Cartoonist Gerald Scarfe Takes No Prisoners!


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There’s really nothing I can say about Gerald that can match his work. It speaks for itself. He’s prolific, original and unafraid to show his visual opinions. His recent prints of Donald Trump are brilliant and without any apologies. He tells like it is and as he’s been doing for decades.


About Gerald Scarfe

Gerald Scarfe was born in London. After a brief period at the Royal College of Art in London, he established himself as a satirical cartoonist, working for Punch magazine and Private Eye during the early sixties, and in 1967 he began a long association with the Sunday Times as their political cartoonist, also carrying out reportage assignments in Vietnam, the Middle East, India and Northern Ireland.

TV & Film Work

Gerald’s film work includes Walt Disney’s Hercules, and he designed and directed the animation sequences for the film of Pink Floyd’s The Wall, as well as the live concerts. He recently collaborated with Roger Waters once again, for the new live tour of The Wall. On television Gerald created the opening title sequences for the classic comedy series, Yes Minister and Yes Prime Minister.

He has written, directed and appeared in many live action and documentary films for the BBC and Channel 4 and has published a number of books of his work.

Political Cartoons

Gerald Scarfe has now been political cartoonist for the London Sunday Times for 44 years, and has also worked for The New Yorker magazine for 21 years. His work regularly appears in many periodicals in the UK and worldwide.

Gerald Scarfe was made a CBE in the 2008 Queen’s Birthday Honours. He has also received Honorary Degrees from the University of Dundee and University of Kent, is an Honorary Professor of the University of Dundee and an Honorary Fellow of the London Institute.  He has been a member of the Royal Designers for Industry since 1989. Gerald Scarfe regularly gives illustrated talks about his life and work in the UK and around the world.

C.R.W. Gevinson: Brilliant eye-witness artist to WWI


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The power and the drama in Gevinson’s work is readily apparent. It draws you into the period and delivers a darkened approach to the stark reality of war. That being said the artistic quality of his work elevates the imagery to the quality of timeless. If you know nothing about the first world war or the state of the world during those times the art he created takes you there and delivers the goods.

First shown at the ground-breaking 1916 show at London’s Leicester Galleries, Returning to the Trenches is one of C.R.W. Nevinson’s most recognised prints, and one of the most iconic images of life on the Western Front in the First World War. It leads a fascinating group of prints by the artist featured within the Made In Britain auction in London on 5 April; a sale that focuses on British creativity across the past century.


Like his close contemporary Paul Nash, subject of a major retrospective currently on at Tate Britain, Nevinson witnessed life on the Western Front at first hand, enlisting in the Friends Ambulance Unit in late 1914. Sent home in 1915, Nevinson began to record his impressions of the conflict via the medium of paint, pencil, pen and ink and prints – works which today are considered some of the most important depictions of the conflict.


Nevinson’s work struck a chord with both public and critics alike; achieved through the very successful synthesis of realism and modernism, and the body of printed works which he produced from 1916 have, like those of Nash as well as the many poets of the period, become the visual signifier of the conflict for later generations.


Nevinson made use of different techniques, mediums and materials, often producing a pastel or pencil drawing, alongside a painting as well as an etching or lithograph of very similar compositions. The choice of medium on each occasion produced a subtle and slight alteration in the emotional impact of the composition, and Nevinson’s etchings possess a particular intimacy, as seen in the group of works featured within the Made In Britain sale.


To look at these images, over a century after their inception, you are drawn into the brutality and devastating loss of human life that the First World War witnessed. And, as with the work of Nash, Stanley Spencer or Mark Gertler you see the power that artists have always had in capturing these momentous social events; events which have shaped the course of modern life.


The Made In Britain auction is in London on 5 April

Be Political and Don’t Back Down


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The modern age or should I say right now is not a time to be timid. With swirling controversy wafting over the USA and the world those who think it’ll pass might be sorrily mistaken. Resistance is needed in fact it’s mandatory lest we will see an implosion of society akin to the decline of the Roman Empire.

As artists it’s imperative to make your work count, to have an impact. Dig deep into your soul and creative something memorable. That doesn’t mean everyone needs to be a political cartoonist or Banksy but if you want to paint portraits, animals or still life make them count, be memorable!


The New Modernists of Illustration Define The California Spirit


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I’m prejudice.

When I saw this notice I was excited because I’m an Art Center Grad and to see where the school and it’s students are heading gives me a thrill and reminds me of all those late nights or all-nighters I spent trying to master being an illustrator.

So I’m reprinting this article and giving a boost however big to my fellow ACers in the hopes they achieve their goals!

“Self Portrait” by artist and illustrator Patrick Hruby. March 06, 2017

New Modernists of Illustration Featured in Land of Enchantment Exhibition Organized by ArtCenter College of Design

Patrick Hruby, Loris Lora, Ellen Surrey and Alexander Vidal Define the California Spirit for the 21stCentury


March 8, 2017 through August 19, 2017

A fresh crop of Modernists of Illustration defining the California spirit for the 21st Century are featured in Land of Enchantment, an exhibition organized by ArtCenter College of Design opening Wednesday, March 8, 2017 and continuing through August 19, 2017. The vibrant graphic work of four recent ArtCenter alumni; Patrick Hruby, Loris Lora, Ellen Surrey and Alexander Vidal, leaders of the New Modernists art movement, will be on exhibition in the Hutto-Patterson Exhibition Hall in the College’s Fine Art and Illustration building at 870 South Raymond Avenue, Pasadena, Calif., 91105.

An opening reception with the artists on Wednesday, March 8, 2017 from 5 p.m. until 8 p.m., is free and open to the public. Admission is always free to the Hutto-Patterson Exhibition Hall located just one mile south of downtown Pasadena, and a short walk from Metro’s Gold Line Fillmore station.

“Green Parrots” by illustrator Alexander Vidal.

Land of Enchantment features the innovative work of Patrick Hruby, Loris Lora, Ellen Surrey and Alexander Vidal. Paying homage to the legendary American Modernist, Alexander Girard, the works offer a dramatic departure from what is usually considered traditional illustration. The bold and playful work represents a new form of illustration in partnership with technology and its limitless possibilities.

Visitors will experience illustration as environment since the work adopts an unexpected scale and plays with mood and emotion on multiple surfaces such as products, interiors and as home décor. The premise for the exhibition is to show illustration in its new form, surface design, and celebrate the specialization recently launched at ArtCenter College of Design within the Illustration department chaired by Ann Field.

The work of freelance artist and illustrator Patrick Hruby has appeared in The New York Times and The Wall Street Journal. He is the author and illustrator of ABC is for Circus, a children’s board book published by Ammo Books in 2010. The book celebrates the colorful and festive world of the circus through each letter of the alphabet. Natural Wonders is a coloring book by Hruby that features forests, flora and fauna.

Los Angeles based freelance illustrator and 2014 graduate of ArtCenter College of Design, Loris Lora has had her work published in The New York Times and The Wall Street Journal as well. In addition, her artwork has been featured in galleries across the globe. Her book, Eventually Everything Connects, published by Nobrow Press, was a project she started while a student at ArtCenter. The book highlights the relationships and connections of creatives during the California Modernism movement, an innovative and exciting period in design.

“Betty-Drapper” by illustrator and designer Ellen Surrey.

Ellen Surrey
 is a Los Angeles based illustrator and designer. She earned her degree from ArtCenter College of Design in 2014. Her primary sources of inspiration come from old Hollywood, mid-century design and vintage treasures. She finds beauty in the past and incorporates it into something contemporary. While most illustrators these days do their work in Photoshop, she likes to do most of her work traditionally. She primarily works in gouache, a medium she loves because of its flexibility and history in illustration. Her clients Include AMMO Books, The New York TimesThe New Yorker, Google and The Wall Street Journal.

Before starting his career in illustration, Alexander Vidal studied cultural anthropology, and spent time living in Africa and Asia. Travel and exploration continue to drive his work. His clients have included adidas, The Wildlife Conservation Society, Smithsonian Magazine, and the California Academy of Sciences. So Many Feet, his children’s board book about animal adaptations, will be released by Abrams this May.

Land of Enchantment is made possible in part through the generosity of global design manufacturer Herman Miller.

Land of Enchantment features the innovative and vibrant graphic work of
Patrick Hruby, Loris Lora, Ellen Surrey and Alexander Vidal.

ArtCenter College of Design, South Campus
Hutto-Patterson Exhibition Hall
870 South Raymond Avenue, Pasadena, Calif. 91105

Exhibition: March 8 through August 19, 2017
Opening Reception: Wednesday, March 8 at 5 p.m.

Admission to the Hutto-Patterson Exhibition Hall is always free and open to the public.

About the Hutto-Patterson Exhibition Hall In 2014, ArtCenter College of Design opened a new home for two of its dynamic visual arts programs—Fine Art and Illustration—at the College’s South Campus in Pasadena. Renovation of the former U.S. Postal Service property was made possible in part due to the generosity of the Hutto-Patterson Charitable Foundation, providing a dramatic atrium space (1,260 square feet) in the center of the building to showcase the work of ArtCenter students, alumni and visiting artists through a rotating series of exhibitions. The collaborative Hutto-Patterson Exhibition committee includes administrators, faculty and students. The committee’s goal is to help students understand the nature of being a practicing artist and professional curator, as well as apprehend a larger worldview by learning how a gallery generates dialogue with the broader public. Woven into the curriculum, exhibitions are accompanied by public lectures and special events. In keeping with ArtCenter’s efforts to increase access, affordability and appreciation of art and design in our communities, the exhibition hall is always free and open to the public.

About ArtCenter College of Design Founded in 1930 and located in Pasadena, California, ArtCenter College of Design is a global leader in art and design education. ArtCenter offers 11 undergraduate and seven graduate degrees in a wide variety of industrial design disciplines as well as visual and applied arts. In addition to its top-ranked academic programs, the College also serves members of the Greater Los Angeles region through a highly regarded series of year-round educational programs for all ages and levels of experience. Renowned for both its ties to industry and social impact initiatives, ArtCenter is the first design school to receive the United Nations’ Non-Governmental Organization (NGO) status. Throughout the College’s long and storied history, ArtCenter alumni have had a profound impact on popular culture, the way we live and important issues in our society.

Teri Bond
Media Relations Director
O 626 396-2385
M 310 738-2077

2017 Spring Issue Of Illustrators Journal will be online soon!


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After a few years of silence the Illustrators Journal online magazine is back. There will be some noticeable changes especially in this new Spring Issue that explores art and politics. In light of where US politics are going, I feel compelled to jump into the fray. My resistance to the present government started with my wife and I sitting down and talking about where we might run away to to escape the government we are now facing. After much talk and consternation, (and a bit of practicality) we decided it would be better to use our collective talents to portray how we feel about what’s happening. Hence, the cover illustration of this issue and the content of the issue as well.

I’m hoping to have the zine ready within a couple weeks.


Screen Shot 2017-03-06 at 11.02.28 AM

Happy Birthday Mondrian!

Happy Birthday Mondrian! Dutch painter who reflects the consciousness of his countrymen. His attention to detail and simplification is extraordinary.

The Illustrators Journal

Mondrian is one of those Dutch painter who reflects the consciousness of his countrymen. His attention to detail and simplification is extraordinary. He was extremely versatile and could paint in various styles. In his search for the essence of color and form he created the work we know him for today which is exact and clear. When I look at his work I feel like I’m peering into a microscope to get to the essence of a painting.

Pieter Cornelis “Piet” Mondriaan, after 1906 Mondrian March 7, 1872 – February 1, 1944), was a Dutch painter.
He was an important contributor to the De Stijl art movement and group, which was founded by Theo van Doesburg. He evolved a non-representational form which he termed Neo-Plasticism. This consisted of white ground, upon which was painted a grid of vertical and horizontal black lines and the three primary colors.
Mondrian was born…

View original post 343 more words

It’s A Never-Ending Quest


A three-day old baby elephant strolls arA month of so ago I saw that the SoCal branch of SCBWI was holding a conference and had an illustration contest. I hadn’t entered a contest in years but since I ws working on some art for a book my daughter and I were putting together I thought I’ll kill two birds with one stone. So I came up with the art above for the catch phrase “Don’t Bring Lulu” I showed this to my daughter who was captivated and insisted I do hudson-leaps-over-stump-toomore using her kids as models. So the next illustration I did was of her youngest Olive. All the while keeping in mind that I needed to update and alter my “style” to something more salable. I started by looking thru Olive’s favorite possessions  and came up with the Tiara with a big glittering star. From there I decided to render Olive riding Lulu after both of them put on their best jewelry. Next I started work on Hudson, Olive’s fraternal twin brother. I knew he was into Star Wars and Spiderman and he was a very active kid so I created an action scenario for him wearing his own “ecological” superhero outfit.

All the while I was conscious of altering my way of illustrating by changing eye size, eliminating outlines and simplifying my way of doing that so that I could work fast, efficiently and come up with great “salable” imagery. Because after all this is a business. I first made sketches scan them into my computer then illustrated them in photoshop. I created my own brushes for hair, skin and shrubbery. At this point in the process I keep thinking there’s a story here, however I don’t know what it is. But I did come up with a working title. Lucy the Lavender Elephant. I have much work to do, and I’m hoping the story evolves but in the meantime I am enjoying the process of creating imagery especially something I can frame and give to my grandchildren as presents to remember me by.


So the never-ending quest is to strive for your goal and meet it the best you can. And if you do meet it, then set a new goal. All else should fall into place. I’ll keep you all updated on that end.


Why Bilingual Books Are Important


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A few years ago I was assigned to create around fifty spot illustrations for a series of educational booklets. As part of that assignment I was asked if I could illustration other ethnic types other than white. “Of course” was my response. boy-waving-armsOnce I had past the sketch phase I was told the sketches of African-American and Hispanics I did were too ethnic looking and needed to be less so. I took that to mean more white. After several rounds of alterations my work was approved. However it illustrated to me a fundamental problem in our society. There are some companies and people who are afraid of the “other” and do not want to offend them. Most of these people I suspect have very little contact with ethnic groups other than their own. That’s unfortunate to me because the differences is what makes our world interesting. The more we interact wit the “others” the less we fear them and the better our society will be for it. NOW,…more than ever it is important to reach out and get to know each other. Only when we understand the needs, wants, experiences and hopes of other ethnic groups will we have a fully integrated society.  storytellerOk how how does this relate to Kidlit? Simple, it starts with kids. Max Benavides’s article says it better than I could so here it is…

The books they read and the books parents read to their kids need to reflect our society as a whole. Many Americans are familiar with well-known mainstream children’s books such as the Dr. Seuss series, Goodnight Moon and Where the Wild Things Are. But what about Americans who come from another culture, speak another language or are bilingual? What children’s books are there for them and their families?

This group, until recently, was especially missing from children’s literature, often referred to as kidlit in the publishing world. These are the families whose parents’ first language is Spanish and whose children are learning English in school. When you add in the fact that the majority of the 54 million Latinos in the U.S. are bilingual and yet very few children’s books are bilingual you have a tremendous gap in books that can speak to this community and its culture, particularly the parents. That means they don’t see themselves in the children’s books distributed at their schools, stocked in their local libraries or sold in bookstores. The effect of this invisibility and absence in children’s books is dramatic and negatively affects the self-esteem of these children.

Nationally, nearly 25 percent of all K-12 students are Latino and the percentage is only growing. In California, the most populous state in the country, Latinos comprise 53 percent of all students in K-12. Latino families like these—who live all across the country from the Southeast to the West Coast—are often bilingual with Spanish being the main home language for many.

And, guess what? Until now there have been very few children’s books for this huge population of children who want to see themselves and their families in children’s books.

Finally, one publisher is doing something about it. In the early 2000s, Katherine Del Monte founded Lectura Books and since then has been publishing bilingual books aimed at this large and increasingly expanding population. Her desire has been for parents and their kids to learn together how to love literature and to see themselves in the literature. These families are often marginalized in our society and their stories untold. To remedy this, she started Family Stories for Parent Involvement.

“We all want a literate society,” says Del Monte. “The question is how do we get there? How do we do we reach millions of families who speak Spanish at home and help them learn English, learn how to read, and to build vocabulary. Reading is the essential building block for literacy and if we don’t create bilingual books for these families, our society will lose the edge that literate and educated citizens bring to the country and its economy.”

Based on her research and personal experience, Del Monte decided to tell their stories in a combination of both English and Spanish. To date, she has published 25 bilingual books including Letters Forever, a moving story about a young girl in San Antonio who exchanges letters with her grandfather who lives in Veracruz, Mexico. She dreams of seeing him again one day and when she becomes 18 she visits him in Veracruz. It’s a story of love across the generations and the power of culture and music.

Another title published by Lectura Books is The Shark That Taught Me English. Written and illustrated for elementary students, it tells the story of a girl named Sophia who only speaks Spanish and how she learns English with the help of a shark image that her teacher uses in class. Once she begins to learn English, her self-confidence grows and by the end of the book she is teaching English to her father. Del Monte’s books have won many awards including the Moonbeam Award, the Independent Publishers Award, the International Latino Book Award and been listed on the Texas State Reading List.

“My goal is to show the stories that are overlooked by mainstream publishers,” explains Del Monte. “I want to publish bilingual books that connect families to their stories. Rather than allow this audience to be an afterthought at best, I want to showcase the brilliance and wisdom of their stories. No one in the U.S. is doing this today. You simply can’t ignore a quarter of all the children in our schools. You can’t ignore their parents simply because they don’t speak English, are immigrants and work in low-paying jobs. True diversity in book publishing will only come by publishing in English and Spanish for the 37 million people in our country who speak Spanish.”

This is not a new concern. In 2014, a hashtag #WeNeedDiverseBooksbecame a social media phenomenon when two authors of color, Ellen Oh and Lamar Giles, tired of the lack of diversity in kidlit, launched the hashtag and a movement was born that brought awareness to the stunning lack of diversity in American children’s literature.

Flavorwire recently reported that, “In 2013, the Cooperative Children’s Book Center in Wisconsin cataloged 3,200 children’s books, constituting a majority of all children’s books published that year. Of these, only 68 — about two percent — had black authors. A slightly larger number, 93, had black protagonists. The numbers are either comparable or worse for Asian Americans, Latinos, and American Indians, and show stagnant or regressive movement.” They also noted that a 2014 Publisher’s Weekly salary survey included questions about race and ethnicity and it found some dismal results: of the people working in publishing 89 percent are white and only three percent are Hispanic or Latino, 3 percent Asian and one percent African-American.

The bottom line: although the U.S. is growing more diverse every year, you would never know it from children’s books or from the publishing industry itself. For that reason, Lectura Books plays a key and necessary role by publishing books that are culturally relevant to children and families who are often ignored. The long-term outcome will be to produce literate young people who go on to college and contribute to our society and its economic vitality. That’s how you build a literate society.

Addams, Gorey, Schulz & Seuss Headline March 21 Auction


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Dr. Suess and Friends

Dr. Suess and Friends

Three of the greatest cartoonist and kidlitart artists of all time. And you can grab a piece of history if you are in New York when the auction for their work takes place. All three have inspired me since my youth and I still read Peanuts whenever I see it. The wisdom in each of these greats still rings truest if you can’t make it to the auction google their work, read their books or cartoon strips and fill yourself with creativity that is the top of what can be achieved!

New York— On Tuesday, March 21, Swann Galleries will hold an auction of Illustration Art, featuring original works of art intended for publication.

A run of original illustrations for the popular Babar series includes the top lot of the sale—the ink and watercolor design for the cover for the third book, Le Roi Babar, 1933, by Jean de Brunhoff, is estimated to sell between $20,000 and $30,000. Further beloved children’s characters include an illustration for Ludwig Bemelmans’s 1956 Madeline and the Bad Hat, titled “He said – ‘Let’s play a game of tag’ and let a cat out of the bag,” valued at $7,000 to $10,000. The sale will also offer works by Maurice Sendak, as well as several storyboard illustrations from Walt Disney Studios, including Ben Ali Gator and Hyacinth Hippo waltzing the Dance of the Hours for the 1940 classic Fantasia, estimated at $800 to $1,200.

Also available are several original drawings by Dr. Seuss (aka Theodore Geisel), led by A Gentle Sport, Forsooth, a charming ink, watercolor and wash dragon first published in Judge Magazine’s April 1929 issue, and a 1930s cartoon for Life magazine titled The Skier and the Walrus (each $8,000 to $12,000).

The largest selection of works by Edward Gorey ever to come to market showcases 12 works by the beloved master of the macabre. The cover for a circa-1950 unrealized work titled The Worsted Monster is valued between $8,000 and $12,000. Additionally, there are costume and set designs, as well as numerous sketches and published illustrations for book covers, which include Chance, a Novel by Joseph Conrad and Cobweb Castle ($3,500 to $5,000 and $6,000 to $9,000, respectively).

Charles Schulz and Charlie Brown

Charles Schulz and Charlie Brown

Two Peanuts strips by Charles M. Schulz include an early work, titled Here comes the big Polar Bear stalking across the snow!, 1957, featuring Snoopy and Charlie Brown, as well as Mister Sensitive, 1974, depicting Snoopy and Lucy (each $6,000 to $9,000).

One staple of Swann Galleries’ Illustration Art auctions is a robust section of cartoons and covers for The New Yorker. This spring’s selection includes original works by Peter Arno, Charles Barsotti, Ilonka Karasz, Saul Steinberg, Tom Toro and Gahan Wilson, from as early as 1933 to as recently as 2016. Charles Addams is represented by Z Line Subway, a 1979 cartoon into which he snuck Uncle Fester, Wednesday and Grandmama from The Addams Family ($6,000 to $9,000).

The Addams Family

The Addams Family

In addition to the previously mentioned work by Charles Addams, the sale boasts new-to-market works consigned by the Tee & Charles Addams Foundation, including a cartoon depicting the entire Addams Family ($6,000 to $9,000), and a 1957 cover for The New Yorker titled Scuba Galleon, estimated at $8,000 to $12,000.

Early magazine covers by Erté include Sports d’Hiver, which graced the Harper’s BazaarFebruary 1933 issue, valued here at $8,000 to $12,000. Erté is also represented by several of his original set designs and costumes. There are additional early covers by McLelland Barclay, Umberto Brunelleschi and Georges Lepape.

A raucous selection of pulp is led by Harold von Schmidt’s oil painting to accompany a 1935 story in Cosmopolitan, captioned “But my husband—” Cleone gasped. “He’d kill you!” ($10,000 to $15,000). Further selections include Earl Moran’s pastel A Sweet Job, circa 1940, estimated at $6,000 to $9,000, and the oil on canvas Over My Dead Body, 1932, by Remington Schuyler, which was the cover illustration for West magazine ($3,000 to $4,000).

There is a strong run of original works by Al Hirschfeld featuring three iconic pen and ink caricatures depicting Holly Golightly (Audrey Hepburn) from Breakfast at Tiffany’s, commissioned in 1997 and each valued at $7,000 to $10,000. Hirschfeld is additionally represented by Queen Wilhelmina of the Netherlands, a gouache painting that was used as the cover for The American Mercury magazine in 1946 ($3,000 to $4,000).

From the nineteenth century come two floral ornaments by Aubrey Beardsley for Le Morte d’Arthur, 1893-94, are led by Spiky Leaves on a Stem ($6,000 to $9,000). A rare pen and ink drawing by the master, Squatting Devil Fishing, for the title page of The Bon-Mots of Sydney Smith and Richard Brinsley Sheridan, 1893, is estimated at $4,000 to $6,000.

The auction will be held Tuesday, March 21, beginning at 1:30 p.m. The auction preview will be open to the public Friday, March 17 from 10 a.m. to 6 p.m.; Saturday, March 18 from noon to 5 p.m.; Monday, March 20 through Tuesday, March 21, from 10 a.m. to noon.

An illustrated auction catalogue is available for $35 at

For further information or to make advance arrangements to bid by telephone during the auction, please contact Illustration Art Specialist Christine von der Linn at 212-254-4710, extension 20 or

Image: Lot 258 Charles Addams, Scuba Galleon, watercolor and gouache, cover illustration for The New Yorker, September 1957. Estimate $8,000 to $12,000.