A cartoonist (also comic strip creator) is a visual artist who specializes in drawing cartoons. This work is often created for entertainment, political commentary, or advertising. Cartoonists may work in many formats, such as booklets, comic strips, comic books, editorial cartoons, graphic novels, manuals, gag cartoons, graphic design, illustrations, storyboards, posters, shirts, books, advertisements, greeting cards, magazines, newspapers, and video game packaging.
In the West
The English satirist and editorial cartoonist William Hogarth, who emerged In the 18th century, has been credited with pioneering Western sequential art. His work ranged from realistic portraiture to comic strip-like series of pictures called "modern moral subjects". Much of his work poked fun at contemporary politics and customs; illustrations in such style are often referred to as "Hogarthian". Following the work of Hogarth, political cartoons began to develop in England in the latter part of the 18th century under the direction of its great exponents, James Gillray and Thomas Rowlandson, both from London. Gillray explored the use of the medium for lampooning and caricature, calling the king (George III), prime ministers and generals to account, and has been referred to as the father of the political cartoon.
While never a professional cartoonist, Benjamin Franklin is credited with having the first cartoon published in an American newspaper. In the 19th century, professional cartoonists such as Thomas Nast introduced other familiar American political symbols, such as the Republican elephant.
During the 20th century, numerous magazines carried single-panel gag cartoons by such freelance cartoonists as Charles Addams, Irwin Caplan, Chon Day, Clyde Lamb, and John Norment. These were almost always published in black and white, although Collier's often carried cartoons in color. The debut of Playboy introduced full-page color cartoons by Jack Cole, Eldon Dedini, Roy Raymonde and others. Single-panel cartoonists syndicated to newspapers included Dave Breger, Hank Ketcham, George Lichty, Fred Neher, Irving Phillips, and J. R. Williams.
Comic strips received widespread distribution to mainstream newspapers by syndicates such as the Universal Press Syndicate, United Media, or King Features. Sunday strips go to a coloring company such as American Color before they are published.
Some comic strip creators publish in the alternative press or on the Internet. Comic strip artists may also sometimes work in book-length form, creating graphic novels. Both vintage and current strips receive reprints in book collections.
The major comic book publishers (such as Marvel or DC) utilize teams of cartoonists to produce the art (typically separating pencil work, inking and lettering while the color is added digitally by colorists). When a consistent artistic style is wanted among different cartoonists (such as Archie Comics), character model sheets may be used as reference.
Calum MacKenzie, in his preface to the exhibition catalog, The Scottish Cartoonists (Glasgow Print Studio Gallery, 1979) defined the selection criteria:
- The difference between a cartoonist and an illustrator was the same as the difference between a comedian and a comedy actor—the former both deliver their own lines and take full responsibility for them, the latter could always hide behind the fact that it was not his entire creation.
There are many books of cartoons in both paperback and hardcover, such as the collections of cartoons from The New Yorker. Prior to the 1960s, cartoons were mostly ignored by museums and art galleries. In 1968, the cartoonist and comedian Roger Price opened the first New York City gallery devoted exclusively to cartoons, mainly work by the leading magazine gag cartoonists. Today, there are several museums devoted to cartoons, notably the Billy Ireland Cartoon Library & Museum, run by curator Jenny E. Robb at Ohio State University.
Comics artists usually sketch a drawing in pencil before going over the drawing in India ink, using either a dip pen or a brush. Artists may also use a lightbox to create the final image in ink. Some artists, Brian Bolland, for example, use computer graphics, with the published work as the first physical appearance of the artwork. By many definitions (including McCloud's, above), the definition of comics extends to digital media such as webcomics and the mobile comic.
The nature of the comics work being created determines the number of people who work on its creation, with successful comic strips and comic books being produced through a studio system, in which an artist assembles a team of assistants to help create the work. However, works from independent companies, self-publishers, or those of a more personal nature can be produced by a single creator.
Within the comic book industry of North America, the studio system has come to be the main method of creation. Through its use by the industry, the roles have become heavily codified, and the managing of the studio has become the company's responsibility, with an editor discharging the management duties. The editor assembles a number of creators and oversees the work to publication.
Any number of people can assist in the creation of a comic book in this way, from a plotter, a breakdown artist, a penciller, an inker, a scripter, a letterer, and a colorist, with some roles being performed by the same person.
In contrast, a comic strip tends to be the work of a sole creator, usually termed a cartoonist. However, it is not unusual for a cartoonist to employ the studio method, particularly when a strip become successful. Mort Walker employed a studio, while Bill Watterson and Charles Schulz did not. Gag, political, and editorial cartoonists tend to work alone as well, though a cartoonist may use assistants.
While almost all comics art is in some sense abbreviated, and also while every artist who has produced comics work brings their own individual approach to bear, some broader art styles have been identified. Comic strip artists Cliff Sterrett, Frank King, and Gus Arriola often used unusual, colorful backgrounds, sometimes veering into abstract art.
The basic styles have been identified as realistic and cartoony, with a huge middle ground for which R. Fiore has coined the phrase liberal. Fiore has also expressed distaste with the terms realistic and cartoony, preferring the terms literal and freestyle, respectively.
Scott McCloud has created "The Big Triangle" as a tool for thinking about comics art. He places the realistic representation in the bottom left corner, with iconic representation, or cartoony art, in the bottom right, and a third identifier, abstraction of image, at the apex of the triangle. This allows placement and grouping of artists by triangulation.
- The cartoony style uses comic effects and a variation of line widths for expression. Characters tend to have rounded, simplified anatomy. Noted exponents of this style are Carl Barks and Jeff Smith.
- The realistic style, also referred to as the adventure style is the one developed for use within the adventure strips of the 1930s. They required a less cartoony look, focusing more on realistic anatomy and shapes, and used the illustrations found in pulp magazines as a basis. This style became the basis of the superhero comic book style since Joe Shuster and Jerry Siegel originally worked Superman up for publication as an adventure strip.
McCloud also notes that in several traditions, there is a tendency to have the main characters drawn rather simplistic and cartoony, while the backgrounds and environment are depicted realistically. Thus, he argues, the reader easily identifies with the characters, (as they are similar to one's idea of self), whilst being immersed into a world, that's three-dimensional and textured. Good examples of this phenomenon include Hergé's The Adventures of Tintin (in his "personal trademark" Ligne claire style), Will Eisner's Spirit and Osamu Tezuka's Buddha, among many others.
Artists use a variety of pencils, paint brushes, or paper, typically Bristol board, and a waterproof ink. When inking, many artists preferred to use a Winsor & Newton Series 7, #3 brush as the main tool, which could be used in conjunction with other brushes, dip pens, a fountain pen, and/or a variety of technical pens or markers. Mechanical tints can be employed to add grey tone to an image. An artist might paint with acrylics, gouache, poster paints, or watercolors. Color can also be achieved through crayons, pastels or colored pencils.
Eraser, rulers, templates, set squares and a T-square assist in creating lines and shapes. A drawing table provides an angled work surface with lamps sometimes attached to the table. A light box allows an artist to trace his pencil work when inking, allowing for a looser finish. Knives and scalpels fill a variety of needs, including cutting board or scraping off mistakes. A cutting mat aids paper trimming. Process white is a thick opaque white material for covering mistakes. Adhesives and tapes help composite an image from different sources.
- The British Museum. Beer Street, William Hogarth - Fine Art Print Archived 2010-03-03 at the Wayback Machine. Retrieved 11 April 2010.
- "Satire, sewers and statesmen: why James Gillray was king of the cartoon". The Guardian. 16 June 2015.
- Hess & Northrop 2011, p. 24.
- "The Comics Reporter". Retrieved 17 November 2009.
- MacKenzie, Calum. The Scottish Cartoonists. Glasgow Print Studio Gallery, 1979.
- Fiore 2010.
- "The Big Triangle". scottmccloud.com. Retrieved 2012-07-06.
- Santos, 1998. The Golden Era... June 1938 to 1945, Part I
- McCloud 1993, p. 48.
- "16 essential art tools for artists".
- Hess, Stephen; Northrop, Sandy (2011). American Political Cartoons: The Evolution of a National Identity, 1754-2010. Transaction Publishers. ISBN 978-1-4128-1119-4.
- Steve Edgell, Tim Pilcher, Brad Brooks, The Complete Cartooning Course: Principles, Practices, Techniques (London: Barron’s, 2001).
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Societies and organizations
- Professional Cartoonists' Organisation (UK)
- National Cartoonists Society
- Association of American Editorial Cartoonists
- Society of Illustrators
- Society of Children’s Book Writers and Illustrators
- Society of Illustrators of Los Angeles
- The Association of Illustrators
- The Illustrators Partnership of America
- AIIQ - l’Association des Illustrateurs et Illustratrices du Québec
- Colorado Alliance of Illustrators
- Institute For Archaeologists Graphics Archaeology Group
- Guild of Natural Science Illustrators
- Guild of Natural Science Illustrators-Northwest
- Illustrators Australia
- Australian Cartoonists Association