Hobo Hieroglyphics

This is "Sign Game" strip that appeared in Signs of the Times, Sept., 2003.

The Dying Penman Introduction

  To those following this blog, it may seem odd that posts sometimes appear from a work-in-progress, a technical manual (to be published by the See Sharp Press) on using the dip pen, titled "The Dying Penman." The entries appear out of context, so it should be no surprise that the opening page suddenly appears. The work is slowly unfolding from many sketchbooks, notebooks and files.
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 The great French artist Theodore Gericault said that one should be able to draw a body hurtling from a burning building before it hits the ground. I agree, if the word “doodle” can be substituted for drawing. Even within the field of pen and ink, there are so many types of drawing that the term is almost meaningless. When reading this book, please note the context of the advice that I offer. What may be true for one kind of imagery or style is not necessarily true for another. There are always exceptions to every rule, and no relative truth about art is universal.

  What is a virtue in a successful work may also be perceived as a limitation. An artist who excels at bold studies of athletes in motion may lack the light hand so necessary for drawing children. And speaking of sports—please disregard the idea that art is a competitive enterprise that should or will be acknowledged with trophies and public merit. Regardless of the auction value of any artist’s work, living or dead, there is no ultimate winner or “best artist.” People who keep the records, historians and critics, bring cultural and personal bias to bear. Forget consensus opinion, too. Art is not a democratic enterprise. It is my intention to set forth clearly dynamics of pen handling that will be helpful to both beginners and artists at every level.

  With due respect to my publisher, this book would never see the light of day if I thought it could be a cash cow. We bring this work to print at a critical time in history for the conscious penman (and even for the print medium). I am seeing what I regarded as a slowly-evolving craft suddenly become eclipsed, corrupted and finally, subsumed by the new computer technology. This revolution has occurred in a mere generation, revolutionizing every purview of hand craftsmanship, from medical illustration to architectural rendering.  I've already lived through this debacle in another field—as a traditional sign painter. It took less than five years for the field to implode after the new computer-generated vinyl letters were introduced in the mid-‘80s! I stubbornly clung to the traditional craft, chasing jobs that involved pictorials and complicated logos; yet even this niche suddenly became dominated by the new dot matrix printers in the early ‘90s. I returned by necessity to pen and ink for a livelihood, never dreaming that its existence would be seriously threatened so soon afterwards. Basic and refined principles of pen drawing are being relegated to historical footnotes. I feel an overwhelming need to describe the dynamic nature of the pen drawing that I have pursued all my life, in the hope that those who are opting for seductive shortcuts will realize what they’re overlooking.

   I know by heart the many pitfalls and misconceptions that a beginner might encounter along the way. Before I had any professional training, I entered the field by stealth as an auto-didactic. This is a gift being sent back to myself half a century ago. To my peers, I offer these insights as reference material for the preservation of our craft.

Entry Level Cartooning

Excerpt from "The Dying Penman," a work in progress.

  As print vehicles become increasingly harder to find, it’s a great paradox that the boom in wi-fi tablets has created the optimum showcase for cartoonists: a brilliantly backlit field that enhances the look of rich black-line drawings. And the colors of the so-called Golden Age of comics are washed-out pastels in comparison to the brilliant hues that the new technology offers.

  Yet the tactile quality of a printed page, the sheer look and feel of ink on newsprint, will never be completely subsumed or forgotten. In a crowded field where there are virtually no jobs advertised, one entry-level position remains. Every town and village has at least one sad little tabloid funded by its local merchants. Every city has dozens of these neighborhood rags that barely deserve to be called newspapers. I’m not talking about “Alternate Weekly” papers—even there the cartoon venues are already taken. The odds of a newcomer getting a gig with an A.W. are almost as formidable as getting into an actual newspaper. Yet if you break in with a humble Neighborhood paper, you’ll have a much better shot at seeing your work in an Alternate Weekly, your next stepping stone.

  The challenge will be to come up with cartoon ideas that have a broad popular appeal. But humor is never truly centrist, so you’ll be forced to learn how to become as edgy as possible without being offensive. That will help you improve your game, as restraint is every bit as vital a tool as unbridled self-expression in this hybrid word/image medium. It will be gratifying and sometimes humbling to get “real time” feedback from people who see your comics in print. Learn from everybody. It’s also a good discipline to learn how to respect a deadline. No matter what’s going on in your life, you’ll have to produce your strip. Give it your best shot! Pretend like you’re working for the New Yorker.

  If you’re lucky, you might be granted a little ad for all your troubles. Most likely some of the merchants will want you to do spot drawings for their ads, too. Though you might have to fend off criticisms from friends and family (“WHAT? You’re doing it for FREE?”), rest secure in the knowledge that you’re building a tangible portfolio, not a merely virtual one, that will surely lead to better things. It may also be just the ticket to convince you that you don’t really want to be cartoonist. If that’s the case, the sooner you know it, the better.

Be A Cartoon "History Detective"

U-Haul trucks without flashy digital graphics and use of old-fashioned telephones aren’t the only things that date this strip from ‘93. These days Summer job opportunities for teens are almost non-existent. Everything else is plausible. In fact, the beef stroganoff punch-line is literally true and I can underwrite that in a court of law!
 

 

Eagle Day Approaches

As the big annual spectacle looms, it seems ironic that a certain proud and loyal 
constituency among us shows the same righteous fervor as our avowed enemies... 

No Time Like Zen Time

  Here's one from '75. Kind of brash, but punchy. Perhaps the chicken should be a carrot.

A Change Of Pace

The ascent begins boldly but soon falters on the ancient stairs, which present living and iconic barriers that appear to impede progress. The enterprising suitor may take a shortcut at the top, avoiding the penetrating wisdom of the Buddha. However, there's no way around the winding hallway displaying portraits of previous gents who made this formidable quest. The descent is direct and swift, guaranteeing a sadder, but wiser, orientation to life itself.

 Pen and Ink with watercolor, Photoshop. 6.5" x 11.5", 1998-'12