Friday, December 31, 2021
Sunday, September 19, 2021
The British Museum website has steadily uploaded images of prints and drawings from its collections including the Ronald Searle material. I was able to visit the museum and look through the original drawings of 'The Rake's progress' in 2009 but time was limited and I couldn't request to see everything. However the website turns up this fascinating artifact-
Searle's rough draft sketchbook in which he compiled the sketches with the finished printed cartoons. It's insightful to see how Searle altered the compositions between the rough and the final image.
(Click on an image to go through them full screen)
Friday, September 17, 2021
If you're ever in the haute-Provence region near Draguignan be sure to make the drive to Tourtour the village where Ronald Searle lived- it's worth the trip. The visitor's website had been updated with an online version of the exhibition that displayed Ronald's drawings for the village magazine Lou Troumeptoun. See it here
More on 'the village in the sky' Tourtour here
Monday, July 05, 2021
Tuesday, April 06, 2021
Wednesday, March 03, 2021
Tuesday, March 02, 2021
One of the 20th century's greatest cartoonists chose his favourite painting for Country Life.
‘Obsessed as I am with the magical, satirical pen line, I am very much aware of its roots – its forebears, those who created it with genius: Hogarth, Gillray, Rowlandson, Cruikshank. But if I must declare a favourite, I confess that I feel closest to Rowlandson.
‘That living line, that freshness of colour, that beautiful reflection of rural nature, all stirred in with a penetrating dissection of character. It all comes together beautifully in Vauxhall Gardens.’
From Country Life
Sunday, February 14, 2021
It's wonderful to see my old boss Pete Docter of Pixar Animation proclaiming Ronald Searle as a key influence on the design of his new film 'Soul'. In an August 2020 interview with 3D World magazine he is quoted:
The human world of the film marks a departure in the usual style of the studio from large, cartoon eyes to small eyes set in exaggerated features with long limbs, angular elbows and pointy feet - all hallmarks of Searle's style.
Filmmakers’ approach to the film and the characters’ performances was inspired in part by two diverse influences: the art of English artist and satirical cartoonist Ronald Searle, and the animation from Disney’s 1961 animated classic “101 Dalmatians.” Says animation supervisor Jude Brownbill, “Searle and ‘101 Dalmatians’ influenced the look and feel of ‘Soul’ in almost every department—from the imperfect shape of buildings, furniture and props, to the number of folds on a characters’ clothing. For animation, Searle’s influence inspired bold and direct posing within clear compositions that lead the viewer’s eye through the scene. Studying ‘101 Dalmatians’ reinforced the importance of laying out one acting idea at a time and holding within key poses to allow important moments to be read more clearly.”
Early concept art shows the artists working with a Searle-esque line quality.
artist: Nancy Tsang
Art director Daniel Lopez Muñoz on designing Joe Gardner with Searle in mind:
Disney animator Milt Kahl’s influence can be seen in the way Joe seems inspired by Roger from 101 Dalmatians, but the influence of British illustrator Ronald Searle can be seen in the character designs as well.
It’s so great that you noticed that. I haven’t actually discussed that with anybody when I was designing Joe. You have the character Roger in 101 Dalmatians and he is obviously a very classic, white character from a Disney film, but I really wanted to find a new character that could live on the way that character did, so there are certainly some influences there, but the artist I really narrowed my sights on was Searle. He had an incredible eye for representing people’s personalities and their interior persona onto a caricature in a wonderful, masterful way. He hadn’t done that many representations of people of color. Most of his work is of the white people surrounding him in England. We got inspiration from him, but had to find our own way, thinking of his shapes and angles, in creating the diverse characters in the New York cityscape.
Although Searle made his reputation lampooning stuffy, white British people he did, in fact, portray Black characters often, most notably when he first visited America in the late fifties and explored NYC with his sketchbook. In an interview he professed his fascination with the city:
and that they are going to start off with one big drawing as a double-spread and follow it each week or
so with single pages or double spreads. I'm expecting to get off tomorrow another packet . . . Central Park, Chinatown, Harlem, perhaps even the Bowery. I may have to go back there for a bit more material. It's exhausting I must confess but I still enjoy drawing Manhattan almost as much as Paris."
In 1960 Searle travelled to the south to cover the New Orleans jazz scene for HOLIDAY magazine.
'Sweet Emma Barrett' from Searle's New Orleans sketchbook
On another reportage assignment in Atlantic City Searle captured the visitors to the BoardwalkFantagraphics
Of course the cat in the film has a direct correlation to Searle's cats.