Archive for the ‘gluyas williams’ Category

Thursday, April 18th, 2024

Cartooning: Byrnes’ Complete Guide To Cartooning Part Four

Earl Oliver Hurst
Thanks to Clarke Snyder for this great Hurst ad.

We continue our series of posts on Gene Byrnes’ Complete Guide To Cartooning with the section dealing with…

Introduction by Charles D. Rice

Byrnes Complete Guide To Cartooning


Perry Barlow worked along side a star-studded group of cartoonists at The New Yorker which included, among others, James Thurber, Peter Arno, Gardner Rea, Charles Addams, Whitney Darrow Jr, Sam Cobean and William Steig. From its inception, The New Yorker was, as its founding editor Harold Ross described it, "a reflection in the word and picture of metropolitan life". The images were equal with the words, and this magazine contributed greatly to the development of cartooning. Here, Barlow discusses his ideating process for a Halloween cover.

Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning


Von Riegen was featured in our previous post from this book, Part Three: Sketching. His gesture drawings were greatly admired.

Byrnes Complete Guide To Cartooning


Earl Oliver Hurst

Earl Oliver Hurst has been profiled extensively at Shane Glines’ excellent Cartoon Retro site. Hurst was primarily a "pretty girl" cartoonist whose work appeared in Colliers, True and American Weekly. His ads for Jantzen are particularly popular among current cartoonists. If you would like to see more, there is a great book on Hurst at Amazon… The Art Of Earl Oliver Hurst

Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning
Earl Oliver Hurst
Earl Oliver Hurst


H. Kurt Stoessel was born in 1909 in Germany, and studied at the Art Institute of Chicago. He was an illustrator and art director for several national magazines including The Atlantic. He lived and worked in Boulder, Colorado his entire career, and passed away on this day in 1984.

Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning


You may not know the name of Fred Cooper but you certainly have seen his work. He was a letterer, poster designer, illustrator, cartoonist, writer and teacher. Leslie Cabarga describes him as the original "clip art" artist- his "big head" cartoon characters were seen in dozens of magazines of the teens and twenties, and continue to be in use to this day. For more on this influential cartoonist, see Allan Holtz’s tribute in Strippers, and Cabarga’s book The Lettering and Graphic Design of F.G. Cooper

Byrnes Complete Guide To Cartooning


We mentioned Gluyas Williams was one of the most prolific and influential cartoonists of the 1920s. His work appeared in The New Yorker, Colliers and Life. Robert Benchley wrote, "I believe that Williams’ drawings will be preserved for expert contemplation both as data on the manners and customs of our day, and as graceful and important examples of its art." For more great work by cartoonist Gluyas Williams, see David King’s

Byrnes Complete Guide To Cartooning


Robert Osborn was a cartoonist whose style influenced the UPA artists greatly. He worked with John Hubley on the film, Flat Hatting. He also did a great deal of illustration for the War Department, which we will be featuring in an upcoming post.

Byrnes Complete Guide To Cartooning


Bartoli’s ink drawings appeared on the covers of quite a few issues of Holiday magazine in the late 40s and 50s. I haven’t been able to find out much information about him. Perhaps someone out there knows and will post some biographic info on him to the comments below.

Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning


Michael Berry contributed pretty girl cartoons to Pictorial Review, Esquire, Liberty and The New Yorker.

Magazine Illustration by Michael Berry
Magazine Illustration by Michael Berry
Magazine Illustration by Michael Berry


John Ruge’s elegant girl drawings appeared in Colliers in the late 40s and Playboy in the early 50s. His comic about an Irish Setter named Clancy was also popular.

Magazine Illustration by John Ruge
Magazine Illustration by John Ruge


Ralph Stein was the author of a collection of pinup girl art titled The Pinup From 1852 to Now. He wrote the Popeye newspaper comic in the 1950s, and was an avid classic car enthuiast. Stan Hunt was a regular contributor to The New Yorker. He attended the New York School of Art and apprenticed under Willard Mullin. He passed away in 2006 at the age of 77.

Magazine Illustration by Ralph Stein
Magazine Illustration by Stan Hunt


Richard Sargent contributed images to Pictorial Review and The Saturday Evening Post.

Magazine Illustration by Richard Sargent
Magazine Illustration by Richard Sargent


Magazine Illustration by Jan Balet
Magazine Illustration by Jan Balet
(See Lief Peng’s Flickr set for more images by Jan Balet.

Jan Balet was a childrens book illustrator who also did artwork for several women’s magazines.

Magazine Illustration by Jan Balet
Magazine Illustration by Jan Balet


Richard Taylor was a cartoonist for The New Yorker and Playboy. Frank Owen was a cartoonist for The Saturday Evening Post He was the one who came up with the original story idea for the Disney’s cartoon, Morris, the Midget Moose.

Magazine Illustration by Richard Taylor and Frank Owen

By Don Herold

Magazine Illustration by Don Herold


Gyne Brynes Complete Guide To Cartooning
Gyne Brynes Complete Guide To Cartooning


Roy Doty

Over the past half century, Roy Doty has been a cartoonist and illustrator with over 60 children’s books to his credit. He was awarded a Reuben by the National Cartoonist Society in 2006. See to see what he’s up to lately.

Magazine Illustration by Roy Doty and Jan Balet
Magazine Illustration by Roy Doty and Jan Balet
Magazine Illustration by Roy Doty and Jan Balet

Many thanks to Marc Crisafulli and David King for sharing this great book with us.

Stephen Worth
Animation Resources

Magazine CartoonsMagazine Cartoons

This posting is part of the online Encyclopedia of Cartooning under the subject heading, Magazine Cartoons.


Animation Resources has been sharing treasures from the Animation Archive with its members for over a decade. Every other month, our members get access to a downloadable Reference Pack, full of information, inspiration and animation. The RefPacks consist of e-books jam packed with high resolution scans of great art, still framable animated films from around the world, documentaries, podcasts, seminars and MORE! The best part is that all of this material has been selected and curated by our Board of professionals to aid you in your self study. Our goal is to help you be a greater artist. Why wouldn’t you want to be a member of a group like that?

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Saturday, May 7th, 2011

Biography: Gluyas Williams

This posting is a stub. You can contribute to this entry by providing information through the comments link at the bottom of this post. Please organize your information following the main category headers below….


Birth: 23 July 1888
Death: 13 February 1982


Cartoonist, Illustrator, Caricaturist

Bio Summary

Gluyas Williams was one of many America’s popular cartoonists during the World Wars. His specialty was a spoof of upper-middle class during the era. In 1922, he started producing “Suburban Heights” that pioneered the single-panel-with-caption format that later became newspapers staple. His signature character there was known as Fred Perley.??In 1930, Williams got hired at The New Yorker and become good friend with Robert Benchley. They first introduced with each other while working on The Harvard Lampoon.??Later, Williams become the illustrator of Benchley’s books of funny essays, and Benchley wrote the introduction in Gluyas’ first cartoon collection book.??Gluyas spent his adult life in Newton, Massachusetts while commuting for work to downtown Boston.??He retired at age 65, in 1953.??He died at the age of 93, in 1982.

Early Life/Family

He lives in San Francisco with his sister Kate Carew who was an art student back then. She introduced the work Beardsley to him early in his life.?When Gluyas went to Harvard, Kate had become a magazine illustrator.?Williams married Margaret Kempton in 1915; they had 2 children: a son, David Gluyas, and a daughter, Margaret.


Graduated from Harvard in 1911. Continued studying art at Paris and Dresden, Germany.?
Career Outline

1910- He becomes an art editor of The Harvard Lampoon.?1920- He had success selling drawings to magazines such as “Collier’s” and “Life.”?1922- He began producing Suburban Heights, a syndicated feature that helped pioneer?the single-panel-with-caption format that is now newspapers staple.?1929- Williams’s first collection of cartoons was published.?1930- Williams became a regular at The New Yorker in and was closely associated with the magazine’s Robert Benchley.?1940- His book “Fellow Citizen” was published.?1953- He retired.?1957- Another book “The Gluyas Williams Gallery” was published.

Comments On Style

He used pen-and-ink, strong black tonal shapes, and controlled curved lines for aesthetic.


Aubrey Beardsley?Helen Hokinson (specifically to Gluyas’ female characters)


Williams was known to be a good and kind-hearted person and well liked company. Charles Dana Gibson, Harold Ross, Edward Streeter, and Alexander Woollcott all testified of his great personalities and valued his friendship. He stayed with Charles Dana Gibson in 1929 during Gibson’s failing life and even when others had quit and moved to The New Yorker.?He was down to earth and a hard worker:?He was known to have made 50 to 60 drawings ahead of the schedule for the daily paper in case something bad ever happened to him.??He made an effort to meet with his good friend Benchley at New York even though they are both living far from each other to catch up with news and gossips.
He was also cautious (see anecdotes)


Williams was often seen at the station to search for inspiration of his work. In his words, “I’d watch for things to happen at the West Newton Station in the morning or evening—things like somebody trying to get through the station door to buy a paper, just as everyone else surges out to board the train; or trying to get a taxi at the station on a rainy night; or the way everyone in the station starts for the platform when a train rumbles by, and it’s usually a freight train; all those little everyday occurrences can be built into cartoons.”??There is one certain story that Gluyas often mentioned in lots of his interviews.?Fearing that his studio would catch fire, Gluyas kept an extra pile of drawings in the local bank. Weekly, Gluyas would make a visit to the bank and send the drawings to the syndicate.?One time in 1933, President Roosevelt announced a bank holiday. As his deadline approached, He asked the Boston globe to help him to arrange the bank to open so that he can take some of his drawings for the paper. Williams re-called. “The Boston Globe had to pull strings and arranged for me to go under guard to my bank to get the drawings. The guard was supposed to make certain I didn’t take any gold out.?Miscellaneous?Williams falsely believed that Beardsley never “whited out” mistakes. Therefore, he never used white paint to correct his lines.




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