At the start of my drawing processes however, there always comes a haze, the blurry raw idea, the gist of what I want to express. What do you want to draw up? Let's say, in this instance we want to make a visual joke about conservative MPs speaking favourably of cutting disability benefits. I'd immediately start by exploring the stereotype storeroom or the pop culture cupboard, especially if I'm weaponising the cartoon: posh suites for Tory Toffs, the chained ghost of Thatcher, Scrooge or tiny Tim if it's Christmas, maybe the Times newspaper, large noses with which they peer down at their lesser humans, smugness and excess wealth, finding ammunition is harsh but effective. To sufficiently resonate the finer notes, a detailed image is best in my opinion; a picture that paints more than a thousand words has substance. In my head, a location, composition and action is required before I proceed. When I do, graphite pencils (if black and white) or blue erasable (for a colour image) would be used to establish rough outlines, capturing the characters expressions. I try to empathise with my characters as I draw their expressions (I even pull faces to get a feel); articulating a drawings thoughts as best as I can, a bit like sketching an interpretation of a book character. Before Anthony Hopkins immortalised Hannibal Lecter back in the nineties, the character was also raw and multifaceted in his book form (ignoring Brian Cox's performance in manhunter). Realistic type cartoons are more time consuming and some may argue that they're unnecessary for a simple gag, which are mostly centred on a quick laugh or a smile. This is why Garfield doesn't have a highly detailed coat and ultra realistic facial features, he's a well designed and simplified cartoon. I would draw the previously mentioned Tory cartoon with such detail and moderate realism. I still find myself toiling over my own simple cartoons, a simple line can say a lot. Vicariously, I always want my character to engage with readers; essentially, these drawings become my actors making me some kind of director.
•Vladek Spiegelman•Vladek Spiegelman •Vladek• •Vladek Spiegelman• •Vladek Spiegelman• •Vladek Spiegelman• Years ago, Art Spiegelman set to work, hoping to create a personal meaningful book; a comic book, depicting the horrendous experiences endured by his family in Poland during the late thirties and WWII. The book shows Art taking direct accounts and reflections from his father, Vladek; who had first hand memories of what life was like during that time. Throughout the story, we see that Vladek Spiegelman did not share his information with his son as smoothly as he could have at times. The Holocaust, the survival strategies used in his Jewish community, every part of it holds a sobering sadness and a warning that such evil once existed. The Art of Art This is not just Schindlers List crossed with the Beano. Admittedly, I remember opening Maus for the first time. After reading many modern comic books, which are now created by multiple collaboraters who utilise excellent com