Illustration

Ten: Peter Brookes

brookesspread

I was thrilled to see a profile that I wrote for John L Walters and Simon Esterson at eye magazine in print this week. Last year I visited Peter in his office at The Times and spent a fascinating couple of hours talking to him about his career in illustration and cartooning, below a wall covered in stunning examples of his art and craft. I was lucky enough to have met Peter as I started out in magazine design, at my first proper job, in the art department of Radio Times. By then, he had worked with its brilliant art Director, David Driver, for a decade, and his approach to problems and his enjoyment of finding creative solutions rubbed off on the whole team. “Happy days!”, said Peter as we talked about that part of his career, and they were. As I left, I noticed a stack of previous cartoons, topped off with his brilliant Michael Gove/Boris Johnson “Et tu, Brute” from a few weeks before, memorably summing up Gove’s disastrous entry into the Tory leadership battle.

brookes

 

 

 

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Interludes

Interlude: Linus Magazine

Written for the My Favo(u)rite Magazine Project, organised by Jeremy Leslie and Andrew Losowsky to raise funds to help Bob Newman, US art director and magazine lover, after he had a seizure and collapsed. The brief was: “Choose your favourite single magazine issue, and tell us about it. Any magazine, from any country, from any era.”

Linus Cover

UK
May 1970
Linus Magazine. Bought in Moroni’s, home of magazines, on Old Compton Street, Soho, in May 1970, when I was still buying boy’s comics full of war and derring-do. I loved Peanuts – who didn’t? It had Snoopy on the cover, so it was an obvious purchase. But inside, a world unknown. Put together by Ralph Steadman and Frank Dickens, it ranged across the globe to find extraordinary things, all done in the name of comics. It was racy, it was smart, it was funny. It placed Dickens’ none-more-British detective strip bang up against Guido Crepax’s Nazis and nubiles from Milan. It had Fellini’s sketches! It had The Upside-Down World of Gustave Verbeek, where you read the strip then turned it over for the conclusion of the story, and the drawings miraculously made sense that way too… Coming across Roland Topor probably affected my entire career in magazines. As soon as I saw Brad Holland and Peter Till’s work, I recognised the visual brilliance that I’d so admired in Topor. This was extraordinary stuff, and I never found another issue, but, like the Velvet Underground, its work was done.

Linus-Spreads

Linus-Spreads2

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Illustration

Four: The Process of Cartoons

From Varoom, Autumn 2011

I’m not an expert, but I’ve been a lover of cartoons for years; Ray Lowry’s matchless work for the NME, Gahan Wilson and Charles Addams’ worlds of strangeness in the New Yorker, deranged Honeysetts in Private Eye, the art in Roland Topor’s fluid line. Casting an eye around I found the modern cartoon where you’d expect (the cover of the New Yorker) and where you wouldn’t (the V&A). I found them in a friend’s sketchbook and in the national press. As I looked around at the cartoons that I liked most at the moment I was struck by the fact that, whatever else, cartoons are still, even in the digital age, all about the drawing. All about the scratch of the pen, the feel of the line, the sketch in service of the words, or the sketching making words superfluous…

John Cuneo, Illustrator, New Yorker Cover, June 27 2011

So, Drum Roll! Top Of The Heap! The New Yorker cover! Is this the Holy Grail job? Maybe not any more – maybe it isn’t seen as cutting edge enough (also it’s blurrily on the border of art versus illustration) but… it is the most visible cartoon job in the world. and I like a drawer with a worldview, and John Cuneo has one, like all of the greats.

John Cuneo Q&A:

BRIEF  I will occasionally send Francoise Mouly, NY’s art director, rough sketches for potential cover ideas, the vast majority of which are summarily dismissed.

MATERIALS  Ink and watercolor on paper.

RESEARCH  I combed through a couple of dog magazines for breeds that might lend themselves to a bit of anthropomorphising, and worked backwards, to the dog owners, from there. Also found a little downtown (NY) street reference.

PROCESS  Was asked to work up a colour comp first, and then a final. And then another version, one with more of a “summer” wardrobe and feel to it. Each effort getting progressively tighter of course, and incrementally less funny.

DISTRACTIONS  After the art gets accepted and publication is pending, one selfishly hopes for an uneventful news week—so that a cover-worthy current event doesn’t rear up and usurp your little dog gag.

NUMBERS  5. The number of Irish Water Spaniel owners who sent me pictures of their pets.

WEBSITE  http://www.johncuneo.com

Steve Way, Cartoonist & Cartoon Editor, Personal Notebooks

You might call Steve Way’s visual journal The Loneliness Of The Long Distance Cartoonist. Follow our hero, Steve, as he maps out his daily rounds – of cartooning/ living/organising builders/cooking food/attending glittering fashion shows – and commutes between London and Moscow in an attempt to spend time with his partner Fiona, Art Director of Vogue Russia. In the tradition of Art Spiegelman, an everyday relationship is explored in extraordinary detail and Steve gets to use up Moscow’s supply of Indian ink.

Steve Way Q&A:

BRIEF  Self-imposed, but girlfriend said it first – “You are a lot funnier in real life than you are in your cartoons”. Also real life is a lot more interesting, with her working in Moscow, than another UK joke about the recession. The fact that the gag is drawn on a heavy Stalinesque table in an ex-Soviet 1958 apartment (on my visits) is the wry bit. The diary structure, sticking to what happened on that day only, hopefully keeps the whiny graphic novel tone at bay.

MATERIALS   Dip pens bleed too much, pencil’s too faint and doesn’t look permanent, so initially black felt tips (Edding 55, Mitsubishi Uniballs, anything 0.5.) However, the line was a bit continuous and not good at showing the foul winter Moscow throws at you. So now it’s fine black biros you can hatch with, that give a slightly broken line when you draw fast, plus clog romantically when they are about to run out. It looks like ‘real’ drawing.

RESEARCH  Remembering. Busy days are the worst – cue hunting for scraps of paper I’ve written one- word tags of the day’s events on. All drawings are from memory, the exception being the covers of books/mags read. I try to get the type sort-of-right by having them in front of me.

PROCESS  Always behind, so there are bursts of catch up, often 3-week clumps. It takes about 3/4 hour per page. There are no roughs, I just start. Some days I draw badly and improve, others the reverse. In fact a really good passage of drawing slows you down, as the page opposite has to have the same care. My spelling is always a random process. The record for pages in a day is 15. A scary amount of drawing.

DISTRACTIONS  Very occasionally people commission me when I’m so in the mood to do the diary, tut. It is its own distraction, you can’t even draw or catch up when travelling, particularly on planes. People get interested in it and want to talk, or in the recent case of Callum (aged 4) want you to “do sharks.”

NUMBERS   One page, One day, one A5 Paperchase—pink, so I can find it—diary. Ruled lines on each cream page, all ignored. Sadly a lot less British Midland air miles to Moscow than you’d think, so still not able to draw the First Class lounge. You can’t cheat.

WEBSITE  http://www.stevewaycartoons.com

Tom Gauld, Illustrator/Cartoonist/Artist/Merchandiser/PR/Author

The modern world of the image demands that he straddles all of these nomenclatures. His recent Guardian cartoons are also, I would suggest, poetry.

Tom Gauld Q&A:

BRIEF  Every week I make a cartoon for the letters page of the Saturday Guardian Review. The image has to relate to one of the letters on the page, but I try and make something which works without reading the letter. This week The Guardian sent me a letter about a book reviewed the previous week. Two phrases interested me: “awash with spies immediately before the Norfolk Zeppelin raid of January 1915” and “nocturnal goings on in the saltmarshes around Hunstanton.”

MATERIALS   Uniball pen and correction fluid on paper, then Photoshop.

RESEARCH   None.

PROCESS   I begin all my projects doodling in my sketchbook. These are the doodles for Nocturnal Goings On In The Saltmarshes (Mr Victorian Novel was for the following week’s cartoon). Once I have an idea, I will draw a pencil-version, which I scan into Photoshop and fiddle with. When I’m happy, I print it out and make the final ink drawing by tracing on a lightbox. This gets scanned back in, tidied up and coloured. I’m very lucky that Roger Browning, the art director on this, trusts me enough that I don’t have to do a rough. I just make a cartoon and they print it, which I find very liberating. Though they did once ask me remove the word “Wanker”.

DISTRACTIONS  Turnaround is quite tight: I get the letter on Tuesday afternoon and hand in the final art on Wednesday morning, so I’m quite focused.

NUMBERS  This was my 254th weekly cartoon for The Guardian Review. To see the completed Nocturnals cartoon go to http://www.varoomlab.com.

WEBSITE  http://www.tomgauld.com

Q&As by John O’Reilly

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Illustration

Three: Geof Kern

Two meetings
Meeting One: I met America’s leading rock n roll memorabilia dealer, Jeff Gold, at a hotel on Jermyn Street in 2009, with a copy of a book autographed by Big Bill Broonzy. I was clearing out my dad’s stuff and I knew Jeff was coming to London on a buying expedition. I was looking at his website www.recordmecca.com and noticed that he had art directed Days Of Open Hand by Suzanne Vega. I’m pretty sure that this was one of Geof’s pieces that I’d seen that inspired me to ask him to do the covers for a Mozart partwork that I had been hired to design for the Sunday Times Magazine. Jeff was charming, confirmed that he had indeed art directed Geof, had even won won a Grammy for it, and bought the Broonzy book for exactly the amount I needed to buy a Theramin.

I’d first seen Geof’s work on the covers of Beach Culture and, I think, Wet, out of Los Angeles, a time when really interesting magazine were emerging from of the surfing scene in California. These were among the first magazines designed by the always-interesting David Carson.

I tracked down Geof’s phone number in Dallas, Texas—don’t remember how—and hired him transatlantically (not so easy in those days of fax machines and unreliable airmail). To convince Michael Rand I roughed out a cover (quite badly) using bits and pieces from all over the place, some from Geof’s work itself. Thrillingly, Geof agreed to do the job (I’m pretty sure that I never sent him my rough, though) and here’s some of the correspondence and notes.

The interesting thing looking back is that each fax has a slightly desperate note of “I’ll be at Frozen Tundra 739 456 from 2 until 4” pace the Tony Roberts character in Woody Allen’s Play It Again, Sam. How simple it seems now…

“This fax is for:  M A R T I N C O L Y E R
from Geof Kern, Dallas

—————-

Well I am writing to you on Tuesday afternoon and I guess
it is now Wednesday morning as you read this (ever get tired
of this kind of fascination?)

I hope you like these ideas because it took me until the last
minute to work on them, and because of that, we are starting
the production now.

Assuming then, that their basic content is acceptable, I have
a few more questions:

On the illustration for music are there specific operas or
other works you would like me to write on the “name wheel?”

Same question for any specific works written in the illustration
for “Festival.”

And on the illustration for “The Man,” do I have to necessarily
depict Salzburg — or is Vienna OK?

Under the current conditions and the nature of these ideas, I
feel it would be best if I did this series in black and white.

Please call if you have a chance today

Geof”

Of course, black and white covers were not what anyone was expecting, but Geof had started. I had no issue—always loved a cool monochrome—but having seen the stupid rough everyone senior to me expected it would cleave to that template. Michael even said he preferred the rough. No! Lesson learned—never show anyone a comp that boxes you into a corner. I hit upon the idea of selling it as a sophisticated duotone, and dug out some printer specs for green, purple and blue duotones. I was helped in forcing it through by our approaching print deadlines, and in the end everyone was pretty happy with the whole thing. I really enjoyed my short time at The Sunday Times Magazine—such a lot of talented people there. Hannah Charlton was the Editor on this part work.

Meeting Two: At the British Society of Magazine Editors Awards recently I ran into Tony Chambers, a designer I’d always admired, who was at the Sunday Times Magazine in the late 80s at the time I was doing some projects for them. Out of the blue, Tony started talking about the Mozart partwork, saying “I loved those Geof Kern covers. I kept those!” I professed disbelief. Tony insisted. We went for a drink with the lovely Wallpaper* crew. Tony reiterated that he had the copies, and that they were displayed at home on a bookshelf. I ordered a White Russian (a mistake, which everyone unaccountably compounded by saying That’s a good idea! It wasn’t) whilst still expressing doubts that Tony a) had them, and b) knew where to find them.

Hungover, the next morning this arrived in my inbox:

“I didn’t lie.
First picture is exactly as found this morning. Second is styled up – showing all four covers. I have three copies of each! They look even better than I remembered. Good back page too.”

Epigones—with Tony Chambers of Wallpaper*

Geof is amazing: his work continued to get weirder and even more wonderful. More at his website:

www.geofkern.com

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