Frank Langford, Jack and Jill

 He She, Ho Hum
Today we see examples of a long-running but poorly-documented British daily strip, "Jack and Jill."  According to Lambiek it ran in the Herald and Sun tabloids, but I've been unable to determine just when. These strips were printed in translation in an Italian comic collection called Eureka Drink, dated 1975. Eureka was one of many 1970s Italian magazines reprinting both old and new comic strips from around the world. While Italian fan publishers were positively anal about providing publication dates for strips they reprinted, periodicals like Eureka almost never did. In fact they seldom gave much information about the features beyond the creators' names.

"Jack and Jill" was a daily gag strip featuring a young married couple. Jack works in an office; Jill stays at home. In the strip's first week they discover "the Pill didn't work" and Jill is pregnant. The jokes are divided between his office and her pregnancy. Around strip #230 Jill has twins. That's all I know because that's where the Italian reprint ends.

"Jack and Jill" was written by Les Lilley, a giant of British comics. The Independent's 1998 obituary called Lilley "...a scriptwriter of literally thousands of strip cartoons and gags...[and] a man who spent many years of his life endeavoring to promote that Cinderella of the comic arts in the public consciousness." Alone and with others Lilley wrote not just for comics but also for TV. He started the Cartoonists' Club of Great Britain and became President of the Federation of European Cartoonists' Organizations. Among his countless projects, American fans may recognize "The Seekers," "Tiffany Jones," and "Scarth."

(source: anthonyscomicbookart.com)

"Jack and Jill's" lovely drawings were by Frank Langford, a prolific English comics artist who didn't leave much of a biographical footprint. His best-known UK comics were TV-related strips like "Lady Penelope"  and "The Persuaders" and an s-f strip called "The Angry Planet." In the 1970s he drew several romance stories for DC Comics, probably the only time US fans ever saw his work. Langford drew a slew of advertising strips in the UK and apparently did movie posters as well. Langford appears to have died in 1998, the year of Les Lilley's passing.

In 2008 the Bear Alley blog hosted a long thread about Langford with input from the artist's niece, who provided much interesting information--including the fact that Langford was born Cyril Eidlestein but later changed his name.

Though Les Lilley was a fine writer, "Jack and Jill" was minor stuff with very lightweight gags. Frank Langford's artwork is definitely the strip's main draw.  Langford quickly developed a clean, figure-centered style. He seldom went in for elaborate backgrounds or dramatic effects, but that didn't hurt the strip. His men were handsome, his women beautiful, and his line elegant and assured.

Eureka Drink ran some 60 pages of "Jack and Jill." What follows are six typical pages. They've been re-translated from the Italian, of course, so heaven knows what the original dialogue was. At least you can get an idea what the story was about.

Character Design--Spanish Women

The Mystery of the Spanish Woman

 
In this post I don't tell you, I ask you to tell me.


I am fascinated by the iconic Beautiful Female Face drawn by Spanish comic artists. I hope someone out there can tell me where it came from.

I first encountered the Face in the work of cartoonists employed by the Selecciones Ilustradas studio of the late 60s. These young men revolutionized comics with their work both for Spanish publications and for clients in England, France, Germany, and the USA. Among them were Esteban Maroto, Carlos Gimenez, Victor de la Fuente, Jose Ortiz, Jose Gonzales, Luis Bermejo, Rafael Auraleon, Enric Sio, etc. etc. etc. American fans first met many of them in the pages Jim Warren's horror comics, Creepy, Eerie and Vampirella.

Though their individual styles varied greatly, all these guys drew variations of the same Beautiful Female Face.
 

Rafael Auraleon, Jose Gonzales, Adolfo Usero, Jose Ortiz

At first I thought the Face was the product of the studio environment. This often happens when many artists work in the same room, especially if they're young and enthusiastic: they pick up bits of each other's style. Perhaps one of the SI men drew the Face and everybody else liked it and copied it. Or maybe an editor (or studio manager, art director, client) liked the Face and insisted everyone draw it.

Jesus Redondo, Homero


Later, though, I ran across the Face drawn by Spanish artists not connected with SI. It seemed that almost every Spanish comic artist with a "modern" (i.e. post-fifties) style used the Face. 

I associate the Face with the mid-to-late 1960s. I wish I knew more about Spanish comics from this period. Browsing Joan Navarro's excellent gallery of classic Spanish comic art I discovered artwork from late 1950s-early 1960s romance comics in which the women almost had the Face...with differences in hair style and makeup, of course.

 Purita Campos

Did the Face originate in Spanish romance comics? Was there a particular artist who created it and inspired an generation of younger cartoonists? Why is the Face particularly Spanish? A few Italian, British, and Mexican cartoonists used it, but they seemed to do so in imitation of the Spaniards.
 Frank Langford (UK)

Does anyone know the origin of this classic Spanish beauty?