“There’s an improvisational nature, and a rhythmic nature to my drawing, building up certain areas, leaving other areas freer. I like the idea that less is more, both in music and in art.”
Award-winning illustrator Joe Ciardiello reflects on 43 years as a freelancer, the jazz portraits that turned his career around, his drumming and how it influences his artwork, having more illustrator-friends than non-illustrator-friends, why he’d rather not be called a caricaturist, the time he was accused of ripping off the style of one of his idols, the search for perfect pen and paper (and how he keeps his Rapidographs working), and his amazing Spaghetti Journal project! Give it a listen!
“If I didn’t get off Staten Island before I was 50, I was going to die there.”
“I’m obsessed with line quality, to the point of sickness. I can’t find paper that makes me want to draw.”
About our Guest
Joe was born and raised on Staten Island NY, just a short ferry ride to Manhattan where he attended The High School of Art and Design and college at Parsons, earning a BFA degree. Since 1974 he has worked for most major magazines and newspapers as well as for corporate and advertising clients, book publishers and record companies.
His clients have included: American Express, Audubon, Barnes & Noble.com, Capitol Records, Folio Society, The New York Times Book Review, The New Yorker, Politico, The Rock & Roll Hall of Fame, Rolling Stone, Sports Illustrated, Time and The Wall St. Journal.
Among his awards are four silver medals from the Society of Illustrators. In 2016 he was awarded the Society’s prestigious Hamilton King Award. Joe has been profiled in Communication Arts Magazine as well as other graphic arts journals. In 1999 he had a one-man exhibition of his work at the Society of Illustrators in New York. In 2007 Joe illustrated Elmore Leonard’s 10 Rules of Writing for Harper Collins and in 2011 a limited edition book of his blues musician portraits, BLACK WHITE & BLUES was published by Strike Three Press. His work is also included in the Taschen book 100 Illustrators.
A musician as well, Joe plays drums with The Half-Tones, an illustrator jazz group. He lives in western New Jersey.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded at Joe’s home on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on the same equipment in a hotel room in Los Angeles. All processing and editing done in Adobe Audition CC. Photo of Mr. Ciardiello by me. Photo of me & his Philip Roth drawing by me. They’re on my instagram. Drawing of Joe by Joe.
“These drawings were made with no intention of anyone ever seeing them. They were just practice, and — as more than one person has suggested — a cry for help.”
Award-winning illustrator John Cuneo joins the show to talk about his new work, Not Waving But Drawing (Fantagraphics Underground), the arc of 40 years of work and art and artwork, the process of moving from a collection of mannerisms to a style, his insecurity about his working-class upbringing and lack of artistic education, the cliff-diving aspect of the blank sheet of paper and why good drawing is courage, keeping his son out of the family business, the dynamic of New Yorker illustrators vs. cartoonists, what brought him to Woodstock, what keeps him there, and the bizarrely storied history of his home, why so many dirty pictures, and more! Give it a listen! And go buy Not Waving But Drawing!
“I find middle-aged men with erections hilarious to draw.”
“I’ve spent decades hunched over a drawing table by myself, and I’m not crazy about the person I work with.”
About our Guest
John Cuneo is an editorial illustrator and cartoonist. He is perhaps best known for his New Yorker covers, in addition to which he has provided illustrations for Esquire magazine’s Sex Advice column, and has appeared in The Atlantic, The New York Times Book Review, Rolling Stone, GQ, and most other major magazines and newspapers. His work has received many medals from the Society of Illustrators, including the 2013 Hamilton King Award. His first book with Fantagraphics, nEuROTIC, was published in 2007. He lives in Woodstock, NY.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission from the artist. The conversation was recorded at John’s home in Woodstock on a pair of Blue enCORE 200 Microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Heil PR-40 Dynamic Studio Recording Microphone feeding into a Cloudlifter CL-1 and a Mackie Onyx Blackjack 2×2 USB Recording Interface. All processing and editing done in Adobe Audition CC. Photos of John by me. Drawing of greyhounds by John for Garden & Gun. The photos are on my instagram.
“I’d rather do something that nobody else would do if I didn’t do it. That’s why I made TOON Books.”
Live from CXC! Designer, editor and publisher Francoise Mouly joins the show to talk about 20+ years of New Yorker covers, launching TOON Books and cultivating a love for print, the pros and cons of going viral, the changing definitions of what’s offensive (and the time she got hauled into a meeting with an Arab Anti-Defamation League), the notion that comics are the gateway drug for reading, and more! (Sorry, no talk about her time with RAW magazine, since she and her husband, Art Spiegelman were interviewed about that later at the festival.) This episode is part of our Cartoon Crossroads Columbus series of live podcasts. Give it a listen!
“The cover of The New Yorker is where the artists have a voice, on a par with the prose authors.”
We also talk about Charlie Hebdo, the historical arc of gay marriage covers, the contrasts of her multimodal education in France with the American model, which comics she started her kids off with, how she deals with the moving target of diversity, the evolution of women in the comics scene, and why kids are a fantastic audience. Go listen!
“There are some topics the media won’t touch with the same willingness. . . . It would be more interesting if there wasn’t such jitteriness.”
- CXC Live: Dylan Horrocks
- CXC Live: Derf Backderf
- CXC Live: Bill Griffith
- Lorenzo Mattotti
- Ivan Brunetti
About our Guest
Françoise Mouly is the publisher and Editorial Director of TOON Books, which she launched in 2008. She joined The New Yorker as art editor in 1993. Ms. Mouly has been responsible for more than 1000 covers during her tenure at The New Yorker. The American Society of Magazine Editors (ASME) has chosen many of Ms. Mouly’s images as “best cover of the year.” In 2012, for the publication of “Les Dessous du New Yorker” by Editions de La Martinière, Galerie Martel in Paris presented “New Yorker Covers,” an exhibit of artwork by Mouly and seventeen other artists. Starting in 1980, Ms. Mouly was the founder, publisher, designer and co-editor with her collaborator and husband, cartoonist Art Spiegelman, of the pioneering comics anthology RAW, where Spiegelman’s MAUS was first published. In 1998, after looking for material to help her two children become readers, Ms. Mouly established a RAW Junior division, to publish first the Little Lit collection of comics with HarperCollins, then The TOON Treasury of Classic Children’s Comics with Abrams, and launched the TOON Books imprint.
Born in Paris, Françoise moved to New York in 1974. She was named Chevalier in the Order of Arts and Letters by the French Ministry of Culture and Communication. Among the many honors she has received are an honorary Doctorate from Pratt Institute, Gold and Silver medals as well as the Richard Gangel Art Director Award from the Society of Illustrators, and France’s highest honor, the Legion of Honour. She and her husband live in Manhattan.
Credits: This episode’s music is Nothing’s Gonna Bring Me Down by David Baerwald, used with permission of the artist. The conversation was recorded at the Cultural Arts Center in Columbus, OH during Cartoon Crossroads Columbus in October 2015 on a pair of Blue enCORE 200 microphones feeding into a Zoom H5 digital recorder. I recorded the intro and outro on a Blue Yeti USB Microphone. Processing was done in Audacity and Logic Pro. Photo of me & Ms. Mouly by Amy Roth. Sad to say I can’t find a credit for the photo of Ms. Mouly at the top of the page.