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[Berk Boyraz]

Sincethat time I now own three library collections of Simplicissimus from the years 1905, 1906, 1908 and 1911. The collection from 1908 had no cover and was falling apart, so I put it in a portfolio to keep in good condition. The one from 1905-1906 is taped together because the binding is weak. Keep in mind that these are over 100 years old!

In 1906 Thomas Theodor Heine led a group of staff artists and writers in a successful demand for profit-sharing and a greater say in the direction of the magazine. Up until that point Langen owned everything and even claimed copyright of the original drawings reproduced in its pages and offered them for sale to the public, with a percentage going to the artist. Now the artists retained ownership of their own artworks.

In 1908 and 1909 two of the magazines chief artists died, Ferdinand von Reznicek and Rudolf Wilke; so did its founder-publisher Albert Langen. Fortunately, the rest of the staff was already accustomed to decision-making and carried on without any major problems until the outbreak of the First World War. The staff felt that Germany was in the right and some wished to cease publication, since they felt that the nation should not be ridiculed during wartime. Another group, led by Heine, convinced them to continue publication, but as a patriotic publication. This, in turn, caused the magazine to dull its satirical tone.

After the war the circulation for Simplicissimus dropped to 30,000 and never again attained a consistent political view. It still attacked statesmen of all fractions and considered the radicals of the right, such as Hitler, to be enemies that were as dangerous as the left-wing Communists and Spartacists*. Then in 1933 Heine fled to live another fifteen years in exile. The artists who remained had to conform to new standards and Simplicissimus lost much of its edge. It continued publication until the final issue in September 13th, 1944.

Jules Pascin first worked for Simplicissimus when he was still a teenager and got the job through a recommendation of a writer named Gustav Meyrink. His father objected to the drawings that he did for the magazine so Jules adopted the pseudonym of Pascin (an anagram of his real last name Pincas). Jules later become known for his drawings and paintings of Parisian prostitutes and for his bohemian existence in the Paris of the Twenties.

Simplicissimus is amazing, I love it too. So modern and bold in its graphic aproximattion to illustration. Compositions, colors and concepts. Incredeble. Even today vanguardist. Thank you so much for your article and your passion.

thanks for these fabulous illustrations! Do you have issues of the year 1906 or earlier? I am studying on an etching by Walter Sickert, and the etching is probably from an illustration in the Simplicissimus!

The commission was as joyful to work on as the pictures suggest! The illustrations accompany an article about how to tailor your garden to excite each of our five senses; sight, sound, taste, smell and touch.

L'Illustration began in 1843, and ran until 1944. No issue copyright renewals were found for this serial. The first copyright-renewed contribution is from April 13, 1929. (More details) After the end of World War II, a successor magazine, France Illustration, ran from 1945 into the 1950s before ending.

This is a record of a major serial archive. This page is maintained for The Online Books Page.(See our criteria for listing serial archives.) This page has no affiliation with the serial or its publisher.

Lisa Maltby is a commercial illustrator and designer based in London and Sheffield. Lisa has a passion for typography, hand drawn lettering and food illustration and has been commissioned by clients worldwide. Lisa incorporates a broad range of creative skills into her work, including design, typography, hand drawn lettering, illustration, illustrated type and art direction. Her unique ideas and sense of fun have earnt her many accolades in the creative industry.

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I just did this funny little illustration for the November issue of Baltimore Magazine. The article, written by Jane Marion, is titled "Power Hungry" and it's about the politics of the presidential palate. You can read it on page 224.

The specs were to include Trump and Clinton as well as nominees from times past eating some really weird (and sometimes gross) combinations: Lincoln chowing down on chicken fricassee, Nixon eating cottage cheese and ketchup (barf!) Trump enamored with a McDonald's Filet-O-Fish sandwich (I thought he was more of a Big Mac kind of guy - eye roll) Clinton and hot peppers/Sriracha, George W. noshing on some shrimp and cheesy grits and Jefferson spooning up a cup of crme brle. There were a lot of figures to draw in a tiny spaceso I went with a dinner scene adding a little current political climate humor into the mix. There may even be some tiny hands and thieving going on among the dinner conversation. I don't know, what do you think? :) Check it out some details below.

I emailed the Association of illustrators of which I am a student member and asked it they had any advice for those wanting to specialise in food illustration. Fortuitously, they mentioned this latest illustrated issue of Waitrose Food Magazine which due to COVID19 has a much larger illustrative content than usual. Also, as luck would have it they were also running a cover illustration competition! I due usually pick up this magazine on my trips to Waitrose but because of the current situation we have been getting most of our groceries nearer to hand.

A I have mentioned previously, it was work done by Emma Dibben for Waitrose that was instrumental in getting me to take up illustration in the first place, so I was really keen to see the styles and techniques of other illustrators that were featured in this specific edition.

Marion Fayolle graduated with a degree in illustration from the School of Decorative Arts in Strasbourg. She's illustrated numerous books and has produced illustrations for magazines and newspapers such as The New York Times. In 2009, Marion co-founded the acclaimed French illustration magazine, Nyctalope.

When I write my stories, I don't really write. Everything starts with the desire for an image, which is often obtained through an association between shapes and words. For example, I think that a woman's dress has an odd resemblance to a birdcage. This image in my mind will be my base, my starting point, the first word of the first sentence. Next, I need to animate this character, make her come alive, find a justification for her dress-cage, make her react to the other actors.

When I make comics, there is no synopsis, no summary. Sometimes I take some short notes, but I see only images. I don't start with a wish to say something; I don't have a background or a precise text to illustrate. I work the other way around: I start from a fixed image, a graphic metaphor, and then I animate it, I justify it, and little by little my stories find a meaning. I never know what I am going to say before saying it.

My characters have no voice. They are objects. Like glass vases, they can break. Like candles, they can be blown out. Like puzzles, they can be unfinished. Like cakes, they can be divided into equal pieces. Like a potted plant, they can be watered. But you can be reassured that they do not suffer. They don't bleed. Everything is possible because they are not truly living, because they do not speak. They are mere playthings, humble puppets. They incarnate ideas and concepts. They become allegories and metaphors. They have no voice, no given name, no past, they talk with their bodies, they present crazy theories about things.

I find it interesting to think that people are like kites, that they are connected with each other by thin twine. It is so absurd to believe that when a couple gets divorced, the man and the woman split the child like they split their assets. Cutting her in two is an effective solution!

In my silent comics, everything is allowed. If the first image I create suggests that a woman's genitalia is like a lettuce, then what comes next will sustain this proposition until it is made plausible. The lettuce, obviously, will be devoured by a rabbit-man, but not completely, because the hunter will kill him. We stop there. Sometimes, my narratives have an ending, and then one day I continue them further. It is as if nothing is settled or definitive. The rabbit is dead; the woman's lettuce is damaged. We then come to realise that the hunter and the woman are accomplices. He gives her a new lettuce, fresh and beautiful. So now, more greedy rabbits will inevitably fall into the trap!

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