Last week I started placing lilies in my cartoons. You may have noticed.
They are in honor of something personal and I don’t know how long they will be there, but if you scroll through above you can see the last five cartoons that have had the lily or lilies. Can you spot them all?
It’s not a game, but if you want to make it one, check these out and all the upcoming cartoons which may, or may not have lilies.
So New York Comic Con is back! From October 7-10, 2021, the Jacob Javits Center will be alive again. Until recently it has been used for some sad and unpleasant things – you may remember it was turned into a hospital during the very dark days of covid. And until recently it was a center for vaccination shots.
I guess it will feel weird being there and thinking of all that, but in the end, it will be back to what it was meant for – events. Comic Con was cancelled last year, so it will be a big welcome home event this year.
I’m looking forward to Comic Con. And of course, being in NYC in the fall is an added bonus. This past summer there was still a lot missing. There wasn’t much in the way of service and I don’t think NYC is ready for visitors yet. Plus the weather is either 100 degrees or raining every day, which doesn’t help in making it a great summer experience.
That being said, I did spend a lot of time with friends and family and I did a lot of things from going to the Hamptons a couple of times to visiting Little Island, Governors Island, Coney Island (a lot of islands), seeing the fireworks and of course doing the Van Gogh Experience, among so many other things.
I was in New York for a few weeks and last week I went to MOMA, the Museum of Modern Art. While there, it reminded me of this cartoon I published this past year. It’s a guy, most likely the security guard, looking out the window, rather than the masterpieces surrounding him.
Some of you thought it was an artists license, me adding a window next to the art, as if that wasn’t a thing. But it is a thing and I’ve seen it so many times at MOMA.
I took these two pictures last week. And there were so many more instances where I could have taken more pictures. People actually look out the windows at MOMA, right next to the art! I’ve done it myself every time I’m there.
I guess it’s the view – the skyline is a work of art itself, so you sort of gravitate toward the windows, which are right next to the art!
One of my favorite comics is “Off the Leash” by London-based cartoonist Rupert Fawcett. I first saw the comic on Facebook, where Rupert has almost 1 million followers. The comic can also be seen on Instagram and on its own website. But Rupert is also known for other comics work including Fred, a single panel comic which, like Off the Leash, has has been published all over from newspapers, to books and greeting cards.
TOM: Regarding “Off the Leash,” You seem to get into the dogs’ heads, do you study them? Tell me about your own pets.
RUPERT: I’ve never consciously studied dogs but I am a watcher by nature, a people watcher and I suppose, a dog watcher too. I’m someone who is never phased by delays at airports or anywhere else as I know I will be happily entertained watching the people around me, although I have to be careful not to get caught staring too intensely at anyone. We currently have a two year old whippet and two Burmese cats.
TOM: How often do you publish Off the Leash? Do you draw up a bunch at one time or post them as they are completed?
RUPERT: I had a very productive three years of producing Off the Leash cartoons at the beginning but as I have other commitments I now only draw new ones sporadically. As soon as I have finished one I post it which is the great thing about social media for a cartoonist, it is so instant, from the drawing board to the worldwide audience in seconds!
TOM: I totally agree with that, I almost feel social media was made for art and cartooning. I noticed you work in black and white, why that and not color?
RUPERT: Black and white line gives enough visual information for a cartoon. Coloring would be time consuming and add nothing to the joke.
TOM: I like the clean look of your black and white work, too. Who are your cartooning influences?
RUPERT: don’t have any specific ones but I’m probably influenced by everything I see.
TOM: What medium do you use? Digital? Pen and ink?
RUPERT: I use old fashioned ink pens – I’m a bit of a technophobe.
TOM: What was the first thing you would seriously draw? I mean, I would draw Fred Flintstone, I always remember as a young child doing that. Did you draw a character or have a favorite subject at a young age?
RUPERT: As a boy growing up in the sixties I used to draw footballers quite a lot and soldiers. The comics I read as a child featured regular strips based on the war which was still very recent history. I also used to create my own strange characters. I used to get very absorbed and doodle for hours.
TOM: How did you begin your career as a cartoonist? When did you start cartooning? Tell me about Fred
RUPERT: Speaking of strange characters! I created Fred in 1989 and received over 80 rejection letters from publishers and newspapers. But when I had the greeting card range published by Paperlink it suddenly took off and became a big thing. Fred kept me fully occupied for about twelve years.
Fred was a combination of surrealism and suburban Englishness
TOM: Tell us about your studio or workspace.
RUPERT: I work in a fairly small room at home in South West London, it’s my ‘garden shed’ and i have to be prised out of it by my family sometimes. I’m happiest when I’m drawing and in my private dreamworld, just as I was at six years old.
TOM: What famous artist, dead or alive, would you want to paint your portrait?
RUPERT: Lucien Freud (with my clothes on)
TOM: What comics/cartoons do you read/follow today?
RUPERT: I probably don’t look at cartoons any more than anyone else but I always appreciate a good one. Gary Larson is brilliant.
I interviewed one of my favorite cartoonists, Jason Chatfield, who incidentally helped me immensely with my own cartooning, as I live by one of his statements: “Don’t curate your art to what gets likes. Curate it to what you like.” I live (and create) by that now.
I was interested in Jason’s schedule, technique and so much of his cartoons and comics work and work ethic.
TOM: You seem to do so much, TV, New Yorker cartoonist, daily comic strip (Ginger Meggs) and President of the National Cartoonists’ Society (NCS). What is the schedule like, for instance, when do you do the comic strip? When do you do New Yorker cartoons?
JASON: I have a pretty regular schedule — I work from a calendar instead of a to-do list — I tend to do 6 daily strips at-a-time, then the Sundays (weekend paper strips) on separate days.
I pitch a batch of 10 New Yorker cartoons each Tuesday; some roughs and some finished, and some of them re-submissions with new captions. 99% are rejected. Those are done in a 10-step process that I outline here.
The TV work is usually just a one or two-day shoot somewhere, then the show or commercial runs for years, so that’s not very time-heavy, and my NCS work is just constantly streaming in every day. Some days there is a lot to do, other days less so. Cartoonists are my favorite people, but trying to organize them can be like herding cats. ☺️
It sounds like a lot, but I manage to sleep somewhere in there and take weekends off with my wife and pup.
TOM: I see that Ginger Meggs recently turned 100 — that’s quite a weight to bear — taking over such a well-known strip. How did that come about? How were you chosen to do this?
JASON: When I was a 23 year-old editorial cartoonist in my hometown of Perth, the fourth cartoonist on the strip, James Kemsley, asked me to take it over. That was few days before he died of ALS. He was a dear friend and mentor so it was a very bittersweet honor to inherit. I’d give up the strip tomorrow it it meant having Kems back; he was an impressive guy, always way ahead of his time and always helping other cartoonists. I’m glad I could carry the baton and keep Ginger going past 100 years. (Details on the centenary are at gingermeggs.com )
TOM: As President of the National Cartoonists Society, what is your take on webcomics or comics only published online? They seem to be the most read today, yet I have heard that cartoonists have a problem joining the society.
JASON: We have many webcomic cartoonists in the NCS, and under past President Tom Richmond’s tenure (around 2010/11) the NCS introduced two webcomic categories into our Divisional Reuben awards. (Long form and Short form).
Webcomics are a rich and diverse artform we’re really proud to promote — comics in newspapers are only a fraction of the make-up of NCS membership. Our biggest numbers of entries for the 2020 Reuben awards were for both webcomics categories.
I think I read about 70% of my favorite comics online (the rest in magazines and printed book collections.)
TOM: Do you work digitally or with pen and paper?
JASON: I use both. I learned to draw traditionally before I learned to draw digitally, so the transition was very natural. I use a Wacom Cintiq with an Ergo Arm for most of my work, but I often spin around to my drawing board and use a Hunt 101 Imperial nib on my dip pen for a lot of my New Yorker finishes. (Mainly because people request to purchase the originals… And I like to get inky fingers so my wife thinks I’m doing actual work.)
TOM: What does your studio, workspace look like?
JASON: It changes all the time. I’ve moved so many times the past 15 years my studio has been every kind of room imaginable. You can get a glimpse of my current studio (June 2021) in this video just shot by Wacom for the production of a series of coins I designed for the Royal Australian Mint. They cut the part where my dog sits under my desk while I’m working and farts. Almost constantly.
TOM: What comics/cartoonists influenced you?
JASON: I was a big fan of MAD growing up, so all the Usual Gang of Idiots were my teachers — Sergio Aragonés was my favorite for his pantomime marginals, but Mort Drucker’s hand gestures and caricatured likenesses, Jack Davis’ movement, brushwork and shoes, Al Jaffee’s inventiveness (and snark) all contributed to my weird brain. And then the “newer” guys like Tom Richmond, Mark Frederickson and a slew of other talented idiots followed suit.
TOM: If you could crawl into any strip or panel for the day, other than your own, which would it be, and why?
JASON: Cul de Sac. I would want to sit down and just pick the brain of Alice Otterloop. What a brilliant mind Richard Thompson had, to bring her into this universe. Wildly inventive, funny and smart character writing.
TOM: At what point did you realize you were famous?
JASON: Ha! I don’t think that’s true. I know it sounds silly considering all the things I do being so public-facing, but I now totally get people having a pseudonym. Fame isn’t something I aspire to — I just like to do my work and hopefully have people enjoy reading it. I think ‘actual’ fame comes with more downsides than upsides… unless we’re talking about my local diner naming a roast beef sandwich after me. That’s all upside. (And topside).
I had to laugh when I saw this cartoon by Ellis Rosen today, not just because it’s funny, but because I was thinking of this very situation at the moment I saw this on Instagram. My friend jak would say that’s a case of being in the right place at the right time.
I was talking to one of my neighbors about a delivery that was missing. Amazon delivered it, but she couldn’t find it.
I live in a small condo and deliveries are always left on a table down by the elevator, but her package was missing. What happened was, the delivery guy brought the packages up the stairwell, rather than leave them downstairs. Basically, no one uses the stairwell here, it’s an emergency exit, people use the elevator. I do use the stairwell, as I like to take the stairs for exercise, so I had seen the packages yesterday.
The elevator opens up into our units. There is no hallway or corridor. We use key fobs and each unit has its own code/fob and the elevator opens up right in your living room, which sounds cool, but it does get old after a week.
Anyway, there have always been screw ups with the elevator, the door would just open randomly, or the key fob doesn’t work and all the units are left unlocked, etc. So that’s where the cartoon comes in. I was thinking of the Amazon delivery and also of the time I came into my living room to find the FedEx delivery guy standing there with my package. He got into the elevator, because the fob system was not working, he pushed my unit button and there he was – in the living room.
I could not get mad at him or the Amazon guy, since they both went out of their ways to bring the deliveries up where they could have just left them down on the table in the lobby.
As I was thinking this, I saw the cartoon above pop up – a case of being in the right place at the right time. jak always said that when you hear a word on tv or radio or hear someone say it as you are reading it at the same time – that’s a case of being in the right place at the right time. Same thing when you say a word or phrase and someone else says it at the same time in person or on tv.
Today’s comic looks a bit different than my usual work. Why? Because it’s old! It’s one of my old ones.
Recently I’ve been redrawing old art, but I liked the look of this one, so I didn’t change it and a reader noticed. He commented, “This comic doesn’t have your touch. Like, you have a separate way of art and this toon doesn’t have your common art sense. But it’s funny.”
I really appreciated that comment. I like that he notices my usual style and the fact that I ever have one and I like that he mentioned it.
It’s always interesting to see how people’s drawing style changes over the years. This was my Far Side period, I did a lot of weird stuff. I have published some of them lately, but since they were redrawn, they fit in with the rest of the cartoons.
I like my line work better these days, it’s evolved, and I don’t use as much background if any, these days. In the past, I filled in the whole panel with background. But now I find it cleaner to use less background. I may put one image to set the scene – sort of like a black box theater where there isn’t much scenery on stage, just maybe table and chair.
For instance, in the snake scene above, I would have used the sign of course, but maybe just have the stage door with the star on it, where the voice is coming from. I doubt I would have used the dressing table or even the pipe up at the ceiling. And I don’t think I would have used a lot of color, I think mostly white would be the background.
Cartoonist Jason Chatfield said, “Don’t curate your art to what gets likes. Curate it to what you like.” And I’ve tried to live by that. Not so much the drawing, but the whole comic and gag. Sometimes I feel that the audience won’t get the gag or think something is funny, but I go with my gut feeling, and it seems to work out.
The lemonade comic had many comments – people were dissecting it on one website and on another, there were about 150 comments where people described similar incidents at their places of work or shopping! So you never know what is going to work, so it’s true, go with your gut and see where it falls. I wasn’t sure about that one, but I liked it so I published it.
I wasn’t sure about yesterday’s cartoon – this office one. It didn’t have a gag and I felt that people would be looking for the gag, but people got it. It was just a slice of life – a period of time where people are returning to the office and the happiness (I guess on most parts) of people seeing their co-workers and friends in person again. People liked this cartoon. So another gut reaction on my part that was right.
Yes, today’s cartoon does take part of a previous cartoon. You can see the two here. The top is today’s and here below is a cartoon I ran about a year ago.
There is also another change. Before I ran the black and white one a year ago, the people did not have masks on, and then I added the masks, and that was was published! You can see the original here.
I know there are many ways to have done this – the “wholesale” could have said, “organic” or “free range” or something else, but I try to be “organic” myself when coming up with ideas and I got the idea from one of my own businesses.
I noticed that one of my businesses is popular when searched using the word “wholesale” on google. What I mean is when you type in the product and put “wholesale” as part of the search, I come up high in the searches. But the thing is, all of us who sell the same products sell wholesale. So by just putting the word there, it brings eyes and customers. So that’s what made me think of using that word rather than “organic” or “sale” or whatever .
A recent cartoon made me laugh before I even drew it. It wasn’t the cartoon or subject matter itself. It’s the fact that as I sat down to draw, I said out loud, “Let’s get this scene done!” I guess I think I’m shooting a movie or something these days. And possibly I am. I am the writer, director, cameraman and so on. So maybe it is a scene being shot.
I like the juxtaposition of this cartoon with one I did about a year ago, around the beginning of the pandemic. This one below.
They are both confusing due to the masks. In the last case above, masks are becoming a thing of the past, but the bank robber wants to keep his on. In the earlier one below, the bank robber is sort of infringed upon by everyone wearing masks, which struck me quite funny the first time I walked into a bank and saw everyone, including myself, wearing masks.
Here’s a little secret – they were both done around the same time – a year or so ago. The top one originally was the lady banker telling the man banker, to “calm down, it’s ok to wear masks in the bank today.” And the customer didn’t have a gun. He was just a customer with a mask. But it sat for a year and eventually, I changed the wording, added a gun and there you have it.
After this cartoon was published today, it reminded me of a priest we used to have. Some years ago, Father Eddie was one of our priests. He was from a Latin country I think, but his accent sounded like Dracula. I loved it!
One time he was preaching and he was talking about Jesus turning water into wine, but he kept getting the words “waiter” and “water” mixed up.
He would said, “The water brought the waiter and then Jesus stunned the water by turning the waiter into wine.” Ha, I laugh when I think about it – he turned the waiter into wine.
I haven’t thought of Father Eddie in years, but again, I used to love his Dracula accent.