School Trip

Normally a yellow school bus would not be associated with a luxury luggage brand but, parked as they were in front of a shop with a pile of suitcases stuck outside, they reminded me of those no work-just play school trip days away from classrooms and homework. Happy times!

June 3rd, 2017

”A good start is half the journey”

A lot of advertising of that period would, in one way or another, be considered inappropriate or offensive by today’s standards. But, make no mistake: the Cream of Wheat Chef knows exactly what every boy and girl needs and serves it with a smile!

Edward V. Brewer (1883-1971)
“A Good Start is Half the Journey”
Cream of Wheat advertisement, 1926
Museum of American Illustration, Permanent Collection
Oil paint on canvas

Apparently Emery Mapes, one of the owners of the Diamond Milling Company that produced Cream of Wheat, preferred to hire local talent rather than nationally known illustrators. So, from 1911 to 1926, St. Paul native Edward Brewer was the dominant hand in advertising the porridge. This work, done at the end of his tenure with the cereal maker, typifies the homespun ethos the company wished to convey to the general public, something at which Brewer showed great skill. It was Mapes who originated the concept of ”Rastus” the chef, the logo which had from 1890 to the 1920s appeared as a woodcut image. Brewer developed the image that we see here. It is believed to be the face of a Chicago chef, Frank L. White, who received $5 to model in his chef’s garb and which remains the face of Cream of Wheat today.


The Society of Illustrators

June 3rd, 2017

The Society of Illustrators Annual Student Competition 2017

A jury of professional peers including illustrators and art directors have chosen the most outstanding works created by college level illustration and animation students throughout the year. Pieces are accepted based on the quality of technique, concept and skill of medium used. After reviewing 8.082 submissions, only 220 were selected for this year’s exhibition and 25 have received financial awards.

The works were on view between May & June 2017; these images are but a fraction, just enough to get an idea. Individual styles, different types of media, several Art Schools, all sharing a common quality: it was hard to believe these works were created by students, not professionals.

Carina Chong, F is for Fox
Gouache and pencil, Pratt Institute, Instructor: Pat Cummings


Mei Kanamoto, Insignificant Others
Silkscreen on paper, Parsons School of Design, Instructors: Jordin Isip and Steven Guarnaccia 


Amanda Chung, The Fool
Mixed media, Parsons School of Design, Instructors: Jordin Isip


Kyoosang Choi, Illusion
Acrylic and oil on panel, School of Visual Arts, Instructors: Thomas Woodruff and TM Davy


 Oh, look! Steadman was here Varvara Nedilska, The Collector
Watercolour and gouache, OCAD University, Instructor: Jon Todd


Clarissa Liu, Felt Tattoo
Felt, Rhode Island School of Design, Instructor: Melissa Ferreira

Nina Charuza, Train

Acrylic, California College of the Arts, Instructor: Bob Ciano


Mack Muller, Sax man
Monoprint, Syracuse University, Instructor: James Ransome


June 3rd, 2017

One year ago today

We were watching the fireworks from the heights of Alamo Square Park. Somewhat obstructed by that perfectly aligned row of ”Painted Ladies” but I could not complain. After all, it was a mildly cool evening, we had just arrived in San Francisco and the ”Ladies” themselves were such a lovely sight. There will be many more photos and memories from that trip later on – meanwhile…

Happy 4th of July America! May You Become Sane Again!

That’s The Spirit…!

Of being an old soul but never wanting to grow up.

The Spirit: ”Il Duce’s Locket” page 1
May 25, 1947
Ink on paper

P’Gell, a femme fatale with an impossibly narrow waist, was among the more prominent and persistent in a series of beautiful criminals in Eisner’s long-running Spirit. P’Gell, though a deadly adversary couldn’t shake her love interest in The Spirit. He seldom returned her affectionate overtures. P’Gell was named after the Quartier Pigalle, the notorious red light district of Paris


The Spirit: ”Quirte” seven-page story
November 21, 1948
Ink on paper


The Spirit: ”John Lindsay’s Mayoral Race”, five-page story
New York Herald Tribune magazine (January 9, 1966)
Will Eisner and Chuck Kramer
Ink on paper with wash

Will Eisner had not drawn a new Spirit story since 1952 when the New York Herald Tribune’s Sunday magazine contacted him in late 1965 to create a story based on the city’s mayoral election. The lettering (done on clear acetate) is missing from the original pages, but the story can be read on the smaller reproductions of the published version.


Portrait of Will Eisner by The Spirit
circa 1985
Ink on paper


Spirit Magazine #20 cover art
1979

Ink with watercolour on board


Samples of Eisner’s used pens and brushes
Jules Feiffer script for unpublished Spirit Story
1952
manuscript 


Smash Comics #8: ”Espionage”, page 3
1940
Ink on paper

This original ”Espionage” page on display is among a very small handful of Will Eisner’s surviving comic book pages from the 1930s when the Eisner & Iger Studio ”packaged” stories for client publishers. During that period (and later) publishers routinely destroyed original art after publication. Decades before organized fandom saw value in both vintage comics and art, publishers saw no reason to save such ”production” material. As a result, original art from the comic book industry’s early years is extremely rare. 


Portrait of a Nude Woman
1936

Oil on stretched canvas

A teen-aged Will Eisner painted this model while attending life drawing classes at the Art Students League in New York. Eisner’s disapproving and practical mother was shocked to learn that her young son was painting naked women and she discouraged him from pursuing art, a career she felt would be unremunerative. Eisner’s father, who when younger had aspired to be an artist, quietly gave his son encouragement. 


Late Train
New York City lithograph series
1988
Ink with watercolour on board


Turf War
New York City lithograph series
1988
Ink with watercolour on board


A Contract with God and Other Tenement Stories: ”The Super”, ten-page excerpt
1978
Ink on vellum, adhered to board


Images from WILL EISNER: The Centennial Celebration 1917-2017, a retrospective comprising over 150 pieces of artwork, graphic novel sequences, original pages of The Spirit and Mr. Eisner’s personal items. The exhibition was curated by Denis Kitchen and John Lind and ran between March & June 2017 at the Society of Illustrators. It was the largest Eisner exhibition ever in the United States and made me very happy indeed.

June 3rd, 2017