Why must Eye Chase da Katt?? to give him back his wallet, of course!!! Dogs seem to get such a "bad rap" against felines when they're sometimes they're only tryin' to HELP!!! Even if it means HELPING themselves to a few Feline Dollars! Heh, heh! I see my Looney tunes Tex Avery Influence coming out in this toon. On one did it better than Tex!
Pharlament Funkadelic asked this eternal question decades ago in their mega hit, "Atomic Dog" and the question to this day remains unanswered... It really must be the dogg in me....
This is a sneak peek of a panel from a comic project that I am working on... stay tuned for the unvailing....
ATOMIC DOG
GEORGE CLINTON
Yeah, this is a story of a famous dog
For the dog that chases its tail will be dizzy
These are clapping dogs, rhythmic dogs
Harmonic dogs, house dogs, street dogs
Dog of the world unite
Dancin' dogs
Yeah
Countin' dogs, funky dogs
Nasty dogs (Dog)
Atomic dog
Atomic dog
Like the boys
When they're out there walkin' the streets
May compete
Nothin' but the dog in ya
Just when I thought Id seen everything on the subject of racism/coonism in comics I ran into these old Australian Adverts,and comic You dont get any more explicit than this, and what makes it WORSE is that its in a book aimed at KIDS, thus setting the stage for more advanced racial studies when they got older.
This cartoon, and other like it show the power of images.
February is Black History Month, and so for this entire month I find myself investigating and featuring on this blog African American Artists of color who have influenced my cartooning caricature style that I use gleefully on the un suspectly subway commuters of NYC. A major source of influence in my style has always been cartooning particularly of the zanier sort associated with Warner Brothers Looney Tunes, which seemed more than any other studio to embrace caricature as a whole and incorporate it into their artwork.
Caricature, by it's very nature seeks to amplify a subjects facial features for startling comic effect. The art form can also be used to make a statement about the artists' attitude toward the subject. Caricature artist, Dion Socia, of the ISCA lectured on this very subject numerous times at various ISCA Conventions that I attended, and pointed out one should instantly know the artist's point of view by looking at their caricature. With this view in mind, I find myself asking, "what were the cartoonists/caricature artists "back in the good old days" circa, 1940- 50 saying about Negroes (we werent "African Americans " then) as a whole?Ive heard the argument that the art reflected the attitude of the country at the time, that it wasnt meant to hurt or downgrade a group of people, etc. etc. But you tend to wonder what went on in the mind of the artists as they created these images shown in these films Ive have here.
To be objective for a moment, the cartooning is brilliant and so is the animation. Imaginative, well drawn, and very entertaining, even with the racial charged undertones. You can even say that the artists are depicting jazz musicians and the cultural attitude, as they saw it, of black people at the time. I know Im raising more questions than making a point here, but as I said earlier, Im wondering about all this.... After all, I AM a caricature artist, I DO lampoon people and JUMP UP distinctive facial characteristics as a matter of policy. Is it RACIST to draw Jay Z, WITH GIANTIC LIPS? is it RACIST to draw so called "nappy hair" on a black person if they have it? Is it RACIST to draw a black person as dark as the midnight sky if they LOOK that way? I personally know and have seen in my community numerous people who REALLY resemble these "racist cartoon/caricatures" depicted in these and several other youtube clips.
IS it RACIST to depict black people like this or not? If not, WHY? If so, WHY? when does "innocent caricature" cross the line into "divisive racism?" Let's talk more about this, or at least think about it this month.
Here's a link that talks about The use of the "N" word and how it is used in caricature in art and comedy http://www.ferris.edu/jimcrow/caricature/
I will always remember the day that I got off the train at Union Street on the R line en route to an appointment, and knowing me, in a rush to get to my destination. I remember stopping dead in my tracks , in front ot the Union Street sign, where I came face to face with Emmet WIgglesworth's subwaymural. I was familiar with his work and recognized the style instantly. Wigglesworth;s famaliar theme of figures juxtaposed together in a maze of afrocentric faces invoked images of ancient African tribal masks and woocarvings, elongated fingers and arms covered with mesmerizing black and white patterns.... It was classic Wigglesworth, and I could only stand there reminiscing our meeting years ago. Back in the day, I lived for a time in the Bushwich section of Brooklyn, and although I cant for the life of me remember how I found this out, but I discovered that Wmmet Wigglesworth lived within walking distance of my house, so with the impeturousness that only a young person could have, I called his home, and within minutes was seated there in his living room discussing his career, and my art. I was very inexperienced back then, was newly married, and had a passion for art, but didnt know where or how to channel it. I will always be grateful for Mr. Wigglesworth opening up his HOME to a young artist who was a total stranger, and sharing his time with me. For a while I even imitated his bold black and white afrocentric abstract stylings, until I discovered my "own voice" . I guess you can say in a sense, Wigglesworth was instrumental in teaching me how to walk.
I look forward to the day that I can be just as gratious to a young artist.
Go to UNION STREET on the R Line in Brooklyn to see his work. You wont be dissapointed.
Check out this youtube clip of Wigglesworth "droppin' some serious science" on The Advertising Industry and how it affects self esteem.
Jacob Lawrence, is an unsung hero of the sequential art form we've come to know as Comics. Before I continue, let's look at the dictionary's definition of the word...
AComics (from the Greek κωμικός, kōmikos "of or pertaining to comedy" from κῶμος - kōmos "revel, komos",[1] via the Latin cōmicus) is a graphic medium in which images are utilized in order to convey a sequential narrative;
Lawrences' epic work, THE MIGRATION, consists of 60 paintings combined with words that tell the story of the American Negro's migration from the south to the North. I am currently doing more reading on this fascinating subject, but dont let me stop you from checking out the video.
Oh By the way, Jacob Lawrence was the first African-American to be represented by a New York City gallery.
In hearing George recall the "old days" of illustration, I couldnt help but be thankful for the computer age I live in and how it streamlines jobs that are non existent now. "In the old days, we did paste up with type using literal tweezers, peices of cut out paper and rubber cement!" I also became sort of wistful that many of the jobs available to illustrators back then are not as available now. Photography was expensive, and companies used illustrators to help them advertize their products in print and tv, recalled George. There were also, a couple of "B List" companies, that artists starting out could cut their teeth on. " I did greeting card work for Hawthorne Summerfield, and Williamsburg Publishing, which no longer exist"." In those days, Hallmark Geetings was the best, and one of the first companies that really used the power of branding. They KNEW they were the best, and used it in their tag line, "Hallmark, when you care to send the very best". Ford also considered his illustration work with Harper's Magazine to be his first major illustration job. " It was an article on African American author, Ralph Ellison". While on the subject of illustration, George took care to point out that illustrators need NOT fear art directors/editors when interviewing for a freelance position. "believe it or not, they are NOT looking to eliminate you, on the contrary, art directors/editors WANT you to succeed, to be "good" because they want someone who is capapble to help illustrate their product or idea"."Frequently after having your work reviewed you may hear the comment, "this is not what we're looking for, right now". "dont take this PERSONALLY" "It's not a reflection on your talent or work, it's just that it doesnt fit the companies niche at that time""It's important that every artist find their OWN niche". Having said that, I showed him work that I'd done recently for The Wave Newspaper, and other caricature work I'd done for Rocketshark Ringtones a while back. He commented on loving the line quality of the work, being reminiscent of Hirschfield, to which I smiled, Hirschfield being an influsence. "The rest, of course, is YOU" he added, with a smile, before going on to instruct me of how caricature could be used in publishing. "Caricature CAN be used, he began, but It's important, HOW subjects are depicted. The caricature must be used to enhance what is being spoken about and not used simply as an object of out and out ridicule." In Ford's view, the caricature should show just enough visual information to indentify the subject whichout making them look ridiculous for it's own sake. I was happy for the critique, and looked up to see that three hours had passed and I really had taken up much of his time. I thanked him for an interesting afternoon, and we left out table much to the delight of a stranded yuppie desperately looking for a place to sit.
There's such a wealth of information the man had that I didnt even manage to scratch the surface with. I encouraged him to start his OWN blog just so that the information he obtained in over 50 years in business would not be lost. He assured me that he had been newly inspired to do so and would get started on it immediately. I smiled in anticipation. I cant wait to see what he writes down.
I came to the interview with high hopes of getting the ultimate secrets to becoming a successful illustrator. If George Ford could make it in the racially discriminatory period he did the bulk of his work, than surely I would have an easier time in the new millenium, I reasoned. George quickly took the wind out of my sales with the simple statement; "You cannot DUPLICATE my success". He went on to explain the circumstances of his time, the people he met, the places he found himself were all contributing factors that couldnt possibly be duplicated because it was HIS LIFE. The mistake most young illustrators make is in THINKING there's a "duplicatable 10 point plan " for success.
"There isnt" He reasoned. "each artist must find his own way" Continuing on, he added that No art school is able to "give the plan" either. "You dont LEARN to be an artist, in ANY school," "art schools take the best people who are"good" (meaning they already have potential that serves as raw material) and the art teachers, if they are good ones, act as COACHES to guide a student in a direction, and help him develop his potential."
As Far as Potential goes, George had a lot of it. He was one of Three students who studied at Pratt Institute in the late forties, before continuing his education at highly competitive, Cooper Union. "There were 1000 people competiting for 90 spots in the school and I was the only black one." Not bad for a kid who attended Boys High School in Brooklyn. Art was a challenging profession to make a living at to begin with, and being a Black man in the forties, attending art school made it a little tougther."the art teachers, knowing how tough the industry was, wondered how YOU were going to make a living", he added. The social political climate of the day werent esactly the stuff "dreams were made of" for black youth, back in Georges' day either. The constant bombardment of negative black images, and stereotypes, ie. seeing blacks ONLY pictured as domestics, made you, "accept, on some level, a lower standard, based on what you're seeing. what you see becomes acceptable" When asked how he WAS able to achieve his dreams inspite of the racism he encountered, he responded instantly that his Father gave him the confidence to continue. Unlike today, there was always an underlining push in the conciousness of a black person to "carry the hopes and apirations of the race with you" as you went about whatever you were involved in, including art. Since much of Ford's work involved illustrating prominent African Americans like Ray Charles, and Paul Roberson, I asked him did he feel it was neccessary to draw, quote, "black themes" "We need good men(in terms of technical ability) who have talent, to use it for the people." With so much art today being ego centered, such altruism seems almost laughable.But it is precisely this mindset that not only inspired Ford's work, but other black illustrators who drew during the same period, including the late Tom Feelings, a personal friend. I remarked how I had been inspired by Tom Feelings as a child when I, along with a group of other children had been drawn by him personally, at "THE MUSE" Children's Museum in Brooklyn New York. George Laughed as he recalled he'd probably "seen me" as he was drawing there also that same day! Small world eh?
John THE BAPTIST, is one of the most interesteing characters in Scripture. The son of a priest,Zechariah, he was the last in the line of Old Testament type Prophets, and the "official God appointed announcer" of Jesus, The Messiah( In case you dont know, "Christ" aint Jesus' Last name, it's Greek for Messiah) John was a rugged dude to say in the least, he lived off the land, wore camel skin coats and ate a non fat diet of locusts and honey. In my upcoming comic I take a step backwards and illustrate Johns preaching up until he baptises Jesus in the Jordan. It sure is big fun drawing this guy!
Theres a saying that goes, "there's Eight Million Stories in the naked city" Most of em sad ones,.... well, I got a chance to witness one of 'em, and I'll tell ya folks, Aint nothin' quite as heart breaking as seeing a loney yuppie in starbucks, trying to find a seat....
I was having my meeting with Illustrator George Ford, and looked up and there he was, this poor yuppie, hot latte in hand, desperately scanning the room with big sad eyes looking for an empty seat and finding none....
To Mr. Ford's delight, I temporarily interrupted our discussion just to capture that sad sack look on that Yuppie's face....
Poor guy had to drink his Latte standing UP! GASPPPP!!!!!
If you're sayin' to yourself, "I see a little Peter Bagg" Influence, in this picture... give yourself a gold star!!!
"Man, you ARE the real deal!" said Illustrator, George Ford, as he caught me re drawing a caricature I'd done of him at the Z Space Art Gallery two weeks prior. I explained to him that how I was never satisfied with my work and wanted to redraw it and present it to him as a gift, and post it on the blog. The truth of the matter is that I guess I wanted to impress him as much as he had already impressed me. There's a lot to be impressed about... George Ford has illustrated over thirty books in his career, most notably the book, RAY CHARLES , written by Sharon Bell Mathis. and illustrated by George Ford. The book went on to win the 1974 Coretta Scott King Author and Illustrator Award,marking the FIRST time an ILLUSTRATOR had recieved the award. After that initial meeting with him at The Z Space I requested another meeting with him at a later date to discuss his career. This being Black History month I thought it important to focus on African American Artists whose work and accomplishments had caught my attention. Mr. Ford Gratiously consented and took three hours out of his time to discuss with me his approach to illustration, his career as an artist, how politica and social climate contribute to an artist's work, and even, Lil' Wanye! LOL!! I'll write up in subsequent blog posts what we talked about. SOME THINGS Not ALL!!!! He told me a few secrets that I AINT SHARING!!! LOL! Stay tuned!
In the meantime, here are a few links that lead to his work http://www.justusbooks.com/modules/content/index.php?id=70
Well, I can finally put a check next to another goal on my list of "Ta Do " things. Last week on the 31st of January, marked the day that my work was shown in a gallery. The new Z Space Gallery located in Midwood Brooklyn, Featured my work along with several other emerging artists at this fun filled event. The work will be on display at the gallery until March 18th. This piece, entitled, "Feelin' Bloo" is taken from my ongoing open ended "subwaysurfer extreme life drawing series".
As my wife was coming in the door, there I was, doing my vocalizing to the top of my lungs. "DO YOU KNOW YOUR VOCALIZING CAN BE HEARD OUTSIDE???" she said, "DO YOU KNOW WHAT TIME IT IS???"
What can I say? Since starting vocal training months ago, and most recently discovering some great vocalizing exercises from The Vocal Clinic, and other sites, Well, next to doing my art work, Im a vocal training fool! LOL!!! Maybe the fact that i can ve heard OUTDOORS is a GOOD thing! It at least means, Im opening my mouth wide enough! LOL!
Was even inspired to draw a caricature of myself. I admit I look kinda angry here! LOL! Maybe I'm straining my voice too much! Gotta remember to breathe correctly.
HERE IS A GREAT SITE THAT AS LOTS OF VOCAL EXERCISES GUARANTEED TO MAE YOU A BETTER SHOWER SINGER!
http://www.aussievocalcoach.com/category/free-singing-stuff/singing-tips/
What's up Surfer fans! Good things happen to those who give! Ya know, Even though I draw for a living, sometimes it pays just to GIVE PERIOD for the sake of GIVING. Case in point is my recent caricature of Erik Dillard, of the hit online show, THE VOCAL CLINIC. To make a long story short, I loved his show, his vocal exercises helped my voice, and I wanted to show my appreciation in a tangible way, so I drew his picture. He then, did ME a favor by giving me a major shout out on his show!! and man, does he have a VAST audience!!! This is Something he DID NOT HAVE to do, but it goes to show you that true giving is like a virus!!! it has a tendency to spread once you come in contact with it. As far as social media is concerned, its not about sell sell sell, you, you, you, all the time. YOU MUST DO STUFF FOR OTHER PEOPLE. It always comes back to you. I know that Erik and I will be doing a lot of business in the future. Yu can guarantee that.
AGAIN, if you people out there are aspiring musicians, PLEASE check out his site!!! You WONT be sorry and your voice will love you for it!
Posts
Why must Eye Chase da Katt?? to give him back his wallet, of course!!! Dogs seem to get such a "bad rap" against felines when they're sometimes they're only tryin' to HELP!!! Even if it means HELPING themselves to a few Feline Dollars! Heh, heh! I see my Looney tunes Tex Avery Influence coming out in this toon. On one did it better than Tex!
I will always remember the day that I got off the train at Union Street on the R line en route to an appointment, and knowing me, in a rush to get to my destination. I remember stopping dead in my tracks , in front ot the Union Street sign, where I came face to face with Emmet WIgglesworth's subwaymural. I was familiar with his work and recognized the style instantly. Wigglesworth;s famaliar theme of figures juxtaposed together in a maze of afrocentric faces invoked images of ancient African tribal masks and woocarvings, elongated fingers and arms covered with mesmerizing black and white patterns.... It was classic Wigglesworth, and I could only stand there reminiscing our meeting years ago. Back in the day, I lived for a time in the Bushwich section of Brooklyn, and although I cant for the life of me remember how I found this out, but I discovered that Wmmet Wigglesworth lived within walking distance of my house, so with the impeturousness that only a young person could have, I called his home, and within minutes was seated there in his living room discussing his career, and my art. I was very inexperienced back then, was newly married, and had a passion for art, but didnt know where or how to channel it. I will always be grateful for Mr. Wigglesworth opening up his HOME to a young artist who was a total stranger, and sharing his time with me. For a while I even imitated his bold black and white afrocentric abstract stylings, until I discovered my "own voice" . I guess you can say in a sense, Wigglesworth was instrumental in teaching me how to walk. 
