It would seem that the New York Times is on a roll these days when it comes to cartoonists. Earlier today they published a rather gripping longread on how prescription opioids silently became the addictive menace they’re currently seen as, and the role of certain companies and their kickback practices played in this evolution. Nostalgia noir illustrator and cartoonist Francesco Francavilla provides the illustrations, which ring conmen, deals and feds as any other crime novel. An effect that’s even heightened with the felt tip pen font that’s used for the bylines.
This interactive piece is only the second in a series of five true crime stories that Francavilla is providing illustrations for. Top notch work!
Even though James Kochalka’s recent strip in the New York Times seems to recall a fond memory from his youth, spiced up with some more astute observations made in hindsight as an author, to me it reads like an example of how the entertainment industry exploits everything it produces.
Call me old or naive, but there should be more to culture than making money.
In the April 20, 2018 issue of the New York Times, venerable cartoonist and illustrator Edward Sorelhighlights a mysterious incident in crime writer Agatha Christie’s life. Or how archaeology is preferable over golf.
Dutch clear line illustrator and designer Joost Swarte has had some projects with unusual mediums before (tableware, stained class windows, you name it), but this one is really a first.
During the annual Bloemencorso (or Flower Parade), held in the flower-growing districts of Holland, one of the floats celebrated 150 year of theatre in the city of Haarlem. A second float focused on the 50 year anniversary of the Toneelschuur theatre in Haarlem, and was designed by Joost Swarte.
The colours may be a little off-brand for Swarte, but his hand is very obvious in the design of the characters.
Every year in April, the Belgian Red Cross organises a funding drive, during which volunteers ask motorists for contributions at traffic lights and road crossings. For 5 Euros they can buy a bumper sticker featuring a favourite television or comic character. In the past stickers were published with Tintin, Astérix and Lucky Luke, and also local luminaries like Kiekeboe and de Rode Ridder.
This year’s model was designed by Flemish cartoonist Charles Cambré and features the characters from the long-running Robbedoes series, as Spirou is known in Dutch, including de Rommelgem count, Kwabbernoot, IJzerlijm and Spip. Together with writer Marc Legendre, Cambré is also the artist of the (as yet) Dutch-only spinoff, Robbedoes Special, which currently counts two titles (that weren’t half bad, actually).
Only Clowes would imagine a Kryptonian birthday to be a day for “sober, clear-eyed accounting of our sorrows and frailties that we may clear the way for an ever-deepening self-knowledge”… Still, happy birthday, Dan!
It’s spring (at last)! And to celebrate the season of new youthful energy, Tom Gauld created a nice cover for the New Yorker featuring all the sounds that spring to mind, from bird sounds to Vivaldi. If you click through to the magazine’s website, you can hear the actual fragments that Gauld’s referencing in the speech bubbles.
It is clear to me – comic genius Rube Goldberg‘s spirit is alive and well, and has taken possession of Joseph Herscher. But whereas Goldberg used the popular visual medium of his day, the newspaper comic strip, to promote his inventions, Herscher plans to take the world by storm via his brilliant YouTube channel, Joseph’s Machines. Seeing his contraptions at work only adds to the fun.
There seems to be inherently nerdy about stamps and stamp collecting, and back in the 1960, when the world was strictly divided into jocks and nerds, stamps were lumped together with comics and science into the nerd corner.
The ultimate expression of this sentiment must be this obscure newspaper strip that Allan Holtz of the excellent blog, Strippers Guide recently unearthed. Jet Swift And His Science Stamps was a short-lived true fact strip by Art Radebaugh, created after his previous regular feature, Closer Than We Think was cancelled.
It is a strange strip, or rather, a clunky collage of panels that are shaped as stamps, each with a pixie-like narrator explaining what the image shows. It didn’t last long, but it has a strange rarity quality to it.
France has comics in its DNA, and so it’s no surprise that students at the Paris art direction and design school ESAG Penninghen came up with a campaign for leading economy magazine The Economist featuring comics’ most famous capitalist moguls, Mr Burns (The Simpsons), Scrooge Mc Duck (or Picsou, as they will probably know him) and “billionaire in jeans” Largo Winch from Philippe Francq and Jean Van Hamme’s BD series of the same name.
The artwork seems to be largely swiped from the original sources, but at least they made sure that characters’ chairs match their styles.
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