Fitz Opinion: Cartoonist apologizes for happily embracing new role | Local editorials and opinion

I remember projecting cartoon slides of “The Flintstones” and “The Jetsons” with my Kenner GIVE-A-SHOW projector on the ceiling above my bed at night, studying the Hanna-Barbera cartoons as s ‘they were the works of Michelangelo.

When I was 10, Mom caught me tracing the footsteps of the ladies in a “Frederick’s of Hollywood” lingerie ad on the back of her Photoplay magazine. Anatomical studies, mom.

When I showed mom my sketches of superhero costumes, she showed me her old sketches of hat designs for Depression-era movie stars that she had drawn when she was a little girl. . Good steady hand. Line work set.

The Staff Sergeant would charm me by patiently sketching a bucolic autumn scene on any nearby slip of paper. Three haystacks in a field. Autumn leaves from a tree drift past an October moon. Ghosts dancing around a ghost campfire with teepees in the distance. Pop’s Eden. Draw it again, pop.

As I write this I’m wearing my favorite T-shirt featuring the classic WWII cartoon by Bill Mauldin of a sad American GI posing in his lame jeep with his gun, like a good cowboy ending the misery of his beloved companion. Maybe this cartoonist is doing the same thing in a way.

Mauldin drew in the Ashcan way of political cartooning like Herblock, the Washington Post giant. When I was 13, I sent Herbert Block some of my cartoons. He graciously hand-wrote an encouraging response and so I set my sights on the cartoon, inspired by ’70s cartoonists like Jeff MacNelly and Pat Oliphant, artists inspired by ‘Rocky and Bullwinkle’ and ‘Mad Magazine “.

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