Doug hails from London, Ontario (Canada) and has been the stay-at-home dad in his family. He’s “always made art, cartoons, illustrations, signs, advertising art, caricatures, and comic strips.”
We asked Doug how he uses Paper and he said, “For fun, work, personal journaling images. Used Paper for final art images, and preliminary sketching. As others say, it’s the go to beginning. Fast to load, quick easy tools. And if you’re careful and meticulous, rare for me, capable of producing finishing art.”
When asked about Paper-specific projects Doug told us, “Paper was perfect for iPad drawing in museums where cameras and wet mediums are reasonably forbidden. It was a whole pocket paintbox. So I used it throughout a visit to Europe. And I was using it to redraw photos from a road trip where passing landscapes were photographed out a moving car window.”
Four of Doug’s favorite drawings are below and you can see more of his work here:
The SpinPadGrip is successfully re-attached. There is likely a way to smooth the application of this so it doesn’t go on so lumpy squeezed from the tube, but nobody is looking at the actual working surface, so it really doesn’t matter. It seems to be working just fine.
Glen Mullaly here. Illustrator, occasional comic book artist, pal of Mr Ken Steacy Esq. Weird question… you wouldn’t happen to be the same Douglas Rogers that illustrated the 1975 Pop Shoppe giveawy comic “Captain Cola in the Triple Threat”, would you? Inquiring minds want to know…
“Yes”, I replied.
Thanks Doug. Not sure if you care to talk about it at all or not, but I have fond memories of this comic from my mid 70’s childhood here on Vancouver Island, but it took almost 20 years for me to track down what my foggy memory had stored (superhero battling some big anthropomorphized object, black and white, giveaway, etc) and find out that it might be Pop Shoppe related. Then another couple years to track down the Captain Cola character in ads and a jigsaw puzzle. Then finally two weeks ago a copy of the comic showed up on eBay for the first time since I started searching for it and I just recieved it in the mail today and saw your name on the art credit. A quick note to Ken to confirm you were in London, and another quick Facebook search and Bob’s your uncle. So I just wanted to pass along my thanks for the great memories, and let you know this will hold an important place in my nostalgia-filled, childhood-recaptured, too-much-time-on-my-hands-need-to-find-another-hobby collection. If you feel like passing along any stories you might have on how you got involved in the Captain Cola comic gig, (as someone who has done their fare share of advertising comic gigs I find this stuff fascinating) or if you ever did any other work for the Pop Shoppe, or even if you have any of the original Captain Cola art laying around that you’d be willing to sell (to find it’s way onto my studio wall along with originals from some of my other illustration heroes and childhood comic / book favourites like Gerry / Jerry Lazare, Al Wiseman (Dennis the Menace comics and Sunday strips from the 50s), Kelly Freas (sci-fi and Mad Mag cover god of the 50s and early 60s) and Bob Clarke (Mad Mag 50s-1980s) please let me know. If not, once again my gratitude for the great memories from this book, and all the best. Cheers – Glen
Well, Glen….I was recalling some things last night.
Curiously, I was trying to remember drawing the thing. Because I recall pulling the Green Lantern comic, an early Gil Kane, to swipe the cover. So my collection and the space and drawing table to do all the pages must have been proximate. Neither here nor there, but remembering where I was when I did it is puzzling.
A girl I went to BealArt with was working at an advertising agency, she being familiar with my interest in comics chased me down for the job. I couldn’t have been too far out of art school. I asked and got a surprising $85 per page and the thing turned around in two weeks. Likely a typical ad art deadline.So, much of the art is clumsy. And I hated having to leave it all just cartoon-colouring book outlines. Oh, well.
Carol also found me for another-what will certainly be obscure for you- comic book job later. It was a four-colour informational thing about getting kids back into a college program at Fanshawe college here in London.
I did a much better job then, having more time and skills, though the web printing pony size stuff, as the cover of Captain Cola shows sucks hugely. All muddy and dark. Never had enough time to figure that bit out better.
So the art work belongs to the agency. I have none of it. Either agency is long out of business. I doubt the work exists anywhere at all.
And for a time I worked in Montreal at the animation company Disada.If you’re interested in another obsessive frustrating pursuit, you might look for Winnie Witch and The Giant Potato Sunday page comics. There were not even a dozen newspapers in Canada. There were a mere handful of independent newspapers. I think Winnipeg was one.
It’s fascinating you were so obsessed by the book, and you went to the trouble to track this down. Leaves me a little warm and fuzzy. :-)
Cool. Granted, the links from the source of the cartoon are old, and broken, and the email address is long abandoned. Google digs old stuff. I’m not so sure it accurately illustrates the article. But garden gnomes are funny.
LondOntLife is where I’m putting cartoons. Contributions welcome.
Sometimes London is a sleepy place, during the summers, with no inspiration for cartoons. Not so this week. Maybe things are on the downslope to slumber, but not this week. LondOntLife is where I hope locally themed cartoons will go.
It was a small thing at the time. Or so it seemed. But watching the after-show improv set at Second City, and doing some time with London’s small Theatre Sports group prompted a kind of license. I learned that it was okay to say, “Yes”, to trust that someone could catch the thrown idea and improve it, to not possess it, to not control it, to not own it.
As to making art, then, it was perfectly allowable to just make a mark and trust the process, without control, accept the next thought that came along, or not, and make a drawing.
“David what’s the most important thing about improv?” Someone else asked.
“The where. You see…” He pointed to someone across the circle. “You’re feet are placed on of each other rather curiously – what does that mean?”
So, I was looking for an image to put up here, and stumbled on this older collage, made from cut out scraps of previous failed paintings but with some unintended, but wonderful marks, becoming suggestive of other things in a different context, and a few slaps of fresh paint.