Hey pals! It’s that time again- San Diego Comic Con is right around the corner, and your old Aussie nerd pal Mr Chatfield will be making his usual appearances at the National Cartoonists Society booth, along with special guest appearances with Universal/GoComics and live Wacom Demos on their new range of drawing tablets. Below are the times you can catch me at each spot. It’s going to be a big one this year… I can feel it in my drawing hand.
9.30am-3:00pm NCS BOOTH #13o7
3:00pm-4:00pm Live Drawing Demo at WACOM Booth
5:00pm-7:00pm NCS BOOTH #13o7
9:30pm-12:00pm NCS BOOTH #13o7
12:00pm-1:00pm Live Drawing Demo at WACOM Booth
3.00pm-7:00pm NCS BOOTH #13o7
3.00pm-7:00pm NCS BOOTH #13o7
9.30am-12:00pm NCS BOOTH #13o7
12:00pm-1:00pm Live Drawing Demo at WACOM Booth
1:00pm-2:00pm Live Drawing Demo at WACOM Booth
3:00pm-5:00pm NCS BOOTH #13o7
Follow @GoComics on Twitter to find the special deals we’ve got lined up for you guys.
See some of last year’s Wacom Demo videos from San Diego Comic Con below:
G’day, Meggsie fans!
Imagine getting one of these ripper little envelopes in the post back in 1955… This is one of the few surviving versions of it you’ll find. They pop up on Ebay from time to time– be sure to snap them up when they do.
They don’t make ’em like this any more!
Epic Throwback Thursday: How many characters do you know who can travel 90 years back in time into their own comic strip?June 13, 2016
One of the great advantages of writing and drawing a 95 year-old comic strip is being able to go back over the last century and see what the previous artists had done when they took over.
I had always read Ginger Meggs as a kid, and had grown up with the Kemsley-era Ginger Meggs (1984-2007). I fell in love with the cast of unique Aussie characters, as several generations had before me, so it was such a privilege to be asked to continue this strip 9 years ago.
When I was a young fan, the first book I ever read was a novelisation of Ginger Meggs. I then went to the library and dug up the old Ginger Meggs from the original creator, James C Bancks-era (1921-1952). Over the years, I read the whole back-catalogue (everything I could find) and have recently re-visited it with fresh eyes as a writer of the strip.
I can tell you, a lot has changed in that time… but a lot hasn’t!
By virtue of its longevity, the strip has inadvertently become a time-capsule of sorts, capturing the zeitgeist of each decade in which it was written. Over each artist’s time working on the strip, you can see little social and historical aspects creeping into the strip’s plot.
The interiors and exteriors changed, the line and word-economy changed with the shrinking of comic strip sizes in newspapers and the Australian English vernacular changed in the strip to evolve with the readership, particularly under Kemsley’s pen.
These days, no longer is Ginger seen violently fighting, or putting on black-face and singing Mammy (yes, that actually happened)— but he is still likely to be seen enjoying a game of backyard cricket, running his Billycart down Deadman’s Hill and skipping out on school to go fishing.
That led me to the idea… what if Ginger could travel back in time, 90 years into his own comic strip. What would he think of the world he saw back in the 1920s, 30s and 40s? What a cool idea, right? It’s something I’d want to read…
So I went about re-reading all of Bancks’ original strips from 1921-1952 and pulling out particular frames that captured the tone; the look and feel of the time he was illustrating in these strips. He had such a great way of making Ginger fly across the page with his loose but very purposeful brush-work. It’s been such a pleasure to revisit and analyse the version of the strip my grandparents generation fell in love with during the depression, the war and the ensuing growth of the personality of the young nation of Australia.
Bancks was purportedly inspired by events in his own youth, growing up around Hornsby in the early 1900s. The fondness he feels for the era comes through in his drawing of the scenes. When Ginger truants from school to go swimming, the waterhole resembles Fishponds. Bancks and his friends knew the area well as it was a favourite haunt for the local kids.
When the railway station is shown in Bancks’ strips, it has the signal box that, old-timers will recall, was situated at the end of Number 4 Platform. Many of these little nods to the area of the time are what endeared the strip to so many readers in Sydney in the first half of the 20th Century.
Ginger Meggs only appeared as a Sunday strip for 75 years, so I thought the Sunday version of the strip was the appropriate place to run this idea.
I placed Ginger and Benny into actual scenes that had been drawn by Bancks, light-boxing over the original panels and inserting the contemporary Ginger. I didn’t want to just scan in the old strips and copy/past them; I wanted to be able to match the tone consistently.
It was a great learning process. After the first few installments of the series, I decided to keep the speech balloons in the sepia tone, as I felt making them white, and everything else sepia-toned was taking the reader out of the strip when it came out in print.
Although Bancks eventually had the strip running in colour, I wanted to keep the ‘old-world’ feeling consistent as I sampled various panels from his 31-year reign. You can see Ginger’s face evolve in this series as I’ve drawn him from the 1924 through to his 1952 incarnation.
I don’t want to spoil the storyline of the strip, but I’ve provided GoComics an exclusive sneak peek of a selection of panels from the up-coming installments that might whet your appetite and keep you guessing.
I hope long-time Meggsie readers will enjoy reading this series as much as I did drawing and writing it. It truly is a privilege to work on Ginger Meggs and I hope to do so for a long time to come. It’s been very encouraging to have Universal Uclick behind Ginger as the strip transitions from a century in Print to an exciting new generation of readers.
Ginger has been educating the world about the Aussie culture, language and lifestyle through its wide syndication, translated for various countries. It continues to be one of the longest-running comic strips of all time.
I’ll be at San Diego Comic Con in July and New York Comic Con in October, where I’ll have limited edition complete hard-copy booklets of this series. These will also be available in ePub, iBooks and PDF format through the Ginger Meggs online store later in the year.
Join the Mailing List (right) and follow Ginger on Twitter and Facebook (right) to stay up to date with coming announcements and signings.
Ginger Meggs appears every single day of the week on GoComics.com Thank you, as always, for reading!
This article originally appeared on: http://blogs.gocomics.com/Read More
I was asked by a reader recently what font is used for the Ginger Meggs comic strips, and why it hasn’t hand lettered since the 90s.
It’s a great question, and one I get asked a lot. The answer is that when a comic strip has to be translated into various languages before being syndicated around the world by Universal Uclick, it needs to look consistent in each newspaper.
Some strips have their very own font made in the ‘hand-writing’ of the artist/writer, but this often makes it look a little odd, often leading to kerning and leading problems.
The comic strip font used in the strip since Kemsley wrote and drew it is “CC Jim Lee”. It is an open-type (OT) font which was designed by John Roshell in 1998.
Kemsley hand-lettered the strip originally in the 80s and 90s before the strip was translated and syndicated more widely. At that stage, he experimented with various fonts until he settled on the current one you know today. I think the only version of the strip that doesn’t use this font is the one in Spanish, which requires more characters/accents on the letters than CC Jim Lee offers.
Would I prefer to hand-letter the strip?
Well, my handwriting isn’t terrible-looking, but I am very conscious of changing the look and feel of the strip with such an essential element as the wording. I’d like to think when I pass the strip on one day, the following cartoonist will continue using the font Kemsley settled on, so over history it keeps consistent.
For those interested, the font was purchased through Blambot Fonts which has a great collection of comic lettering fonts. I’d highly recommend it to any comic strip writers and fans.
Thanks for the questions as always – keep them coming!Read More
This Sunday will see the commencement of a very special continuation Sunday series of Ginger Meggs…
Ginger and Benny travel back in time- 90 years into their own comic strip to meet their early 20th century counterparts.
It’s been a lot of fun to look back over James C Bancks’ original artwork from 1921-1952 and re-drawing it into the series for new readers to enjoy. I’d highly encourage anyone to purchase the “Golden Years of Ginger Meggs” book on Ebay if they want to see Ginger’s genesis from supporting character to Australian icon.
Stay tuned, Meggsie fans!Read More
G’day Meggsie fans!
Get ready for a very special Meggsie Sunday series, beginning in June.
Artwork by Tom Richmond
What a privilege it is to be part of this great event with my fellow scribblers to raise money for the St Jude Children’s Research Hospital in Memphis this month!
As we head into Memphis this Memorial Day Weekend to attend the 70th annual NCS Reuben Awards, members of the National Cartoonists Society will be taking the opportunity to lend our time and talents in support of an exceptionally worthy cause.
On Thursday, May 26th, as part of our “Cartooning for Kids”project, NCS members will spend the day at St Jude Children’s Research Hospital drawing for the patients and their families and handing out goodie bags crammed with t-shirts, sketchbooks, crayons, toys, comics and books.
Later that same evening, some of those artists – including a number of cartoonists whose comics run daily in the Memphis Commercial Appeal, as well leading artists in the fields of animation, magazine illustration and editorial cartooning – will appear at a gala fundraiser. Its a chance for the public to join the cartoonists for dinner, enjoy festive food and spirits, get personalized sketches and caricatures and bid on some unique original art. The cartoonists will also participate in an improv show that promises to be one of the highlights of the evening.
Scheduled to appear are:
Jeff Keane – Family Circus
MUTTS.com – Patrick McDonnell – Mutts
Lynn Johnston – For Better Or For Worse
Jerry Scott – Zits, Baby Blues
Richard Kirkman – Baby Blues
Mike Peters – Mother Goose & Grimm
Stephan Pastis – Pearls Before Swine
David Silverman – The Simpsons
Bill Morrison – The Simpsons and Disney artist
Steve McGarry – Minions
Tom Richmond – Mad Magazine
Robb Armstrong – Jumpstart
@Hillary Price – Rhymes with Orange
Greg Walker – Beetle Bailey
Greg Evans – Luann
Mike Luckovich — Pulitzer Prize winning editorial cartoonist
Rick Stromoski – Soup to Nutz
Maria Scrivan – Half Full
Luke McGarry – Sad Chewie
@Lincoln Pierce – Big Nate
Greg Cravens – The Buckets
Michael Ramirez – Political Cartoonist – Pulitzer Prize winning editorial cartoonist
Jason Chatfield – Ginger Meggs
Ed Steckley – Humorous illustratorMeanwhile across town on the famous Beale Street, a second group of cartoonists will be busy creating original pieces of art that will be subsequently offered for sale in the St. Jude Gift Shop. Subsequent visitors to the hospital will be able to invest in an original piece of art while making a contribution to a wonderful cause!
THURSDAY, MAY 26TH. FOR MORE DETAILS AND TO PURCHASE TICKETS: