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51-518: Tales of the Beanworld , also known as Larry Marder's Beanworld , is a creator-owned comic book created by Larry Marder . Beanworld features stories about the life and times of the Beans, minimalistic characters which Marder has been drawing since childhood. The stories borrow concepts from various world mythologies, popular concepts of ecology, and pop culture. Marder initially self-published

102-460: A motion picture that relies on a sequence of illustrations for its animation. Someone who creates cartoons in the first sense is called a cartoonist , and in the second sense they are usually called an animator . The concept originated in the Middle Ages , and first described a preparatory drawing for a piece of art, such as a painting, fresco , tapestry , or stained glass window. In

153-859: A prominent example of creator-owned comics publishing. Propelled by star power and upset that they did not own the popular characters they created for Marvel, several illustrators, including the X-Men ' s Jim Lee , The New Mutants / X-Force ' s Rob Liefeld , and Spider-Man ' s Todd McFarlane formed Image, an umbrella label under which several autonomous, creator-owned companies existed. Image properties, such as WildC.A.T.s , Gen , Witchblade and especially McFarlane's Spawn provided brisk competition for long-standing superheroes. Many popular creators followed Image's lead and attempted to use their star power to launch their own series; ones for which they would have licensing rights and editorial control. Chris Claremont , famous for his long run as

204-446: A result. After publishing a one-shot of new material in 2008, Dark Horse Comics republished the contents of the original series in two hardcover volumes in 2009, followed by a third hardcover volume with all new material. Marder stated that these collections completed the "Springtime" cycle of Beanworld stories. Dark Horse also published a very short volume (vol. "3.5") in 2012 that collected various short one-shot stories published over

255-794: A short series of cartoon illustrations in sequence. In the United States, they are not commonly called "cartoons" themselves, but rather "comics" or " funnies ". Nonetheless, the creators of comic strips—as well as comic books and graphic novels —are usually referred to as " cartoonists ". Although humor is the most prevalent subject matter, adventure and drama are also represented in this medium. Some noteworthy cartoonists of humorous comic strips are Scott Adams , Charles Schulz , E. C. Segar , Mort Walker and Bill Watterson . Political cartoons are like illustrated editorials that serve visual commentaries on political events. They offer subtle criticism which are cleverly quoted with humour and satire to

306-444: A similar product The Beano in 1938. On some occasions, new gag cartoons have been created for book publication. Because of the stylistic similarities between comic strips and early animated films, cartoon came to refer to animation , and the word cartoon is currently used in reference to both animated cartoons and gag cartoons. While animation designates any style of illustrated images seen in rapid succession to give

357-1212: A single drawing with a typeset caption positioned beneath, or, less often, a speech balloon . Newspaper syndicates have also distributed single-panel gag cartoons by Mel Calman , Bill Holman , Gary Larson , George Lichty , Fred Neher and others. Many consider New Yorker cartoonist Peter Arno the father of the modern gag cartoon (as did Arno himself). The roster of magazine gag cartoonists includes Charles Addams , Charles Barsotti , and Chon Day . Bill Hoest , Jerry Marcus , and Virgil Partch began as magazine gag cartoonists and moved to syndicated comic strips. Richard Thompson illustrated numerous feature articles in The Washington Post before creating his Cul de Sac comic strip. The sports section of newspapers usually featured cartoons, sometimes including syndicated features such as Chester "Chet" Brown's All in Sport . Editorial cartoons are found almost exclusively in news publications and news websites. Although they also employ humor, they are more serious in tone, commonly using irony or satire . The art usually acts as

408-482: A visual metaphor to illustrate a point of view on current social or political topics. Editorial cartoons often include speech balloons and sometimes use multiple panels. Editorial cartoonists of note include Herblock , David Low , Jeff MacNelly , Mike Peters , and Gerald Scarfe . Comic strips , also known as cartoon strips in the United Kingdom, are found daily in newspapers worldwide, and are usually

459-408: Is a full-size drawing made on sturdy paper as a design or modello for a painting , stained glass , or tapestry . Cartoons were typically used in the production of frescoes , to accurately link the component parts of the composition when painted on damp plaster over a series of days ( giornate ). In media such as stained tapestry or stained glass, the cartoon was handed over by the artist to

510-610: The DC Universe . In 1994, Dark Horse Comics founded the Legend imprint in part to provide star creators like Frank Miller and John Byrne an avenue for creator-owned projects. Cartoon A cartoon is a type of visual art that is typically drawn, frequently animated , in an unrealistic or semi-realistic style. The specific meaning has evolved, but the modern usage usually refers to either: an image or series of images intended for satire , caricature , or humor ; or

561-591: The Herald owned the Buster Brown name and title and the copyright on the strips it published, but the characters themselves were too intangible to qualify for copyright or trademark. This freed Outcault to continue the strip in the American as long as he did not use the Buster Brown name. Creator-owned titles began to appear during the late-1960s underground comix movement; these themes were exemplified in

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612-500: The loom , where the weaver would replicate the design. As tapestries are worked from behind, a mirror could be placed behind the loom to allow the weaver to see their work; in such cases the cartoon was placed behind the weaver. In print media, a cartoon is a drawing or series of drawings, usually humorous in intent. This usage dates from 1843, when Punch magazine applied the term to satirical drawings in its pages, particularly sketches by John Leech . The first of these parodied

663-619: The "Local 2 — Milwaukee" branch of the UCWA, and the UCWA brand appeared on a number of comix from that era. Cartoonists' Co-Op Press was a 1973–1974 self-publishing venture by cartoonists Griffith, Spiegelman, Kim Deitch , Jerry Lane, Jay Lynch , Willy Murphy , and Diane Noomin . Like Rip Off Press, it was founded as an alternative to the existing underground publishers, which were perceived as not being honest with their accounting practices. The short-lived genre publisher Atlas/Seaboard Comics , which operated from 1974 to 1975, offered some of

714-540: The 19th century, beginning in Punch magazine in 1843, cartoon came to refer – ironically at first – to humorous artworks in magazines and newspapers. Then it also was used for political cartoons and comic strips . When the medium developed, in the early 20th century, it began to refer to animated films that resembled print cartoons. A cartoon (from Italian : cartone and Dutch : karton —words describing strong, heavy paper or pasteboard and cognates for carton )

765-532: The Bill included giving creators proper credit for their characters and stories, profit-sharing, distribution, fair contracts, licensing, and return of original artwork. Through a series of meetings, a document was finalized at the "Northampton Summit" held in Northampton, Massachusetts , and signed by all in attendance. Scott McCloud was the principal author of the Bill; other artists and writers participating in

816-545: The Bill's creation included Dave Sim , Steve Bissette , Larry Marder , Rick Veitch , Peter Laird , and Kevin Eastman . In the end, however, many prominent comic book professionals, including some involved in its drafting, hold that the Creator's Bill of Rights itself had little or no impact on the industry. In 1990, Creator's Bill of Rights signatory Kevin Eastman founded the creator-friendly Tundra Publishing to embody

867-536: The British strip Ally Sloper (first appearing in 1867) and the American strip Yellow Kid (first appearing in 1895). In the United States in the 1930s, books with cartoons were magazine-format " American comic books " with original material, or occasionally reprints of newspaper comic strips. In Britain in the 1930s, adventure comic magazines became quite popular, especially those published by DC Thomson ;

918-573: The Duck writer Steve Gerber clashed over issues of creative control, and Gerber was abruptly removed from the series. This was the first highly publicized creator's rights case in American comics, and attracted support from major industry figures. Gerber subsequently launched a lengthy legal battle for control of Howard the Duck, culminating in a 1981 lawsuit. In 1980 , Marvel created the mature readers anthology Epic Illustrated , offering its writers and artists ownership rights and royalties in place of

969-498: The artist, who can earn additional income from art sales to collectors. Beginning in the 1980s, several new publishers and imprints went into business, offering comics writers and artists the opportunity to have their work published while retaining the copyrights to the characters and the stories. Publishers like Pacific Comics and Eclipse Comics were strong promoters of creator-owned superhero properties; their enticement of popular creators (such as Kirby) to their pages helped push

1020-499: The artists to retain their original artwork, giving creators the option to gain extra income by selling the pages to collectors. Nonetheless, Warren Publishing retained all creator's rights. As James Warren once told artist Bernie Wrightson : . . . I don't own the originals but I do own the rights. That means everything. Every printing right imaginable. Do what you want with the originals—put 'em in your closet, hang 'em on your wall, give 'em away, sell 'em, but, if you sell your work and

1071-415: The character interact with the likes of Miracleman and Aztec Ace , were one of the few aspects of the series to draw positive reception. It had initially be planned that he would only make a cameo appearance, but at Marder's suggestion Beanish's role was expanded. It was also one of the few Eclipse titles to acknowledge the crossover's impact, with Beanish being absent from Tales of the Beanworld #10-11 as

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1122-428: The company's mistreatment of him. Best-selling creators like Alan Moore , Frank Miller , and many other stars became vocal advocates for Kirby. Neal Adams also petitioned to have his Marvel originals returned, and the pair won their battle in 1987, when Marvel returned original artwork to him and Kirby, among others. This decision helped lead to the modern industry's standard practice of returning original artwork to

1173-735: The criminal characteristic of the Tweed machine in New York City, and helped bring it down. Indeed, Tweed was arrested in Spain when police identified him from Nast's cartoons. In Britain, Sir John Tenniel was the toast of London. In France under the July Monarchy , Honoré Daumier took up the new genre of political and social caricature , most famously lampooning the rotund King Louis Philippe . Political cartoons can be humorous or satirical, sometimes with piercing effect. The target of

1224-532: The events of "Black Friday", when he allegedly betrayed the locked-out Miners' Federation . To Thomas, the framing of his image by the far left threatened to grievously degrade his character in the popular imagination. Soviet-inspired communism was a new element in European politics, and cartoonists unrestrained by tradition tested the boundaries of libel law. Thomas won the lawsuit and restored his reputation. Cartoons such as xkcd have also found their place in

1275-485: The extent that the criticized does not get embittered. The pictorial satire of William Hogarth is regarded as a precursor to the development of political cartoons in 18th century England. George Townshend produced some of the first overtly political cartoons and caricatures in the 1750s. The medium began to develop in the latter part of the 18th century under the direction of its great exponents, James Gillray and Thomas Rowlandson , both from London. Gillray explored

1326-576: The formation of Rip Off Press , the United Cartoon Workers of America (UCWA), and Cartoonists' Co-Op Press . Rip Off Press was founded in 1969 by four men—two of whom were cartoonists Gilbert Shelton and Jack Jackson —as a sort of cartoonists' cooperative , an alternative publishing venue to burgeoning Bay Area publishers like the Print Mint , Apex Novelties , and Company & Sons . The United Cartoon Workers of America

1377-530: The ground. In addition, Adams, along with the Joker creator Jerry Robinson , notably and vocally helped lead the lobbying efforts that resulted in Superman creators Jerry Siegel and Joe Shuster receiving decades-overdue credit and some financial remuneration from Superman publisher DC Comics . Marvel Comics had a mixed history of responding to the issue of creator's rights. In 1978, Marvel and Howard

1428-407: The guy you sell it to sells it to the next guy and he sells it to the next guy and he sells it to the next guy—all the way down the line—and if the 17th guy who buys it, prints it somewhere without my permission, I'm going to hold you responsible. By 1975 or 1976, both DC and Marvel also began returning artists' original pages to them. During the 1970s, artist Neal Adams was politically active in

1479-440: The highest rates in the industry, plus return of artwork to artists and author rights to original character creations. Up to the mid-1970s, most comic book publishers kept all original pages, in some cases destroying them in lieu of storing them safely. By 1974, James Warren 's Warren Publishing began changing the industry's work-for-hire dynamic by offering higher page-rates than DC Comics or Marvel Comics , and allowing

1530-596: The humor may complain, but can seldom fight back. Lawsuits have been very rare; the first successful lawsuit against a cartoonist in over a century in Britain came in 1921, when J. H. Thomas , the leader of the National Union of Railwaymen (NUR), initiated libel proceedings against the magazine of the British Communist Party . Thomas claimed defamation in the form of cartoons and words depicting

1581-451: The ideals of the Bill from a publishers' standpoint. As part of the initial group who "got together to form the" Bill, Eastman felt obligated to expand it beyond theory and into practice, providing a creator-friendly forum for comics creators to work for a publisher while maintaining ownership of their work. Tundra went bankrupt in 1993. In 1992, a number of popular Marvel artists formed their own company, Image Comics , which would serve as

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1632-485: The impression of movement, the word "cartoon" is most often used as a descriptor for television programs and short films aimed at children, possibly featuring anthropomorphized animals, superheroes , the adventures of child protagonists or related themes. In the 1980s, cartoon was shortened to toon , referring to characters in animated productions. This term was popularized in 1988 by the combined live-action/animated film Who Framed Roger Rabbit , followed in 1990 by

1683-582: The industry, and attempted to unionize its creative community. Adams attempted to form the Comics Creators Guild , with a contentious meeting in May 1978 attended by Cary Bates , Howard Chaykin , Chris Claremont , Steve Ditko , Michael Golden , Archie Goodwin , Paul Levitz , Bob McLeod , Frank Miller , Carl Potts , Marshall Rogers , Jim Shooter , Walt Simonson , Jim Starlin , Len Wein , and Marv Wolfman . The effort failed to get off

1734-528: The industry-standard work for hire contracts. The success of Epic Illustrated led to the 1982 formation of the long-running imprint Epic Comics , which specialized in creator-owned titles. Around this same period, however, industry legend Jack Kirby , co-creator of many of Marvel's most popular characters, came into dispute with the company over the disappearance of original pages of artwork from some of his most famous and popular titles. Kirby had quit working for Marvel in 1979, angry over what he perceived as

1785-399: The issue to the fore and put pressure on industry giants Marvel and DC. The alternative and independent publishers Fantagraphics and Dark Horse Comics entered the field during this period as well. Creator-owned properties allowed series to continue with multiple publishers as circumstances required; Usagi Yojimbo for instance has been published by four succeeding publishing houses. In

1836-468: The lack of creator's rights in British comics. In 1985, he noted that he had stopped working for all British publishers except IPC , publishers of 2000 AD , "purely for the reason that IPC so far have avoided lying to me, cheating me or generally treating me like crap". He joined other creators in decrying the wholesale relinquishing of all rights, and in 1986 stopped writing for 2000 AD as well. Moore's outspoken opinions and principles, particularly on

1887-465: The leading cartoonist in the period following Gillray, from 1815 until the 1840s. His career was renowned for his social caricatures of English life for popular publications. By the mid 19th century, major political newspapers in many other countries featured cartoons commenting on the politics of the day. Thomas Nast , in New York City, showed how realistic German drawing techniques could redefine American cartooning. His 160 cartoons relentlessly pursued

1938-572: The material being standard practice. This article traces the changing standards of the comic book industry. In 1906, Richard F. Outcault took his creation Buster Brown from the New York Herald to the New York American . Outcault had not applied for a copyright to Buster Brown, but asserted a "common-law title"—what comics historian Don Markstein asserted is one of the earliest claims to creators' rights. The court decided

1989-468: The mid-to-late 1980s, creator ownership became a cause célèbre among many comics creators, including those working in the dominant genre of superheroes . Creators' repeated clashes with DC Comics , First Comics , and other publishers led to an industry-wide debate about the issue; and in the fall of 1988, DC revised the company's work-for-hire agreements to give more power to individual creators. Writer Alan Moore became increasingly concerned at

2040-577: The preparatory cartoons for grand historical frescoes in the then-new Palace of Westminster in London. Sir John Tenniel —illustrator of Alice's Adventures in Wonderland — joined Punch in 1850, and over 50 years contributed over two thousand cartoons. Cartoons can be divided into gag cartoons , which include editorial cartoons , and comic strips . Modern single-panel gag cartoons, found in magazines, generally consist of

2091-578: The publisher sent observers around the country to talk to boys and learn what they wanted to read about. The story line in magazines, comic books and cinema that most appealed to boys was the glamorous heroism of British soldiers fighting wars that were exciting and just. DC Thomson issued the first The Dandy Comic in December 1937. It had a revolutionary design that broke away from the usual children's comics that were published broadsheet in size and not very colourful. Thomson capitalized on its success with

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2142-532: The series from 1984 before it was picked up by Eclipse Comics in 1985 – though it continued to bear Marder's own ' Beanworld Press ' imprint . The series ran 21 issues until 1993, ending when Eclipse went bankrupt. A total of four book collections were released by Eclipse, reprinting issues #1–16. With Marder's permission, lead character Beanish appeared in Eclipse's 1988-1989 crossover limited series Total Eclipse . His appearances, drawn by Marder and seeing

2193-423: The series. This comics -related article is a stub . You can help Misplaced Pages by expanding it . Creator ownership in comics In some fields of publishing , such as fiction writing , creator ownership has historically been standard. In other fields—such as comics, recorded music , or motion pictures —creator ownership has traditionally been uncommon, with either work for hire or publisher purchase of

2244-558: The skilled craftsmen who produced the final work. Such cartoons often have pinpricks along the outlines of the design so that a bag of soot patted or "pounced" over a cartoon, held against the wall, would leave black dots on the plaster ("pouncing"). Cartoons by painters , such as the Raphael Cartoons in London, Francisco Goya's tapestry cartoons , and examples by Leonardo da Vinci , are highly prized in their own right. Tapestry cartoons, usually colored, could be placed behind

2295-521: The start, Vertigo founding editor Karen Berger was committed to creator-owned projects, working on several "[her]self with new writers and artists" as well as established names, with the express intention of "trying to bring new people into the industry, as well as use some of the best creators in comics". In addition to creator-owned series set in their own continuity , such as Enigma and Fallen Angel , DC published several creator-owned series, such as Sovereign Seven and Xero , that were set within

2346-457: The subject of creator's rights and ownership, would see him burn bridges with a number of other publishers over the course of his career. In November 1988 , a number of independent comic book artists and writers drafted the Creator's Bill of Rights , a document designed to protect their rights as creators and aid against their exploitation by corporate work for hire practices. Issues covered by

2397-443: The use of the medium for lampooning and caricature , and has been referred to as the father of the political cartoon. By calling the king, prime ministers and generals to account for their behaviour, many of Gillray's satires were directed against George III , depicting him as a pretentious buffoon, while the bulk of his work was dedicated to ridiculing the ambitions of revolutionary France and Napoleon . George Cruikshank became

2448-476: The world of science , mathematics , and technology . For example, the cartoon Wonderlab looked at daily life in the chemistry lab. In the U.S., one well-known cartoonist for these fields is Sidney Harris . Many of Gary Larson 's cartoons have a scientific flavor. The first comic-strip cartoons were of a humorous tone. Notable early humor comics include the Swiss comic-strip book Mr. Vieux Bois (1837),

2499-485: The writer of Uncanny X-Men , created Sovereign Seven for DC ; Joe Madureira , also made popular by Uncanny X-Men , launched Battle Chasers for WildStorm Productions ; and Kurt Busiek , Alex Ross , and Brent Anderson created Astro City for Image. DC's Vertigo imprint, launched in 1993, was the company's first successful attempt to routinely publish creator-owned series (right from its launch with Peter Milligan and Duncan Fegredo 's Enigma ). From

2550-466: The year; the publisher also released Beanworld Volume 4: Hoka Hoka, Burb'l Burb'l! in July 2017. Amazing Heroes review R.A. Jones was not a fan of the title when reviewing the first issue, but praised Marder's commitment to his vision. The series was nominated for 'Best Black-and-White' at the 1987 Kirby Awards , but lost out to Cerebus . Phil Foglio and Scott McCloud were among those to praise

2601-604: Was an informal union organized in 1970 by cartoonists Robert Crumb , Justin Green , Bill Griffith , Nancy Griffith, Art Spiegelman , Spain Rodriguez , Roger Brand , and Michele Brand . Members of the UCWA agreed that all cartoonists would demand the same rate per page of comics, whether they were stars like Crumb or being published for the first time. They also agreed to not work for any publisher who had "cheated" other cartoonists. Dennis Kitchen 's Kitchen Sink Press formed

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