Sending lots of positive healthy vibes to you and yours, and thinking of all of you may be suffering and dealing with sickness. ❤️💔❤️ Sorry for being away for so long. I’ve been fortunate to stay busy for now with some fun work projects I’ll eventually be able to share (lots of owls, some embroidery, more editorial)… Although @yeahiwish, @IndieTheIntrovert, and I feel fine, we have been vigilant about staying at home, enjoying our time with each other…annnnd, truth be told, I’ve been spending more time over at @IndieTheIntrovert making lots more CARTOONS! It’s been a nice break from work, and losing myself in all the crosshatching is meditative and relaxing. While I’m certainly not trying to downplay the severity of everything that’s happening, personally, stress is the number one thing that lowers my immune system, and clouds my thinking. The life force is weird, often harsh, and unpredictable—and for me, these times are most certainly a reminder of how to accept and navigate uncertainty in all its forms, and all sizes. It’s also a reminder to me of how much I appreciate ALL the people in my life! Sending lots of love, and wishing all of you good health and healing and safety ❤️🌈🌟💪💓 . . . . . #sirinthada #IndieTheIntrovert #cartoonistsoninstagram #cartoon #comic #dogcartoon #quarantinelife #telework #covid19 #socialdistancing #dogsofnyc #nyc #newyorker #tnycartoons #newyorkercartoons #cartoonoftheday #cartoonstrip #comicstrip #dailycomics #funny #welcomehome #workingfromhome #doggreetings #itsadogslife (at Manhattan, New York) https://www.instagram.com/p/B-BJk9aHfNO/?igshid=1dlye6lf8mxo2
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Robert Leighton.
Bio: Mostly in The New Yorker and The Wall Street Journal, along with appearances in The New York Times and even SpongeBob Comics. But I’m a puzzle writer too, and my most recent book, Puzzlelopedia, is fully illustrated by me. I’ve also illustrated a number of non-fiction books for kids.
Here’s my favorite New Yorker cartoon:
Find this print here!
I chose this cartoon because the idea and exact wording came to me all at once; I instantly knew it would sell; it sold the first time I submitted it; I was happy with the finished drawing; when I added the washes, I didn’t ruin it. Just about every other cartoon I’ve done varies in one or more of those elements.
Tools of choice: My tools are nothing special or exotic. Decent brushes, Higgins waterproof ink, Winsor & Newton gouache, Faber-Castell kneaded eraser. My finished drawings are on Bristol Vellum 100 lb. paper. I don’t spend a fortune on the paper, but I don’t buy the cheapest stuff either. It has to hold up to my watercolor washes. I love going to art stores (I could have spent all day in Ginza Itoya in Tokyo) but I don’t really believe that better equipment is responsible for better cartoons. Just be comfortable with what you use, or find something you like better.
My favorite drawing pen for finishes is the Pigma Brush by Sakura. I think lots of people use these; they have waterproof, archival quality ink, and when they’re new, the brush is really tight and expressive. I sketch with any old pencil I happen to have around (mechanical or plain). I like my fancy Japanese pencils and my Tombows but I’ll grab whatever is handy.
Tool I wish I could use better: I’m so thankful for white gouache, both for corrections and for highlighting. But it never works quite the way I’d like. I always have to add a little water so I can spread it easily—otherwise it’s like toothpaste. But then it dries translucent, and I need to add layer after layer before I’ve masked what’s under it.
Tool I wish existed: We all wish our finishes looked as spontaneous as our roughs. I’d love a program that could take a scanned rough and tighten it up so it looks print-ready, but not labored over.
Find this print here!
Tricks: I can share some of the tricks that have allowed me to get the effects I get. But please don’t take my advice, because I’m rarely happy with my finished pieces.
In no particular order:
Rotate the page while you draw. I don’t tape down my artwork. My arm is more comfortable at certain angles; for example I draw long lines from down to up. So I turn the paper as needed to keep my movements smooth.
Use a smaller pen point on the small details. I use a broader brush for my main lines, but I don’t have the skills to get in there and use that brush for the smaller details like faces and fingers. So I switch to smaller points for those areas. If these uniform lines lack the feel of brushwork, I’ll manually add accents, but that’s often unnecessary.
I place anything that can spill into the center of a tape roll. That way I can’t accidentally knock over the ink, or the dirty water, and ruin everything.
This cartoon, with a reference to M.C. Escher, has been permanently installed on the 84th floor of the Empire State Building.
With few exceptions, like the Escher cartoon above, I don’t use a ruler in my finishes. I’ll use a ruler to work things out in pencil, but I’ll trace that line freehand to give it a more spontaneous feel.
If you’re not feeling it, walk away. I occasionally lose my touch in the middle of doing a finish—my line gets wobbly, or just doesn’t feel natural. It’s always better to walk away than to plow through. Come back later and it might go smoothly from then on.
Two more things about my process:
I work pretty large; the image area is usually about 8 x 10 (drawn on 11 x 14 paper); I use pretty bold lines so the work won’t appear too wispy once it’s shrunk down and printed. Lately I haven’t been too happy with the look of my printed line, and I may try to go a bit thinner, but it’ll be a long slow process of trial and error.
After I add washes, I scan the work and clean it up in Photoshop. (I use a Wacom-style tablet screen made in China by Yiynova.) I duplicate and darken the black lines so they stay nice and sharp, even if I change the exposure of the washes.
Misc: One of the things I’ve learned over the years is not to care too much about any one finished piece. It is, after all, a cartoon and not an illustration. Too many details, too exacting a drawing, can slow down the delivery of your point. I’ve seen people looking at cartoons while reading on the subway. Within five seconds they give a glance, understand the joke (or not), and move on—even if they love what they’ve seen.
Website, etc.:
www.robert-leighton.com
My most recent book of puzzles, written with my partners, illustrated by me.
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Editor’s Note: A Robert Leighton fan sent a letter asking for him to be interviewed a couple months back, though funnily enough, Robert and I had been in talks for him to be on Case since 2016! Well worth the wait!
If you enjoy this blog, and would like to contribute to labor and maintenance costs, there is a Patreon, and if you’d like to buy me a cup of coffee, there is a Ko-Fi account as well! I do this blog for free, and your support helps a lot! You can also find more posts about art supplies on Case’s Instagram and Twitter! Thank you!
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