Showing posts with label australian cartoonists. Show all posts
Showing posts with label australian cartoonists. Show all posts

Thursday, June 20, 2013

The Black and White Maestros by Les Tanner (Part One)


Les Tanner

[Editor's note: the following survey of Australian cartoonists was written by cartoonist and cartooning historian Les Tanner for the centenary issue of Sydney publication, The Bulletin, published January 29th, 1980. Les Tanner's Family maintain a facebook page for him here.]


The Black and White Maestros by Les Tanner

"THE sketches in the American comic papers made us yearn." This is not some clubman, pre-Australian Play-boy, talking but W. H. Traill, editor and manager of The Bulletin in the early 1880s, reminiscing about the pioneering days of the paper.

Traill in 1883 was about to embark on two trips overseas which were to change the future of black-and-white drawing in Australia. He was going recruiting.

J. F. Archibald has most of the glory from The Bulletin but it was Traill who did the leg work. He brought "one of the many clever comic draughtsmen whose work embellished various Yankee papers which we received regularly . . . Further," he wrote, "we had taken notice that the illustrations  were effected by some photographic process unknown in Australia." The first was Livingston Hopkins (Hop); the second, photo-engraving. Photo-engraving was to illustration what television is to Willesee, Frost and Parkinson — without it they would have been as interesting and exciting as any bunch of nice lads.

Until photo-engraving, drawing for reproduction was a dodgy business, relying on the skill and sobriety of the engraver as he painstakingly pared away with his engraving tools at the wood block, scooping out the white areas and leaving the black areas standing to receive the ink. Admirers of Tenniel's style in illustrating Alice would do better to pay homage to his engraver. Now Hop, Phil May (Traill's second recruit), Norman Lindsay and the others no longer needed to limp in this fashion; Traill gave them dancing shoes. Now they could draw with pen or brush and have their lines photographically enlarged or reduced on to a sensitised zinc plate and the whites eaten away by acid.

William Macleod, The Bulletin's first cartoonist, had tried drawing on metal with acid-resisting ink, and then etching. Traill stunk his house out with collodion experimenting. However, Hop insisted that he import two American engravers.

 
 Livingston Hopkins (Hop)

Livingston Hopkins was a tall, thin, austere veteran of the American Civil War whose work caught Traill's eye on the train journey from San Francisco to New York. His humor was the dry, laconic, no-bull type we have come to call Australian. He thought up his own ideas, clipping cuttings from newspapers which he carried around "in case of an idea."

 The Little Boy at Manly as captured by his creator, Livingston Hopkins.

Hop was remarkable in that he had no set manner of drawing — style as it is sometimes called. He moved easily from pen to crayon to brush, in line or half-tone, so that for the two periods when he was the whole art staff, The Bulletin had the appearance of having a variety of artists working for it. Hop was a truly inventive man with a keen sense of the ridiculous. In an age where most cartoonists were searching for a national symbol and were dredging up some of the most unlikely antipodean Britannia-substitutes (Minerva, goddess of handicrafts, professions, art, war and wisdom, was one), Hop spotted in the subscription list to aid the Sudan contingent the words, "A Little Boy at Manly, £25." He was off with the longest-playing supporting character in the business.

Norman Lindsay depicts The Little Boy from Manly in a cartoon during the conscription furore.

Hop drew him, Low drew him (sometimes as the Meggitt's linseed oil boy), Minns drew him and Lindsay drew him. Sometimes a bit stunned, sometimes shedding a tear (for poor, dead Henry Parkes), cheeky, angry or defiant, the Little Boy at Manly was both original and right as a symbol. As for what Hop did to Premier George Reid, Malcolm Fraser should take comfort at his demise. Although dignified, if not freezing, in manner, Hop was a practical joker, given to seating people on strategic benches in his garden, whereupon they would get water squirted in their ears. He nevertheless believed in creating for the readers an acceptable public image of lunatic bohemianism (every-one knows that artists are mad) and his self-portraits convey this convincingly. Maybe the self-portraits were right. When was the last time you had water squirted in your ear by a six-foot patrician?


David Low renders the Little Boy at Manly as the Meggitt's linseed oil boy.

Livingston Hopkin's portrait from Harrower collection, Les Tanner portrait from Cartoons of Australian History by Peter Coleman and Les Tanner. The Black and White Maestros © the estate of Les Tanner.

Saturday, April 20, 2013

Productivity and Motivation: Jason Franks and Paul Mason

Part three of talking with self-publishing/small press cartoonists about productivity and motivation.


Do you experience a drop in productivity upon completing a comic? Have you developed methods to deal with creative lulls? What do you consider the primary obstructions of your productivity?

Nope.

Because I am principally a writer, it usually takes months or years for any given piece that I write to see print--so I'm already well into the next project. In fact the converse is probably true: depending on the publisher, pushing a book through the lettering/production process might interrupt my writing schedule for a period, so my productivity usually goes up right after a book comes out when I can settle down and get back to creative work.
  

After spending maybe 4-6 months solid on a book writing, drawing, colouring, lettering, assembling/pre print etc, especially ruining my body clock in the process, I can’t help but blow off a few days doing very little creatively as I recover. Read a favourite book, stare at the idiot box, dust off the Playstation for my twice a year game session etc, and maybe sleep longer than 5 hours.

But no method is better to beat this than the next pending deadline/task on the list. I remind myself “Don’t be an amateur”- This applies not only to my comic tasks, but also my sports or work practices. A pro would tough out the pending tasks and get it done. I figure I can’t reach my goals screwing about, and not bringing out new stuff. Not much of a method, berating myself mentally, but it’s true. It’s the same when I have to find the time to train for a world championship or tournament while working, studying and comicing- I might have worked all day at the day job, sat through peak hour traffic, get home to more work, an empty kitchen that needs groceries, sort a meal out, prep for the next day etc. and think the last thing I want to do is exercise. “Would an amateur relax? What would a champion do?”. There’s my answer. That comic page needs to be done by the end of the evening. “Would a pro watch TV and play video games instead?”

The fact that I hate one of my day jobs, and I have a doctoral degree to complete soon is a motivation. Improvement should always be an answer to procrastination. Don’t just “exist” in life. Accomplish things.

The enemy- Social media. A necessary evil in terms of keeping in touch, promotion etc, but you can easily get caught up looking at nothing important at all, chatting to people etc. A great time-swallower. Really though, the enemy is me. The TV or internet doesn’t turn itself on. It’s a battle, since comics can be a solitary pursuit, and the social media contact can be an alluring time-waster. But my main drive? Reminding myself that I don’t have much time; every minute wasted is potential sleep time disappearing, and that book down the track might not get done on time.

Wednesday, April 17, 2013

Productivity and Motivation: David C Mahler and Darren Close

Part two of talking with self-publishing/small press cartoonists about productivity and motivation.



David C. Mahler is a young prolific Melbourne cartoonist, he seems to have a new mini comic out every few month, in a variety of formats, as well as featuring in recent anthologies Dailies and Victoria Drug Scene. David's tumblr.

Do you experience a drop in productivity upon completing a comic?

Not exactly. I'm a bit of a workhorse; at any one time I'll have 5 or so books in the works, which can range from 6 - 30 pages. As I work on a large number of projects at once, they do take quite some time to see completion, so maybe that's how I get around the dreaded productivity drop; I just take so long to complete any one thing. As well, I'm constantly noting down new concepts and dream projects…I'm starting to get worried I'll never have a holiday ever again. Generally if I finish a longer work I'll have a few days of rest where I'll work on more scratchy 1-2 pagers before starting the long uphill push once more. Oh, I will admit, I've actually caught myself taking mid-project breaks more and more. I'll wake up in the morning, sit at my desk with a stack of inked pages, a stack of panelled pages, and catch myself watching Bob's Burger's an hour later. And then it's lunchtime, and of course you have to eat lunch in front of youtube…I mean, that's just common sense…I never really acknowledged it before, but I guess my weakness is indeed the mid-project lazies!


Have you developed methods to deal with creative lulls?

Definitely just piling the projects on. If I know there's more to do I'll push myself harder to finish off the current comic, so I can go onto that next exciting project. I also make a point of discussing projects with, well, everyone. I'm worried it comes off a bit like boasting, but really it's a tactic I've found to commit myself to my work - I don't want to let anyone down! Every now and then a friend will ask something along the lines of "so did you give up on that 20 pager you mentioned last year?" and I'm basically always reassuring, "no no, it's sitting on my desk, the pencils are tight, any day now!!"
As far as the sneaky tv breaks, it generally gets to a point where I say "alright, I've finished one page in the last three days, yet I've finished two seasons of Lost. Time to get back to work! …After this episode…"


What do you consider the primary obstructions of your productivity?

Well, TV no doubt…I'm not the most social person - I've been shamefully known to cancel plans last minute because I'm just too deep in the zone. Really the only other obstacle I can recognise would be food, which makes me pretty darn tired. I realised a while ago that my most productive periods are the days I don't eat! What an awful double edged sword…don't worry, I don't starve myself for my art, but if I need to I can contentedly rock out a solid, meal-scarce 40 hours where I'll just whizz through 10-15 pages. I really do not recommend it.


Via his creation Killeroo, Darren Close has collaborated with a wide line up of Australian writers and cartoonists since it's initial appearance in the university magazine The Third Degree. Close has been active in fostering comics communities with his Ozcomics weekly draw-off and prior to that Ozcomics the magazine, co-edited with Mark Selan.
 
Do you experience a drop in productivity upon completing a comic?

 
Yeah, there's a period when you switch to "create mode" to "pimp mode" and everything else goes on the back-burner for a while - at least that's how it was with the GANGWAR one-shot last year. I moved heaven and earth to get it ready for Big Arse 2 - and then straight into online orders and gauging interest of stocking it at local comic shops. The next book didn't really get a look-in until most of the stock was sold.


Have you developed methods to deal with creative lulls?

 
Well for one I'll never rush a book to meet a deadline again. The GANGWARS ANTHOLOGY book has been a slow burn, generating and gauging retailer interest whilst it's still coming together, much better planning and NO rushed pages. Not soliciting the release date until it's READY is another handy tip.

What do you consider the primary obstructions of your productivity?

 
Probably facebook (and ozcomics). It's a great marketing tool but also a big drain on time and energy if you don't monitor it.

Monday, January 21, 2013

Stand Easy


Stand Easy after the Defeat of Japan, 1945 was part of a series of books published for the Australian Military Forces by the Australian War Memorial in Canberra. Material was solicited from the Australian military forces in early 1945 and the book was ready for print at the beginning of August. At that time the book was titled Up North in reference to the Australian Army fighting along an island front from Bougainville to Borneo. With the sudden ending of the war editors chose to defer production so depictions of the great conflict could be included. The title was changed to reference the ending of the war. Prose accounts of the war, cartoons, photos, verse, illustrations and maps were including in this volume.
 

Companion books in this series were produced annually from 1942.

1942 - Soldiering On
1943 - Khaki and Green
1944 - Jungle Warfare 
1945 - Stand Easy

Similar volumes were produced annually for the Royal Australian Navy, Royal Australian Air Force, Volunteer Defence Corps, First A.I.F and Second A.I.F. Credits to artwork and written material were designated to a member's army number and the editors chose to remain anonymous. With the conclusion of the war and this being the last volume in production it was decided to include an appendix of contributors and their corresponding army numbers. Many contributing soldiers returned to careers as writers and artists after the war, among their number William Ellis Green (WEG), who would go on to become one of Australia's most iconic cartoonists.


















Monday, December 3, 2012

2012 in Review: Jason Franks

Over December I'll be running some brief year in review interviews with Australian and New Zealand cartoonists and comic folk. Kicking things off today with a good friend of mine, Melbourne writer/cartoonist Jason Franks.

Jason Franks

What have been your personal cartooning/comics highlights of 2012?

Without question, the highlight for my own work has been McBLACK TWO SHOT. It's not the first time I've worked with Bruce Mutard but it's the first of our work together that's seen print. Putting his highly polished and traditional art style next to Luke Pickett's brilliant crayon-and-notepad sequence, then Rhys James' super-modern digital painting and J. Stew's atmospheric, underground nightmares... I am ridiculously proud of this combination of artists.

Who are some of the comics creators that you've discovered and enjoyed for the first time in 2012?

This year has been all about Image for me. I've been mates with Justin Jordan for many years, so Luther Strode probably doesn't count, but a lot of my favourite new mainstream books have been Image stablemates. Green Wake by Wiebe and Rossmo. Who Is Jake Ellis? by Edmondson and Zonjic. Also this is the year I finally cottoned onto Locke and Key by Hill and Rodriguez.

My other big find has been Naoki Urasawa. I tried Pluto a couple of years ago and it wasn't my cup of tea; but this year I discovered that three of the manga books I was most interested in (old and new) are by Urasawa. Monster and 20th Century Boys are every bit as good as they are reputed to be, and I'm dying to get my hands of an English version of Billy Bat.

What is something non-comics that you have enjoyed this year?

I've probably found myself reading more prose than I have for the last few years. This year it's been a lot of Richard Morgan, John Steinbeck, Greg Palast, Evan Wright, China Mieville and Richard Stark. Some of these are old favourites, some are something new. On TV the only thing I've really cared for has been Breaking Bad.

Have you implemented any significant changes to your working methods this year?

I'm trying to put out a bit more prose fiction than I have in the last few years. Publishing my first novel has sort of opened my eyes to the opportunities in that world and the comics business is a bit sickly right now. I mean, when using Kickstarter to avoid the entire traditional marketplace is the great white hope for original comics you know there are problems. That said, I have a LOT of comics projects in the works and hopefully a lot more of them will drop in 2013 than we've seen in the last 2 years. I'm focusing on longer work--graphic novels and miniseries, as opposed to short stories and anthologies--and it takes a lot of time to get these bigger projects up and running.

What are you looking forward to in 2013?

Putting out more comics. There should be more McBlack and more Sixsmiths, but also, if things go well, a bunch of completely new stuff in a variety of genres. Hope to sell my second novel, too. I'm also looking forward to watching the continued growth of the local scene and to reading awesome new comics from local publishers. 

Sunday, August 26, 2012

Comics in Australian Advertising in the 1930's

Advertising featuring comic strips from 1930's Australian Woman's Weekly. Artist's are uncredited but possibly include Wep, Noel Cook, Amandus Julius Fischer, Arthur Sharland Boothroyd, and  Wynn W Davies who all contributed cartoons and illustrations to the magazine during this period.

 

 

 

 





Tuesday, July 10, 2012

Steve Carter and Antoinette Rydyr Interview Part Two of Two


Read part one of James Andre's interview with Steve Carter and Antoinette Rydyr here.

Find Steve Carter and Antoinette Rydyr online here.
Find Milk Shadow Books here.

A lot of your horror work seems to either be set in the prehistoric times or in the future. Your visions of the future and past seem unlike those of the Flintstones or Jetsons. What interests you in these time periods?

  The very fact that these time periods are not in the here and now allows the imagination far greater freedom to explore the kind of concepts and images that we do. Stories set in the present, with a basis in firm reality, make this more difficult to achieve. The more unreal, surreal or bizarre the setting or scenario, the more creative your imagination becomes, resulting in uniqueness and originality. Also, issues such as social politics, et al, can then be addressed in a far more lateral way and remain in the subtext without crowding the story and action. When working within genres such as SF, horror and fantasy, as a general rule, the further from reality the story, the more diverse the interpretation of the readers. We feel that this is ultimately a positive thing. We have found that settings in other realities, in the far past or distant future, or on other worlds, work best for us when dealing with pure “fantasy”


You have released several works with titles such as Gorgasm etc, what do you think of the new trend in mainstream filmmaking, and possibly mass media in general of the pornography or torture porn style of entertainment? Recent works such as Hostel etc?

For a start, it’s not exactly a “new trend”. Do not forget the Video Nasties and the Pre-Code horror comics of the 1950s, or the “Penny Dreadfuls”, the pulps of the 1930s and just as infamous, the Grand Guignol, which featured staged rapes, torture and mutilations such as eye gouging – as do films like Hostel and Saw.

There is far less censorship now than there was in the hideously politically correct 1990s. Back then; it was just too fashionable to be offended by just about anything at all. There is more freedom now, and that can only be a good thing for artists who enjoy pushing the “boundaries”.

We feel that films such as Hostel 1 & 2, Dawn of the Dead remake, Devil’s Rejects, Hills have Eyes remake, and such, are bonafide modern horror films that do not pull their punches. There are many interesting themes and good performances in these films, along with genuinely threatening and confronting images of terrifying violence. These elements make these films much more powerful than your average lightweight thriller.

One thing these films are not, and that’s pornography. While the violence and elements of sadism may well be intense, they contain no porn. Nudity, naked breasts and simulated sex does not constitute pornography. Nor do bucket-loads of SFX blood and guts. Pornographic films have real people indulging in real sex for the camera. These “new trend” horror films are not real. They are created through the use of special effects. No one is ever “really” tortured, raped, mutilated or murdered.
 
On the other hand, there are women who are involved in the porn industry that clearly would rather be doing something else. In effect, they are trapped. That kind of scenario is pretty depressing. This is simply not the case with films like Hostel, no matter how “offensive” the themes and imagery.
 

Horror is visual and visceral as well as psychological. In a thriller or suspense story it is the notion of implication and an atmosphere of fear that drives the story and characters. It is not until “that which is truly unacceptable” actually transpires and is shown rather than implied that a story can really become a “horror story”. This is what puts horror apart from other forms, such as suspense and fantasy, etc.

All good stories, horror or otherwise, have a combination of elements– a good premise, strong concepts, suspense, drama, action, interesting characters, a cohesive plot, and in some cases, even moments of impactful violence. But if you intend to do horror, then it’s a good idea to make it horrific – conceptually and visually. Matters of “taste” or theories of what does or does not constitute “porn” and “torture porn” don’t enter into it.

Splash page from Phantastique #4

Can you talk about the relaunch of Phantastique?

Yes, Phantastique has re-emerged as Fantastique. The first two issues are in circulation throughout the underground and a third one is due to be released soon. It includes The Well of Souls - scripted and pencilled by us and inked by Glenn Smith, and Ocean Born, a script of ours that has been illustrated by Tanya Nicholls (of Storm Publishing).

Fantastique is more overtly oriented towards fantasy and science fantasy, but it also contains obvious elements of horror and gore. On the other hand, Charnel House is a hard-core horror comic that is extreme and very explicit.

Ever thought of doing something with some fluffy bears and a nice little romance?

Not likely. Not our thing.

So, what’s up next?
More art, stories, experimental music and comics.

Thank you both for your time.
Thanks very much for your interest in us, and our work.
 
All images copyright 2012 Steve Carter and Antoinette Rydyr. Interview copyright 2012 James Andre.

Sunday, April 1, 2012

Paul and Pam - W. C. Merrill

Paul and Pam by W.R. Merrill ran in the Friday Junior Age section of The Age during the early 1950's. Scant information about cartoonist W. R. Merrill is available but the setting of this strip in Australia indicates it is Australian as well as the only other strip featured in the Age at the time being local cartoonist Ivan Rowley's Terry. These weekly strips are excerpted from a longer serial and featured in The Age Nov-Dec 1954.