Here’s what’s left in my camera from school white boards and lessons.
There you have it, the results of 31 years of doodling on the chalkboard (which became the dry erase board). And yes, I did tell them the cartoon fairy drew all the pictures. Especially when they were in my class for the second or third year when they asked, “Who does all the pictures on the board?” And yes, I started doing this back in dinosaur days in white chalk on a green blackboard, followed by colored chalk, which later became a gray marker-board for washable marker, and finally became dry erase white board. And I really bought my own chalk and markers too. Teachers do that, you know.
Back in about 1968 my Grandma Beyer was seriously scandalized by an artist named Paul Detlefsen. Detlefsen did a lot of covers for the “Ideals Magazine” that Grandma always had on her coffee tables. He scandalized her by putting a painting on the cover that showed a young boy taking his pants off, the rear view only, so he could go skinny dipping with a group of naked boys. Truthfully the picture shown above is by Detelfsen, but it is not the one that offended her. I have discovered that this painter of old-timey things like blacksmith shops and one-room school houses has painted at least four different versions of “the Old Swimmin’ Hole”. And Grandma was easily scandalized when we were kids. She was a very conservative woman who loved Ronald Reagan and his politics most severely and thought that Richard Nixon was a leftist radical. She didn’t like for people to be naked, except for bath time, and maybe not even then. She is one of the main reasons, along with this painter whom she adored, that I came to learn later in life that “naked is funny”.http://www.freeplaypost.com/PaulDetlefsen_VintageArtPrint_A.htm
Grandma Beyer also seriously loved puzzles, and besides “Ideals” covers, Paul Detlefsen did a beaucoup of jigsaw puzzles. (Beaucoup means a lot in Texican, I tend to think in Iowegian and talk in Texican and completely forget about the need to translate for those people who don’t know those two foreign tongues) One of the puzzles we spent hours working on was “Horse and Buggy Days” that I pictured here. They were the kind of puzzle paintings where every boy was Tom Sawyer and every girl was Becky Thatcher. And there were a lot of them. Here is another;
Grandma had this in puzzle form also. We put the puzzle together, glued it to tag board, and framed it. It has hung on the wall in a Grandparent’s house, first Grandma Beyer’s and then Grandma Aldrich’s, since the early 1970’s. My own parents now live in Grandma Aldrich’s house, and that puzzle-painting may be hanging in an upstairs bedroom to this very day. Detlefsen is not known as a great artist. He was a humble painter who painted backdrops for films for over 20 years. In the 1950’s he switched gears and started doing lithographs that were turned into calendars, jigsaw puzzles, laminated table mats, playing cards, and reproductions you could buy in the Ben Franklin Dime Store in Belmond, Iowa and hang on your back porch at home. I believe I saw his paintings in all these forms in one place or another. According to Wikipedia (I know, research, right?) “In 1969, UPI estimated that his artwork had been seen by 80 per cent of all Americans.” That is pretty dang good for a humble painter, better numbers than Pablo Picasso ever saw. Let me share a few more of his works, and see if you recognize any of these;
It’s true. You have seen these multiple times before. They are some of my favorite drawings , paintings, and pictures.
You may not agree that these are my best work. That isn’t why I included them. These are pictures I simply like, and I could’ve added another hundred or so easily.
There is a reason why anything in my artwork starting with a rabbit is assumed to be autobiographical. I raised rabbits as a 4-H project from about the age of 10 and we kept rabbits in pens until I was finishing my undergraduate degree. (Rabbit chores fell to my little brother when I was away from home.) In many ways, I was a rabbit-man. My personal avatar as a school teacher was Reluctant Rabbit.
The panda known as Mandy in my cartoon world is an avatar of my wife, an immigrant from the Pandalore Islands.
There is often an exaggerated sense of adventure in my cartoonally weird Paffoonies, the very name of which is a fantasy word.
I have been known to actually believe gingerbread can be magical enough for gingerbread men to come to life once baked. It is the reason I bite the legs off first, so they can’t run away.
I have been known to see elves, fairies, and numerous other things that aren’t really there. In fact, a whole secret hidden kingdom of them inhabited the schoolyard in Iowa where I attended grades K through 6. They were all mostly three inches tall. The biggest ones, like dragons reaching only about six inches tall at their largest.
Of course I am afraid of death, evil, and… (shudder) mummies.I think of art and story-telling as a form of music. I am a troubadour whose songs (like this one) are often completely silent.My fantasy art tends to be more “comic book” than “art gallery”.
One work of comic strip art stands alone as having earned the artist, Winsor McCay, a full-fledged exhibition at the Metropolitan Museum of Art in New York City. Little Nemo in Slumberland is a one-of-a-kind achievement in fantasy art.
Winsor McCay lived from his birth in Michigan in 1869 to his finale in Brooklyn in 1934. In that time he created volumes full of his fine-art pages of full-page color newspaper cartoons, most in the four-color process.
The New Year’s page 1909
As a boy, he pursued art from very early on, before he was twenty creating paintings turned into advertising and circus posters. He spent his early manhood doing amazingly detailed half-page political cartoons built around the editorials of Arthur Brisbane, He then became a staff artist for the Cincinnati Times Star Newspaper, illustrating fires, accidents, meetings, and notable events. He worked in the newspaper business with American artists like Winslow Homer and Frederick Remington who also developed their art skills through newspaper illustration. He moved into newspaper comics with numerous series strips that included Dreams of the Rarebit Fiend and Little Nemo in Slumberland. And he followed that massive amount of work up by becoming the “Father of the Animated Cartoon” with Gertie the Dinosaur, with whom he toured the US giving public performances as illustrated in the silent film below;
The truly amazing thing about his great volume of work was the intricate detail of every single panel and page. It represents a fantastic amount of work hours poured into the creation of art with an intense love of drawing. You can see in the many pages of Little Nemo how great he was as a draftsman, doing architectural renderings that rivaled any gifted architect. His fantasy artwork rendered the totally unbelievable and the creatively absurd in ways that made them completely believable.
I bought my copy of Nostalgia Press’s Little Nemo collection in the middle 70’s and have studied it more than the Bible in the intervening years. Winsor McCay taught me many art tricks and design flourishes that I still copy and steal to this very day.
No amount of negative criticism could ever change my faith in the talents of McCay. But since I have never seen a harsh word written against him, I have to think that problem will never come up.
My only regret is that the wonders of Winsor McCay, being over a hundred years old, will not be appreciated by a more modern generation to whom these glorious cartoon artworks are not generally available.
I was a boy back when the milk man still came around in his blue-and-white panel truck delivering bottles of milk with Elsie the Cow on them. I don’t remember clearly because I was only 4 years old back when I first became aware of being a boy in this world instead of being something else living somewhere else.
There were many things I didn’t know or understand back then. But one thing I did know, was that I loved Elsie the Cow. And why would a farm boy love a cartoon cow? There were many not-so-sensible reasons.
For one thing, Elsie the Cow reminded me of June Lockhart, Lassie’s mom and the mom from Lost in Space.
Lassie’s Mom, June Lockhart
It may be that June Lockhart’s eyes reminded me of Elsie’s eyes, being large, soul-full eyes with large black eye lashes. It may be that she starred in a TV commercial for Borden’s milk in which Elsie winked at me at the end of the commercial.
Or maybe it was because Elsie had calves and was a mom. And June Lockhart was Lassie’s mom and the mom of Will Robinson, so I associated both of them with my mom, and thus with each other.
Elsie gave you milk to drink and was always taking care of you in that way. Milk was good for you, after all. My own mom was a registered nurse. So they were alike in that way too.
And she was constantly defending you against the bulls in your life. She stood up to Elmer to protect her daughter more than once. Of course, her son was usually guilty of whatever he was accused of, but she still loved him and kept Elmer from making his “hamburger” threats a reality.
And you can see in numerous ad illustrations that Elsie’s family were basically nudists. Although she often wore an apron, she was bare otherwise. And though her daughter often wore skirts and her son wore shorts, Elmer was always naked. And that didn’t surprise me, because no cow I knew from the farm wore clothes either. From very early in my life I was always fascinated by nakedness, and I would’ve become a nudist as a youngster if it hadn’t been soundly discouraged by family and society in general.
Proof that Elsie’s family lived the nude life.
Puppets from a Borden’s commercial
So there are many reasons why I have always loved Elsie the Cow. And it all boils down to the love of drinking milk and that appealing cartoon character who constantly asked you to drink more.
Let’s begin with some stupid advice. I don’t have time to write a lot today because the Princess is ill and must go see the doctor in Plano. So the advice is; Set aside time for writing and always allow plenty of time for it. You will probably notice already that I am giving you advice that I am not taking myself this morning. So don’t follow that advice. It is stupid advice. I have given it to creative writing classes for years and thought I meant it. But looking back on real life, I realize, it has never been true for me. My best ideas, my best writing, always seem to come in the middle of the pressure-cooker of daily struggle and strife. I have battled serious illness for most of my adult life. I have the luck of a man who tried to avoid letting a black cat cross his path by crashing his bicycle at the top of a hill covered in clover with only three leaves each and then rolling down the hill, under a ladder, and crashing into a doorpost which knocks the horseshoe off the top. The horseshoe lands on my stupid head with the “U” facing downward so the luck all drains out. Bad things happen to me all the time. But it makes for good writing. Tell me you didn’t at least smile at the picture I just painted in your mind. You might’ve even been unable to suppress a chuckle. I am under time pressure and misfortune pressure and the need to rearrange my entire daily schedule. So it is the perfect time to write.
This essay, however, is about bad advice. And I am a perfect person to rely on as a resource for bad advice. I am full of it. Of course, I mean I am full of bad advice, not that other thing we think of when someone tells me I am “Full of it!” So here’s another bit of writing advice that is probably completely wrong and a bad idea to take without a grain of salt, or at least a doctor’s prescription. You should stop bird-walking in your essay and get to the damn point!
I know a lot about the subject of depression. When I was a teenager, I came very close to suicide. I experienced tidal waves of self-loathing and black-enveloping blankets of depression for reasons that I didn’t understand until I realized later in life that it all came from being a child-victim of sexual assault. Somehow I muddled through and managed to self-medicate with journal writing and fantasy-fixations, thus avoiding a potentially serious alcohol or drug problem. This is connected to my main idea, despite the fact that I am obviously not following the no bird-walking advice. You see, with depression, Bad advice can kill you. Seriously, people want to tell you to just, “Get over it! Stop moping about and get on with life. It isn’t real. You are just being lazy.”
I have been on the inside of depression and I know for a fact that not taking it seriously can be deadly. In fact, I have faced suicidal depression not only in myself, but in several former students and even my own children. I have spent time in emergency rooms, mental hospitals, and therapists offices when I wasn’t myself the depression sufferer. One of my high school classmates and one of my former students lost their battles and now are no longer among the living. (Sorry, have to take a moment for tears again.) But I learned how to help a depression sufferer. You have to talk to them and make them listen at least to the part where you say, “I have been through this myself. Don’t give in to it. You can survive if you fight back. And whatever you have to do, I will be right here for you. You can talk to me about anything. I will listen. And I won’t try to give you any advice.” Of course, after you say that to them, you do not leave them alone. You stay by them and protect them from themselves, or make sure somebody that will do the same for them stays with them. So far, that last bit of advice has worked for me. But the fight can be life-long. And it is a critical battle.
So taking advice from others is always an adventure. Red pill? Green pill? Poison pill? Which will you take? I can’t decide for you. Any advice I give you would probably just be stupid advice. You have to weigh the evidence and decide for yourself. What does this stupid essay even mean? Isn’t it just a pile of stupid advice? A concluding paragraph should tell you the answer if it can. But, I fear, there is no answer this time.
Going through my old drawing portfolio, I found my children’s book project from my undergrad college years. I have no idea now looking at the illustrations what the story was even about. I lost the actual story, and I never made a cover for it. But here is a look at old hopes and dreams and a way of seeing the world that begins; Once Upon a Time…
I have no earthly idea what the heck this story is even about, but I do like the pen and ink work, and probably couldn’t repeat it if I had to.
I admit it. I was a goofy teacher. Kids never knew for sure whether I was serious, joking, or halfway in-between. I worked for hours sometimes preparing the chalkboard, or later, white board, for the days lesson, putting key points and reminders up in cartoon form. I used characters, symbols, jokes, pokes, and silliness to get the idea across. Principals and others who evaluated my teaching always wondered why my classroom sounded so raucous and wild from outside the door with kids laughing, music playing, and sometimes desks being shuffled and shoved around the room. The perfect-classroom-is-a-quiet-classroom crowd always hated my teaching style. But the ones who came in and participated, got involved in paying attention and watching the kids interact with the content loved it. I am not bragging. My lesson plans were a mess filled with booby traps, explosions waiting to happen, un-intended consequences (also called teachable moments), and brainstorms that threatened at any moment to electrocute somebody with lightning. Teaching is a dangerous business. But the point is, there is an art to teaching that brings out the artist in you. I offer the following evidence;
There you have it, the results of 31 years of doodling on the chalkboard (which became the dry erase board). And yes, I did tell them the cartoon fairy drew all the pictures. Especially when they were in my class for the second or third year when they asked, “Who does all the pictures on the board?” And yes, I started doing this back in dinosaur days in white chalk on a green blackboard, followed by colored chalk, which later became a gray marker-board for washable marker, and finally became dry erase white board. And I really bought my own chalk and markers too. Teachers do that, you know.
Catch a Falling Star 
Winsor McCay
One work of comic strip art stands alone as having earned the artist, Winsor McCay, a full-fledged exhibition at the Metropolitan Museum of Art in New York City. Little Nemo in Slumberland is a one-of-a-kind achievement in fantasy art.
Winsor McCay lived from his birth in Michigan in 1869 to his finale in Brooklyn in 1934. In that time he created volumes full of his fine-art pages of full-page color newspaper cartoons, most in the four-color process.
As a boy, he pursued art from very early on, before he was twenty creating paintings turned into advertising and circus posters. He spent his early manhood doing amazingly detailed half-page political cartoons built around the editorials of Arthur Brisbane, He then became a staff artist for the Cincinnati Times Star Newspaper, illustrating fires, accidents, meetings, and notable events. He worked in the newspaper business with American artists like Winslow Homer and Frederick Remington who also developed their art skills through newspaper illustration. He moved into newspaper comics with numerous series strips that included Dreams of the Rarebit Fiend and Little Nemo in Slumberland. And he followed that massive amount of work up by becoming the “Father of the Animated Cartoon” with Gertie the Dinosaur, with whom he toured the US giving public performances as illustrated in the silent film below;
The truly amazing thing about his great volume of work was the intricate detail of every single panel and page. It represents a fantastic amount of work hours poured into the creation of art with an intense love of drawing. You can see in the many pages of Little Nemo how great he was as a draftsman, doing architectural renderings that rivaled any gifted architect. His fantasy artwork rendered the totally unbelievable and the creatively absurd in ways that made them completely believable.
I bought my copy of Nostalgia Press’s Little Nemo collection in the middle 70’s and have studied it more than the Bible in the intervening years. Winsor McCay taught me many art tricks and design flourishes that I still copy and steal to this very day.
No amount of negative criticism could ever change my faith in the talents of McCay. But since I have never seen a harsh word written against him, I have to think that problem will never come up.
My only regret is that the wonders of Winsor McCay, being over a hundred years old, will not be appreciated by a more modern generation to whom these glorious cartoon artworks are not generally available.
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Filed under art my Grandpa loved, artists I admire, artwork, book review, cartoon review, cartoons, comic strips, commentary
Tagged as Little Nemo in Slumberland, Winsor McCay