Will it rain for 40 days and 40 nights?
Will it rain for 40 days and 40 nights?
Just Amazing. TV Times 1984. More art from the miketoons dusty archives. An illustration to accompany programme details in TV Times. Apparently the man featured in the programme ate bottles, bicycles and even a light aircraft. Cartoon stereotype of a Frenchman? I admit I’ve never met a Frenchman dressed like this.
Art in a Rainy City, 1980s: Illustration in Indian ink for an exhibition of work by illustrators based in the Manchester area. A one night stand with the art buyers and creatives of Manchester. I don’t remember getting any commissions from that evening but it was good to work with other illustrators in putting it all together.
Any other ‘oldies’ remember it?
I know it’s a warm June day but I couldn’t wait to add this cartoon to the miketoons blog.
A Christmas card drawn in 1988, the first Christmas I was living in Devizes. It shows the old Coate Bridge (demolished to build a new wider bridge a few months later) over the Kennet & Avon canal. Son Owen and friend Neil are on the bridge. Don’t know whether the bovver-booted robin was a reference to Swindon Town football club.
Odd isn’t it. Well, 22 years on it strikes me as rather odd.
Here’s a little taster of We Ran the World, a collaboration with writer Andy Oldfield which was originally published in The Damage*, a short-lived rival to Viz.
We Ran the World was a dig at the so-called glories of the British Empire, little Englanders, xenophobes… as well as the then-current Thatcher government. The strip normally occupied the centre spread of The Damage but this special edition ran to four pages. Andy would fax the scripts to me and I would squeeze in as much of my own daftness as there was room for.
The artwork was drawn to A3 size on bleedproof layout paper, inked by brush then coloured with Pantone and Magic Markers. All the brush hand lettering was on a separate overlay to preserve clarity of the text.
*The Damage was originally called Brain Damage but the name was changed after pressure from a campaign group representing the parents of brain-damaged children.
I’m biased. I thought The Damage was a far better comic than Viz but the public preferred the very British humour (dare I say ‘toilet’ humour?) of the Beano/Dandy styleViz strips to the more adventurous stuff in The Damage.
Doodling in sketchbook while listening to radio commentary.
Summariser: “City have a strong bench.”
While rummaging through a pile of old pencil roughs (I call it my filing system) I discovered, or rediscovered, this first pencil rough for a Roger Frames cartoon.
It was for the third of three cartoons where the theme was Roger acting out a Batman fantasy triggered by his favourite ‘Budjit Game’ of that month.
As you can see below I changed the drawing completely for the final version, much simpler and more dramatic, prompted by Art Editor Ollie Alderton’s valuable contribution.
Here’s the final printed version.
Inked panels from We Ran the World cartoon strip, in uncoloured state.
Written by Andy Oldfield.
Published in The Damage (aka Brain Damage).
Someone left the window open this evening
2010 has been a year of rediscovery for me. And the greatest of these has been of Ronald Searle’s work, made possible by exhibitions in London and Hannover in honour of his 90th birthday.
The fact that I could still draw, after a decade of beating ever increasing amounts of type into smaller text boxes (sometimes laughingly described as graphic design), was also a rediscovery. The joy I felt at sketching these drawings by Searle was astonishing. I burst into tears at one point. Something had been re-established in me.
These sketchbook drawings are not intended to give a wider public much information about Searle’s work. They were really just for me. A way of connecting. Better sources for actual examples of Ronald Searle’s work are the Ronald Searle Tribute and Brian Sibley has written several pieces about him. Worth a look.
And if you can, get over to Hannover before 30 January 2011 to see the exhibition!
The right hand sketch (above) is missing about 30 arrows linking the artist’s attributes to his head, which I lazily omitted to draw.
I love the contrast between the sober normal world seen in the businessman’s clothes hanging on the pegs and the ludicrous clown in a purple striped dress.
The cartoons done for Le Monde, over the last 15 years or so, show that Searle’s powers are undiminished. These are my two favourites but there were many more in the exhibition. Top: “Au suivant!“, bottom “Foubelle“.