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Thursday, 17 June 2010

Don Easton's "Portrait of a (Oil Industry) Capitalist"

Posted on 07:16 by Unknown
Way back in the mid-1940s Union Oil had illustrator Don Easton draw a series of ads promoting the oil company's position in the business of providing fuel to the American consumer market. Perhaps even in those hopeful post-war days, when the industrial sector was not viewed with a jaundiced eye (and long before environmental concerns), Union Oil felt that the public perception of the oil industry was that a few fat cats puffing on big cigars and sipping from brandy snifters were making a killing at the expense of 'the little guy'. Union Oil asked us to consider "who actually runs the oil companies?"


Buried in the text-heavy copy of those ads are some undeniable truths that no one in those days could have imagined would come back to haunt us half a century later.


These statements were made with a different motive in mind, but if we had had the benefit of genuine forsight, perhaps we would have read a forbidding warning in what was meant to be a reassuring confirmation that we (all of us average hard working consumers) were "in the driver's seat."


It turns out all we need to do is look in the mirror to see the portrait of a capitalist. I'm not saying its a dirty word by the way (before all the Fox News watchers jump down my throat) I'm just saying that we are all culpable in disasters like the one unfolding in the Gulf. The oil economy transformed the world and raised the standard of living for untold millions of (mostly western) people. Its also caused untold suffering to millions and millions of people, plants and animals all over the world.

Unfortunately every silver lining has a dark cloud inside of it. And tar balls.


I'm as guilty as anybody so, seriously, I am not meaning to preach. I just thought it was sort of interesting when I stumbled across these ads in my collection and, by coincidence, we find ourselves immersed in the worst oil spill disaster in the history of civilization ( latest estimate, nine times worse than the Exxon Valdez and counting ) and I see all the fingers pointing blame at somebody else. Union Oil spelled it out half a century ago: "the people in this country determine [an oil company's] entire course of action... whether it shall expand its drilling operations or curtail them" ... with their "votes" at the cash register. For our purposes in modern times, that can be expanded to "the people of the world..." because let's face it, with automobile ownership and a rapidly expanding middle (consumer) class in Asia, we're really all in this together from here on in.


The question is, have we learned anything at all or will it be business as usual? And where do we go from here?

* Although I know nothing about illustrator Don Easton I have a gut feeling he was a West Coast illustrator ( and Union Oil was a California company so it makes sense ). Easton's ink line drawings are really lovely to look at close up so I have posted these scans 50% bigger than I usually do. Just click on any one to see the details of these many small spots in greater detail.

* My Industry Flickr set.
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Sunday, 13 June 2010

Lunch with Murray

Posted on 10:31 by Unknown
What do Murray Tinkelman...


Bob Levering...


... and Mitchell Hooks all have in common? Well, for starters, they are all fabulous illustrators who got their start in New York during the mid-20th century. I can tell you something else they have in common; they are all wonderful, gracious gentlemen with whom anyone would be fortunate to spend some time.

Say, over lunch.


So what do Murray Tinkelman, Bob Levering and Mitchell Hooks all have in common with me? Well, about two weeks ago - on my birthday - the four of us were sharing a table in the dining room of the Society of Illustrators in New York City... having lunch.

To say I was thrilled beyond belief would be an understatement!

I never imagined I'd ever even set foot in the door of the Society and yet here I was - as Murray's invited guest - eating, drinking and sharing stories with three of my idols. Hanging on the wall just inches from my head, a gorgeous original by N.C. Wyeth - and lining the walls all around this bright, inviting room; original artworks by so many of the giants of the golden age of illustration.


Some twenty feet away, hanging over the bar, a magnificent original by Norman Rockwell. "Its probably worth more than the entire building," Murray said to me in an aside as I gawked in amazement. I'm still not sure but I suspect he was only half joking.


Hanging near the ceiling in another part of the room, Al Parker's drum, signed by his many illustrator friends and associates. "Make sure you get a picture of that," advised Murray. So I did.


The show currently on display in the Society dining room is called "Pirates, Petticoats and Puffy Sleeves" and if you are in a position to go see it I promise you will come away feeling awestruck.


This magnificent Saul Tepper is a fitting introduction to the show, but I bet that, like me, you'll find yourself captivated by each and every piece you stand in front of as you make your way around the room. Murray and I toured the show together and all I could say was "wow... wow... wow..." as we stopped and admired each glorious piece. Its great to know that so many beautiful works of art have been saved - after all these years - and are secure and well cared for in the best possible home they could have. It was fantastic to see that the good people at the Society of Illustrators bring these treasures out into the light of day so a new generation can admire and learn from and be inspired by them.


As if a long lunch in this magical place with these wonderful people wasn't enough of a birthday gift, we were joined afterwards by Murray's lovely wife Carol and Eric Fowler, the genial Collections Manager of the Society, who suggested we head upstairs and take a look in "the vault".

Here are Murray and Carol Tinkelman chatting with Bob Levering near Eric's work space in the Collection Room. You can see Eric heading into the deepest, darkest part of the collection in search of some original Robert Fawcetts for us to look at.


Here's Bob Levering, age 91 and one of the sweetest people I've ever met. I had brought along a dozen or so colour print-outs of Bob's illustrations from his Cooper studio days of the '50s for us to discuss, and he was just so pleased to see them. His originals are long gone and I suspect he probably doesn't have any tearsheets anymore... so he was really appreciative to see those 'old friends' again. Propped up behind Bob, a Robert Fawcett original from Collier's magazine, circa 1951.


With Eric's assistance, we soon had an original Charles Dana Gibson and a James Montgomery Flagg to compare. Murray wanted to make a point about why Gibson was such a superior draftsman. I wish I had recorded that conversation, but frankly I was too overwhelmed by being immersed in the whole experience to do much more than snap a few blurry pictures with my phone.


Before we knew it Eric was looking at his watch and saying, "Well folks, I'm afraid I have to close up shop for the day." Suddenly it had become 5:30 -- our little group had just spent the entire afternoon happily chatting away and completely lost track of the time.

Here are Murray and Carol leading the way back down to the main floor. Two in front of Murray hangs an original Mitchell Hooks (in all the excitement I'd forgotten to take a picture of Mitch!) and just beyond it, on the next wall going down the stairs, a typically outstanding space scene by Robert McCall.


Back on the main floor, Murray suggested we check in on the folks hanging what is the Society of Illustrators' current big show.


Its entitled "Earth: Fragile Planet" and showcases the work of a wide array of some of the best artists currently working in the business.


Way back at the top of this post I showed a piece Murray did for the New York Times Op-Ed page back in 1972... and here I found the original, hanging just inside the entrance of the gallery at the front of the show. Murray explained that with the current crisis involving BP down in the Gulf Coast, this piece seemed, nearly 40 years later, sadly relevant and appropriate once again.


We took our time wandering around enjoying the tremendous variety of styles and executions in the 120 pieces that comprise the Earth: Fragile Planet show. The intent was to give artists "a forum to set forth their personal views about the state of the world and the environment" and I think it succeeds magnificently.

Here are Murray, Carol, and Eric in the middle distance at left and Bob Levering in the background.



The show opened on Thursday June 3rd and will be in place at the Society of Illustrators for 9 weeks. If you are in a position to do so, I encourage you to drop by the Society at 128 E 63rd St. and spend some time taking it in (and if you can, make your way upstairs and see the show in the dining room, too!).


Here are the important details...


And with that, my lunch with Murray Tinkelman came to an end. As we lingered by the front entrance saying our goodbyes, I suddenly felt compelled to embrace this fine fellow. Reaching out for him I said, "C'mere Murray - its my birthday - I gotta get a hug from Murray Tinkelman on my birthday." Murray laughed and, wonderful guy that he is, gave me a great big, genuine, warm hug. I said my final goodbye and wandered away, back toward Central Park. I needed some time to mull over all the details of this remarkable day.

Murray, Carol, Bob and Mitchell... Eric and all the other friendly, interesting people I'd met at the Society, and their kind and cordial treatment of me... all that stunning artwork I'd come in such close contact with... it was all a little overwhelming. It was the best birthday gift I could ever have hoped for!

* Murray Tinkelman is a recently-inducted Trustee of the Norman Rockwell Museum. Congratulations, Murray!
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Monday, 7 June 2010

Today's Inspiration...

Posted on 04:30 by Unknown
... is on a long holiday. Sort of.


Since returning from the Reubens ( and a couple of extra days in New York ) I've been overwhelmed with freelance and my teaching responsibilities.


Its been impossible to find the time to put together regular posts, so TI will have to take a bit of a holiday while I attend to those responsibilities.


Hopefully I'll be back on track next week.


Meanwhile...


... enjoy life!
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Sunday, 30 May 2010

Howie Post (1927-2010)

Posted on 04:53 by Unknown
Though he was not a member of the National Cartoonists Society, I felt it would be most appropriate to conclude this week's series with a look at Howard Post who, sadly, passed away recently. Tom Sawyer provided some wonderful excerpts from his memoirs for us to enjoy this past week. Howie Post was one of the gang of cartoonists with whom Tom had worked and laughed in the early days of his career.


Tom wrote, "I don't know if you're familiar with [Howie's] work, but he was part of our circle in NY, and later, for me, in LA, when he came out here to take a shot at TV comedy-writing. Interesting guy. In fact it was through Howie that I met the people who gave me my start in TV."

Back in 2005 my friend and fellow contributor to Drawn!, Jay Stephens, wrote this wonderful appreciation of Howie Post's accomplishments. I must admit, I had not realized until I read Jay's article that Post was responsible for creating (among others) the iconic Harvey Comics characters Spooky...


... and "The Good Li'l Devil" Hot Stuff (who was a childhood favourite of mine and was the inspiration for my avatar, which you see in the top right corner of this page).

During the late '60s Post also created a short lived (but still much beloved) DC comic called "Anthro."




And perhaps most famously, Howie Post created a nationally syndicated comic strip called "The Dropouts" which ran from 1968 to 1982.


There's an obituary at North Jersey.com that includes a great photo of the artist at his drawing table...


... and Craig Yoe has a very nice appreciation of Howie Post (and shares one of his early comic book stories) on his blog.

* Many thanks to Tom Sawyer for sharing memories of Howie Post with us.

* Thanks also to Heritage Auctions for allowing me to present scans from their archives to illustrate this post.
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Saturday, 29 May 2010

Luminaries of the NCS: Warren King

Posted on 14:07 by Unknown
The Reubens, the annual awards ceremony of the National Cartoonists Society (of which I am a proud member) was last night. I'm actually putting together this post in my hotel room on the morning after what was another terrific ceremony. As in previous years, I'm using this memorable occasion as an opportunity to showcase some of the Luminaries of the NCS. Today, Warren King.


My friend Tom Sawyer (whose career was the subject of a week of posts here on TI in 2008) has graciously agreed to share another excerpt from his memoirs.

Tom mentioned a group of cartoonist friends who all worked and laughed together in those days. He wrote, "Through Leonard, John [Augustin] and Tex, I began to meet and socialize with other artists, some who’d drop by the studio, several of whom would become close friends, meaningful players in my life for years to come, Stan Drake, Warren King, John Prentice and Howard Post, to name a few." That quote has been the basis for this NCS series.

I asked Tom to elaborate on Warren King, whom he only mentioned in passing in that memoir excerpt, but of whom he clearly had a lot of fond memories.


Tom wrote back, "About Warren King, he had for years been Rube Goldberg's assistant (during Rube's long career as an editorial cartoonist). And when Rube retired (and took up sculpture in his late 70's or early 80's, Warren became the editorial cartoonist for the NY Daily News."


"Rube, BTW was a lovely, witty man, whose most memorable quote in my presence was: "Tits never hurt anybody." And speaking of quotes, one of Warren's that I particularly remember was his description of dogs. He referred to them as "hairy shit-machines."



Tom concluded, "Warren was a very entertaining guy with a singular, distinctive laugh - so particular that even in a roomful of people laughing, his stood out. And we did a lot of laughing in those days."


* Many thanks to Tom Sawyer for sharing this wonderful excerpt from his memoirs with us. The text today is Copyright © 2010 by Tom Sawyer Productions, Inc.

* Thanks to Flickr member, Tribe for sharing his scan of a 1949 comic book page by Warren King that appears in today's post.

* Thanks also to Lee Dunbar for sharing his photo of an original Warren King political cartoon.
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Friday, 28 May 2010

Luminaries of the NCS: Leonard Starr

Posted on 11:16 by Unknown
The Reubens, the annual awards ceremony of the National Cartoonists Society (of which I am a proud member) is now under way. I'm actually putting together this post in my hotel room at the event! As in previous years, I'm using this week as an opportunity to showcase some of the Luminaries of the NCS. Today, Leonard Starr.


My friend Tom Sawyer (whose career was the subject of a week of posts here on TI in 2008) has graciously agreed to share another excerpt from his memoirs. Tom picks up the story where we left off yesterday; in those first few days of drawing backgrounds in the studio of the artist Tex Blaisdell had nicknamed ‘Glamorous-and-Unpredictable.’

Excerpted from Thomas B. Sawyer's memoirs:

"Leonard Starr appeared several days later, in town from his home in Centerport, on Long Island’s North Shore. His presence didn’t disappoint. Handsome, tall, blonde, self-assured, witty and, true to Tex’s billing, striking in a star-quality way.


We hit it off immediately, beginning what would become the single closest friendship I would ever have – the kind where, even after weeks or months without contact, our wide-ranging conversations would resume as if there had been no interruption, endlessly stimulating as always. Books, art, movies, theater – and especially, once he’d educated me about it, music."


"And among the best of all, for me, was the fact that he liked my work, quickly ‘promoting’ me from merely doing backgrounds to handling ‘breakdowns’ as well. Another new piece of terminology, this consisted of taking the scripts he was given, and laying out the pages, deciding on panel-size and shape, rough-penciling the figures, arranging and loosely lettering dialogue balloons so that the lettering-man had sufficient space. Storytelling, actually, and in a cinematic way."


"Through Leonard, John [Augustin] and Tex, I began to meet and socialize with other artists, some who’d drop by the studio, several of whom would become close friends, meaningful players in my life for years to come, Stan Drake, Warren King, John Prentice and Howard Post, to name a few."


Leonard Starr has come up in the course of discussion in other posts on Today's Inspiration. On one occasion, while discussing illustrator Frank Reilly's art school, David Apatoff provided these recollections from Starr, who had attended the Reilly school:

"Reilly was the best teacher I ever saw-- the only one who was really worthy of the title, "teacher." My teachers at Pratt were all tired re-treads, who were interested in 2 dimensional design but couldn't teach you how to draw. They would walk around the room and remind you that the human hand has 5 fingers. I learned far more from the Famous Artists School training materials."


"Then one day when I was 27 I was talking with Dean Cornwell at the bar at the Society of Illustrators. I was already doing well as a professional artist but I still felt I had real gaps in my learning. Dean told me that he was "impressed with the work that Frank Reilly's kids are doing." So I went to Reilly and he took me on as a student."


"Reilly taught that drawing was a matter of "relationships"-- from the neck to the hip bone, from the tip of the shoulder to the groin, he showed us how everything combined to make the figure come alive. Kids always start out making the figure lean to one side or the other, but Reilly showed us how to nail that figure down: "at least one of those legs must be supporting the weight of that body." He was just remarkable. I never left a class without learning something new. I wish he had been my teacher starting in high school, then I would really have been able to draw. He was better than George Bridgman (who Reilly dismissed as "an anatomist.") Unlike Bridgman, Reilly taught you in a way that made the anatomy naturally go where it was supposed to go."


... and for a post on NCS member John Prentice, David provided the following quotes from Leonard Starr, which shed light on how his "On Stage" strip came into being:

"Johnny and I shared an apartment in Manhattan-- it was a dreadful little place-- but we were living "la vie Boheme," making a living as artists (although not a very good one. Whoever received the last check paid for the groceries). We worked for Johnstone and Cushing and other places, but I was shopping around some comic strips to syndicates (including On Stage). Then one day, we got word that Alex Raymond had been killed in a car crash. I received a call from Sylvan Byck, the cartoon editor for King Features. He told me that Raymond had only worked two days ahead, and the syndicate was in a panic."


"Could I come right over and take up Rip Kirby where Raymond had left off? I thought about it... Rip Kirby was a sure thing, and it was very tempting, but I decided to take a chance and try my luck with my own strip a while longer."


"So I told Sylvan, "You don't want me, but the very best guy in the world for the job is sitting right next to me." Sylvan responded, "send him right over!" And that's how Sylvan met Johnny and Johnny got the Rip Kirby strip."


"It turned out, that same day, the head of the Chicago Tribune Syndicate was on a train reading a newspaper, saw that Raymond had died, and got off the train at the next stop to send me a telegram confirming that I would be doing On Stage for his syndicate. He figured that King Features would be looking for a replacement for Raymond. So Johnny and I each got our strips at the same time, and took off from there."



* Many thanks to Tom Sawyer for sharing this wonderful excerpt from his memoirs with us.

His portion of the text in today's post is Copyright © 2010 by Tom Sawyer Productions, Inc.

* Thanks to David Apatoff for sharing the quotes from Leonard Starr that appear in today's post.

* I'd also like to thank Alan Light, for allowing me to use his photo of Leonard Starr at the conclusion of today's post.

* Thanks also to Heritage Auctions for allowing me to use all the artwork scans from their archives to illustrate this post.
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