Cold Comfort 2—2013
More abandoned furniture on the sidewalks of Los Angeles
Weisz, Robert—Four Steps in a Scraper Board Head
Well into the 1960s specialists in scraper board illustration (known in the US as scratchboard) were in demand. Scratchboard was a clay-coated card stock which would be covered with Indian ink, Using special tools the artist modelled his subject by scraping away the ink. The engraving-like white-on-black result was striking., However scratchboard’s main appeal to advertisers was practical. Scratchboard drawings gave a photographic effect but they reproduced well on cheap papers (e.g. newsprint) on which real photos came out dull and muddy. Cars and machinery looked especially good in scratchboard. This four-step tutorial by Austrian commercial artist Robert Weisz appeared in Scraping Technique by Oskar Vangerow (Vienna, Josef Eberle KG, 1959).
Anonymous Artist—Lux Ad, Ladies Home Journal, May1937
From the mid 1920s through the 1940s the back pages of women’s magazines teemed with these hybrid advertisements. A large, rather hokey photograph with a dramatic balloon introduced the subject, and the rest of the pitch played out in a comic strip. Lux commissioned tons of these. Gosh knows who the artist was.
"Mad Fad — Teenagers are now using voice-o-graph recordings for sending messages. The kids think these are practical for retaining as souvenirs… If the old saying is true, ‘write and fear no man, don’t write and fear no woman,’ then it seems this would be good advice in respect to making a verbal record of poems and teenage jive talk."From “Teen Talk” column, La Crosse (Wisconsin) Tribune, Sunday, August 24, 1947
I generally don’t re-blog stuff, feeling a duty to upload new material. But I had to respond to this item. I have a Voice-o-Graph disc like this, a greeting my late father sent to Mom in the early 1940s. It’s comforting in a way to hear Dad’s voice again, but eerie, too, because the voice is Dad as a very young man (about 24), which of course is not how I knew him. I offered to send the disc to Mom when I discovered it amongst a bunch of old photo albums, but she declined, saying she wasn’t sure she’d want to hear it.
Here we go again. A cartoon which derived its strength from being brief, quiet, dry and simple, is turned into a long, over-produced and bombastic feature complete with new “just like every other animated feature”-style characters and of course the obligatory (yawn) salvation of the universe. Pfui.
Frank Godwin—Studio Clinch
An unidentified magazine illustration by one of the kings of pen and ink. Found in an Italian fan magazine.