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.
Some five years ago I met a woman in a department store who wore a summer dress with a comics print that looked as if it had been lifted from Love and Rockets (or 100 Bullets, the jury is still out). The print was bold, with heavy blacks that were placed in an articulate equilibrium, but was clearly secondary to the quite elegant cut of the actual dress.
I was reminded of this when I was this shirt presented on the Nordstrom website (it’s sold out in the mean time). The same idea, but executed without even a shred of inspiration. It’s as if five lines of Peanuts images were cut out of a newspaper, and printed at random, without any regard to visual effect. From a distance, this shirt is a jumble of greys, and up close it will distract from the wearer as people will want to read your chest. And at $ 150, that’s hardly peanuts.
(if you want Peanuts on your clothes, go for the bold Kaws designs that Uniqlo is currently running, which are much neater and will only set you back 10 bucks…)
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