper with a toothbrush and shoe polish. It's all got to come out of the artist- not the ink bottle."

These fabulous scans of original Sunday pages were provided to the Archive by Jonathan Barli of Digital Funnies. Jonathan is hard at work on an important project- documenting and restoring early cartoons and comics in digital form. He offers a wide variety of fascinating material for sale on CD-ROM and DVD-ROM. Please take a moment to visit the Digital Funnies website, and let him know that the ASIFA-Hollywood Animation Archive sent you.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

4.29.09
.

Stumble It!

Auction: Milton Caniff Steve Canyon Original Artwork

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about comics.



The Milton Caniff Estate recently allowed The ASIFA-Hollywood Animation Archive to auction a select number of original hand inked dailies by Milton Caniff from the Steve Canyon newspaper strip.








A portion of the proceeds from the sale of this art was contributed to the ASIFA-Hollywood Animation Archive. Many thanks to the Milton Caniff Estate.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

"Steve Canyon" is a Registered Trademark of the Milton Caniff Estate.
© 2007 Milton Caniff Estate. All rights reserved. Used by permission.

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Biography: Milton Caniff: A Remembrance

This post is just the tip of the iceberg... see reason number 4 on our The Top Ten Reasons To Support The A-HAA for links to more great biographies of important artists.


Milton Caniff with Jack Benny
UNCLE MILT
By Harry Grant Guyton
I would like to share some of my special memories about my uncle Milton Arthur Caniff.

Bunny (My aunt Esther) and Milt never had children, so my older sister, brother and I were their kids for years. But they also adopted many, many other children. One is Hesper Anderson, the screenwriter of Children of a Lesser God. They put a number of young adults through school and college, so in this way they were parents to many. Unfortunately, none of us were artistic in the same sense he was, at least not to my knowledge.

I recall that when I was twelve and living in Los Angeles in 1936, Milt gave my sister, brother and I yellow slicker raincoats that he painted large pictures of the characters from Terry And The Pirates on the back of. I believe my sister had a large black drawing of Pat Ryan on her slicker, my brother had Terry and I had Connie. I often wonder what happened to those raincoats.


Milton Caniff with Joan Crawford,
the inspiration for the "Dragon Lady"
Milt had narcolepsy and could- and did- fall asleep anywhere and at any time. In the old days when he was smoking, drawing and watching TV, he would fall asleep, drop his cigarette, and burn his drawing. When he burnt a hole in the strip, he always hoped it was in a spot he could cover; if not, he had to redo the whole strip. Speaking of Milt's smoking, after Milt quit, he always used to light up women's cigarettes so he could get a few puffs.

Milt had the habit of falling asleep while talking to you. We were in a chauffeured Limo in Panama. The chauffeur, Milt and I were in the front seat with the girls in the back. Milt, talking, fell asleep and awakened about five minutes later, still continuing the conversation. Needless to say, the chauffeur was amazed. Milt had bought Bun a 1959 Silver Cloud Rolls-Royce for her 1958 Christmas present. When Milt drove, he put the back part of the seat down so far, it appeared he was sleeping. Alas, one day en route to the Racquet Club in Palm Springs, he did fall asleep while driving like this. After that incident, Bunny would not let him drive unless he had just awakened from a nap.

Milt and Bunny spent money like it was water. they enjoyed their life and lived it fully. When they lived in Palm Springs, Bun sent their dry cleaning to New York because no one in California could do it right. Bun always had Milt on a diet, such as eating celery and carrots and having just one drink before dinner. In Palm Springs they had a main house and three blocks away they had a duplex. One side of the duplex was Milt's studio with the other side for guests. Milt would spend half of a 24 hour day or more in the studio. The first time we stayed in the guest part, Bun always had "goodies" such as food and liquor in the kitchen. We had a favorite cookie, so she had four or five packages of these laid out on the kitchen counter. The next morning they were gone. While Milt was working, he wandered over, saw the cookies and devoured them. Needless to say, we always left some goodies out for Milt, and no one ever said "boo" about them.


Caniff with Bob Crane of "Hogan's Heroes"
Milt had the ability to talk to you and remember almost everything you said. He picked the brains of everyone he spoke with and was able to fit almost any conversation into his strip in one form or another. It mattered not if you were a general or a private. He could elicit information from either and use it. When he visited a base and found a military person he liked and wanted to have in the strip, he would use the person's first name as his last name, such as Sgt. Andy Trone became Sgt. Andy. The character Charlie Vanilla was Charles Russhon, a US Army photographer who was on the first US plane to land in Japan. To my knowledge Milton never put any idea down on paper that went into his files. It mostly came from his head and went into the strip as he drew it. I found no notes or other papers that would give a clue as to what Milt had in mind or what future strips would show.

Of course Milton Caniff was a stickler for accuracy, but his fans were eagle-eyed. I was with him at Holloman Air Force Base in New Mexico. He climbed into the cockpit of a fighter plane (an F-104 I believe), and spent maybe five minutes in it. That evening, he used it in Steve Canyon. He had committed the control panel in that cockpit to memory, and months later when the strip was published, he received numerous letters saying that had Steve been flying as high as Milt implied in the strip, one of the gauge readings was wrong.

He loved to get letters of criticism as well as praise because this meant people were reading the strip. One time an editor who was a friend of Milton's said he had sent back a letter of criticism to the writer. Milt asked him not to do that in the future. He wanted them forwarded to him because maybe he had made a mistake and he wanted to correct it if he had. When he was doing Terry and the Pirates, he had once put Terry's insignia on wrong, and got hundreds of letters pointing out the error. His eyes would twinkle as he said, "See! They're following the strip!"


Japanese newspaper cartoonist
Yoshirou Kato with Milton
Milt told me when he was switching from Terry And The Pirates to Steve Canyon that he had to get William Randolph Hearst's OK on certain aspects of the strip. Milt said he flew to Los Angeles, took a plane to near San Simeon and was driven up to Hearst's "castle". He was shown into the dining room where Hearst sat at the opposite end of a long table drinking a cup of coffee. Hearst asked Milt questions such as what he had in mind for Steve and how much money he wanted. Milt said to himself, "You ungracious bastard!" and told Hearst what he had in mind for the strip, asking for double his present salary and all the fringes- plus ownership of the copyrights to his strip. He related how Hearst said, "You're a high-priced son of a bitch." and got up and left the room. Milt left and two weeks later was informed that Hearst had agreed to the terms.

Milt told me that in the early 30s and 40s, he sent his original strips to the syndicates, instead of sending photostat copies. One day they cleared out the storeroom and sent him back what was left. A lot of Milt's original Terry art had been taken from that storeroom by a person or persons unknown. So Milton decided to bequeath his alma mater, Ohio State University, his files, art and memorabilia. Ohio State has a great many of Milt's original pieces that he drew from the beginning of his career. After Milt passed away, when I was going through the file cabinets and belongings in New York, I came across some things that I really wanted to keep but couldn't. I donated everything Milt had to Lucy Caswell and the Milton Caniff Reading Room at Ohio State University, including the #2 pop-up book of Terry And The Pirates which I loved so much.

One time whoever took his weekly strips to the photo engravers had lost them and he had to do the whole week over. As I was taking the strips to be copied he jokingly told me, "Do not lose these." When I returned, I told him I was going to wash the Rolls Royce and found the lost strips under the passenger seat. He said, "Since you found them, they're yours." He always gave me strips and items he had done for various organizations, because of the Terry And The Pirates originals that had been taken. He instructed me to not give them away, because someday they may become valuable. So I kept them and forgot I had most of them. Earlier this year John Ellis and I were going through boxes of papers and files and we found them.


Dean Fredericks (TV's Steve Canyon),
Harry Truman and Milton Caniff
During the 1954 National Cartoonist's Society convention in Washington, D.C., I had been invited to join the group and was to present the Silver T-Square Award to President Eisenhower and Secretary of the Treasury Humphries. However, there was a military officer who belonged to the NCS who said that since I was only a Master Sergeant, he should be the one to present it. In the end, Milton presented it himself. Walt Kelly was trying to fix me up with any and every girl we ran into. I heard that he and Al Capp got into it, but I was not present when they did and I don't recall what it was about.

Here's an interesting side note to all of this... I was stationed at Fort Eustis, Virginia at the time and had been loaned a Major General's plane to get to the NCS convention in Washington D.C. When I reported to Bolling AFB for my flight home, a Lieutenant Colonel was waiting to fly me back to Fort Eustis. As we were walking down the ramp to the plane, a paratroop Major from Fort Bragg, NC with his combat boots bloused and his ribbons shining, asked the Colonel for a ride. The Colonel stated, "You'll have to ask the Sergeant- it's his plane." The Major finally swallowed his pride and asked me if it was OK, I said yes. The Major tried to get into the co-pilot's seat, but the Colonel said. "No way. That's the Sergeant's seat." As we arrived at Fort Eustis, the Major jumped out and ran into Flight Operations. As I entered they were all trying to figure out how a Master Sergeant in the Army could have a Lt. Colonel type fly him around! Milt tried for years to fit this incident into Steve Canyon but couldn't come up with a good story that would fit.

Over the years Milton would use my name in the strips, usually on signs or on soldier's uniforms. I always got a big kick out of that. You can see the name "Guyton" clearly in the last panel of the December 24th, 1961 Steve Canyon Sunday page. My son, Terry Wayne Guyton was named after the comic strip Terry. My sister has two daughters who Milt used in Steve Canyon, Dianne was the model for "Doodly Bixenshoos", and Sandra was the model for "Orbs Corbs" in the mid 60s. I had a wonderful relationship with my uncle and saw him usually six times a year. On each visit he would talk to me for hours while drawing and watching sports on TV. He always said I took care of him. Bunny kept him on that diet and I always left treats in the kitchen. Often, I would find a thank you note on the table. Every day with him was a holiday, and I learned a lot. I miss him.

If you enjoyed this post, see... Milton Caniff's Steve Canyon Sunday Pages, People On Paper, Byrnes' Complete Guide To Cartooning Part One- Meet The Men Behind the Comics and Part Two- Studying Comic Strips, Dan Gordon's Superkatt, Rube Goldberg's Side Show and Alex Toth Model Sheets

STEVE CANYON TV SHOW

For info on the Steve Canyon TV show DVD, see... www.stevecanyondvd.blogspot.com

STEVE CANYON AT AMAZON

Fantagraphics has a great book on Caniff's career, and Checker has released year by year reprints of the classic Steve Canyon strip. Caniff was a master storyteller, and the first few years of Steve Canyon are examples of his genius at the height of its powers. Click on the pictures for more info.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

"Steve Canyon" is a Registered Trademark of the Milton Caniff Estate.
© 2007 Milton Caniff Estate. All rights reserved. Used by permission.

4.6.09
.

Stumble It!

Media: Milt Gross Sunday Pages Part Four

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.



Do you love Milt Gross yet?



If you've been following this blog
for a while, you know how great he is!



Here's another batch of prime Gross...






If you're one of those folks who don't click on the images because you don't think it's worth the time it takes to read the whole page... YOU DON'T KNOW WHAT YOU'RE MISSING!

For more Milt Gross Sunday pages, see... Milt Gross Sunday Pages Part One, Part Two and Part Three. Also see... Milt Gross' Cartoon Tour Of New York Part One, Part Two and Part Three; Rube Goldberg's Side Show; Cliff Sterrett's Polly & Her Pals Part One, Part Two and Part Three; and Harrison Cady's Birds' Eye Views

Many thanks to Marc Crisafulli for sharing this amazing stuff with us!

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Cartooning: Byrnes' Complete Guide To Cartooning Part Five

This post is just the tip of the iceberg... see reason number 8 on our The Top Ten Reasons To Support The A-HAA for links to more great info on the history of animation told through the careers of great animators.



We continue our series of posts on Gene Byrnes' Complete Guide To Cartooning with the section on the fundamental skill that at is the root of all pictorial art...

SKETCHING
Introduction by Gene Byrnes


WILLIAM VON RIEGEN
"William Von Riegen, with his studies of figure drawing, claims that this type of exercise gives him a looseness and freedom of line that he couldn't get in any other way. Von Riegen is an outstandingly talented young man in the field- an especially fine artist." -Gene Byrnes






FINE ARTISTS
In this section, Byrnes does a fine job of clearly showing the link between fine art and cartooning.




HEINRICH KLEY
"Heinrich Kley as a pen and ink artist is in a class by himself. I know of nobody who ever had the freedom of line with a pen that could compare with Kley's. Each of his drawings is a little masterpiece." -Gene Byrnes







ROGER VERNAM
"Roger Vernam's animals are good examples of on the spot sketching. In his book published by Harper, entitled Drawing People For Fun, he sketches people from all walks of life." -Gene Byrnes



GORDON GRANT
"Gordon Grant, the world renowned marine artist, whose work appears in dozens of art museums, works in oil, watercolor, and pen and ink. Whenever he has any spare time, he uses it to sketch. His sketches on the following pages were taken from his private sketchbooks and were done on a trip through Brittany. They were accomplished with a fountain pen and no preliminary pencil work." -Gene Byrnes






HOWARD BRODIE
"Howard Brodie's portrait sketches were done in Germany when he was an artist correspondent with the United States Army. His drawings of the G,I. the battle scenes, and the action that he portrayed while he was in the Army have made him famous." -Gene Byrnes



FURTHER READING
In his blog, Temple of the Seven Camels, Mark Kennedy has been offering sage advice to beginning animators about the value of carrying a sketchbook with you wherever you go. Make sure to read the whole series...

Carrying A Sketchbook Part One, Part Two, Part Three and Part Four


...And don't miss his posts on Ronald Searle's Secret Sketchbook Part One and Part Two; and Ken Anderson's Africa Sketchbook

If you don't have The Drawings of Heinrich Kley in your library, get over to Amazon right away and order it. As Gene Byrnes says, no cartoonist should be without this book!

Many thanks to Marc Crisafulli and David King for sharing this great book with us.

If you found this post to be interesting, see... Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips and Part Three: Single Panel and Sports Cartoonists, and Part Four: Editorial Cartoons & Comic Books

Also see... Nat Falk's "How To Make Animated Cartoons" Part One: The History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made, Part Four: How To Draw Cartoons and Part Five: How To Animate. Also, see... Willard Mullen on Animals.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Comics: People On Paper (MGM/1945)

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.

ASIFA-Hollywood Board Member, Bill Turner was watching TCM the other night when he spotted a program that he knew would be great for the Archive...


This is a 1945 MGM short subject that shows the top newspaper cartoonists of the day at work in their studios and homes. Bill instantly recognized several cartoonists that we've featured here on this blog in the past few weeks. (Click on the picture to see our article.)


Milton Caniff
(Terry and the Pirates, Steve Canyon)


Hal Foster
(Prince Valiant)


Chic Young
(Blondie)


Al Capp
(Li'l Abner)
But that's not all... The film also includes footage of Bud Fischer (Mutt & Jeff), Frank King (Gasoline Alley), Chester Gould (Dick Tracy), Dick Calkins (Flash Gordon), and Harold Gray (Little Orphan Annie). There's even a little bit of animation of Li'l Abner at the end! Check it out...


"Passing Parade: People On Paper" (MGM/1945)
(Quicktime 7 / 24 megs)

PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.

Thanks to Bill Turner for taping this for us!

For more on newspaper cartoonists, see... Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips, Part Three: Single Panel and Sports Cartoonists and Part Four: Editorial Cartoons and Comic Books

Also see... Cliff Sterrett's Polly & Her Pals Part One, Part Two and Part Three. Also see... Milt Gross Sunday Pages Part One, Part Two and Part Three; and Rube Goldberg's Side Show.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Cartooning: Byrnes' Complete Guide To Cartooning Part Four

This post is just the tip of the iceberg... see reason number 8 on our The Top Ten Reasons To Support The A-HAA for links to more great info on the history of animation told through the careers of great animators.



EDITORIAL CARTOONS AND COMIC BOOKS
We continue with the section on editorial cartoons and comic books from Gene Byrnes' Complete Guide To Cartooning. This installment features a gallery of Pulitzer Prize winning editorial cartoons, features on C. D. Batchelor and Bill Crawford, and a cursory look at how comic books were edited.

EDITORIAL CARTOONING
By C. D. Batchelor
Clarence Daniel Batchelor started as a staff cartoonist at the Kansas City Star. He worked as a freelance illustrator for a time before joining the New York Daily News in 1931. He worked there for 38 years as an editorial cartoonist, He won the Pulitzer Prize in 1937 for the accompanying cartoon of a young man labelled "Any European Youth" being propositioned by a skull faced whore representing war, captioned... "Come on in, I'll treat you right! I used to know your Daddy." (Click on the image to see at a larger size.)








WILLIAM CRAWFORD

As I went to Google to research this blurb on editorial cartoonist Bill Crawford, the first listing I found was a short article in today's New York Times. Sadly, Crawford passed away yesterday of pneumonia at age 68.

Crawford was a master of the medium. He was awarded the National Cartoonists Society awards for best editorial cartoon of 1956, 1957, 1958 and 1966; he was awarded the Silver T-Square Award in 1977; and he served as president of the organization in 1960. His cartoons first appeared in the Newark News, and later were syndicated to over 700 newspapers around the country. He is survived by his wife, Claire, as well as a son and daughter.




COMICS MAGAZINES
By Whitney Ellsworth
Whitney Ellsworth started out as an assistant artist at King Features, working on strips like Dumb Dora and Tilly the Toiler. He was chief editor at DC Comics during the golden age of Superman, Batman, The Spectre, and The Green Arrow- but Superman was the series he was most closely involved in. Ellsworth wrote many of the story outlines for the comic books, and in the early 50s, he wrote the pilot episode of the Superman TV serial, Superman Meets The Mole Men. He retired in 1970.





It's interesting to compare the editorial script to the finished artwork provided here. The only thing the artist used was the basic situations, a few details and the dialogue. The staging of the panels and the pacing of the action from panel to panel had to be completely reworked to function visually. It's surprising that Byrnes gives this section on comic books such short shrift. Ellsworth focuses on the technical and editorial aspects of the comic book business, and barely mentions the artists who actually create them. Perhaps if Byrnes had gotten Joe Shuster, Bob Kane or Jack Kirby to write this section, it would have been a different story.

Many thanks to Marc Crisafulli and David King for sharing this great book with us.

If you found this post to be interesting, see... Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics, Part Two: How To Get Ideas / Studies of Comic Strips and Part Three: Single Panel and Sports Cartoonists

Also see... Nat Falk's "How To Make Animated Cartoons" Part One: The History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made, Part Four: How To Draw Cartoons and Part Five: How To Animate. Also, see... Willard Mullen on Animals.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Comics: Cliff Sterrett's Polly And Her Pals Part Three

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.



Cliff Sterrett is one of the most underrated newspaper cartoonists of all time. His strip, Polly & her Pals combined the surrealism of Herriman's Krazy Kat and the domestic comedy of George McManus' Bringing Up Father. To see our earlier posts on this subject, see... Cliff Sterrett's Polly & Her Pals Part One and Part Two.



Many thanks to Kent Butterworth for sharing these rare original comics pages with us.


September 20th, 1936


September 27th, 1936


October 25th, 1936


November 1st, 1936


November 8th, 1936


November 29th, 1936


December 6th, 1936


December 20th, 1936


December 27th, 1936
For more examples of Cliff Sterrett's genius, see Polly & Her Pals Part One and Part Two. Also see... Milt Gross Sunday Pages Part One, Part Two and Part Three; and Rube Goldberg's Side Show.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Comics: Walt Kelly's Pogo

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about comics.


Today, we have a guest blogger- Archive supporter Mike Fontanelli. I asked Mike to write about one of his personal heros. He's provided some wonderful artwork from his own collection to illustrate the article. Take it away, Mike-

FONTANELLI ON KELLY
One of the great heavy-hitters in the entire history of cartooning, Walter Crawford Kelly, Jr. was born in Philadelphia on August 25, 1913, although his family relocated to Bridgeport, Connecticut during his second year.

Migrating to California to work on Donald Duck cartoons at Walt Disney Studios in 1935, he stayed until the strike in 1941, long enough to animate on Snow White, Fantasia, Dumbo and The Reluctant Dragon. As good as Kelly's animation was, (had he stayed on, we'd all doubtless be reading about Disney's TEN "Old Men") his greatest achievements still lay ahead.

After leaving Disney, Kelly worked for Dell Comics. Here is a story he did for a 1946 Raggedy Ann & Andy comic book (the cover is from a 1948 issue)...








During his stints at Dell and the New York Star, Kelly introduced his most memorable creation to the world- in the unassuming form of a philosophical, swamp-dwelling possum named Pogo. The true heir of Herriman's Krazy Kat and Uncle Remus, Pogo was an American comic strip masterpiece. A flawless blend of slapstick, parody, allegory, political commentary, intellectual whimsy, social satire and Irish poetry- Pogo can be read on several levels at once, and it set a new standard of excellence in newspaper humor strips that has never been equaled.

Kelly has been compared to everyone from James Joyce to Lewis Carroll to T.S. Sullivant. He was named "Cartoonist of the Year" in 1952, and was elected president of the National Cartoonists Society two years later. He was the first strip cartoonist to be invited to contribute originals to the Library of Congress, and published some three dozen books during his lifetime- classics, all.


It's impossible for Gen X-ers weaned on modern tripe like Dilbert and Drabble to imagine the incredible graphic brilliance within the panels of Pogo. I remember literally getting lost in a Kelly Sunday page as a child, staring at the inspirational artwork for hours on end.

More than any other influence, I owe my choice of profession to the master, Walt Kelly. Here's some cool stuff from my collection. Enjoy!

Mike Fontanelli
Los Angeles, 2007

MIKE'S ORIGINAL KELLY SUNDAY PAGES
Make sure you click on these... They're amazing!






Take a moment to visit the official Pogo homepage.

Art Fuentes has been taking the $100k Cartoon Drawing Course. He got so excited by this post, he made a Pogo run cycle pencil test. Check it out!

ARCHIVAL POGO
Thanks, Mike for allowing us to digitize your original Pogo Sunday pages. For those of you out there who still don't understand how our archive works, what you see here on this blog is just a small representation of what our archive contains. For instance, we scanned Mike's Pogo inks at 1200 dots per inch- much larger than you see here on the blog. Each one of the Sunday pages comes out at a filesize of 1.7 gigs. For a sample of how detailed our scans are, click on the image below and compare it to the last panel of the last Sunday page...


You can see the grain in the paper! We scan every image in our collection at this resolution.

If you enjoyed this post, see also... The Father of Cartooning: T. S. Sullivant, Cliff Sterrett's Polly & Her Pals, , Harrison Cady's Birds Eye Views, Rube Goldberg's Side Show, and Milton Caniff's Steve Canyon.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

1.30.08
.

Stumble It!

Cartooning: Byrnes' Complete Guide To Cartooning Part Three

This post is just the tip of the iceberg... see reason number 8 on our The Top Ten Reasons To Support The A-HAA for links to more great info on the history of animation told through the careers of great animators.



SINGLE PANEL COMICS AND SPORTS CARTOONISTS

We continue with the section on two column panel and sports cartoonists from Gene Byrnes' Complete Guide To Cartooning (1950). Here are step by step descriptions of the creation of panel cartoons by George Clark and Lichty; as well as an article on Robert L. Ripley and features on sports cartoonists Pap, Howard Brodie and the great Willard Mullen.

TWO COLUMN PANELS
Two column panel cartoons are a staple of newspaper comics today, even though the width of the standard column has shrunk. As the size decreased, artists were forced to reduce detail. Daily strips are so small now, it's hard to do anything wider than a medium closeup in every panel. The two column panel cartoon has become the last bastion of cartoons with any kind of detail at all. Here, Gene Byrnes covers a few of the most popular single panel comics from the late 40s.




GEORGE CLARK
The Neighbors
George Clark was born in Oklahoma. He began drawing at a very young age, and by 16 years old, his cartoons were appearing in the Daily Oklahoman. His first syndicated cartoon was "Side Glances", and in 1939, he created the one panel comic he is best known for, "The Neighbors". Clark's gags were inspired by quiet observation of people in soda fountains and railroad stations. He would photograph situations, street scenes and expressions to incorporate into his drawings. The family in the comic was loosely based on his own wife and children.

He would create all of his comics for a week in one marathon session. He wrote, "It takes me at least six hours to warm up. I sit there trying to work and wondering what I've been doing all these years that it should still come so hard to me." When the ideas started flowing, he would work nonstop for up to 12 hours straight to complete the six cartoons for the week. He commented on the grueling process by saying, "When I'm trying to think of ideas for cartoons and they won't come, I think it would be wonderful to paint landscapes, with no gags in them."




LICHTY
Grin & Bear It


George Lichty was one of the most famous and highly paid one panel cartoonists in the newspapers. He created the cartoon, "Grin And Bear It" in 1932, and it ran every day for many decades. When asked to what he attributed the popularity of his wonderful lummoxes with names like "Bascomb Belchmore" and "Senator Snort", he replied, "From little acorns mighty oafs grow."




LARGE PANEL COMICS
When newspaper comics were at their zenith, whole pages were sometimes devoted to a single comic. Other comics would be half pages. Interspersed throughout the comics pages were quarter and third page single panels that depicted scenes and panoramas filled with gags. Today, each comic is so small, it's lucky if it can put across a single gag. A lot of the richness and depth of view has been lost.




ROBERT L. RIPLEY
Believe It Or Not
Robert Ripley was unique among cartoonists, because he truly lived his strip. Ripley travelled the world in search of the odd and unusual, which he featured in his daily newspaper comic. He passed away in 1949 at 56 years of age.



SPORTS CARTOONISTS
PAP
Thomas "Pap" Paprocki was referred to as the "Rembrandt of the sports pages". Born in 1902, he began his artistic endeavors at age nine, when he took painting lessons from an artist near his home in New York. A gifted athelete, it was natural that he would gravitate to being a sports cartoonist. In 1932, he began working for the Associated Press, where his column and drawings ran for over three decades. Check out the meticulous planning he put into his work.





HOWARD BRODIE
Howard Brodie worked as a sports cartoonist for the San Francisco Chronicle. During WWII, he became a combat correspondent, creating illustrations of GIs in action that made a huge impact on readers stateside. He was a decorated veteran, and also served as a combat artist in Korea and Viet Nam. In the 50s and 60s became a courtroom artist, famous for his ability to capture the drama and detail of the proceedings in his quick powerful sketches.




WILLARD MULLIN

Willard Mullin has been featured in this blog before in reference to his work on the Famous Artists Cartooning Course. He grew up in Los Angeles, but like most newspaper cartoonists of his era, he moved to New York in 1934. He worked for the New York World Telegram for over thirty years, where he created the iconic caricature of the Brooklyn Dodgers, the "Brooklyn Bum". Mullin eventually became a respected illustrator for Time, Life, and The Saturday Evening Post. Although sports cartooning is pretty much a dead artform, Mullin's work is timeless and will live on long after the game has ended.




Many thanks to Marc Crisafulli and David King for sharing this great book with us.

If you found this post to be interesting, see... Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics Part Two: How To Get Ideas / Studies of Comic Strips

Also see... Nat Falk's "How To Make Animated Cartoons" Part One: The History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made, Part Four: How To Draw Cartoons and Part Five: How To Animate. Also, see... Willard Mullen on Animals.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Comics: Milton Caniff's Steve Canyon Dailies

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about comics.


Today, we have an exciting post for you... original artwork by Milton Caniff for the Steve Canyon newspaper strip.


Archive supporter, John Ellis is working with the family of Milton Caniff on a DVD release of the live action Steve Canyon television series, which debuted in September of 1958 on NBC. In searching through the family's collection of memorabilia, John stumbled across a batch of original inks of daily and Sunday pages that the family didn't realize that they had. The estate of Milton Caniff has generously allowed the ASIFA-Hollywood Animation Archive to digitize the material for inclusion in our cartoon database.


John Ellis has been doing considerable research into Caniff and Steve Canyon. I asked him to write a few words about Caniff...

Milton Caniff has been referred to as "The Rembrandt of the Comic Strip", and oft by himself as "an Armchair Marco Polo", but in fact this whirlwind of a comic strip innovator and writer was essentially a sincerely nice man who loved to draw. Yes this gentleman born in Hillsboro Ohio in 1907 created and drew Terry and The Pirates from 1934 to 1946, which absolutely set the standard for the adventure comic strip. True, he raised the bar with Steve Canyon, which unlike Terry, he owned lock stock and barrel from the first daily strip in January 1947 through to June 1988, the final installment published shortly after his death. Absolutely he worked rain or shine, seven days/strips a week for 54 years, even from his hospital bed, the deadlines never ended.

Milton Caniff in his studio ca. 1947
(click for a larger view)

But beyond the art and dedication, what is true is that I've never heard an unkind word in his regard. His nephew Harry Guyton can't even remember Milton ever losing his temper. My friend David Haft, who produced the NBC Steve Canyon primetime TV series in 1958, made a comment as we watched Milton on a vintage filmclip promoting the series recently. He said "Lovely, lovely man". Happy 100th birthday Milton.

John Ellis
Hollywood, 2007

This is the first of several posts featuring the Caniff Collection. Make sure to click on the images to see high resolution versions. Caniff's amazing adventure strip from the late 40s has never looked better!
















If you enjoyed this post, see... Byrnes' Complete Guide To Cartooning Part One- Meet The Men Behind the Comics and Part Two- Studying Comic Strips, Dan Gordon's Superkatt, Rube Goldberg's Side Show and Alex Toth Model Sheets

STEVE CANYON TV SHOW

For info on the Steve Canyon TV show DVD, see... www.stevecanyondvd.blogspot.com

STEVE CANYON AT AMAZON

Fantagraphics has a great book on Caniff's career, and Checker has released year by year reprints of the classic Steve Canyon strip. Caniff was a master storyteller, and the first few years of Steve Canyon are examples of his genius at the height of its powers. Click on the pictures for more info.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

"Steve Canyon" is a Registered Trademark of the Milton Caniff Estate.
© 2007 Milton Caniff Estate. All rights reserved. Used by permission.

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Cartooning: Byrnes' Complete Guide To Cartooning Part Two

This post is just the tip of the iceberg... see reason number 8 on our The Top Ten Reasons To Support The A-HAA for links to more great info on the history of animation told through the careers of great animators.



BLONDIE, BRINGING UP FATHER, HENRY, MANDRAKE THE MAGICIAN, DICK TRACY, GASOLINE ALLEY, PRINCE VALIANT... Studying The Comics Pages

We continue with the section on newspaper cartoonists from Gene Byrnes' Complete Guide To Cartooning 1950. Today, there are three articles on how to get fresh ideas, Byrnes goes through the newspaper analyzing the appeal of various comic strips, and Chic Young and Hal Foster are featured.

HOW TO GET IDEAS
By Dana Coty
I don't have much information on Dana Coty (Dec. 19, 1901 - March 19, 1962) aside from the fact that he worked at Disney in the mid-30s, and was a story man at Famous Studios.



J. N. Darling (Ding)
on EDITORIAL IDEAS
"Ding" Darling was a Pulitzer Prize winning cartoonist for the Sioux City Journal, The Des Moines Register, the New York Herald Tribune and the New York Globe. His editorial cartoons dealing with conservation causes were a staple of the opinion sections of many papers for decades. He passed away in 1962.



IDEAS FOR ADVERTISING CARTOONS
By Sam Cobean
Sam Cobean was an inbetweener on Snow White, barely surviving on $16 a week, when he joined the strikers fighting for the creation of the Screen Cartoonists Guild. After returning to work when the contract was settled, Sam realized that Disney was not the place for him and took a job as a copy boy at the Washington Post. There, he developed an interest in political cartoons. During the war, he worked in a unit producing training cartoons and pamphlets along with cartoonist Charles Addams. Addams introduced him to the editor of the New Yorker, and Cobean's cartoons appeared there for many years afterwards. In 1950, he created a book of cartoons, titled "Cobean's Naked Eye" which was a bestseller. He died in a car accident in 1951.



STUDIES OF COMIC STRIPS
In this section, Gene Byrnes analyzes the style and appeal of various contemporary newspaper comics. The most interesting thing about the strips he features is the high level of draftsmanship, and the diverse variety of styles and approaches to the medium. Newpaper comics were once considered the pinnacle of cartooning... but today, they have plunged to its nadir. Comparing Prince Valiant to Drabble or Bringing Up Father to Cathy is a depressing task. It's shameful that so great an artform has been allowed to deteriorate so far. I hope there are aspiring cartoonists out there who are willing to take up the difficult task of restoring the comics page to its rightful place in American culture again. This overview is a good place to start investigating the forgotten art of newspaper cartooning.








SUNDAY PAGES
Featuring Chic Young & Hal Foster


Chic Young was born in 1901 and began his career as a newspaper cartoonist in 1923. His first strip for King Features was Dumb Dora and in 1930, he created the strip, Blondie, one of the longest running newspaper comics of all time. He drew it until he passed away in 1973, and his son, Dean continues to write it to this day. Blondie was hugely successful and spawned film and TV adaptations.



Hal Foster was raised in the wilds of Halifax, Nova Scotia where he was an avid boater and outdoorsman. He dropped out of school in the ninth grade and began a course of self education studying sketching and anatomy. He set art aside to become a hunting guide and gold prospector, but at age 28, he decided to devote his life to a career in art. He received classical training at the Chicago Art Institute, the National Academy of Design and the Chicago Academy of Fine Arts. In 1927, he was contracted to do a comic strip adaptation of Edgar Rice Burroughs' Tarzan of the Apes. 1n 1937, Foster introduced an original property, Prince Valiant, the most successful adventure strip of all time. Foster produced the strip for over 40 years, passing away in 1982.




Other artists featured in this section are Jimmy Hatlo, Otto Soglow, George McManus, Chester Gould and Frank King... all worthy of spending a few minutes Googling and reading up on.






The posts I present here at the ASIFA-Hollywood Animation Archive blog aren't intended to be the last word on any subject, particularly one as large and multifaceted as the history of cartooning. My hope is that you use these posts as a springboard for your own investigation. Take the names and examples I present here and start searching the web for more... scour bookstores and flea markets... and expand your frame of reference beyond just what is presented here. I wish I had a source of "hot tips" like this when I was first starting out. Take advantage of this great resource we're building.

Many thanks to Marc Crisafulli and David King for sharing this great book with us.

If you found this post to be interesting, see... Gene Byrnes' Complete Guide To Cartooning Part One: The Men Behind The Newspaper Comics

Also see... Nat Falk's "How To Make Animated Cartoons" Part One: The History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made, Part Four: How To Draw Cartoons and Part Five: How To Animate. Also, see... Willard Mullen on Animals.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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Media: Rube Goldberg's Side Show

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about comics.


Rube Goldberg was known as the "Dean of American Cartoonists". His longtime friend Grantland Rice wrote...

I recall those great Goldberg cartoons of forty-odd years ago. While introducing an element of broad burlesque, they were packed with real humor and were all based on a sound philiosophy of life. His cartoons ran under such headings as "This All Comes Under The Head Of Pleasure", "They All Look Good When You're Far Away", "Now That You've Got It, What Are You Going To Do With It". "Father Was Right", "Foolish Questions" and many others. Each was based on the kind of universal experience that almost every one of us stumbles into at one time or another. Rube had a knack of looking underneath the surface and discovering things that only seemed obvious after he had pointed them out with his fun-stirring pen.

Here's the entry on Goldberg from Martin Sheridan's book, Comics And Their Creators...






Goldberg was best known for his crazy inventions, which are featured at the bottom of each one of these "Side Show" Sunday pages. These comics were on the back sides of the Milt Gross pages we've been scanning courtesy of master animator, Mark Kausler. If you see him, give him a tip of the hat for generously sharing his amazing collection with all of us. I have made the thumbnails smaller this time to fit more pages in. Click on them and spend some quality time reading these great comic pages from the late 1930s.







For links to more amazing golden age newpaper comics, see... The Top Ten Reasons To Support The A-HAA

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

10.2.08
.

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Media: Milt Gross' Cartoon Tour of New York

This post is just the tip of the iceberg... see reason number 2 on our The Top Ten Reasons To Support The A-HAA for links to more great posts about print cartoonists.


It's especially gratifying when an animation professional stumbles across this blog and immediately grasps what it is we're doing and how important it is to the art of animation. A while back, animation director, Kent Butterworth (www.attilatheham.com) was doing a web search for Ralph Bakshi and found our post on Ralph's Phone Doodles. Kent was excited by what he saw and bounced around the site, discovering that the archive is located less than a mile from his home. It was a Tuesday afternoon, so he jumped in the car and came right over to see what we were doing. I gave him the tour and explained how the database we are building is intended to work, and he was behind the concept 100 percent. On Thursday he was back, with a stack of books and comics to allow us to digitize.

Kent's collection is amazing, and the scope is huge. He brought a hard drive full of scans of vintage comic books by dozens of great artists, 40s Colliers magazines with Virgil Partch cartoons, original Sunday pages by Cliff Sterrett, and a book I've never seen before... Milt Gross' Cartoon Tour of New York.

Milt Gross is one of the greatest comic artists who ever lived. His books Nize Baby, He Done Her Wrong and Dunt Esk are classics of ethnic New York humor. His drawing style is direct and funny with absolutely flawless staging, composition and expression. Gross's Cartoon Tour of New York was published as a program guide for tourists visiting the 1939 New York World's Fair, and it's an amazing time capsule into life in the "big apple" in its golden age. If Weegee's Naked City depicts the front page view of this marvellous time and place, Gross' Cartoon Tour tells the Funny Pages version.

A lot of this book appears to have been drawn by Milt Gross' assistant, but there's still plenty of joy in ever panel. Here are scans of the entire book. Enjoy!










































Many thanks to Kent Butterworth for sharing this great book with us!

For more Milt Gross cartoon goodness, see... Milt Gross Sunday Pages and Dailies Part One, Part Two, Part Three, Part Four, Part Five, Part Six and Part Seven. Also see... Chic Young's Blondie, Rube Goldberg's Side Show; George Lichty's Grin and Bear It, Cliff Sterrett's Polly & Her Pals Part One, Part Two and Part Three; and Harrison Cady's Birds' Eye Views

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

6.28.08
.

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