Classic "Bigfoot" from Vincent Fago!

So, what is the “bigfoot” cartooning style? I’ll admit off the mark that it is an expression one hears seldom these days.

I have always defined it thus: Bigfoot is a style of cartooning, once predominant in comic books and comic strips, where the characters’ hands, feet, noses, all extremities, were drawn oversized and exaggerated largely for comic appeal. This style reigned supreme in the Golden Age (late ‘30s to early ‘50s). Today, the expression I hear used when people define the style is “cartoony” which leaves me cold. It feels lazy to me, like describing a summer day as “summery” or butter as “buttery.”

Today we have a prime time example of bigfoot cartooning from a past master, Vincent Fago, whose work could be the bigfoot template. Mr. Fago enjoyed an exceptionally long career in comics and animation with highlights including his tenure with Terrytoon Comics, the Fleischer Animation Studios, and Timely Comics (for Stan Lee). Side note: His brother, Al Fago, created Atomic Mouse for Charlton Comics.

What I love most about Vince Fago’s work is he often creates an interesting deep focus in his panels (third panel first page is a good example or second panel second page). Also, Mr. Fago’s panels are always rich in telling details. A forgotten master, is Mr. Fago.

This comes from Happy Comics No. 28, November 1948.

Well, that's all for now, Kids! Coming up: Let's Continue our deep dive into this issue of Happy Comics with a story from another great, Lynn Karp.

I will see you all again very soon. Until then, I hope you are all warm, safe, and happy! --Your friend, Mykal

Bruno Bear by Don Arr!

Don R. Christensen (who signed his work Don Arr) is one of my favorite artists from the golden age of kids’ comics (among a very competitive field of beautiful work).

For my money, the Golden Age of Comic Books (1938 to 1956) was the zenith of artistic quality in the kids’ comics genre. There is a reason for this, I believe: So many of Mr. Christensen’s contemporaries (Jack Bradbury, Dan Gordon, Jim Davis, Bob Wick, Owen Fitzgerald, etc, etc) including Mr. Christensen himself, learned their trade primarily as animators for (usually) Disney Studios or Warner Bros. Cartoons. Christensen, most notably, worked for Bob Clampett’s animation unit at Warner.

It is this animation influence, I feel, that gives today’s Bruno Bear offering that nearly tactile bounce, life, and sense of moment.

Today’s story comes from Happy Comics No. 28, November 1948.

Well, that's all for now, Kids! Coming up: Let's Continue our deep dive into this issue of Happy Comics with a story from another great, Vince Fago.

I will see you all again very soon. Until then, I hope you are all warm, safe, and happy! --Your friend, Mykal

Owen Fitzgerald in Happy Comics!

Today, my dear friends, we have a small treasure from Owen Fitzgerald (1916-1994).

Mr. Fitzgerald began, as so many comic book artists have before and after him, as a Disney animator in the late 1930s. And, like so many others, he turned to comic book illustration to supplement income. By 1944, Fitzgerald was working for Publisher, Ned Pines comic book publications (ANC, Standard/Better/Nedor). I think Mr. Fitzgerald today is best remembered for his wonderful work for DC comics in the 1950s (“The Adventures of Bob Hope”, “Dean Martin and Jerry Lewis”, etc.). Finishing strong, he drew “Mickey Mouse” and “Supergoof” stories for Walt Disney comics and animated for Hanna-Barbera through the 1970s.

Today’s story features one of Fitzgerald's ongoing characters for Happy Comics, Francois Feline. Of note is the wonderful dialogue supporting an unusual story. Of note as well is the elegant lettering from Melvin Miller, who work set the lettering style for the Standard lineup of comics all through the 1940s.

Today’s story comes from Happy Comics No. 28, November 1948.

Now for the promised surprise from last post! Illustration legend, Frank Frazetta, cut his teeth in the 1940s illustrating comics, often for Ned Pane publications providing one panel illustrations to accompany one page text stories (usually from writers, Betty Cummings or Elizabeth Starr). In this particular issue of Happy Comics, there were three such panel illustrations. Enjoy!!

I am confident usual readers of the Big Blog will be familiar with Mr. Frazetta's epic work, but for those who might wish to know more, click HERE.

Well, that's all for now, Kids! Coming up: Let's take a deep dive into this issue of Happy Comics and start with a happy story from Don R. Christensen (Don Arr).

I will see you all again very soon. Until then, I hope you are all warm, safe, and happy! --Your friend, Mykal

Lynn Karp and Jack Bradbury Get Happy!

Finishing up points of interest from Happy Comics No. 19, May 1947 (for the cover see last post), we have artwork today by Jack Bradbury and Lynn Karp - both ex-Disney animators making their unique and everlasting mark in the world of kids' comics. First, let's enjoy this Bunnyboy outing by Mr. Karp (written by his oft-times partner and full-time brother, Hubie Karp):

Next comes a Pansy the Chimp story, which featured another of comicdoms lovable and completely forgotten characters, Orville Hambone. Gratefully, the outstanding cartooning of Jack Bradbury will never be forgotten.

This ad for the paperback edition of Niven Busch's Western novel, Duel In The Sun (timed for the release of the Hollywood movie of the same name), is from the same issue.

HAPPY COMICS No. 19, May, 1947

Today we have a pair from Happy Comics No. 19, May 1947. First, I must insist that we don't rush passed this lovely cover. The artist is unknown, but I love the line. Whoever it is, they follow Carl Barks' rule about eyes: The pupil "pie-cuts" always point along line of sight. Download THIS POST!

"Scamper" is the work of one of the greatest funny animal artists of all time: Al Hubbard (signed). With the possible exception of Walt Kelly (or animator, Chuck Jones), no artist did "cute" any better than Hubbard. And, of course, his draftsmanship was flawless.

This next story, "Superstrip," is not signed, but, boy, is it something to look at. Great brushwork, character design (great "bounce"), backgrounds - it's all there. I wonder if this might be Frank Frazetta? I see a lot of FF in the stuffy, pompous hog; but nothing else quite matches up. Other times I see Lynn Karp and even a hint of Jim Tyer (in the Mayor character). A collaboration? Hopefully, someone with a more experienced eye will set me straight and ease my spinning head. (Check comments by Alberto! It's Gil Turner.)

Frazetta did a ton of header art on the text stories for this title and others in the late 1940s. I put these three headers from this issue together in a triptych, thinking that these were all done by him. (John and Alberto come to the rescue. This little display is Jim Tyer - Check comments)