Cartoons

Three Fines, two Tippits and a VIP


Here are some more panels that appeared in "Memos from Gurney Williams". Mr Williams was, among other things, Cartoon Editor of LOOK magazine in the 1950's, and he published a monthly "Memos" to be picked up and read by the cartoonists who visited him on Wednesday, which was Cartoon "Look Day". For more details, see my previous postings on the subject in "Eli's Corner".

Anyway, here are three more "How Not to Get an Okay" panels by Stan Fine, two panels of "The Rat Race" by Jack Tippit and last, but certainly not least, a VIP (Virgil Partch). These all involved cartoonists commenting on this crazy business of magazine gag cartooning. More to come in future postings. How Not To 23.JPGHow Not To 8.JPGHow Not to 22.JPGtippit no- 6.JPGtippit no-2.JPGvirgilpartch.JPG






Cartooning memorabilia


I found another tearsheet from an old magazine in my files, with photos of these three cartoonists. Don't know what magazine it was, but I suspect it was an art or literary publication from the 50's (maybe like today's "Writer's Digest").

Below each photo I've typed in the captions exactly as they appeared. Now, I don't know of a cartoonist named "Barney Tobin", and I suspect that was a typo for "Barney Tobey". Does anyone recognize him or the cartoon he's working on?

If I'm mistaken and there really is a cartoonist named Barney Tobin, my sincerest apologies. Rube Goldberg photo.JPG Caption: "The craziest inventions of them all, courtesy -- lo, these many years -- of veteran Rube Goldberg." whitney darrow photo.JPG Caption: " 'I dreamt I stepped outside for a breath of fresh air . . . without my Maiden-form Bra.' Not the caption for one of Whitney Darrow's famous cartoons, but for the subtle, delicate drawing behind his head." barney tobey photo.JPG Caption: "Drawingboard, paper, pen, sneakers, checked sportshirt -- the paraphrenelia of the successful cartoonist, as becomingly modeled by Barney Tobin." [Barney Tobey??]






Sun Magazine, August 27, 2007







Even more "How Not to Get an Okay"


Here are some more of Stan Fine's "How Not to Get an Okay" panels. These appeared in a monthly newsletter put out by LOOK magazine Cartoon Editor Gurney Williams in the 1950's (see my previous postings in "Eli's Corner"). How Not To 7.JPGHow Not To 27.JPGHow Not To 19.JPGHow Not To 28.JPG






More "How Not to Get an Okay"


Here are some more of Stan Fine's "How Not to Get an Okay" panels. These ran in the newsletter put out by LOOK magazine Cartoon Editor Gurney Williams in the late 1950's (see my earlier posting in "Eli's Corner" -- "Memos from Gurney Williams"). How Not To 15.JPG In the above panel, I figure the initials "P.I." on the briefcase have GOT to stand for "Phil Interlandi" How Not To 9.JPGHow Not To 14.JPGHow Not To 10.JPG






Memos From Gurney Williams


More material from my old files:

As everyone knows by now, in the Golden Age of magazine gag cartooning, Wednesday was "Look Day", when local cartoonists made the rounds in Manhattan, showing their roughs in person to Cartoon Editors. One important stop was the office of Gurney Williams, the long-time Cartoon Editor of "Look" magazine, a major market. As such, Mr. Williams was venerated and had achieved a certain amount of fame in his own right. But unquestionably one of the nicest things he ever did was to "publish" a monthly broadsheet (size 7 inches by 20 inches, printed on heavy paper stock) for cartoonists to pick up when they dropped in to see him on Wednesdays. It was entitled "Memos from Gurney Williams", had a notation of "250 Not Paid Circulation" (the number was later reduced to 200 for some reason), and it was chock full of cartoon news, stories, gossip and photos. It even had a few running cartoon panels about the funny business of magazine gag cartooning. One panel was "How Not to Get an Okay" by Stan Fine, and another was "The Rat Race" by Jack Tippit.

I don't know for how many years Gurney Williams provided this invaluable newsletter, but I have 26 copies, dating from April 1957 to August 1959, which I picked up at his office.

In the future I will be posting a lot of material from this gold mine of "Look Day" memorabilia. For starters, here are a few of Stan Fine's "How Not to Get an Okay" -- they're still funny, and appropriate, after all these years. How Not To 6.JPGHow Not To 17.JPGHow Not To 31.JPGHow Not To 20.JPG






Wednesday Look Day


SEP photo.JPG I found this in my files. It's a photo that accompanied a "Keeping Posted" article from the Saturday Evening Post, showing an (obviously posed) bunch of big-name gag cartoonists waiting to see Cartoon Editor Marione Nickles on a typical Wednesday "Look Day". The tearsheet isn't dated, but I place it somewhere in the mid-to-late 1950's.

The caption reads: "Jovial, chattering cartoonists": from the left -- Harry Mace, Bill Yates, Gus Lundberg, Martha Blanchard, Herb Green, Jeff Monahan, Jerry Marcus, Post humor editor Marione Nickles, Jack Tyrell, John Norment, Dave Hirsch, Mrs. Fritz Wilkinson (wife of cartoonist Wilkinson), Peter Porges, Bob Schroeter, Mort Temes.

As crowded as it seems to be there at the Post, it still looks roomier than the storage closet/waiting room that The New Yorker provides right now for cartoonists on Tuesday's "Look Day". Most of the New Yorker cartoonists opt to stand and lounge around in the outside hallway rather than fight the stacks of corrugated boxes and other flotsam and jetsam piled up in the tiny waiting room.

One thing has certainly improved, though (in my opinion) -- the dress code. These days a cartoonist would stand out like a sore thumb if he showed up in a suit or jacket and tie. The preferred outfit (for men, anyway) is more like levis and a golf shirt, or similar casual attire.






Florida Bar News, April 1, 1996


flabarn040196.JPG Was there ever a time when Alex Trebek and "Jeopardy" (my wife's favorite TV show) weren't around? I worked for a long time on "Jeopardy" gags and finally came up with this one, which I thought was pretty good. I spent a lot of time wording the caption "just right", and even tried to make the character look reasonably like Mr. Trebek.

However, my opinion of the worthiness of the gag wasn't shared by the cartoon editors -- the cartoon was soundly rejected everywhere, until the Florida Bar News finally took it on. I'm still disappointed that it didn't get a bigger audience.






Brandweek, February 12, 2007


brand021207.JPG And now an explanation of why I signed many recent cartoons with just my initials "ES", instead of "STEIN" (not the cartoon above, but you'll find it on a few of the cartoons already posted in the "2000" decade, and you'll be seeing more, intermittently, in future postings).

A few years ago, I started going to the offices of The New Yorker on Tuesdays, to see cartoon editor Bob Mankoff in person. He often reminded me that my retro Saturday Evening Post cartooning style was not the image that The New Yorker was striving for. Nevertheless, each Tuesday he would hold two, three, four, sometimes even five of my submissions. I always felt that this was just a perfunctory gesture, and of course I never got the Thursday phone call to tell me that Mankoff and David Remnick had decided to purchase any of them.

Sure I tried to change my style, and I also tried to bring Mankoff more cartoons with nondescript drawings -- cartoons with no identifiable characters, that could have been drawn by anyone (like the shark cartoon above, which Mankoff held, but ultimately rejected). But that still left the problem of my signature. I knew from many years of studying New Yorker cartoons that the magazine prided itself in discovering "new" talent -- so why did I need that extra baggage of a name that's been around for, literally, fifty years? So somewhere along the way, I decided it would be a good idea to get rid of the name "STEIN" and adopted the new signage, "ES".

Was it a paranoiac thought? Probably. Anyway, it didn't make a damn bit of difference and I'm glad to say that I've come to my senses and have returned to my old signature (unless it's a cartoon that I would submit ONLY to The New Yorker -- but I'm drawing fewer and fewer of those these days).

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It just occured to me that, since this is an "archive", there should be some explanation as to why I went from "ELI STEIN" to just "STEIN" in the early 1980's. Simple enough. When I started out, there was a very famous gag cartoonist named Ralph Stein. And besides being an active cartoonist, Ralph was also for a long time the cartoon editor of This Week, a weekly newspaper supplement. So the use of my first name was a no-brainer. When Ralph was no longer in the picture, I dropped the first name.

Right now, as far as I know, there are no other gag cartoonists named Stein. There's an Ed Stein, who is a political/editorial cartoonist, but we hardly ever get mixed up. I did once receive a letter intended for him -- I returned it to the sender and set him straight.






Dartnell, October 11, 1994


dartn101194.JPG Dartnell Corp. publishes newsletters for business and industry on subjects like Salesmanship, Teamwork, Office Management, Supervision and Customer Service. For many years, a cartoon was regularly included in about a dozen of the titles. In 1999, Dartnell was bought up by another company and the parent company discontinued the cartoon use. I recently checked on the internet and found that Dartnell is still active in newsletter publishing, and still cartoonless.

From 1986 to 1999 I sold about 125 cartoons to Dartnell -- the subjects were right up my alley and I had many rejected cartoons from other publications to offer them. Unfortunately, the Dartnell editors were loathe to send tearsheets or clips of my published cartoons to me, no matter how often I asked for them. So I only have a small percentage of my Dartnell cartoons -- the few that I managed to scrounge from them or from various other sources.

As I've said before, I love to see my cartoons in print, and the sad fact is that, overall, I've never seen about 20% of my published cartoons. These are the ones that appeared in publications not readily available to the general public, or that could not be found on magazine racks. Most editors routinely send complimentary copies, or tearsheets, to their contributors, but there are always the few others who can't or won't be bothered. Very inconsiderate, in my opinion.






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