Archive for the ‘cartoons’ Category

Arf-a-mo, Bert Thomas decides it’s time for a Christmas tree

December 5, 2015
The Goose Step: Christmas number of the Humorist for 1939 with a Bert Thomas cover

The Goose-Step: Christmas number of the Humorist for 1939 with a Bert Thomas cover

Bert Thomas was one of the most famous illustrators of the First World War – renowned for the grinning Tommy lighting a pipe with the caption ‘Arf a Mo’, Kaiser!

So the weekly Humorist turned to the veteran artist for its first Christmas number of the Second World War. ‘The Goose-Step’ was the result, with the Tommy bringing back a Christmas tree and goose to Estaminet – French for The Tavern. The look in his eye suggests he knows the woman’s waiting for him.

The soldier was probably understood to be a member of the 158,000-strong, but poorly-equipped, British Expeditionary Force, which was sent to France in September 1939. It was stationed on the Belgian–French border until Germany’s blitzkrieg ended what had been called the ‘phoney war’ in May 1940.

It was the Humorist‘s first wartime Christmas cover – and its last. Paper rationing led to the Humorist becoming a small-format monthly before being merged into London Opinion, a sister magazine at George Newnes.

From 1905, the British Cartoon Archive notes, Thomas began drawing for Punch, a link that continued until 1948. He also drew for London Opinion from 1909 until 1954, when that magazine was merged into Men Only. London Opinion is today famed for publishing one of the few cover illustrations more famous than Thomas’s  ‘Arf a Mo’, Kaiser! This was Alfred Leete’s ‘Your Country Needs You’, which became the Great War recruiting poster of Kitchener.

Bert Thomas’s signature is shown below.

>>A History of British Magazine Design by Anthony Quinn (May 2016)

Bert Thomas's signature from the Humorist, 25 December 1939

Bert Thomas’s signature from the Humorist, 25 December 1939

Teaching history with tentacles

December 2, 2015
Postcard about Landlordism in London in 1928

Postcard about Landlordism in London in 1928 – a topic that rings bells today with the state of the capital’s property market

Donna Seger’s post about teaching world history using octopus maps caught my attention, with its copious images like the one above from books and magazines, as well as maps and postcards, and has links to other octopus articles (tentacles across the web, clearly).

Much more fun than some of the infographics that litter many magazines and newspapers but require so much work to get anything out of.

>>A History of British Magazine Design by Anthony Quinn (May 2016)

Bairnsfather’s ‘dirty dog’

August 28, 2015
Captain Bruce Bairnsfather’s dirty dog ending from Fragments from France (volume 4)

Captain Bruce Bairnsfather’s dirty dog ending from Fragments from France (volume 4)

Bruce Bairnsfather was a British soldier who made his name as the most popular cartoonist of the First World War with his Old Bill character in the Bystander magazine. Old Bill was a curmudgeonly veteran coping with life in the mud of the Western Front alongside his pals, Bert and Alf. Bairnsfather sent the first sketch in, the magazine printed it, and, Hey Presto!, they had a massive hit on their hands.

The cartoons were collated and republished as a series of Fragments from France books. There were eight volumes, which sold millions of copies across the world and sparked a merchandise frenzy, as well as plays and films. Bairnfather also worked in the US and Old Bill, and his son, were revived in the Second World War as a mascot for the US troops.

I liked this ‘dirty dog’ ending from Fragments from France, volume 4 in August 1917. The bulldog was regularly used to represent Britain and the dachshund Germany (Kaiser Wilhelm had one as a pet). The dachshund was bred to hunt in burrows – the word means ‘badger hound’ – but this one has clearly seen better days.

Last year, military historians Tonie and Valmai Holt published The Biography of Captain Bruce Bairnsfather: In Search of the Better ‘Ole, and began a campaign to seek official recognition for Bairnsfather‘s morale-boosting contribution to the war effort. October 2015 marks the centenary of the first published Old Bill cartoon.

‘The Super Moshis need YOU’ – the powerful language of propaganda

August 25, 2015

The advertising watchdog has criticised Mind Candy for tempting children

Britain’s Advertising Standards Authority berated Mind Candy on Tuesday. The offence committed by the online company was using adverts inside Moshi Monsters to encourage the game’s young players to pester their parents for paid add-ons and subscriptions.

The problem has come up before with adverts even in games back in the 1980s, but it wasn’t this that grabbed my attention: it was the wording in the adverts.

Alfred Leete's 'Your Country Needs You' London Opinion cover inspired a Great War advertising campaign

Alfred Leete’s ‘Your Country Needs You’ London Opinion cover

Among the copy used were the phrases ‘The Super Moshis need YOU! Rise to the challenge and join the Super Moshis in their crusade’ alongside prominent calls to action such as ‘JOIN NOW’. This is the language of advertising from the Edwardian era and the propaganda posters of the First World War. The Moshi pages make frequent use of the words ‘you’ and ‘your’ to attract children’s attention and make them feel they are being spoken to directly. A classic market technique in 1914 and still effective now.

Black-and-white artist Alfred Leete used exactly that construction when he did his 1914 London Opinion magazine cover of Lord Kitchener that was taken up so powerfully as a government recruiting poster.

Millions of men volunteered to fight and die in the mud of France, enticed to join up by the ‘Your Country Needs You’ magazine covers and posters. In today’s consumer world, it’s children’s pocket money that the likes of Mind Candy are after with ‘Super Moshis need YOU!’.

Harry Linfield – a down-to-earth side of the Star Trek and Doctor Who artist

June 19, 2015
Harry Lindfield drawing for Annabel magazine in 1966

Harry Lindfield drawing for Annabel magazine in 1966

Type the name Harry Lindfield into a search engine and up will come a gang of results pointing to illustrations for Gerry Anderson-based comics such as Joe 90, TV21 and Lady Penelope from City Magazines and Polystyle’s Countdown. For Lindfield drew Star Trek, Doctor Who and others strips from about 1968 in the great heyday of TV-based comics – when some issues were selling in excess of half-a-million copies a week. The illustration above predates that – it’s from a September 1966 issue of DC Thomson’s monthly Annabel. Lindfield had already drawn strips for the Eagle‘s sister paper Swift at Hulton Press.

A colour centre spread of Star Trek by Harry Lindfield from Joe 90 . Click on the image to find a larger version on Beano cartoonist Nigel Parkinson's website

A colour centre spread of Star Trek by Harry Lindfield from Joe 90. Click on the image to see a larger version on Beano artist Nigel Parkinson’s website

The Gerry Anderson website quotes Look-In writer and TV21 script editor Angus Allan on Lindfield:

[Lady Penelope] went into colour, with an artist – a genius – called Harry Lindfield. If ever I had to choose something that I’d done, and was proud of, those strips would be the ones. Harry was brilliant, and it was a pleasure to write for him. And up went the sales. Not to a million, though. Not ever. But 750,000? That was money to Century 21 and City Magazines.

Annabel saw itself as a ‘New young and lively monthly for women’ and was just in its seventh issue. The large page format – almost A3 – could show off the photography and illustration.

Harry Lindfield's Dr Who cover for Countdown comic

A Harry Lindfield Dr Who cover for Countdown comic. Click on the image to see a larger version on comic artist Lew Stringer’s website

Where was Black Bag when I needed saving from a Tesco bag?

April 14, 2015
The best of Viz - Black Bag

The best of Viz – Black Bag (from http://singletrackworld.com)

I was attacked by a Tesco bag last week. It was a blustery day and the wind picked up the plastic shopping bag, spun it round like a plate on a stick in a Greek restaurant and it shot towards me. I had to duck or, I tell you, it would have taken the top of my head off!

It must have beeen the evil cousin of Black Bag – the Faithful Border Bin Liner that was a staple of Viz and took its inspiration from the Dandy‘s Black Bob. Viz has produced many great strips –  Fat Slags, Sid the Sexist, Roger Mellie the foul-mouthed Man on the Telly – but Black Bag trumps Billy the Fish as the best character. It’s the sheer surreal nature of the idea that does it for me. No wonder James Brown credits it as an inspiration for Loaded – and he later bought it.

I can even forgive Black Bag for not trying to save me – no Faithful Border Bin Liner can be everywhere.

Life at Punch in 1962

March 25, 2015
Punch magazine cover from 1879 (November 22). This cover shows the Dickie Bird cover that was used into the 1950s

Punch magazine cover from 1879 (November 22). This shows the Dickie Bird cover that was used into the 1950s

The weekly humour magazine Punch is long dead – despite an attempt to revive it in the 1990s – and only a cartoon archive selling reproductions exists today. Yet, in its day, Punch one of the world’s most influential magazines, not only in encouraging the development of other magazines (Judy, Owl and Lika Joka among them) but also bringing new word usages into the English language – ‘cartoon’, the ‘curate’s egg’ – developing the cartoon itself, and politically – angering Churchill, for example, in the way it portrayed him as an old man in the 1950s (probably losing editor Malcom Muggeridge his job in the process).

By this time, Punch was in decline in the face of competition from television for readers and advertising, and about to face Private Eye at the harder end of topical satire in print. Private Eye even ran a special issue having a go at what it saw as a Punch that had lost its edge (though criticising Punch had been a topic since at least 1916).

But it’s rare to be able to put a face to a famous name in the magazine world, so this British Pathe film from 1962 was a bit of a find.

Punch table in 1962 from British Pathe film

Punch table in 1962 from British Pathe film

It starts with Bernard Hollowood, the editor, and cartoonists in debate around the Punch table and art editor Bill Hewison carves his initials on the table. His letters are shown as well as others by contributors James Thurber, William Makepeace Thackeray and John Leach and a rare guest, Prince Philip. There is a description of the table on the Punch website.

Two Victorian illustrations are shown, ’19th century forecast of television’ and ‘air-to-air refuelling, before the film moves on to summarise the editorial, production and publishing processes at Punch, with Russell Brockbank, contemporary illustrations, subscription orders and magazine binding.

Around the Punch table are: Peter Agnew, Kenneth Bird, J. B. Boothroyd, H. F. Ellis, W. Hewison, C. Hollis, B. Hollowood, D. Langdon, R. Mallett, Norman Mansbridge (who did Her, a brilliant spoof of 1950s women’s magazines), F. L. Marsh, R. G. G. Price, B. A. Young and P. Dickinson.

Leete, Kitchener and the pointing man

February 6, 2015

Alfred Leete’s Kitchener poster was the subject of great debate last year with James Taylor’s book suggesting it might never have existed, but The Amazing Story of the Kitchener Poster proved that thesis wrong by uncovering pictures of the poster on display during the Great War (a book I wrote with Martyn Thatcher).

We also discovered an image that Leete might have seen of a pointing man used in advertising. Now, I’ve unearthed two more pointing figures, one that Leete very possibly saw, and one that he undoubtedly did see.

The first is this one, a pointing man in an advert for The Power Within from Pearson’s magazine (June 1907). I don’t know if Leete was a contributor to Pearson’s at this time, but it was a big illustrated monthly and he would probably have had an eye on it – he certainly did covers for Herbert Jenkins’ Mrs Bindle series in the magazine in 1921. So this advert has to be considered a possible inspiration for Alfred Leete’s Kitchener image. Note the way the word ‘you’ is picked out just below the man’s hand.

A pointing man in an advert from Pearson's magazine (June 1907)

A pointing man in an advert from Pearson’s magazine (June 1907)

The second image that he probably did see is this one:

The pointing man from an advert in London Opinion magazine, 17 September  1910

The pointing man – from an advert in London Opinion magazine, 17 September 1910

Why am I so sure Leete will have seen these? Because Leete was an established illustrator on magazines by 1910, regularly doing covers as well as drawings inside for London Opinion. The latter advert is from London Opinion, of a veterinarian from Kalamazoo in the US, Derk P. Yonkerman, who sold a supposed cure for consumption. Also, there is the illustration below in that very same issue of London Opinion as Yonkerman’s advert – note Leete’s signature to the bottom right. When the war came along, he was in the right place to dash off the ‘Your Country Needs You’ image for the magazine cover.

Drawing by Alfred Leete in the same issue of London Opinion

Drawing by Alfred Leete in the same issue of London Opinion

Charlie Hebdo: will you buy it?

January 13, 2015
Defiant pencil from the Charlie Hebdo homepage

Defiant pencil from the Charlie Hebdo homepage

Charlie Hebdo has raised its print run tomorrow to a massive 3 million copies – probably 60 times its normal run – with copies being distributed far beyond their normal scope. And it has a cartoon of the Prophet Mohammed on the cover.

Will you buy a copy?

I will, because the past week has been a historic one in the history of journalism and magazines. However, without such a professional impetus, the answer is not straightforward. While I have bought copies of Charlie Hebdo in the past, it has always seemed to me that it is an extreme magazine with editorial values that I could not share. It has been censored by the likes of Apple iTunes. And last week it came up against an even more extreme entity, in the form of extremist Islamists.

Do you agree with the statement today from the cartoonist who drew tomorrow’s cover: ‘There is no “but” when it comes to freedom of speech’? Even though another staff member has pointed out that: ‘We are not obsessed by Mohammed more than the Pope or [former French president] Nicolas Sarkozy.’

Charlie Hebdo exists to bait its targets by word and image, and to push the boundaries of what is allowed in print. But most newspapers and magazines would not go there. This can become an unequal battle being waged by highly literate – and after the revenue comes in tomorrow, well-resourced – journalists. What form of response is there for many of their targets? Muslim groups have tried to stop the magazine’s attacks by using the law, but from what I have read, have failed. However, the magazine was banned when it attacked Charles de Gaulle after his death. This does raise the issue of whether all people are equal before the law.

If you hold up a sign saying ‘Je Suis Charlie’, what are you supporting? Free speech? The right of Charlie Hebdo to carry on baiting Muslimists and its other targets? The 17 victims of the gunmen last week? If you buy a copy tomorrow, what will you be supporting then?

Charlie Hebdo highlights US ‘moral fundamentalism’

January 12, 2015
the flag flown on US warships for the duration of the US 'war on terror'

This is no cartoon – it’s the flag flown on US warships for the duration of the US ‘war on terror’. Shame about the missing apostrophe

This image may look like a cartoon, but it is in fact the flag currently being flown on US warships. As Graham Bertram at Flags.net explains:

This historical naval jack has been re-introduced for the duration of the war against terrorism. It replaces the traditional US naval jack which is dark blue with 50 white stars, arranged as in the national flag.

The flag was adopted in 2002 on the anniversary of the terrorist attacks on New York. The secretary of the US navy ordered all warships to raise the Revolutionary War jack with its rattlesnake – a symbol of resistance to the British dating back to the late 1700s – and the motto ‘Don’t tread on me’ to mark the ‘war on terror’. September 2014 marked the 12th year the historic jack has been flown.

I was reminded of the image with all the Charlie Hebdo cartoons, many showing illustrations of ‘weaponised’ pens and pencils. And much of the commentary has been about war – or avoiding one – as so many people take sides after last week’s brutal killings. In all, 17 people lost their lives. Today, France has put 10,000 troops on to the streets to guard potential targets as well as an extra 5,000 police. Yesterday, 3.7m people across France took to the streets to show solidarity with the victims.

This week’s print run of Charlie Hebdo has been raised from its usual 50,000 or less by a factor of 20 – to a million. Truly an example of war-like mobilisation. French newspapers have chipped in with office space and computers and the cash comes from a €60m fund for digital publishing innovation set up by Google at the behest of the French government after demands from publishers that the US search engine company pay for displaying their news in its results.

There’s a certain irony here in a US company being dragged in to fund a French satirical graphic magazine because one of the biggest US companies has spent years censoring such titles to such an extent that the director of the Comics Art Museum in Brussels dubbed Apple ‘fundamentalists of globalised morality’. A blog at the gallery explains:

In the summer of 2013, Apple, one of the most modern companies in the western world, imposed a ban on the online sale of some 1,500 Franco-Belgian comic strip albums for reasons of ‘pornography’. Needless to say, the pornographic nature of these albums is entirely questionable and exists mainly in the eyes of the fundamentalists of globalised morality.

Roman graphic novel Murena by Jean Dufaux and Philippe Delaby

Roman graphic novel Murena by Jean Dufaux and Philippe Delaby

The publisher, Dargaud, was forced to censor its own artwork and produce an edition of Les épines by Jean Dufaux and Philippe Delaby for sale on Apple’s iTunes, alongside the usual edition for sale in Franco-Belgian bookshops.

J.C. de la Royère, the museum’s curator, said that as ‘a great defender of freedom of expression’, he was ‘more than happy to join the fray by exhibiting the complete version of Les épines by Jean Dufaux and Philippe Delaby’.

Such ‘bandes dessinées’ (drawn strips) have been popular since the 1960s in France and Belgium. I first came across them when I dodged into a bookshop on the Left Bank in Paris to avoid a riot in the street! My eyes were popping as I rifled through titles such as Metal Hurlant (Heavy Metal, editions of which have been published in English in the US for many years now). The strips portrayed sex and violence – beyond anything in underground magazines in Britain that I had seen – and it was in one of these that I first saw the work of Swiss illustrator HR Giger, who a few years later would burst on to the world stage with his designs for the creatures and spaceships in Ridley Scott’s Alien.

The irony has also not been lost on the web newspaper  The Daily Dot, which has commented on ‘The hypocrisy of Facebook and Apple supporting Charlie Hebdo.‘It points out:

Apple — the king of US technology giants — has a #JeSuisCharlie banner on its iTunes store. Not only does Apple regularly engage in censorship on its various platforms and stores — it used to be against the rules to even ridicule public figures on the iTunes store — it has actually specifically censored Charlie Hebdo in the past.

It seems that, although the US tech giants are flying the flag for Charlie Hebdo, in reality their attitude to censorship means: ‘Je ne suis pas Charlie’.


Follow

Get every new post delivered to your Inbox.

Join 41 other followers