In literally the final issues of the fabled Dutch comic weekly Pep in 1975 (which would morph into the no less fabled Eppo later that same year), western comic hero Lucky Luke and his dastardly enemies the Dalton nephews endorsed a particular type of candy that combined a fruit gum texture with a licorice taste. It doesn’t get any more Dutch than that.
Even though you can tell that this was done in an ad school (there are no inches of copyright information to start with), I thoroughly dig these ads promoting healthy food. Not only are the visuals very creatively imagined, the execution is also spot-on.
Ah, and they were made in Belgium, no less! At the Tournai ad school.
(Via Ads of the World)
While browsing through a bound volume of the seminal Flemish comics weekly KZV from 1956, I came across this strip by Reg Smythe, created a few years before he went on and became extremely successful with his Andy Capp strip.
KZVwas founded in 1945, and would be the first magazine to publish work by Flemish cartoonists like Bob De Moor, Jan Waterschoot, or Ray Goossens. Towards the end of its…
Writer and artist Anne-Elisabeth Moore has an ongoing column called Ladydrawers for progressive investigating reporting website Truth-out.org, in which she mostly covers the position of women in the creative industries. Each column is in comic strip format, with collaborations by a whole host of cartoonists and writers, including Corinne Mucha, Julia Gfrörer, Lauren Weinstein, Aidan Koch and…
I may be starting to sound like an old grump here, but it would seem that a bike was a more wholesome object of desire in the 1940s than a PS4 is today. Just sayin’.
These ads are, again, from Crown Comics, but this time they’re both from #18 (1949). Quite appropriately, the Shelby ad was placed in the front of the book, and the Gillette one halfway through – after all, you first need a frame…
According to conceptual artist Yosuke Ushigome the only solution for long-running enemities between superpowers is the organisation of highly technological mass spectacles. In a project for MOMA Illustrator Christoph Niemann took this idea and applied it on a smaller scale, trying to find out “how we can play nice”.