Archive for the ‘illustrators’ Category

On this day in magazines: Punch and Thatcher in 1977

February 24, 2017
How Trog portrayed Thatcher for Punch in 1977 (February 23)

How Trog portrayed Thatcher for Punch in 1977 (February 23)

‘Trog’ – Willy Fawkes – was a prolific cartoonist and did several Margaret Thatcher caricatures for Punch. This 1977 cover illustrated an article entitled, ‘What to do about the baby shortage’. The Conservative Party leader would not became prime minister for another two years. Here, she is portrayed as pregnant in the pose made famous by Alfred Leete in the ‘Your Country Needs You’ image of Lord Kitchener.

Thatcher had been a member of parliament since 1959 and became Edward Heath’s education secretary in 1970, a post she held for four years until the Tories lost power. She replaced Heath to become leader of the opposition and in 1979 won the first of her three premierships, losing the party leadership to John Major in 1990. Next are two more Thatcher depictions by Trog, all also before she became PM.

Trog turns to Dickens for inspiration in this Thatcher caricature from 1971 for Punch magazine cover

Trog turns to Dickens for inspiration in this Thatcher caricature from 20 July 1971 for Punch

In 1971, Trog had turned to Charles Dickens’ Oliver Twist for inspiration, a serial first published in Bentley’s Miscellany magazine in 1837, with a George Cruikshank engraving of the above scene. The Punch cartoon has Thatcher in the role of Mr Bumble, the workhouse beadle, taking umbrage at Oliver asking for more gruel. She was education secretary at this time and cut spending. In 1974, and caused a furore and was nicknamed ‘Thatcher the milk snatcher‘ for ending the practice of primary schoolchildren being given a small bottle of milk each day.

Thatcher as a hippy! Trog for Punch in 1975

Thatcher finds the grass is greener as a hippy! Trog for Punch in 1975

The idea of Thatcher as a spliff-smoking, guitar-strumming hippy is the sort of thing that would have to come from a cartoonist like Trog. The Punch cover is from October 8, 1975, a year after she had replaced Edward Heath as  leader of the Conservative Party.


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 


This month in magazines: Oz in 1967

February 17, 2017
The first issue of underground magazine Oz in February 1967

The first issue of underground magazine Oz in February 1967

Oz was an underground magazine launched in London in February 1967 that became a leading part of Britain’s counterculture. Notice the word ‘London’ at the top left of the Oz title above. It’s there because Oz was originally an Australian magazine, founded by Richard Neville, Martin Sharp and Richard Walsh. They were prosecuted in Australia and Neville and Sharp came to London, where they launched another version of the magazine with Jim Anderson.

It was not the only magazine of its type – International Times, Ink and Friends were also influential – but Oz gained mainstream notoriety for the obscenity trial that followed the publication of the Oz School Kids issue (number 28).

The Oz Schoolkids issue

The Oz Schoolkids issue

The three editors (Sharp had left and been replaced by Felix Dennis) selected a group of youngsters aged between 14 and 18 to edit issue 28. The magazine’s offices were raided by the Obscene Publications Squad, the issue was seized and the editors were charged with conspiring to ‘debauch and corrupt the morals of young children’ because of some of the cartoons and discussion of sexual freedom and drug use.

Protest issue at Oz obscenity trial

Protest issue at Oz obscenity trial

For Felix Dennis, the Oz trial was the ‘finest hour’ for John Mortimer, their defence lawyer and later author of the Rumpole of the Bailey TV series and books. Although they were found guilty under the Obscene Publications Act, the verdict was overturned on appeal.

Like Private Eye, Oz might have looked crude, but it was an innovative user of the latest production techniques such as lithographic colour printing. It produced some amazing imagery by people such as Peter Brooke – now the leading political cartoonist on The Times – and Sharp’s iconic imagine of Bob Dylan, the Tambourine Man.

Another Australian who worked on Oz, in Sydney and London, was Marsha Rowe, and Germaine Greer wrote for it, too. Greer wrote The Female Eunuch in 1970 (and was gardening correspondent of Private Eye with the byline Rose Blight!) and Rowe was a co-founder of Spare Rib in 1972. She condemned a plan by Charlotte Raven to relaunch Spare Rib in 2014. The archive of Spare Rib can be found through the British Library’s website.

Felix Dennis went on to found Dennis Publishing, which launched Maxim and The Week. Since Dennis’s death, the profits from the company have been put to creating a massive forest. As well as the people behind Oz becoming mainstream, so have many of the ideas it, and the other undergrounds titles, argued for.  Oz is also one of the most collectable magazines.

The last issue of Oz - November 1973

The last issue of Oz

The University of Woollongong holds an online archive of the Australian issues of Oz, which was first published in Sydney on April Fool’s Day 1963 and continued until December 1969.This was set up with Neville’s co-operation after he returned to Australia and became a writer.

Woollongong also has all the London editions of Oz, from February 1967 to November 1973. The last issue cover carries a photo of the Oz staff naked overlaid on a background of disgraced US president Richard Nixon.

 


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 

 


On this day in magazines: Private Eye celebrates in 1981

February 13, 2017
Lord Goodman jumps out of a giant birthday cake on Private Eye's 500th issue cover in February 1981

Lord Goodman jumps out of a giant birthday cake on Private Eye’s 500th issue cover of 13 February 1981

Private Eye registered a sales figure last week at just over a quarter of a million copies an issue for the second half of 2016. Under editor Ian Hislop, it claims the high ground as the best-selling news and current affairs magazine.

The circulation per copy breaks down as 105,077 through newsagents, 142,833 subscriptions, 2,214 bulk sales and just 22 copies free. It total, that’s three million copies a year from its fortnightly mix of satire and investigative journalism. While the newspapers keep jacking up their prices – arguing readers will pay for quality reporting – but lose sales, the Eye holds its price at £1.80 and buyers and subscribers keep coming.

The cover above is from 13 February 1981, when the Eye was celebrating its 500th issue with a Willy Rushton cartoon. Out of the giant birthday cake festooned with writs jumps Lord Goodman – an early ally of Private Eye. Rupert Murdoch can be seen waiting on then editor Richard Ingrams in the top left and Gnitty, the magazine’s mascot Crusader, is also seated at a table. Around them are foes, friends and characters from the magazine.

A punning advert from Letraset for Private Eye's celebratory issue

A punning advert from Letraset for Private Eye’s celebratory 1981 issue

Although the magazine had survived many legal battles, such as the 1976 onslaught from James ‘Goldenballs’ Goldsmith who issued 60 writs against the Eye and its distributors in one month, many more were to come, including those with Robert Maxwell and his Not Private Eye. In 1990, Private Eye was threatened with closure when Sonia Sutcliffe was awarded £600,000 in libel damages. Hislop said that if this was justice he was ‘a banana’. The sum was reduced to £60,000 on appeal.

Inside the anniversary issue are many supportive advertisers, including Letraset, the makers of dry transfer lettering, a revolutionary British invention in its day, but now a French-owned brand mainly selling marker pens.

Private Eye‘s title was an early success for Letraset – the typographer Matthew Carter did the design, which saw its first outing on 18 May 1962 and is still in use today.


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design


On this day in magazines: Aeroplane and Eric Fraser in 1960

February 12, 2017
Eric Fraser cover for Aeroplane magazine of a Lightning jet from 11 February 1960

Eric Fraser cover for Aeroplane magazine of a Lightning jet 

Apologies for the small illustration, but I can’t find the actual issue of  The Aeroplane and Astronautics from 12 February 1960.

I wanted to use this cover for two reasons. First, as an example of an advertising cover, and second as an example of Eric Fraser’s artistry, outside the magazine for which he is best known, Radio TimesAeroplane, a ‘weekly magazine for the aviation enthusuiast’, invariably used illustrated covers. I don’t know how they were commissioned but there must have been co-operation between the advertiser and the magazine.

The Eric Fraser cover here is for the English Electric Lightning – Britain’s main fighter jet in the days when the country could afford to build its own rather than buy from the US or go into co-operation with Europe.

The Chris Beetles gallery  has held exhibitions of Fraser’s work. This is how the gallery describes him:

Eric Fraser is one of the most significant British illustrators and designers of the 20th century, who produced work that is at once wide-ranging and highly distinctive. Developing an assured technique and an impressive general knowledge, he could adapt his style to almost any subject matter, from ancient to modern, and any mood, from the whimsical to the tragic. He was also industrious, meticulous and dependable. As a result, he defined the look of Radio Times for over four decades and became a mainstay of JM Dent’s Everyman’s Library while also creating impressive murals and stained glass windows and an astonishing variety of advertising.

Fraser was also chosen to illustrate the May 1953 coronation number of the Radio Times. This was an unusual issue because he drew not only the heraldic illustration on the front, but also the back cover advertisement for Batchelors Foods in a similar style. The event marked the first time the BBC’s listings weekly had used colour since before the war. The Batchelors advert was also used on the back of that week’s Listener. Fraser drew for the Radio Times from 1926 until 1982, the year before his death.

He was a member of the Society of Industrial Artists, which was founded in 1930 at the Ye Olde Cock Tavern in London’s Fleet Street, and has evolved into today’s Chartered Society of Designers, complete with royal patronage.

An Aeroplane magazine cover of a Fairey Battle from 13 April 1935

An Aeroplane magazine cover of a Fairey Battle from 13 April 1935

The Aeroplane and Astronautics was published by Temple Press and in the 1940s claimed to be ‘the most influential aviation journal in the world’. Temple was founded in the Victorian era with titles such as Cycling and Motor. In 1949, it became part of George Newnes and then part of the IPC conglomerate in the 1960s.

Aeroplane has a history of great covers, which like many trade and technical magazines, carried advertising.

Although the cover is the prime place for gaining such revenue, most consumer magazines and newspapers moved away from front page advertising, a trend that accelerated after the Second World War. However, it’s a tactic that is returning, particularly among free titles, but even the biggest newspapers are now giving their covers away as wraparounds, and back covers are now often adverts.

 


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 

 

 


This month in magazines: The Strand’s albatross cover

February 7, 2017
The Strand magazine cover from February 1930 - note the mini cover at the bottom right

February 1930: The Strand magazine with a mini cover at the bottom right and the Oxo advertising sign

The Strand magazine was first published by George Newnes in 1891 and was an immediate hit – establishing both itself and Sherlock Holmes in the world’s imagination. Even today, it is the world’s most collectable magazine. A set of all 75 issues with Sherlock Holmes stories is likely to set you back £50,000.

Raphael Sabitini's Captain Blood on the cover of Pearsons, January 1930

Competition fromRaphael Sabitini’s Captain Blood on the cover of Pearsons, January 1930

Its initial cover design by George Haité became an icon and, like Punch and The Wide World, was used for a long time. However, the iconic cover became an albatross around the magazine’s neck. The reason for this is that the magazine industry thrives on change, but readers hate change! Managing this dilemma is one of the great skills of an editor, but usually involves some painful decisions that will upset the most loyal readers.

As an earlier post explained, The Strand cover evolved. First, an advertising panel was introduced on the top left, then images were inset over the traffic on the right side. In the 1920s, colour was introduced and the street scene moved around the Covent Garden area that The Strand thoroughfare bounds. But by 1930, there was a lot of monthly competition with arresting, colour covers, such as Pearson’s. And the last of the Holmes stories had been published in 1927.

The Strand magazine of May 1922 with a colour cover and a Covent Garden flower seller

The Strand of May 1922

So the February 1930 tradition was an attempt to break with the past – it depicts a scene inside a restaurant, presumably on The Strand, with the Oxo hoarding seen in its familiar place through the window.

However, there must have been angst in the office, and it was Herbert Greenhough Smith’s last year in the editorial chair – after 40 years! At any rate, they felt they still had to show the usual cover, which was an updated colour version of Haité’s original work, in a panel. And they then reverted to that version – which dated back to 1921 – for the next two years, with a Covent Garden flower seller in the foreground and cars rather than carriages in the road.

 


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 

 


Festival celebrates 100 years of advertising

February 4, 2017
The Cadbury's Smash Martians

A great favourite from the 1970s: the Cadbury’s Smash Martians

The Institute of Practitioners in Advertising is to hold a festival in March celebrating its founding 100 years ago. The theme of the events will be  celebrating the most creative adverts, ‘from the PG Chimps to the Smash Martians and the Cadbury’s drumming gorilla; from Lord Kitchener’s ‘Your Country Needs You’ to John Lewis’s Buster the boxer’.

The IPA’s festival takes place over four days centred around an exhibition at the Boilerhouse, Old Truman Brewery, Brick Lane, London, from the 9th to the 12th of March.

Alongside the exhibition will be events such as a screening and Q&A with Oscar-winning director Sir Alan Parker; a ‘romp’ through the relationship between pop music and commercials; and a tour through the funniest ads.

A great favourite from the 1970s are the Martians developed by Boase Massimi Pollitt for Cadbury’s Smash dried potato. Those Martians were the Meerkats of their day and Cadbury’s linked up with children’s comics to promote them. Car workers at Vauxhall in Ellesmere Post and Ford in Halewood made Martian models from car parts and hawked them around the local pubs at 50p at time. The only problem was that the car parts probably cost £10!

I hope they remember that Alfred Leete’s ‘Your Country Needs You’ poster with the pointing Lord Kitchener was originally an editorial magazine cover!

 

On this day in magazines: Punch 1954

February 3, 2017
Illingworth's controversial Punch cartoon of Churchill from February, 1954

Illingworth’s controversial Punch cartoon of Churchill from February 3, 1954

From its inception in 1841, Punch magazine built on the great tradition of English satire.

Fleet Street's Punch Tavern, with the eponymous puppet above the doorway

Fleet Street’s Punch Tavern, with the eponymous puppet above the doorway

Its founders originally held meetings in the Edinburgh Castle Tavern on The Strand. However, when its offices moved from 13 Wellington Street in Covent Garden to 85 Fleet Street, the magazine’s editors also moved east, to the Crown and Sugar Loaf at 99 Fleet Street. So, when the architects Saville and Martin rebuilt the pub in 1894-95 with the Baker Brothers, as part of a public house boom, they changed its name to The Punch Tavern. Mr Punch’s sharp chin and nose can be seen above the door to this day, and the The Punch Tavern was listed in 1996.

By the 1920s, Punch magazine could boast that its advertising pages were booked months ahead. However, three decades later, Bradbury Agnew & Co, its publishers, could see that sales were in decline. Cartoonists had once been the scourge of politicians, but they had lost their bite in Punch and readers were being tempted away by new-fangled televisions. The response from Bradbury Agnew was to appoint a new editor, Malcolm Muggeridge, in 1953. He sacked the magazine’s lead cartoonist, EH Shepard, the Winnie the Pooh illustrator, who had held the position since 1945.

In 1954, Punch was still using a front cover that was little different from Dicky Doyle's design from a century earlier

In 1954, Punch was still using Dicky Doyle’s front cover design from a century earlier

Within a year of Muggeridge’s editorship, in the issue of 3 February 1954, Punch pulled off a controversial coup in Leslie Illingworth’s 1954 sketch of Winston Churchill for the weekly’s ‘Big Cut’ cartoon.

The portrayal of an ailing prime minister – rather than the man who had epitomised the British bulldog spirit – with the caption ‘Man Goeth Forth unto his Work and to his Labour until the Evening’ upset friends of Britain’s wartime leader and the man himself. Churchill has been quoted as saying: ‘Yes, there’s malice in it. Look at my hands – I have beautiful hands … Punch goes everywhere. I shall have to retire if this sort of thing goes on.’

Illingworth had held down two positions right at the top of the cartoon world through the war, working for both Punch and the Daily Mail. As the British Cartoon Archive says:

It was noted in 1942 that Illingworth’s busiest time began on Thursday mornings, after the Punch cartoon had been commissioned the previous day. This was “Illingworth’s toughest period of the week…when he has a Punch cartoon and two Mail cartoons to produce before Saturday”, and he would often work through the night and into the next day to produce the detailed drawings. His wartime cartoons were very successful, and after the war a cutting of one of his Daily Mail cartoons – from 14 January 1944 – was found in the ruins of Hitler’s chancellery.

As the Political Cartoon Society points out, Churchill was deeply offended, but it was Muggeridge’s strategy to ‘make a loud nasty noise of the kind nobody associated with Punch‘.  It quotes Muggeridge saying to a friend in late January 1954:

As he sprang from the train [Muggeridge] remarked with profound satisfaction that the issue of the magazine he had just sent to the press was ‘likely to get us all in a lot more hot water’

It also cites Churchill’s doctor, Lord Moran: ‘There was something un-English in this savage attack on his failing powers. The eyes were dull and lifeless.’

Writing in the Journal of European Studies, Mark Bryant sums up his view on Illingworth in an article entitled ‘Crusader, white rabbit or organ-grinder’s monkey? Leslie Illingworth and the British political cartoon in World War II’:

If anyone deserved an award for his work in peace-time or war it was Illingworth. Praised by Sir Alfred Munnings, former president of the Royal Academy, he has been called ‘the last of the great penmen in the line of English social satirists starting with Hogarth’ and ‘probably the most outstanding cartoonist that Punch ever had’. Nicholas Garland has also described him as ‘the last of a great line of black and white draughtsmen … There is no mystery about his work. It is just superb.’ (1 September 2001, pp 345-366, vol 31, issue 123)

Ronald Searle's cartoon of Churchill in Punch from 18 April, 1956

Ronald Searle’s cartoon of Churchill in Punch from 18 April, 1956

Even after that controversy, Muggeridge’s Punch did not leave Churchill alone. Ronald Searle set about the prime minister again in 1956. The photograph Searle depicted on the wall behind Churchill is of the PM at the Yalta conference with Stalin and Roosevelt in 1945.

The newspaper headline refers to ‘Stalin in disgrace’ and the titles of the books on top of the bookcase are ‘Roosevelt, the Truth’ and ‘Inside Roosevelt’, referring to criticism of the US president’s record that had emerged. Roosevelt’s death within months of the Yalta conference was met with shock in the US because his declining physical health had been kept secret from the public.

Muggeridge left his position after four years, probably because the Punch owners found him  too controversial.


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design


This month in magazines: Bentley’s Miscellany 1837

February 2, 2017
The opening of is Charles Dickens' novel Oliver Twist in Bentley's Miscellany from February 1837

The opening of Charles Dickens’ Oliver Twist in Bentley’s Miscellany from February 1837

I’m delving into my archive of 40,000 magazine images to show what publishers have been producing in the month of February over the past 150 years. It runs the gamut from Dickens’ Boz to Oz, from Good Housekeeping to Sublime, from Madonna to green jelly.

Today, it’s some pages from the second issue of Bentley’s Miscellany from 1837. The February issue marked the publication of the first part of Oliver Twist, a serial that was published in Bentley’s until April 1839. Charles Dickens was the first editor of Bentley’s and filled it with stories, poetry, humour and gossip (though he would ‘have nothing to do with politics’).

Dickens wrote Oliver Twist, or, The Parish Boy’s Progress, under his pseudonym, Boz, and each issue was illustrated with an engraving by George Cruikshank. The first image was of the scene where Oliver asks for more gruel.

George Cruikshank's picture of Oliver Twist asking, ‘Please sir, I want some more’

George Cruikshank’s picture of ‘Oliver asking for more’

Note that this was not the serialisation of a book that had already been written or published. Dickens started writing Oliver Twist as it went along. At the end of each year, the issues were collated and bound in one volume. The covers – then called wrappers – and advertising pages were discarded and a title page and index of the year’s articles added.

The whole of Oliver Twist was published as a three-volume book in 1838 by Richard Bentley, the magazine’s owner.

Dickens resigned from the post after two years, and struck up a publishing relationship with Bradbury & Evans, the publishers of Punch. Bentley’s continued until 1868.

Oliver Twist was not the first example of the prolific Dickens’ work in magazines. His  stories had already been published in Monthly Magazine, the Morning Chronicle newspaper and other periodicals. His first published work was A Dinner at Poplar Walk in Monthly Magazine in December 1833. This was republished as Mr Minns and His Cousin along with other early stories in a serial starting on 8 February 1836, and in an 1839 single volume, Sketches by Boz.

After Bentley’s, the next main vehicle for Dickens was Master Humphrey’s Clock, a weekly that he edited and wrote himself for 18 months in 1840 and 1841. He then became the publisher, editor, and main writer for Household Words (1850–1859, Bradbury & Evans) and All the Year Round (1858–1870, Chapman & Hall). The latter was founded after he fell out with Bradbury & Evans and was ‘conducted’ by Dickens.

Dickens left All the Year Round to his eldest son Charles Dickens, Jr. Mary Dickens also contributed to this and it continued until 1895.

Dickens’ friend and agent John Forster inherited the original manuscripts of nearly all of his novels, as well corrected proofs. These are now held by in the Forster Collection of the National Art Library at the V&A Museum. I show some of these in my book, A History of British Magazine Design.

 


To see almost 500 magazine covers and pages, look out for my book, A History of British Magazine Design, from the Victoria & Albert Museum, the world’s leading museum of art and design

 

 


Women war reporters and ‘immersion journalism’

January 5, 2017
A glamorous female war correspondent similar to Martha Gellhorn shown in a 1946 issue of Woman magazine

A glamorous British female war correspondent similar to Martha Gellhorn shown in a 1945 issue of Woman magazine

The International Association for Literary Journalism Studies (IALJS) has some cracking meetings – gonzo journalism being a recent subject – and the next one is about ‘immersion journalism’. It is, they say, what Martha Gellhorn, a US war reporter for the US weekly magazine Collier’s during the Second World War, would have called ‘the view from the ground’.

The concept of the female war correspondent dates back at least to Sarah Wilson and Elizabeth Charlotte Briggs, who reported on the Boer Wars in the 1890s for the Daily Mail and Morning Post newspapers, respectively.

Gellhorn began writing in the 1920s and then went with Ernest Hemingway in 1936 to cover the Spanish Civil War. She married him in 1940, but they split up five years later. The Spanish conflict was the start of a career that saw her flying off to cover just about every war she could find until she developed cancer and later killed herself in 1998. Another American woman famous in the role was Lee Miller. She did so as a photographer, at first as a freelance and then from 1940 for Vogue. She was famously pictured soaping herself in Hitler’s bath. After the war, she married the artist Roland Penrose and settled in Britain.

Parisian glamour for British readers in a wartime Woman magazine

Parisian glamour for British readers in a wartime Woman magazine

These female correspondents were glamorous figures, and were depicted in a short story, ‘No Other Love’ by Leonie Mason (a pseudonym of Winifred Walker), in Woman in February 1945. The illustration, credited to ‘Koolman: Carlton’, shows two women in a Paris café. One is in uniform with the designation ‘Official War Correspondent’ on her shoulder; she is ‘Julie Wilson’ a British reporter for a paper called the Daily Record (there was then, and still is, a Glasgow paper of that name). On the table between them alongside what look like coffees in tall glasses with metal holders is a packet of Lucky Strike cigarettes, a US brand relaunched in 1942 with a white packet designed by Raymond Loewy to appeal to women.

In Leonie Mason's short story, Julie Wilson is an official war correspondent

In Leonie Mason’s short story, Julie Wilson is an official war correspondent

Gellhorn wrote reports and fiction for magazines throughout the war and after, with her short stories being published in both Britain and, the US. As I show in my book, British Magazine Design, ‘The Long Journey’, for example, was published in the June 1952 issue of Good Housekeeping and then Woman’s Own (December 4). Other examples have titles such as ‘Come Ahead, Adolf!’ (Collier’s, Aug 6, 1938); ‘Dachau: Experimental Murder’ (Collier’s, Jun 23 1945); ‘Java journey’ (Saturday Evening Post, Jun 1, 1946); and ‘The Lowest Trees Have Tops’ (Ladies’ Home Journal, Aug 1967). The Fiction Mags Index has a substantial list.

French coffee and Lucky Strike cigarettes would have been luxuries in wartime Britain - rationing would not end until 1952

Coffee and Lucky Strike cigarettes – luxuries in wartime Britain, where rationing would not end until 1952

As the literary journalism academics explain, such work ‘uses in-depth, on-the-scene reporting, research and literary techniques to take readers into worlds that would otherwise be off limits’. They also give a more technical definition:

Immersion attempts to address the limits of conventional reporting by replacing the emphasis on deadlines and objectivity with long-term observation and the building of enduring — and often psychologically and dramatically complex — reporter-source relationships.
Immersion practices link literary journalism to other disciplines, primarily anthropology and sociology, with their emphasis on the role of the participant observer and “thick” description techniques used in ethnographies.
Historically, immersion journalism often imbued reporters with a distinct moral authority to call for social reforms. Current discussions of immersion techniques highlight the ethical dilemmas of being part of the story, the quest for authenticity, and the necessity of finding narrative in the “every day-ness” of immersion. The economics of the news business also factor in. How can journalism now afford the time and resource-intense practice of immersion? How will traditional immersion techniques fare in contrast to new technologies of interactivity and virtual reality that purport to give the reader an “immersive” experience?
Immersion also presents a challenge to the pedagogy of literary journalism. What practices are best for teaching immersion, particularly given that few students will have the schedule and financial support to attempt it?

The IALJS sessions will take place at the annual meeting of the Association for Education in Journalism and Mass Communications in the US city of Chicago on August 9-12. It is titled ‘The View from the Ground: Rethinking Immersion.’ The editors are seeking academic submissions.

Frank Bellamy and Man About Town

January 3, 2017
Frank Bellamy's cover for the 1953 first issue of Man About Town at Cutterandtailor.com

Frank Bellamy’s cover for the 1953 first issue of Man About Town at Cutterandtailor.com

When it comes to legendary illustrators, the names don’t come much bigger than Frank Bellamy. He’s associated in people’s minds with Dan Dare and The Eagle, but produced so many other strips, such as ‘Thunderbirds’ in TV 21 and ‘Garth’ in the Daily Mirror. His dramatic style also attracted cover commissions from the likes of the Radio Times and the Sunday Times Magazine. These are being brilliantly documented by Frankbellamy.co.uk and Frankbellamy.com.

The Frank Bellamy profile from the 1953 first issue of Man About Town

The Frank Bellamy profile from the 1953 first issue of Man About Town

Another publication that Bellamy worked on is Man About Town, described in my book, British Magazine Design. Bellamy did the first issue cover in 1953 with its dapper chap stickman.

He has a profile on p171 of the magazine on its contributors’ page.

The Cutter & Tailor blog has scanned all Man About Town‘s first issue pages and put them online.

Below are two rarely-seen spreads by Bellamy. The first is from a 1969 issue of the Sunday Times Magazine (which is in the British Magazine Design book) and the second from Welcome Aboard, BOAC’s inflight magazine, from 1970.

sunday_times_1969nov16_bellamy_880.jpg

Frank Bellamy spread from the Sunday Times Magazine (16 November 1969)

welcome_aboard_boac_1970_bellamy_880.jpg

BOAC’s Welcome Aboard inflight magazine commissioned this spread from Frank Bellamy (1971)