This is the first time I've seen so much of this in one place or at all in some cases. It's boggling; you can see shades of M.K. Brown, Rory Hayes, Mark Beyer and so many others. It's also interesting to see what was happening with advertising art during this period. There was a real cross-pollination with what was going on in international animation and comics. You have the rise of a new kind of hip graphics in commercial art by the redesign of the NY Times Op-Ed section and outfits like Pushpin Studios (Milton Glaser, Edward Sorel and Seymour Chwast) and Graphis Magazine, approaching comics technique from the diametrically opposite side, but also embracing shaky cartoonists like Robert Blechman. This was a period of cultural blurring that made it possible for Crumb to be drawing mainstream greeting cards at the same time as he was doing his own comics.
"Offset Lithography" is just the complete way to describe that kind of printing - Lithography (as opposed to "relief" or "engraving" or "screen" etc) is just printing from a flat surface utilizing a resist (initially oil) to control where the ink is and isn't. "Offset" just means that the paper never comes into direct contact with the printing surface, but rather, is transferred to a "blanket" cylinder, then to the paper. We have just shortened colloquially to "offset". Going to Graphic Design school before computers took over means I have this info forever rattling around in my head
Over a year ago I attended a talk on the Chicago Imagists with Gladys Nilsson, Art Green, and Chris Ware. And they said they went to San Francisco and encountered the Zap Comic crew, but the Midwest’s Hairy Who did not partake in the substances that the Zap crew were into.
revisiting this video because I found a comic called TERMINAL COMICS from 1971 by a guy named Michael McMillan last weekend. He created it after coming across work by the Hairy Who and Zap Comics #1. Apex Novelties published it and it is well worth hunting down if you like what you see here. Dan Nadel helped put together a show for him in 2012 and included him in the book "Art in Time: Unknown Comic Book Adventures 1940-1980",
I saw the 50th anniversary exhibition for the Hairy Who at the Art Institute of Chicago. It was amazing. In the print room, the original aluminum lithograph plates for these comics were on display. But the best part was meeting Suellen Rocca just as we were about to leave. She took a minute to talk to my friend's 7 year old son about his art. It was the best part of the trip. The Hairy Who and Chicago Imagists are amazing artists who are finally getting some of the recognition they deserve.
wow I got this as a birthday gift about a week before you posted this video. Karl Wirsum was a prof of mine in college and I look up to him as an artist so much. so exciting to flip through this book and find that two cartoonists I respect deeply also respect him and his work. There's a great documentary about this crew floating around the internet that Lillie Carre did the animations for. keep rockin guys :)
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This is a pretty good documentary that fills in these artists history - Hairy Who & The Chicago Imagists (2014)
This is the first time I've seen so much of this in one place or at all in some cases. It's boggling; you can see shades of M.K. Brown, Rory Hayes, Mark Beyer and so many others.
It's also interesting to see what was happening with advertising art during this period. There was a real cross-pollination with what was going on in international animation and comics. You have the rise of a new kind of hip graphics in commercial art by the redesign of the NY Times Op-Ed section and outfits like Pushpin Studios (Milton Glaser, Edward Sorel and Seymour Chwast) and Graphis Magazine, approaching comics technique from the diametrically opposite side, but also embracing shaky cartoonists like Robert Blechman. This was a period of cultural blurring that made it possible for Crumb to be drawing mainstream greeting cards at the same time as he was doing his own comics.
"Offset Lithography" is just the complete way to describe that kind of printing - Lithography (as opposed to "relief" or "engraving" or "screen" etc) is just printing from a flat surface utilizing a resist (initially oil) to control where the ink is and isn't. "Offset" just means that the paper never comes into direct contact with the printing surface, but rather, is transferred to a "blanket" cylinder, then to the paper. We have just shortened colloquially to "offset". Going to Graphic Design school before computers took over means I have this info forever rattling around in my head
R.I.P. Suellen Rocca, Long live her work and the Hairy Who en masse
This is something totally new to me, and it's so great. Something to look into while I'm in lockdown.
Same here. Interesting.
I love the variety of comics information you present!
Amazon has one for $814.57. Can we get a second printing if every person who watches this video pledges to buy a copy?
Over a year ago I attended a talk on the Chicago Imagists with Gladys Nilsson, Art Green, and Chris Ware. And they said they went to San Francisco and encountered the Zap Comic crew, but the Midwest’s Hairy Who did not partake in the substances that the Zap crew were into.
revisiting this video because I found a comic called TERMINAL COMICS from 1971 by a guy named Michael McMillan last weekend. He created it after coming across work by the Hairy Who and Zap Comics #1. Apex Novelties published it and it is well worth hunting down if you like what you see here. Dan Nadel helped put together a show for him in 2012 and included him in the book "Art in Time: Unknown Comic Book Adventures 1940-1980",
I saw the 50th anniversary exhibition for the Hairy Who at the Art Institute of Chicago. It was amazing. In the print room, the original aluminum lithograph plates for these comics were on display.
But the best part was meeting Suellen Rocca just as we were about to leave. She took a minute to talk to my friend's 7 year old son about his art. It was the best part of the trip. The Hairy Who and Chicago Imagists are amazing artists who are finally getting some of the recognition they deserve.
This is cool!
Karl wirsum is the shit!!!! has inspired so many artist
FUCK YEAH!!
Fascinating, thank you
wow I got this as a birthday gift about a week before you posted this video. Karl Wirsum was a prof of mine in college and I look up to him as an artist so much. so exciting to flip through this book and find that two cartoonists I respect deeply also respect him and his work. There's a great documentary about this crew floating around the internet that Lillie Carre did the animations for. keep rockin guys :)
It looks like Panter, DeForge, Sala, and Beyer all pulled influence from this. Very cool. Thanks guys, great to see this!
AH! I had this book in hand but didn't grab it.
ill styles