. ‘ W " {WZKYIPELH \' :’V 4‘ 4 I i5, 0 1‘. - O O Z 4"- 1" 4- [i x 4 «‘3‘ 4;. n... “a: .21“ Va'v. k E. i 'r ,. ., .,,..y g 1‘ Ml‘. auhv ..,. if. .Wrz— ,- - . f ’ U l C ‘ .v, 0-,; ., . 1 . ‘1‘.’.'0.f“v 4 .1 3131.11 ‘ ‘1] 1( (iii!!! 1 .1“ J. .t . . 117. x I . L7: 1. s n :‘Atl.1...x:, \ ‘ .vlllirn i ‘ A z x h ‘ . . .L .77 y. . A ‘ . 04 . . . _ . . . b . _ . .. . a u § a V 1 I . a , .a u ’I - ‘ a). . o . . a . a i ., I I , .1» I nuw > k p . . . . § .. . . . I . ‘ u b / .. . a / ’ . . my . L i, .v: . . \ . , V . . .. , .. . . \ . . . y y . $54“: (5. ,_‘ 37:35; I 2: , w :5 With the keenest apprecia- tion for the man who has been my friend for many years and to whose intelligent collabora- tion'I owe a large share of the credit for much of my best work, I respectfully dedicate this book to John C. Eastman. -——/. C ampbell Cory Ar S ”m. m k a S o d .m» 01 C M m n 1 w mtm 0 d a Jam m. 10 %% M WWM O P “@QO d :3 t m WIS“ r nma . mm mm m 0 ha“ C .m m . O T . J m m m M T ""””}””"s”"}”'}'}-’}>’b”’"”’ ">”””’ ”’u’}}”>”””’-"””>"’}”’>>’}>’}"’>’,’|r””}-”-}”-b”t ”}’,”””””’b “““{‘ “““1“““‘{““““““““4“.“ “{“{‘ ““““‘{““ “““““ ““{‘{“‘ l!“ “(“ “‘ {“‘ ‘{““A“““{“l Looking Forward UNI) Why This Book? BELIEVE it to be the vogue—a sort of unwritten law—to offer an explanation amounting to an apology when one presumes to publish a book and I will say quite frankly that it has required a degree of courage of which I scarce deemed myself possessed to bring this effort to its final chapter and to present it, in all its seeming egotism, to the critical eye of public analysis. It will be noticed that I do not debate the points of difference between the works of other successful cartoonists and my own. On the contrary I have the greatest admiration for the produc- tions of many members of my profession who work along entirely different lines. But such success as I have met with has been . achieved by strict adherence to the methods explained in these pages and I see no reason why others may not reach highly profitable recognition by following the short cuts that I am qualified by experience to point out. I have tried to make of this volume a real engine of usefulness to the earnest student. The hints, suggestions and admonitions of which it is composed have been threshed from the chaff of spurious dogmas during long years of hard experience. Had I access to such a book twenty years ago I would, of a certainty, have achieved earlier recognition and a greater measure of success. Candidly I have found it quite impossible to refrain from attempting- to fill a void which truly does exist. So far as I know there is no other book like this. So, upon second thought, I will send it forth upon its mis- . sion without an apology after all. ' Illustrations It will be noted that I have used comparatively few specially made drawings for this book, preferring to demonstrate the various points in the text with illustrations taken from the actual daily run of my work,.thus ' showing a more conclusively practical argument in favor of the methods by which I have attained satisfactory results. The drawings used have not been selected for their excellence so much as for their illustrative quality with relation to the text. 'What Is A Cartoon? IF YOU look up the definition in Webster you will be disappointed. It is there defined as “a drawing upon a large sheet of paper.” Since Webster compiled his single literary masterpiece, the word “cartoon” has gradually assumed a far greater signifi- can CC. By degrees it has become recognized as a pictorial editorial—a single drawing in which is told a story—in. which is spread forth a caustic commentary upon some vital topic of the moment—in which some great evil is pointed out, or a great virtue com— mended, and all in such a manner that the runner may read and be influenced according to the strength of the portrayal and the susceptibility of him who sees and ponders. The fact is that the cartoon, in its generally accepted sense today, is the most powerful instrument for the upbuilding or the annihilation of personal and public ambitions that is permitted to exist under the sacred and inviolable protection of the “freedom of the press.” The cartoonist may express what the editor dares not write; he can sway the damning ridicule of the illiterate rabble and he can direct the public finger of withering contempt hither and yon, while on the other hand, his power to uplift and glorify and give to remote personalities the widest publicity is almost beyond belief—all in a manner that cannot be achieved in printed words by the most accomplished writer. Hogarth was the first genuine cartoonist of any note. His powerful satires in the form of crude etchings had the strength of delineation and genius of inspiration to set the people of his day by the ears and to insure to himself enduring fame in history. It is a far cry from Hogarth to Thomas Nast but I am personally of the opinion that the intervening aspirants for cartoon fame were a paltry lot. To Nast is this hem- isphere indebted for its inspiration in the actual cartoon field. The vitality and tremend- . ous strength of his creations were sufficient to influence the political complexion of the nation and to utterly demolish the greatest political organization for graft that ever exiSted upon American soil. The maker of comic joke pictures, or the creator of a humorous series, is no more entitled to be called a cartoonist than is a rough—and—tumble, slap—stick comedian to be hailed as a legitimate actor. ' The comic artist is a latter day necessity to the circulation department of our great daily papers. His work is entertaining if not instructive but he is not a car- toonist for the same reason that a bass drum is not a violin. In a word, the comic artist labors to make his fellowmen laugh while the cartoonist’s mission is to make them think. 7.. . V ..; .- . I. Alanal‘m‘ r \I‘. ......)o . / \quwwv- .. .. {k ...t. . 6w Q A? . \. If). ~ .. .Ia sipwggl. - I \A\. .1, Q; . ._ _ .. ..\ , /. ./.~ \‘ .7 ‘xx _ F / / \ flip/11.1.. .. x... .\\\V\.\\w// J \ , . an ...}-i . \ _< x. _. , 1..3.\2\ . 1/ , rldhri%\y :._\ .. .ll. * J J \ ‘ .rlr . x n\ 1V! / \ \ VIN I . . \\ I . ... 11“]. .v‘li’.‘ 8 4H,] Niall]... .1. until! , A .11 \f IIII G T N 0,! N! A U S . |R 3H 0 F~ J A o, a 9 may C U0 o o \\ WU A,.F. R \ .1... H D «N A .x \\ .l H . / . _ . /.\ \x.\ . .‘ .... \ x?» u ) .... / y I n ulv I. . \ .1... ...; Ix“. MI.” I. , , z W \ ... |I\\ . ,- 5.. \ll. \1| I‘ll! IIQ‘OII-I‘l. .t . \ lvlt I. \|1|\IM\.1\1.- lulVIIx‘ x $11; - Ill|lllalllll||ulufllllltl|u|\ \v \ 1i. ull||l\£l|.Hol.. {I ..l A.\ \ |I||IIIII|II I'll‘lll‘l': I (It I‘III .1 M:\».\llllu||\llli-|‘l1a .IH ..nx |l..ull‘l.\|| 1 '1‘. '14:.“ I ‘I’ ‘2 yr 1319‘... .nurllfl ,/ I: . ‘l , \ l \ I4 \ I y 1 More Bravado U \i A Q: ‘I‘I‘ . \l l‘llllIl-I‘l I‘lc: {Illlll’ Illl l. I Jib ..ll‘u l l.' I. i I .10..\ . §\. .....- _ 0 “lSSiOiN \ T m WIVHc K ox ‘\'~‘=:- ~A |l TR'bUN u. M'Y MXN TH’XT ‘L N \ ARIES. DOES NOT H S N w A OAD 8 LL0 UTUE _ .EUmMI _ Dom-WEI»! . \hC .m SNDTU ‘ ”AMI-...;J; a“ Y5 b B\\ , w“ I" ' sum iii-”i! =3 . I“? A 1 ~.‘ 'i"; - ll. 4 .1 fi 1 I! 9. === u‘“ :‘Q. “ '13:?“ e figsrz'f ...—.....u "'_——r‘fi.‘ l \ —-Courtesy Harper’s Weekly. A caricaturist is not a cartoonist although a cartoonist must be a caricaturist. A caricature is merely an exaggerated character study of an individual. Inuit is empha- sized the subtle points of difference between the subject and his fellowmen. No two people are just alike as to features, and yet all are so nearly so, in a gen- eral way, that it would puzzle the average layman to define the points of divergence between two average clean-shaven Americans of similar age taken haphazard as they come. The true caricaturist makes a keen analysis of his subject, discovers those minute .- points of individuality which exist in every human being to a greater or lesser extent and then proceeds to draw those characteristics in italics, as it were. The result—if he be a master of his art—is an exaggerated likeness which looks (grasp this if you can) more like the subject than the subject does himself. On another page special attention is devoted to this important branch of the car- toonist’s education. I Variety There are many kinds of cartoons, but they may all be classified under the fol- lowing heads: TOpical, Human Interest, Serious, Seasonable, Sporting, International, The Trusts and Political.. It will be noted that under these broad heads the principal illustrations in this book are subdivided. In dealing with political situations and with the men and forces involved, the cartoonist finds his greatest source of inspiration and usefulness. Satire is his strong- est weapon and, if keenly directed, he can give his victim a more deadly thrust in one simple but deftly pointed and extensively circulated drawing than can the ablest writer of a hundred scathing editorials. Clever editorials are extremely helpful or vastly annoying to an aspirant for a political office when published in a widely read and dig- nified daily paper; but they are as pin-pricks compared to the thrust of a rapier in their potency when weighed in the balance with a cartoon of equal merit and printed side by side. No writer can portray in words the sinister hypocrisy of the ordinary politi- cian as the cartoonist can blazen it in a well thought out and strongly executed picture; and it must not be forgotten that where one v0ter reads an editorial fifty see and com- prehend the cartoon. Therefore the cartoonist must learn the use of ridicule and satire in its most re— fined and telling phases; to distinguish between mud-slinging, which is merely brutal and ineffectual, and the clever banter of derision which holds his victim up to the mul- titude as a preposterous incompetent or an outrageously designing scoundrel. Never make a vulgar cartoon—never portray a human being as a loathsome para- site or a disgusting animal. Avoid this because it is unethical and because such a pic- In Memoriam .\.\ 32; if}, III/,4 "T‘K‘I ., , \ -\ 4R, \I" -\ .fi \ \ I ’- A / l/l 4 \1/ V: T, ' .\\\ . '1‘ , \\‘\ \.' s<,\\ // . \" \: ) \ /I I [1/ £3 1/, “Vt; \ 7- :7“ .Orw‘ ' ~ .0 .y, . ”It /" ----- V ,. (/l/zfg? , - a - ' . II _ III II II III I' ’” IIIIIII’II II ’II’ III! II III IIIII 9V \\‘\\ "//Illll/I/I/I/II/l/I/l/l/l/l/lI/l/l/ll/ll/l/Il/l////[///////////}7/////////////////////////I924.. Xéé ‘5: fix «42/ 5%: / ..... V . J'N' - . L ' "’ " ' - ’- '-"-l-".r4n;'.r.-..:1th .(\ V; I“ 'l‘ " ' ’- II ' r, » , , ..... 4 1 u . «1‘». ”I 4.1 A ,1. ,VI 1- ..’.t.. “a? 55 ""’lf7i113£l’I-7 11/ / f/fiy 1‘. ~21 " . In . ., 1- -' (1 \\\\\~\ \v\\ ///:: I! HmL I. 1:; """""""""" ...................... .......................... _\ “‘5‘ WWII ‘1», I // / / . y x/X ; A JACKSON i. 5 IIIIIIIIIIIIIIIIIIIII IIIIIII,'.I IIIIIIIIIIIIIIIIII [III ,,I . I; 2“. III I'lHHJoNHHI'HHIH'III’IJIII IIIII IIII II II III, III .IIII‘I‘III IIIIIII III III III I‘ “III III: III" " II II ‘I'._‘ ’3 IIIII . IIII'III WI‘I\LI’;\) ”If". “WI, bill/”’1 ) ' ’ -—-Courtesy Harper’s Weekly. .V‘W—W .mu .1- .-n .r ..- 10 ture creates more sympathy than derision and therefore proves, if not a boomerang, a blank cartridge. To illustrate, I have printed on pages 15 and 17 two of my own cartoons of which I disapprove. TOPICAL. The Topical cartoon is suggested to the mind of the artist by any event of the day which may be of sufficient national or local importance. A Widely discussed wedding or divorce, a great bank robbery, a flood, a fire, or a railroad disaster. In such cartoons a moral should be pointed—a lesson deducted and strongly presented. There are topics almost of daily occurrence of sufficient magnitude to be used as a basis for good car- ‘toons. Examples of Topical cartoons are given on pages 36, 37, and 38. HUMAN INTEREST. Human interest cartoons are those which appeal directly to human sentiment—it may be the sentiment of humor, or of pity, love, or loathing. It is a very Wide field and one much favored byeditors. The Topical cartoon is practically a human interest creation, as will be noted in a general assortment of human interest cartoons on pages 39 to 47 inclusive. ' SERIOUS - . Cartoons of a strictly serious nature are often required upon a grave topic such as the death of a national figure,-a great labor movement or in commemoration of an historic event. Such efforts call fOr careful study in composition, excellence in drawing and little, if any, exaggeration. The heroic style of cartoon is, of course, the most dignified branch of the art but occasions justifying this class of drawing are so few that a successful cartoonist must depend upon his versatility along other lines in order to supply the daily demand. On pages 48, 49 and 50 are printed three moderately good specimens of the serious type of cartoon. SEASONABLE. This offers a wide field of inspiration of limitless variety for the cartoonist. Hot weather, the summer girl, public holidays, school vacation—its beginning, its end, and the out-of—door high jinks of vacation days. The summer boarder, the country boarding house and summer tourist. Winter sports, Christmas shopping, the suffering of the des— titue in winter and an almost endless list of cartoon material is suggested by the vary— ing seasons of the year. See pages 51 to 56 inclusive. Sometimes a seasonable cartoon can be embellished by the addition of an appro- priate verse as in thecase of the “Summer Girl” exhibit on page 51. SPORTING “‘ " ”' It is customary nowadays for the larger daily papers to employ two cartoonists, the efforts of one being more or less confined to topics of the sporting page. Many Fire and Water Make Vapor $ FWEWAWER-SON °O< \OF THE LOUISVILEECOURIER- Q WILL L-ET OFF To NW“ H T- J05. PULlTZER. w A GERMAN MOANER AND GROANER . WILL FOLLOW SUIT. In; I/l.\//Hl O - v’~ é - A “ , _# __ 4-» ' > ‘§A~fif,:‘,,- ..‘,.-, .1: , 5! -—:_:-.__.—--———-—__.—————. —C0urtesy Harper’s Weekly. 12 enviable reputations have been achieved by cartoonists who have specialized in sports. Notably, Robert Edgren of the New York Evening World, Clare Briggs of the Chicago Tribune, Carlson of the Chicago Inter-Ocean and T. A. Dorgan of the Hearst papers. Every cartoonist should keep more or less in touch with the major sports of the various seasons as, from this source, many excellent cartoon ideas arise. See pages 57, - 58, 59; INTERNATIONAL International complications furnish much interesting material for cartoons, and in many of these it will be found necessary to introduce our dear old patron saint, Uncle Sam; John Bull of England; the “Little Father” of Russia; the helmeted “War Lord” of Germany; the dapper French diplomat, with his conventional waxed mus- tache and flat-brimmed tile; the Turkish “Sick Man of Europe;” the picturesque don of Spain and the swarthy scion of “Sunny Italy.” All of these typical and emblematic figures should be intimate acquaintances of the daily cartoonist who, unlike his brother of the weekly press, has not the time for posing of appropriately costumed models. I advise especial study of Uncle Sam. As I veiw him, he combines, in his quaint personality, all that is great and broad and lov- able. He is generous and honorable; just, to the point of inflexibility; Wiser than Sol— omon; more fearless than a lion; more kindly than a mother; more proud than a pea- cock; more modest than a wren. He is infallible and he is weak; he is prodigal-of ex- ‘pense and cunningly acquisitive; he is a stately diplomat and a rare old sport; in short, he is paradoxically grand and imperfectly faultless. Only a myth can combine all of these conflicting qualities and remain a flawless unit, but “Uncle” is a magnificent myth and worthy of deep study. Moreover, there is no figure that must enter so often and so prominently into the work of an American cartoonist. On pages 60 to 64 inclusive will be found examples of the usefulness of “Uncle Sam” in cartoon composition. THE TRUST A figure representing the money interests (Wall Street), and the “Trusts,” is a very necessary item in the equipment of the modern cartoonist. While I believe that one should endeavor to evolve a distinctive and original character of his own’ for this role, there are certain features already popularized and generally accepted as standard which can hardly be overlooked. For instance, the “Trust” figure must be fat and vulgar, overdressed, bejeweled and brutal, massive in bulk and arrogant of expression. He is supposed to represent the common enemy of the working people; he is to be viewed as the baneful blight of American industry and civilization; the grasping ravisher of the toiler’s hard-earned wage; the Mephisto of the universal drama of The Tiger and the Lamb Lie Down Together ,, 7/ // 7 P515] T Y 737350 ' 3’7);ng “0777/7/77 ”U’ ' 4WD 75% eQ 7 // I’f// 7/, , / /,/ /f'" / ,» // I I ll, 7 7, / \ \‘ \\\\\\\ \7 FOR REFUBMCAN LAMB INQUHRE Wan-MN... DEMOCRATIC TIGER. \ \ ——Courtesy Harper’s Weekly, 13 14 life. However much of actual materialism there may be in fact for this mythical” monster, there can be no doubt as to his usefulness to the cartoonist or of the potency of his well executed introduction in cartoons bearing upon labor topics. Hence much practice and study is justifiable in the effort to produce a thoroughly impressive cre- ation typifying “the sordid slave—driver of the nation”—-the trusts. Several examples of my own conception are given on pages 65, 66, 67, and 68. LOCAL POLITICS Should you be employed on an afternoon paper your topics will be largely con— fined to local subjects and you will find good enough “gunning” in your own city, county and state to keep you supplied with interesting material, especially if. your paper be an aggressive organ of “the opposition.” L0ca1 political struggles are always more bitterly acrimonious than national cam— paigns and local elections are far more frequent. There area thousand ways in which to make even a meritorious opposition squirm through the medium of cartoons. The two illustrations on pages 69 and 7 O are merely printed as a suggestion of the possibility for variety. Draughtsmanship In dealing with this topic, I can speak with a degree of appreciation and a keen senSe of its importance that a finished art student might not feel, inasmuch as my tech- nical knowledge of draughtsmanship consists only of such tricks and subterfuges as may be absorbed out of school and during the daily grind for a living and individual recognition. If you would become a successful cartoonist I earnestly urge you first of all to secure a general knowledge of draughtsmanship in the most available art school of good standing. Lacking the fundamental principles, thus obtainable, will prove astum- bling block and a heavy handicap throughout your career. It is as necessary to the cartoonist as is a common school education to the business man. Men do occasionally succeed in business without book learning and cartoonists have risen to a considerable degree of fame without a primary education in drawing, but these feats have been accomplished by reason of unusual qualities, abnormal per- sonalities and the exercise of a fulsome measure of grit and determination possessed by few. Even, in the isolated cases of such succesful men and women you will find not one who will deny that preliminary training would have smoothed the path, lightened the labor and shed the light of understanding upon the darkest hours of their struggle 15 5» Damn Cam R ¢\.Q 3 ~ “.53: 16 for recognition and prominence. Under this head particular stress should be given to the study of perspective which is a fundamental factor in all drawing. PERSPECTIVE _ This is a branch of draughtsmanship which enters into the composition of even the simplest drawing. It is entirely mechanical and automatic in its application and is as readily construed by the artist who comprehends it as is printed music by the fin— ished pianist. ' ' Without a general knowledge of the principle rules of perspective your Work, no matter how cleverly executed, will contain faults that will be apparent even to the nov- ice. There are many books to be had upon this subject. I can only advise you to master a general knowledge of it before expecting to become a successful cartoonist. FORESHORTENING Another word for perspective which is used more commonly by the cartoonist, and among all free-hand illustrators Whose work deals chiefly with the human figure, is fore- shortening. To get an adequate idea of the accepted meaning of this term, stand in front of a mirror and point your left index finger directly at the reflected image of your own eye. With your right hand, take a pencil and draw the reflected hand and arm just as you see it and endeavor to get the effect in the sketch that you see in life. You will not , find this easy. The desired result can be best obtained by exaggeration of the principal lines of contour and the entire omission of perplexing lines that do not add to the feeling of perspective. . - Every attitude of the human figure calls for careful foreshortening in the draw- ing and in many postures the artist will find, difficult problems to solve. As stated, I advise an exaggeration of the perspective to as great a degree as the sense of the drawing and the style of the artist will warrant, an elimination of unnec- essary detail and a strengthening of the lines that bring the nearest points of the figure or object most sharply and aggressively into the foreground and causing the portions furthest from the eye to recede in an almost startling measure. It is astonishing to note the feeling of actual depth that can be produced upon a flat piece of paper merely by the exaggerated foreshortening of a single figure with- out the aid of any background or comparative accessory whatever. In the exercise suggested it will be found that a life-size drawing of a hand and arm thirty-five inches in length can be made within a six—inch circle while, if the fore— The Parasite u mu , .. 6- -. ,. A .fl A - 17 18 shortening be successfully worked out, the full lenght of the arm will be entirely ap- parent. Use the mirror and work from life whenever possible. ‘ ANATOMY Under the broad head of Anatomy comes the next important phase of draughts- manship and, unlike the fixed and rule-bound science of perspective, anatomy is a wierdly elastic thing. Furthermore it applies with the same degree of importance to an old shoe or hat or the drapery of a gown or to the folds and creases in a coat sleeve, as to the human face. Take, for instance, the changing creases that occur in the sleeve of a man’s coat according to the angle at which his elbow may be posed (see illustrations page 19); and the bend of his knee as surely determines the anatomy of ‘the folds of the trouser leg at that point. There are many ways that these folds may occur, according to the anatomy of the arm or leg beneath or the texture of the cloth but there are far more ways in which they cannot fold and, strange as it may seem, the novice invariably chooses one of the latter. He vaguely knows that the cloth would wrinkle at a given point but he fails to appreciate the cardinal importance of modelling the form beneath the clothes by the anatomy of the wrinkles in the clothes themselves. The result of this inexcusable care- lessness is a product that merely stamps the perpetrator as ater and a weakling. The public does not know, or care, what it is that offends them in the picture but they simply do not find it “classy” and toss it aside. ' Correct anatomy in clothing, as Well as in the face and hands and feet of the sub— ject, may be amplified and exaggerated to an almost unlimited extent and in the broader style of work this is often done by the leading cartoonists of the day in order to empha- size some point in the picture. For instance, if the subject be a thin individual the wrinkles in the clothing would be shown in large, loose folds; whereas, if he or she be stout they would naturally be drawn taut and in more direct conformity With that portion of the body which they cover. See illustration on page 21. Now, in case the foregoing should have a tendency to appall you, I am going to add a postscript on draughtsmanship which may sound more encouraging and which really is a very important summary of the rest. It is this—AVOID DETAIL. Not because you cannot draw details, but because a mere suggestion of correct anatomy will answer your purpose far better than a pain- fully wrought production of carefully executed minutia. Having secured a well grounded knowledge of correct perspective and anatomy, you will find that both can be more pleasingly demonstrated in your work by masterly suggestion than by the most conscientiously labored completion. Unnecessary detail 19 ‘ - V‘ i \. I l ‘- A‘L «gum in a cartoon detracts from the main point or lesson which the drawing is intended to convey. The greatest strength of expression is reached by the elimination of unnecessary details in the composition but this process of elimination must be controlled and di- ' ‘ rected, and the simplicity of the suggeSted anatomy must be governed by a firm and well grounded knowledge of draughtsmanship. COMPOSITION I believe that a large measure of such success as I have been able to achieve has been due to simplicity of composition. A strong face and figure, with every lineament of the face and every detail of the attitude expressive of the situation depicted in an ex- aggerated degree, is a favorite “stunt” of mine. Such a central object in your drawing will immediately catch the eye of the busy reader and your production, having dOne this, is already half a success. For the balance I use only such accessory figures or objects as may be absolutely necessary to make my point. These subsidiary details should not be less carefully studied however with refer- ence to their essential bearing on the main idea and each object in the drawing—ani- mate or otherwise—should be made entirely with a VlCW/tO emphasizing and elucidating the point to be conveyed. In other words, put nothing in the picture that does not add to the “punch.” Meaningless details merely obscure your main thought and detract from the poignancy of your intended moral. Of course there are occasions when, in order to make a clear point upon a certain topic, one must suggest a multitude, a group, or even a distant city. In this case your knowledge of perspective Will be of paramount value and clever draughtsmanship will help a lot. Use only as much of the multitude, group or city as may be entirely necessary to amplify your point; suggest, rather than work out, the details, but do well whatever you decide is worth doing at all. See illustration on page 76. Under all circumstances employ a central figure, group or object of a sufficiently striking character to catch the eye—let the rest of your composition complete the story that you have to tell in the simplest and most direct manner and do not forget that good drawing in every accessory will aid tremendously in driving home your point at a glance. Keep your blacks and heavy lines in the center of your drawing and strive to give a sense of balance by the distribution of minor details on either side. To the novice 21 Big Ball—Little Club » z: . .y I than: C ‘74 9;” that; V .I.’ / . / O a; 5/ It! ,0! a. 1.94 ’3‘ » I, v ' t fl" ‘ vovgumsx 0.. o v.» 0 lIOH‘t v 3‘. G r COME/’34 ,zolr/ to? {I a"; a v :9 13p 9 , a. ’4. z p it; I I 1 1/! 7 I! ’1 1": ' i/ .7}. I,’ ’l [I I ’) '1 ’. saw—:7- /~ ‘ 1”] \\\:\\l I 4.5 I I I ‘D u t xii. t on” vac $4 a 4’ \ \\ V; |\ Ii N I \ (IL I r so. ., .."‘....~..¢_ g. x z, ; , o, . . 2‘ n . n ,. . . I , , 1;”! ., Wag/’1: . A cartoon wholly dependent upon the face and attitude—the idea being strained and rather illogical. Nevertheless, the composition is rather good and the figure of Mr. Taft will serve, in a measure, to exemplify suggestions on a former page regarding the ing of a fat man. U anatomv of the cloth 22 the importance of balance may be better appreciated when I . give you my assur- ance that many of the ablest cartoonists of the day never sign their creations without an inward debate as to the proper place for the signature with relation to its bearing upon the general composition. A well balanced cartoon will be found on page 59. Printing Quality Those who are not aware of the method by which a line drawing is reproduced in the daily press should grasp and always bear in mind the following facts: Everybody has a general idea of howa print is secured from ordinary type. The letter is raised, or embossed, so that the ink roller, in passing over the page of type, inks only the raised portions which form the letters and, in the same manner, the raised lines on the type, when placed in contact with the print paper, deposit the ink on the paper only from the raised and inked portions of the type, thereby makingan offset, or print, in precise duplicate of the type surface. ‘ If the type is not cleanly cut or the lines forming the letters not properly divided, the result will show on the paper as a mussy and illegible job—possibly quite unread- able. The photo engraving from a pen and ink drawing is a photographic reproduction upon zinc. Every minute line of the artist is faithfully reproduced in the negative and ' transferred to the metal surface. By means of chemicals the portions of the picture that show white in the drawing are eaten away to such a depth that they will not take the ink from the roller when on the press and the portions that show black in the draw- ing—every dot and line as well as the broad, solid blacks— are left raised exactly as is the printing surface of the type. The metal sheet so etched is then blocked to make it precisely “type high” and is ready to take its place among the type features of the page. It is treated as type and! performs the same identical function except that the offset is a more or less perfect re- production of the pen and‘ink drawing according to the care that the artist has exercised in preserving “printing quality.” ' Every line or dot that you put into a drawing must have a form in order to be ef— fective and in order to preserve its form, it must be surrounded by White. When a line or dot runs into another line or dot the form of it is obliterated at the point of contact. Where two lines or dots are too close together they are apt to be merged by the photo- graphic reduction, or to fill together when inked. A massof tiny lines niggled together in a meaningless jumble will produce a muddy print. A few strong, snappy strokes of the pen will accomplish the required 23 ives? No—Woolen UnderWear / v ,- ' /// , / / xiii-£455,” '.. {259 g .' fie ,4 - -a . a. 4‘4”” III/z: ' .‘I’l J’ , ,{rL-z' .. __ Q: ,' l/il'llgfr-ng-:5 "- I’m”? 10“, (15:311....4'. . 's‘w ‘ "' -' l " ,. . ~ ’ .... ‘ . y, I 3 A . ' Q‘~ \\\\\\“\\\\\\\\\\\\\\\\\\\\\\\\ nucltll'llp‘" -— ~~~--.:.'.».-.~.-. ’ I .. . » J}. "’ 'd.'7’ ‘~ . . ”’7‘702901;’:Q Ill, ..' 9 :1. I ' ’0; 0’; ll If" ; ‘ lf/IIAIIy II /II ’/I/,/’, ' Ill]. ’1’: ’55‘;Illli,lllt I I [III/”1;;III/q l a / I III - 0' 9 9&3» ' ‘ 9 o. ‘ 9 0.. '. .' ~ " - .1" " 4 §-’§" / ' ~o . s, , ~' ","..,' _ , .- -, First Class Example of a Good Headline Therefore, let me repeat my former admonition—sign your name in a prominent place upon your drawing—not too aggressively but as legi‘bly as you can execute it. Don’t worry about making it characteristic or artistic or pretty—MAKE IT PLAIN. Than this, there is not a more valuable hint between these covers. Many old- timers might profit by its serious consideration. Materials Having, to the best of my ability, set forth the methods by which a successful cartoon should be made, I will conclude by telling you what to make them with. This is really a trivial matter because it is of little consequence what you actually use in order to produce black lines upon a white surface. Strangely enough, however, this is generally the first information that is eagerly sought by the amateur. On the other hand, some materials are more easily handled than others, and I suggest the use of four to six ply Bristol board, which has a sufficiently hard surface to resist the point of a sharp pen and to take clean edged lines whether broad or delicate. This material should not cost more than eight dollars per hundred sheets, twenty-two by twenty—eight inches in size. . A dollar’s worth of black, water-proof ink—either Higgins’ or F rench—will last you for a year. Any old ' pen which seems to suit you best—I personally prefer Gillott’s 290, as it is the most pliable and “painty” of any fine-nibbed pen that I have found. A piece of art-gum and a camel’s hair brush or two will complete your outfit, assuming that you have a drawing board. The latter can be had at any art store. It should be light in weight and so laminated in its construction that it will not warp. I believe that'the best way for an ambitious student to secure a start is to get into the art department of a big daily paper, if he has to run errands for nothing a week, keep everlastingly grinding out cartoons in his leisure moments and await recognition. If he has even moderate ability and intelligently accepts as a general standard, the teachings of this book, opportunity and recognition will surely come. In Conclusion Somewhere between these covers it has been stated that Cory has herein said the first and the last word about the cartoonist’s art. Emphatically I want to say that the last word will probably never be spoken and, after all, I want to bespeak your charit- able consideration for having, in book form, attempted to speak the. first. I By my “brothers in arms” I shall doubtless be accused of immodesty and. per- chance, the struggling layman may deem me unreasonably complacent. At the outset I promised not to apologize for this book but, as I close its pages, let me give a final demonstration of my sincerity throughout by calling attention to the cartoon on page 4 entitled “LOOKING FORWARD,” the most pretentious that I have used, as an illustration of a failure. Many beginners may be surprised to learn that it is offered thus prominently as a bad example, but the unassailable fact remains that there is little to commend it. The student is requested to give the entire text of this book a careful analysis with relation to this drawing and thus prove to himself that herein is violated practically every car- dinal principle that I have laid down. This drawing was printed in a great daily paper and occupied a full page of space. It caused scarcely a ripple of comment although published at a time when the topic in- volved was at fever heat. It failed because it was an overdone production, niggled to death and burdened with too much detail. . s‘, ‘ a I" ; .¢¢‘ 1‘: 'v \"’I. o -. ... . f ’I ‘55"? ”In” .-_-- EVIL K””flLUflNC54" ":g; “‘1" mm. \\\\ I! 'l t \\ is? I \ ill. ‘ v \ ‘3. I. l ’k'l I "I [I p l I ‘H ' - l‘mfii“ I I i .1 :1 pl \' 9 . , \ I I I. . I 5 I Z~ 0. '0 Mary Had A Little Lamb “AND SO THE TEACHER TURNED HIM OUT.” ’— 1?" , ;,2'/:‘/’:“"..\ 3,7; _\ l'LL BRmo HlM Bacw . ,:;’ / . IN AGAIN'. Boo Hoof //é:«:5’ You JUST SEE IF 0- MTE HOUSE SCHOOL l . , l ’\ lllll {ll ‘w‘, ”l {ll _ I l l l l f I , <"'.— u. $ktjg| . l .l: s a., . ’ V » - ' " ’1§F=E!'l=-- ,' 1'02‘ ,' ‘ / o r 1/ 0;. ‘05": v 'I I c ‘ V I a. ‘ *3. -~‘. g Q. l l l _._.—-—-——- M . ~ ...... "'In This cartoon is founded entirely upon a political topic of sufficient magnitude to justify commemoration. The drawing teaches nothing and it should be classified as a “news cartoon,” merely printed to amuse rather than to instruct. \ It should not be forgotten that such ideas—if timely, are viewed with favor by editors and help the cartoonist to “get by” on an “off day.” When you can provoke a smile from both sides of a big political question your labor has not been in vain. Now For A Splash! Hoo-RAY WET BY TWENTV Six VOTES B'GOSH.‘ ME TO THE SUDS! I'll/l l l l I no. 0. a 'l \\ «\\\ \\\ \\ \$ ‘,¥§§\‘. A ‘ / \\\\\\ \ a»: ‘(\\\ \\ \\\s .u. ‘_ ‘ .\\) . ‘, \v ~ \\\ \\ \\ “\\\V‘ \\\ —- _?\V \ — \ W h‘§\\\\ \ui“ ( a.» A ‘ \\\ A s. a... Il/l Ill/Ill}; lll'lIIII/IIII ""5 ”I'll I/I/IIIIfiWL‘figmmy ll? " I ill/l"! ,,,, /,’,Z,lllll,ll/I I'lI-I?:f I tylzél'llllllulll/Il'n’xgfinp l,’ III III/lIn'I Illa/ll!” I/ 1’ 57::15’ ,l’; 1" 'i I 7" Jill]. 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Out- side of Maine nobody cared very much whether the state went “wet” or “dry” in 1911, but nearly everybody who saw this cartoon when the decision was in abeyance had a smile at it and so the sketch fulfilled its mission. I .aofimmomaoo van 503338 05 E 8:058 mm :“muofimoha: of we 02350 .3303 «5 mo fimcobm 05 38 ”we? ofimo 5253 of 33.28 2&2me 2: £033 E ~80th 21283 $98280: a 3:23 on 52: H: adossm: EMS m mammgcou HQ @0505 x mm 3on . ////. \ 4 f 1,... ,w ‘ ml. > \E, wwfiwwafl/fléfx 4® . . .,.. S x / , \Q. r .// 1 .‘ J $4sQ7/fl/ ‘ x . x: S \\\\\\\\\\\\W ‘ J27 \EZXT \ _ \ L ,....I . \ .\ 0,. w%//: \ W\ :6 \\ ‘ \ NRC xx 9% .... w} \i \. § \x, // , .‘ A gwyz/iw/W/fla V\\\J§ EV : x 5: \Smfi 97¢; \ ., ,. _,<\\\\ e» a / \\/fl =_. . x N/ r // // -..\\ ‘\ .. Q ..\ , \x \ x \ _ \ _, ,, x \ fl 1% . ‘1..»\ Qfl .‘v. lilfll‘vxl . ‘V A \l‘luU‘ g t I . \\\\.\\\ \u“Wn\~\\\ Q! \\~\ \\\ N. -' . A. . .u \\.~.\_ .==:\ ,. . . a ‘N\\\ §~s¢~§x~ A. . ‘0'” ,,. .. 0.x“ ".0“. \\ HQ \\\\\ \ \ \\\\ \\\ \‘_\\‘\\\;\\“ ; \\\:“‘“ . -- . ‘ \\ \\\\ \‘ 1..\‘,\.\\ ..Zmfi... ozouum q «.8 mzam m: 5...; 30> 0... 2o: :05. mu»: mantra“. ax... on; 8. 9.5mm. ..zmqémmn. mE. .. v2.3. nor on .25. >5 Egan 2: So: 35> < The Oldest Story , \\\\\\\k in " 'gn-ul 0. III a ' {mun-’15;- '0 |l" .. “‘\ O- ~ ‘ I c.- J'E._ 5 V2! _-._ --.— IQI—‘ ‘g-n— ‘- ‘— -n—- v- l %f%. N “-435 E‘.—- < w- an“. gc— —-- -__ ~3- ¢\.—., ‘1’; 3 ~ ~ —_, 4-... = 5 { -§;;A.§:_=:-_~c 'sg==.s- The trial and conviction of Evelyn Arthur See in 1911 for contributing to the The accompanying cartoon l delinquency of young girls, created widespread interest. was extensively copied and is printed here as a good example of the Human Interest- Topical variety. , Where Grim Death Daily Lurks M) @4979” The topic of safeguarding young children is always acceptable to the editor. .3 ' 41 The Real Tragedy of the Strike Situation , 5,, y/ ifi‘xx‘ «x ‘ 3‘ \\\\ / , " ’ ll 1 ‘ l, I I ,1 ,-,:.. '1 """" ,,,,,,, .I'I \ .‘ .\l/’ \\ \w “\ \ \ ‘ ‘ "\~"‘WK\ W gs .f. \ \ \ \ ‘\ .\ ~ ‘ \ , r O . _ / i}??? / E 3W . ' A .1; / / PR HHS/V r A . . g I .z I . '9" BROUGHT HNY 14.4%" at 1 . ' '«o r i, i OYSTER » 0/ HWFUL LONG / Jags g2 ‘ {\«336 ' E E i 4" “ \0 . E E i " t : I , ,l . ‘ , z s z ....... 5 E E airy-t. ====== i g g E ll; /‘ ‘ H I; E ’ C 44' E \_ J' 9 , ‘ , , . i I E“ ”—1 F 7 » ,/ j I fl : _.’.,__.L€m 2-..-54. , ' J: : E Wt ,/ ' ,1 ' ,5. - > "I w" J“ “J? ‘ ,, ,M‘ //I",/ I, . / '_ /’ -‘ ‘ . . - - / (0’ " .. ‘ x / 2",") , x ;’ ’30-” />'::'-’:’"’ u mu” “’ ‘ u u 13):; .C'vl' A“... ” V” ,1, a,‘ ‘l \\\ l . W ‘ \ t \\ J). V. i n ‘‘‘‘‘‘‘‘ /. ,,’ WA 1&5? . cf, - “3:: I I Another phase of the strike situation in which the sympathy of the reader is inv vokcd for one of the real sufferers. This style of cartoon, offered to the public on appropriate occasions, is unus- ually compelling and bound to create lauditory sentiment for its creator. fl; flax»; _... We’d Like to Know? - J . ‘9' O . O C C . ..‘.‘.’ O 0.0 9000. 0 Q0... 9 fi ’ '5'. O'o’ O O O O‘O'o Q, ‘0’ a 9. «'0 o ”'O. .1“ ‘ a t‘ O.’.. “...... ‘ ‘9... .O“O".. O O. . ‘O’r... '3 o 9.. . .. ’ O 9 .9 6 0'. O“ O O O .9 9 O O § 0 ‘0 o" ‘ '0‘. 11"“ ’30 5 ‘:I “1 O (”I ' 1 I [ill/fr” xvi ‘ / , , I " r// [’11 [’7' I , $1”ij ' I ’YII’UII'l/"l/ / “‘ ‘ ‘ ~i ’ .- = ' f” ' I ll/ 0,: I ’ ‘ A _ ,l’l / q . "V ’1 ~ .1 , / _/ I Jim/m ””1471” ~ . ,1 . / I, . a; 0/4, / ’17] V I I ”manyli'wészx I m .430“, 4,, , , " I 1.0.1.; I, "'In""."g ”’l/ (';;III/I .’ 521‘ W A . - [I]; [Ii/fly], /// II / I O ,1- I, ' I ‘ ' -. '1 > , I, . Iv-fi’zzr-w’r’”~w%/' — ,, , , at! Muzzy . ‘ //// I w l// I/ll/l/ // 7' " "/1- . ll/I/l/II I IIZ/ 2/11“] [fizz/um" ,,',I/. ,- / ’ ”/1” VII/1145154001 “5/1117 '1’! L'ié'm’fl ’/// .' / /. !.’!!//I" "M“ / '[;'//,';;7,7';-'1-4426”; ' / I ” I IIIIIIY;II!I ’ I ,/ y‘ { fiffi'fifi’:M’fl/I””‘” , , 7*? I' ,1 n u .1 'I. ' ””U/ifl ' . [III/7":III/‘I-Iu[115117152757 ’ ’/ '1'): 1/. IIIIIII/Il/IU/ /// / 11-] 192122421!” 1/ am I l’ l! ”1,5, ‘pllll’ I l’ llllllllrli ’ , ”1111.11,” 1 1» ”Hill I, S f I II , II . Ill_ 1 / I l 1.. l I t ".1111 u n/II'I'II/fi', ’II/II'III III, I A“ .—-..uik:.3- u.-‘ll.-\ “abuvfldwhool mmwvcry.mylongmdmdthelut weekafmnumflhbb‘nn? 43 A Tragedy of Vacation M { W R W W - , R u , EN: U 0 I: r! willu. / H 0-.. x , TWWFNN-N W N- N LO DHHHNI ~ HECHSRR m ROCGEHSOW c; RTOHSEG .HCEW. L M M K L TEN USE YLO l. J LUWRmfiW . Yew...“ YVO TWS 5 ELTEP.\ y .7. rHfiRW , / fl, @Ww I ' ’fl ['1' 1, , é, a! o I r .I 5 ¢ . Ial - 1.! I § I tal . h P v . . I 5 fl 6 y t G . l. l n Y ‘ , O Q . o w 1 $4.. - H 3; ud: o n . ~ I ‘. I I O) :1 , OI!“ ! 90$ r I x . - u 44, In The Good Old Summer Time .w/‘W' ‘ “\ 0H Jm—«AY ~ COME ON am! > THE FtSHm'S FlNE‘, 2/ ya" “war-"3“" ' Tragedies Of Childhood Pa sits down on the carpet tack that you had so carefully planted for your little brother—the main tragedy immedi- ately follows. SAY NURSEY! WW DON'T YER ’0‘: 0" YER Arno" . .“N YER wm‘te cap .’ WHER'D .YER GIT IT Jam ? HEY Jm! iii/mtmmmmmmifig \ ‘\ » 3‘2"”; ”'7 \\ A K __2 t or an airing and you meet “the gang”-—isn’t it simply fierce? 45 w.” .... /fl , [1"] "o O ‘0 _ ’ '5»? a , O. 0. fi‘... ..s ' ‘ Q‘O .Q. 4-]: t O .0 'n"~‘:.~‘:‘: // . .”0',..7..i. ~:§ ‘ in ' I .;~'~'.~‘:~' - ."’.§\ ‘ i O.‘ — I "9 l '1,“ . -’. r '9; ' é; / § 4 .,..__““-~ ;- =—— 0 ‘ . , n ‘ o ——--- // § /’ ' ° > _ /\ >\ f i @ w " \\ h, ‘ Q~ 'K '(j' $ 7’ R When, in your fiercest manner, you dared that innocent looking new kid to knock a chip off your shoulder and he up and did it and gave you a swell licking besides—gee! wasn’t that the limit. \ \\ ‘11!\\|I‘\“\\\\\‘\\\§\ \ |n\I-\ ‘\ N \—:.‘\‘“““a ' . ‘- W‘hen the family cat appropriates the bread and milk. Do You Remember HAIBCUT? 46 I ll '1! 355' 5!.“ ‘ W q ' K and wba ' ' t v151ons of affluence it inspired I) IQIIIOI’II‘ . "iCllvvififlolwlvn’ * réiflifloov"! 6 .."..".t.’f. .......... u‘ .03.: "".I'"‘.IIO. ”I"-:Obl..dl} ‘ :O‘Icaavl‘lali nuns-Human. a... Ii! ““9... .’$0 I“... .O‘O’. ‘IIVO ' 9" ‘4‘. ‘ I‘. " ‘Cfi’O‘V‘ $6.! at.” 0|. ‘3‘» I‘ . JI’ ‘ oov/mwsfiWb Your fi rst shave and how hard it was to tell th e barber what you wanted it felt. The first tim full 1 e ”‘1 called on ' - Y arge and clumsy your hands $117122?!) :rrght. came. ~ ‘ YOUNG MAN s THANK You! you HAVE THIS DAY SHVED YOUR (:00le PRESIDENT x“ _.;\\( "It’ll“ I i . l'l':'~'!'!t" li’x‘ “ - ' w «u'AA hm ‘ I f! .' I ' In; “-- . {A < . 2 \ I. , ~. \ .: ~ \ . ‘ . I ‘ “: ~\.~ ‘ \ -\‘\\ ”I: 1 x o ' ~ \. . r ‘ l v- . 3‘ ‘\_ \\ r, ‘ I . \V ‘ k " jx \ . ~ \ \\\‘. \‘ ‘,\ i Q ‘ \ .\~«\ _ ‘ \ A .~.\ a: C ‘ \ \ \‘\\ \g\\\ a a _. .. ‘ -\\\\ $5 A gummy \\ \\ (§\\ When a fellow’s mother takes the notion to cut his hair. GEE WHIZ! How it pulls! / JOHN DERR- DON'T YOU THINK 'YOU'D BETTER 'GEI‘ A DOCTOR? " I 59:: , . ' ' ' ‘ “.19..” ' , ' mummm‘ (7" D r , It \ IN.“ IIIII ''''''''''''''''' . I ‘ C join '7' :. . @Wq ’ m ‘£ Your first smoke and how brutal P3 was when you were When you had been caught playing hooky and PI «at. ”111'. you out in the garden to cut a switch and, to uoftu his heart, you brought him a bludgeon like thin and P. can! oily licked you with it—wun’t it ”nothing 48 Quite Right, Old Friend I'LL BET THE‘T'D PASS mm summon PENSION 3m IF 2; WERE ALIVE "mum A Form of “Labor Union” Advocated by Cardinal Gibbons / a // 7%,, M1 / /// /¢ / l f / g/ 1 ' 1 n_ . ‘. , ‘ . .“ . .K / i. ¢ - I i . V2.92,” “x - / / R‘J/ \\\\\\.\‘\\ "fing' ’9} l A” [‘1 i‘ffi’ .n {W ' \\\\\\. -‘\‘¢»‘s . j) H \\\\\ '1. i ~‘:.\!{\7.//// <$$§ ~53}; 5‘1?- . 21““ I 447%1/2” / 4/ ,, } % I 4,, 49 50 ‘ ,‘ " 9 .' .‘x ‘1‘ o' u o o. .aacv b."’ s \‘\ ‘s h.- \\ A \\ \. 1-. .. ~:"" I o . I O ”3" a . . 'O o‘.‘ \\ . fl \. ‘2. 2‘3} " ‘Y‘ \.‘.‘I ._!I.-‘.~ \5\ . N \ ‘\ l\ - J1- ! \ hi“ _ . -,' -. ‘1 . ’----.“4 I” ”WI/I 4’” try/III I INA ' .\ F l. 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V‘ f: I " ".L.. - W ~§€§ "‘ &\ ..p‘ .pr‘ ’ ‘3 ‘ \ .. ‘IR ..’.‘.;‘ ts. s\t.o -v‘.\‘ :.-‘ .~. 39 -.;;: _‘ 353:“ \ A‘\ ."k. \s‘ w .~ s“ . ~e .“ e \““ ‘s . :5 -'- "I o- 0 WW I .30, o o \ o O 0 ' """I"°"“.'.‘.wt'5§ . ’9’ ”10:01" 060920. 0 .Q ’I N . . . 0 ‘ ' . O ' ‘g‘ I ’2‘ § 0 e ‘ . a ’0 o. . o "-"I o .9 .9 a: M ‘ I 1"”. I N. o . m 0" 0' O4!” "0 .5. 0!, \ W"W% 0: «o5? ' \ , v. .m o 9" $$4~0KII§$§$§$>O€ O I I . \ .f¢‘*5§$$%f'é\.~\~t-zo’ \nto’s" :24! é“. O... “‘0’. ok 'No‘s". ‘ . ‘ u I; "W‘tvw 15"} n’w' “WI! «0 I ’0” ’5’"? I , "1’"; "961‘4’1’491’62’304‘ A ‘ ' 3 ‘ 1'4'7 . ' , o My, .IIillz'a’IMQW {$499.1 0 (0‘ ' sill. ;%#;501;,;l"‘ 1’1"”. V6..." ;_ , I’ -"~ ' at.“ ' ’ flm/I’I'I,’I,%!I¢y, 9..‘.I,,I4,o.,o,'.v,o Maw”; 15'”! I; I, 1 ‘6 1;..I/I’0100‘9'I’?’ “I ‘QIQI'I’OIIO”. O. 0", .."” 9" l WW I?» '1" '0,” " ' i 9966; ;’ ’ I '0 9 'ds 4‘ '5» -‘»t° ‘5. J “92's 1’“? I... o'.’ 0" "' I", O 'I l Z 4:} ‘0 o I '0 '0 r O ." I 4. I , I! ’U'M’I’: ‘ . M I ¢ ' ' -, * “I. 6 In I." 0' O ' .h. - v » w ~ 2:»;:4222I;»:;.:..:I:vz\§2/llW/: I :,,’.4 '4', i l,// . // ’ N , r "’1-‘12/{1’ «7 ’/' . .1 ‘. ‘I ,‘ 9 ’(3' W 3‘ I K ': l. ‘ And the dainty Miss who’s the subject of this Never dreams of the havoc wrought; With the same sunny smile, all men she’ll beguile Till her casualty list’s as long as the Nile— Each silly young man thinks he’s IT for a while, And gets scorched as all silly chaps ought. Let the Phantom Do It 52 N w: 90.0 g. on: .o o xfiu. \\\ . s Adawwnss o 4 o o... 6 o of w o .. my...» 05 .2 «(o x O ! . {03 so .0 00. I o 0 «fix. \\ o... o s ‘Q So ’0 $.43.» 9s. a \s 0.... 9 $0 , .ss .4. {$.13} ‘ s. . ooofs / 9%....ropofs .toooo o A 0A3... u q. 72,; 2 ss ya... 4/»? .m. 9. \ . 3,. 3”,», 6 4 a." I / I’m/i”. rigour/fink? . Iflnn / g 1? of 4 . «0' unauwwimubqg .. $6? 2‘ Ex EEEE: 32......“ < C / v INOWV¢¢&O%’,' Q , \‘s? .4 x...» , x a... aw.“ /. , Olh n.‘.. I... ’r/ , Q «0 b.’.flll‘h"fi4lhl"#y on. J- % . at? . 4 '1 0, "’ .3 an. E... '/ at . , a 9.74. a" ' ., . a J ‘ b O 1‘0. . ‘> 1.2, 9 of; 404,) , , . 4 .NOCO .. («Mafiamm'rumlwwfifiw i 3...”? , E 3.0.5.3.»... .3293. . , x... ,.mp..«bv4!.¢.w$. «.m..%.,..,¢"a , x s Ivdhfiassquw- $63»? kl , bro 0 00 I \flvfiWWVQ’Jffllitifi . tic .40.... Ibo. I to . a 4 . r / 4 a... 9“. p...» a». o 19%,, ,. _ .Ok . 4/965»? as , z 4. 4% . 2, .«E: .mmfié I O » Don’t worry about the conduct of your Children nowadays—the ever-present and watchful phantom of Santa Claus will vouch for their behavior for the next two weeks. 53 by wofiufirmswmmminm U83: \mww \‘ x y . , :EWK (C: r . KKK/(C I . . JP I ’4' . "Pq,’ .. ‘LflflflmmmqunhWAMWflwvv l ' ‘ VI , ., b,mvxammvmum! LONV I 4‘.4'¢...vlu4.bb_{~ '. //l/ AHHHHHHHHHHHHH .All‘ [III/I nHHHHHHUI «g§ . ,bhfiww 91’." h. a¢¢§0¢~fi4 . btpfitelu. wuwuflbhuWW4W¢ .‘ .. . .( - ..fl.. 0' 334% my... 4.. ~l¢¢ Q‘H‘ \n.\|.,, l A ‘ 1 . g"“‘n’l ,“"q.fitm"n'4v ’ ¢ 0. . f‘fl‘.’ . I .\ l‘ '(" r 1,. (awiv‘fljoduhruq 02.’4")'.l‘pv".' . ‘.!.wos'l‘b10‘ a ‘ 'ufi“ . ". . . . Via. d: ‘ a: Jovirx'd‘ 2“ b‘3“ . m «VlaaybwAIAIJAmNMVJMWVAnl' b .D . . . O‘b'q04QotOb‘ InOF‘-v‘\. .\V."')4“H¢OW"M/t'" 1 Vi . Ht. .2.-. . . ‘D N 1 t .’ ’I . .§&\no’fi4hu' pfif’llt" ’.1 . .vAuOWOVHoynl‘t24hfl'4d’fll I!!!’ 5 . ‘ ..... ”nouu.wu%4é€uvlu.tr/~wm. , 1 1 x _ . "unwinwun 4%,.1u?.....b. 4 . ~ . . .5 v i . . M nuawnfim -“u / 0. . ‘ x o. .2, 1.! . . I, I A . V , . . ”HUMP/4t! . I . . . . I . ‘ . . . \ i-.v | . .‘u/‘A’\'IAI// - . . . r \ . H .a -51! ‘ ~ ‘ \/ mlc.avaQ$’/1Orv. "14.00 I I . . 1 l I ’/ ’.‘.‘.“ ’1’! I." ’ u . 91l.‘vn. ..\ / y ' ' .§‘ . . «..“O¢Q.WO .‘O‘ I -- ' - ‘ \ o.\\ Q n '.." ~MVI"... \\‘ \c _ K ‘9" " .‘00-'..lv ./ .\‘\ \\\O « u . .‘C.\§Q§. ‘.0 V\ ‘\ - Q .5! I. . Q h .‘\.\...~I 0.. \ . \Q‘ 0§0\ 580V 531Q\ S, ofihfiwfifihmflhwav b.. . ~ . \ , A?! A9? ‘cmu&W&mW1w Aihwwtuw AGVASkQWIIIVYW ‘\ ‘\ ‘\§‘£\3‘ «3*: ss’} k \\\" ‘ . (. 41v a? Q'Hflua'flvfi‘V‘ “a! fix . ‘ v \ u‘ I . q. . - 3% \v«&¢%~ .\..»EM“\XBAUHK§MF . pm , .‘cQVsOD UNfisnfilc, . ‘ . M\M\\W\\\\\\OM n.5vrm- .pmmmmufl! . . :. In!!! A J, \l\ §‘H\‘\ . . \IIA ‘ k \ "‘0 ‘5? -. \ x \ ‘IhH , V. M l I A “ f I . _ . .. \ \ulu-“..W\\\.VC\\\ _ “mun‘\uAVV»JV \erV , $35.?“ \\ \\. I..kdfiVH\\ gig} 4/, A . . ///// ///// ///// h 54 The Hot Spell Problem—What Shall We Eat? — . s ._ , ., , I ( Illl-lI-Il- ad...” In /. /L W I» f \F ' L o.noo~,o...o 1‘ u. o‘ o 1": C), ,4 ..~‘~.W 1:90. ... . .ooo Ido. a .000 O 00' .3: , o o I ‘ v o o 0 ¢ 9 . a 00”.”“00 / o o o 99...» o o . o 90...... o .. «f. oooooo . ‘l. .0. o :9. gm. 9 o o 9%.... o ‘ .0 . y . «so \ . o . to #4.. 6 .. mu. o. I o e ¢Oooooo~tl o \// TH E. TURKEY ASH v,- I, ‘ |“.¢.‘ ‘00 . . h.‘ . n5... .1\ .y \y o. t. .\ )5 HEXTRR FINE TODAY o- , “I, -., 4. to? IV \\ . 4. Wilton IN’ISQIG (I ‘ I I 4%. y \i. ..l . ‘ Q N . 13W, .. (if 19:0 fl 4 m. D] 0 . ’ «q. k“ . \ . I IMMII' / x, 00 9O :00 III 0 O 0 'I' III p .. \ Anilwvov‘ooo o find I/s . ’ a b ' 1' r O ' 9 CO ” O I’ 9 .nw/aquowt \ a. , O 1.. oanuunNno O ‘9'“ I 3:“ ?.v... 41“,?" ‘OOwaw. . %/ Signs of the Times W r .0 WM . \5} / 56 When It’s Hot W "K NH W ‘ \W' M w‘ M 5V \5; \\ \P . ‘:‘\§ ‘3‘ A. 2%“ ‘9 “M369 "in! M‘M'v'k \‘h‘\\\"0‘)‘\ ‘N (“a Who said “There’s Always Room at the Top P” r... FRIENDS l FEAR ' THEE WILL PRoyOKE ME TO KICK THEE IN THE 51.1%ij '- ' w /»" I \ 1 I. . E; . I. '1 u ‘ . ‘_r 7/. I , ._ x . - l ' ./ » . . s ‘ ,f -/ 1;... . M Y H I N D L | D / WI ,lhqullI0fl" I %’¢/£&14i: :l‘ y‘ I“ ‘l‘l "‘ l” I? BRESNRHRN WOULD LET 60 OF 21/3 1 / -. :ll/ / ' /TV It";- 9/ )K/ 1 ' I / I I" 1/; r ’1 I", . ' "2" v" ’//’ ’ ' t“ %9l. ///"/ // / (I; ./ f. . / ’VI-f; f ‘ . .r'l 7, ////C // / I, , r: / , l / /. Cl . ”5', ,‘ / _«, I, ”7/1,;VJ/7 ,,' f/ 7 ’/_ A, ~ ‘ //{/I/ //////;//I//// /////' (9’ ‘ ,l,. n\\.‘,‘\ \\fi// ,.1.’-T / L \ \\ V‘ a . \ x ‘ ‘2' . \ \ \ ,\\\“‘/// /’ ,1 . \a- ,////l’//’ ‘ 1 ‘ ml: I. ,. ,, ,» / , , r/fn’j6fli‘7’. \\ , [/1 /,,’,;;/{// ”/1 ’" W “x \ "fl /;, [flu/"67f \\S\§\\\§\\\ \ l ’ / /I/. \ I . ‘, . .‘4 ’l’l“ [I h "“3“ x \ \ / i/lll'll‘rf',‘ \ \r , WWII/{Hi “(12‘s \\\\\\\\\\‘>\\ § /// l \\ ‘ f: { \i \‘ \\ \ \ J ./ y/i . >\' ,':“.““\ “‘ f l." \\ \ . \\ ‘\ \ \ \‘\\\}§'/ An excellent example of the intelligent use of “breathers.” 57' T imely Hints on Sporting Etiquette AND,T0 MAKE IT WORSE, .uust KNOW mm MRBEL ’ \S LOOKING FROM THE CLUB-HOUSE! \ \\ f ' ~‘ / . -.‘ *1: \\ i . w! ' \ W‘ ‘— “My @« (Jr-""1? ”"tjlrw. 6? o 4.. It is considered bad form not to smile genially under citcumstances like this. All In (MST Go‘r LOCKED AT THE vanou MEET;- HcI'THEN. H GoL—Dunnfio PRCm-HOSS Dom— ME up-FIN' Now \GOTTR Go To ELGtN HN' Grr LICKED SOME MORE! HUGH-Ho! GUESS YLL Go OUT IN THE snaps»: nu' ear WORHS “Q a \\ \ " a \ \ / "F‘fii‘fiimfiiwm; \ ‘\ ‘ \ \ ““~‘ mm S K : ‘ \ \\\ a. 3:; ' ‘\‘ .10 o‘q -\ \ \‘\ ‘2:\\‘ ‘ ‘ Q‘ \ 56‘ ‘K \ ‘\ ‘ .R‘ \ I .\‘ .‘\ l. l " , I; 3’ ,I’ I” f. n,‘ A r l ._ 411/ 143‘; . a iv ’ —'- ~ \ [/- // W/Wfl/W/fl to“ o. o" \ O ‘l \ Ready and Willin’ too, B’gosh! ifi&\\1~\ ’- g ‘ § 1' V fig 3. gm §2m §x§1 \ §l§ 3&3 5‘6 9w? 92g“, q¥§ :38 *z‘x“ =7” ‘ 61 P Emacs—n magma” m9. 9m. mwfinoamn 40c 1mm 292 mmmizio «.0 [an 3< «Exam—.54 9C: .. . : ‘ , Vina.) . “ . HI‘I',‘:I' l -_‘_. ‘: si 13!: : _ 93’”. é; ::I=‘;i;.i: ~ . ~~ \ .«w . .I i i i;: ;' ' _ o' 0‘ ' c ‘\‘;\‘ {I V i I ‘ :I ' ii“; ‘ ‘ tn \ . 4:..?.;&, i: I i Hi ‘I' " . ‘.—.-’\‘ ‘3:‘ «L' , I 3??!" ' U ' m ' 6‘s. I: I =,I. Ir . I ’1“! , * I = ' .. s ‘. I I“ . . ‘ ’II ’ , “'llu‘l 1 6:2 . i ‘ i I A ~:.‘. ‘ ‘ 24° \ . \ O a '0”! It is whispered in the gossip’s corner of diplomatic circles that our Ambassador to the court of St. James Will attend all important functions during the coronation cere- monies, attired in knickerbockers. ' 63 ‘\‘\ ‘1 ;\ ‘ s S6. ~ F? 9 K s s - \‘ x..\ . .. Q ~ . “K KM «\O\\Q\ «wuss. '—. -‘_. ‘ -.- \1 .. K . y ,._... .. .s.‘._..,,....,.p.t........,{1.2+ 7, Q»! ‘_ ”6/”? . .fiéz/./.,.,,.,,,~ — . ‘3‘ k 52... . . .a ., $5 ,7 o‘ , . . . . . . . ., .. , ta tzalrv/IV» :at‘y g: . . . . . . . v . . ,irnnnirlu/tw/q/Wv/II. , r . . . _ . III/H. V» v V ‘ . . lfr . I? . . a“? ‘5 . _. e a. ramp . is... . \xsw“ . . i h as. 33,. _ . M. Va:=_25:55....___...~._.§§..§ __ _ _, / \\ \»%....‘..ww.m.w~..fi., .. ., . ‘ g . ...,...,.......£.. 4.... . 5.3:? .2... pi. . 0...? \\ any. =a=_§_a==,§§§w =_.552...====.=.=§=.§ .. g. 4...... ,. 30..., ”Maw-”— Could See Us Today! (‘22 «£3 _,.... ,__. .W—Mazsu—“v' . III" llll'l If George Y m m w." m H n.2,”? MM. . DA ,. a... _. M W é/é/w/fiwfl/é 5:553. £22... a‘ What Will He Do With It? WHAT'LL 'P Do WITH IT / I / ’1/ I. , ”Wt-«.1. fl. /’ 4! III/ill ,Il”’9t « i ‘1 .. . v Here is a hurriedly conceived and executed cartoon bearing upon an unexpected There is no lesson in it beyond the news value, and the rather weak point is entirely dependent political condition in which Uncle Sam is placed in an embarrassing situation. upon the facial and attitudinal expressions. Not a Bad Idea! m /: / /\ _\ \®\\: \WW MW “5?", I i N ow that the Aldrich Tariff Law is in force, and the Aldrich Currency Bill pend mg why not make the trusts a present of the nation and reach the same end by a shorter route? 66 “I Can’t Understand Why The People Don’t Like Me—I've Always Been A Good Republican” nun-ulna . r I aluwunm\§ \\4._ ... .434 _ 44. .ym , . 4x4. .4 , ._ . _ ._ __ .44444444s . as \\ ‘ .o . . .o. 4. \ \.\\\ . .\ . V . , \ .\\ \\ .V\\ O .. x. ,4 ,... .u.z.h .. .\ \v \. . 4 . . 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V \\\-‘ "\ \\ \\ \ é"? . .x, 4 "”v a ’tr’l.‘ 14/ .3, y ., /.,. , . , .,. // ,. . :4. a... .5. a. . . _ . , , , i... .52.? 2.... 9. 6/4. .9 4 ._ , ,_. .. .,,. , x... . ,\\.\ 141,1, ..$av....‘i fi‘wy/flflavfl’éflv’wréflfifi 44/7 & ,, . . ,. . , . ,/,p.,.. 1,. .I p... .\ .5? v i1. ., , . . , -. ,\\\.. n..\fi 1'5 . , I. - ,4 4w. m 4 . ' o ' "('0' ® on 4 \§ / The Vulture of Wall Street . p \ ... l \ o, o/ a. 9/0. 0s) .99.... . a... 3"... \s... o/ o I '.I o. 0‘ x «t 4.6.... 93...... 3s A. . .\ O o o ”a“ t x .5... I .70 M IR”. o . . . o 90$? 4 ............. .. .. v“... o... . .. . ..s \.. o o 9 0.3.4”! o o?’ '9‘“... O’o Q gov... . l/ O a . o co: 0 , ll / ’4’! /o / if... .1 I / ’%I /”’/O .,, .ol’..¢/o.’ o o... \x “9.8. Q s o... 0/. .9... Q... /.. ,2... ., 0.....00... 00000....0..000.. . ...0.. ...... . 0’ ill! ”/01,” .93. .3. e #11: .sooa542vc I ’/ / I I 1/ / II / o a... . 9%,. .9 *nos IQ... 3. 0’ Ol’lz /// Iv. 9’ \.o.~a .os\s sQQ ~ s.¢.o.s0¢ .' loll». /’ l/ ,. .... If. «.50 o. ”wwwos. . t. . , ........,,.;...0.“. $3.... a _ .. z... ........./............ .0 . .. flew.......£......n. .\. .90 tux/3).... I... ’I 4.. , .9 , , ,. . I’lvvg ... .. .... . swan... .. .._ I // y... e... do. i I o.) 3 ... .. a“. . I’M; as». 1., 4 I ’5 I: 4/ . o" I 7,!» I ’1. '4 I 7} o . .u ...,.%...... .o...,.,..... 2.1.. It: 0 /1.. I’ x01... . 7 \ ’I ’t .0» I? 3:? 0: ~ {I t .o J. P. Mo'rgan has become such a national figure in American finance that his face ften used by the cartoonist when typifying the “Money Power.” ISO . _ 69 Hush Charlle, Wait ’till You Grow Up '3 MW”) _ , 0 H004) kW/HNNH WEEK '31 .4 \ ) 9 ~‘- / ‘iiz‘Q‘s fi‘fifl o'o‘~‘$. ‘Q’ifi:‘b’¢5‘o‘.fi' 3.3.x. O M 0,55" '5. 9.». $595" 6%“ “-' o s‘s" ' ”an". ‘ Q... "o... . 0 \/o NM 42:349. ’3. {IAN \ e \S w w é ’ 0 ’0"! ol‘. 0.50;” W, i “v Q 0' ‘ . t O. ’A I", OI 0 f 0.0.. 9,: ‘ 7 \v / ’0 0.6.0 o o o « c s 03:. Q t ‘ V . ‘~“‘\‘\ .\\\> ‘gx‘... \ .h .-..v‘ -‘\‘ ~\ \\\\'.x ‘\ ‘\ ‘.‘.‘.‘~ ‘- ‘~\'\ ““ ‘ H > “‘\ t . - ‘ “‘ \\\\w\\ ‘" “““.““~‘\ 1' v,‘ I o“? A 7O Buffal Bill Lorimer 3:? w l l“ «M Nil WM W? a ‘9’ :31 ,w t l s. I - ~‘ ‘ 29,“ W MN W": 1' O V Q 00 :o .4 N 9’ , (O o: l .9. ‘V .3. 0.6 O is ~ ‘3 Q Q 0.9 WW W: Q?“ ‘ it QM .‘s’ o O Q \. ‘lh~ ‘\““-- ‘ i \ ‘§‘ , _\ \ \ “7.327;; M ”15.57.255‘::;:;' [7/ , -- wfiyzzcez [I 'I’g" '0 fizé'" / I o 9. O, ’I ' 0/5,;I' ”gyzcl,”l ”"115!”7/ ’ #Zfiz"o:”l .0!’./. O x» s. M ‘9‘ \‘ €\‘ ”1:. .\\ . V“ g: \ '14/ r/lfr / V‘fi vs ’I / o'.1;. ‘ - '1'". .U «“4“; ‘ :3- ‘ The Rough Rider of the Senate Here is an attempt to ridicule a "prominent ex-member of the United States Senate whose grip was finally broken from his senatorial seat. History doubtless will record the final repudiation of ex—Senator Lorimer as largely due to the merciless and concentrated onslaught of American cartoonists. 71 The Amiable Chef HELP YOURSELVES To THE MUSTARD BOYS o 6‘ . “393‘“? 3&3 s. 49» ’40 ’53 I 4 r imblok 1115,11: , 4:553» ‘. Q. 0) 4/ I...“ ! £51,019! y. éfvaDIbO; .b' 5'5 1‘7“ 12:“ a. % ID 3/... . , i.. % Inf 3 r 12.; in . i / . ‘Q rhéwvvuoio 5 ...... V/ l . 75/ .” ..... ‘ r 8 CHICHGO JUNE // y 1‘ / \ bk 0 .‘\ ..:.‘:\ ‘ ' é“‘.\ §. .3 9.; I \- ‘1 A premonitory suggestion of what happened in the election of 1912. , and 1011 Bryan naturally wears a pleased express Foreseeing such a result, Mr. is of an amiably prophetic nature based upon the news of the ire compos1t10n the ent moment which, after all, is the chief source of the cartoonist’s material in the matter of ideas. _, \ a a??? Z g a / 2; 4 z Z 17/ / / 4V4, / Z, 30% 0/ 4/. // / , 39, 11.};f. Ill/Ml/ // 'Ax. // .y/Jfi (my 7! / / , i If .11 ’/W i . . . , I A . I . ,I / /,fly//0 ,,,,,.v,w.,/40ww///,h x/ z , ../,/(,l v 1/. ’11” , , I: .1 law - ,/ o y, ‘ I ' ‘ly iv. )0. 72 A Cheerful Outlook for the “ Donk” , .uLVII‘. I]; . I .4? , /fl/ I . 1.. .. I . , .... ,, / , \., rt 1 . . / / 7 . . i I/ , . y Y. .../ .p. ‘ V / . . 4 fitlftl/J. I // gin/l. ; 1U .. .4 , .... . ./ , . , , ' ,, 14. ’ , .z. 4 . a. if z I FOR THE LOVE OF MIKE 9 WHAT HAPPENED TO YOU ? \\,\\n\;/// / \i\\r\:§\fla ///// //// . / 9/ #4 , . I ./ / , 1 _,, , t r .14 // . /l I I A .. r. .. 0v. , ace/V . .fi 5., Every reader of a daily paper likes to smile regardless of his politics and this drawing, while based upon the news of the day, is intended to amuse rather than in— struct. The Colonel May Start The Rough Stuff At Chicago HEY ”HERE I YOU'RE KILLIN' THE PARTY: ' \‘ \1_ c.\‘ t \‘ (fl/[z ,, ' . 11/ // ."l/ V fo\\\\\\ . _ \ a ‘ ~\\ V\§ \V:\K\§:\ ! ‘1 . (1/ r ‘ ‘1‘ N‘-‘ . " ‘ -\‘ I ‘ . V.I I," . ‘ 13:9'35‘5 will. 1 1; V l. -‘~: ~ 1 \ 'K S \ 1 W S M. 1 ‘\ 1 w \\ ‘1 s" “1 ‘6‘. x . h 1" m \M‘: .-=’ l P.‘ 1M ‘i‘ H 5‘ \ ,9 l i l s .1 ‘13; ‘V i . 3» \ \ l 11 \3. s1 ' 0: K A news cartoon portraying a situation which has gone into history. It has little to recommend it beyond the suggestion of action, fairly good composition and tip—top printing quality, all of which characteristics are worthy of careful consideration. 74 The Capital Prize at the Convention N0 sun- I Am DONE MADE up ' ..... MAN M'IN' Y‘T WHO A“. I'SE Fig.1.}; GWWE VOTE 50;. , DRRS P’HSTO TAPE." '- HE'S DE BIGGES' . ’ BUT Mssro ROSEN-“ _ { FELT HE'S DE Mos' . NOISE _‘SIDES n W :. .‘l’ x I . / ’4’; ...... {x :t“ ‘\,.- h '. l. 5 . . ~. .9 ”(’21 W”) BOFE OF'EM BEFO' AH VOTES ATALL DEED YRS SUH : "o 0' 0%4 oV59 ‘ \‘\~to.’«~.s‘.‘o:o:~:.:o:l:o3~, o'o‘s‘I/o’o'o'o'l 9 ’30., W0 0.0%Q’ O soOQooo . 'v"’¢‘o'o‘o’0’0:l:¢.§:o. ‘ , WM; ”/9“ . ’. ’ .'O.Q.."7 ' ' r . 0 0.9:924 Can ...... ,' .".' I "I 2 In: /)/1-./,\ ‘0 / / \\ 7’; . . 1" \,7//*\% . ‘Zt§\ ”Q '5 I lllllllr .3 fix ‘ \ \‘\x Hlj I 11H 1 1:11» [DIN \ ”mm” m I | "A \_ n $©UTHERN l \H Hn ‘ q DELE@ATE 1 ' l 9/. I I" O I Cd In dealing with our colored brethren in cartoons, a degree of care must be exercised lest we give offence beyond the line established by'the fixed policy of the paper we serve. The negro vote isimpor- tant in many localities and some dailies of high standing and vastcirculation will not permit a. hint of ridicule of the dusky race to appear in their columns. Anybody Want To Buy A Dog? ll ‘ii 1;". , '23, 11/ ’ I/y/’ \\ N , \, i=2: ..-i ll“ This style of treatment is rather unusual for the writer—consisting as it does of outline and solid blacks. Nevertheless, it is an effective combination when cleverly ex- ecuted, and the printing quality is bound to be first class because. of the absence of nig- gling lines. 75 ‘ s 1 , "Ir . .OwouodosO «9W1»: x .m->4... Z. s / é é / J. /// .77”. ./. / l ., Kain/u”, ,, , Elsewhere reference has been made to the avoidance of detail when it becomes necessary to show a multitude, or a city. The suggestion of a city in this cartoon will lso called to the feeling of perspective suggested by ion is a serve to illustrate, and attent the convergent lines. Nothing Doing . .m .L ‘ O A 1 E H M E R S C u . M A O 1 C R on 0 N e R F: V E .. . _ Jmum —r—-. x ”alwwm‘ p. . . , . ... .. . . In.» nuuv Anuv / «7 Inwgaxmnmmw‘w’ O l. ,/ ...........:..:: E T! :to. .3323... _ Y . . H S T .oooonooooowxooooo’oo’o. cox... . :3 .. A .0 ” x'o§0¢oo’oooxo 9.. \s‘.\‘ o .. a .. E.. . 4... . z: . 8 .. _ . N T T §r \ .. «mgwfifi .....;,... ......... ... . ; . 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HUH~HFWE BUBBUBv BEEN GUG'GUG- GRO$SLY ‘MUM 'MUM -I‘1iSREPRESENTED i g“, - ““‘g 15;; :~ \\ -‘{\ 9/9\ As a rule I avoid cartooning women. First because I find them difficult of application to cartoon situations and, secondly, for the reason that, to me, it seems like a desecration. The suffrage question has reached such a stage of general recognition however, that I fear we shall have to take an impartial view of the sexes and occa- sionally be very unkind to a too aggressive sister; therefore the cartoonist of the future may find it greatly to his advantage to devote much of his attention to the delineation of the weaker (3’) sex. 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