The excitement of Saturday’s event is receding a bit; I have subsequently thought of further things that came up in the discussion that will be relevant to readers of this blog.
One important point is David’s repeated emphasis of how ‘cheap’ IPC were. For instance, to get stories reprinted or translated, they didn’t photocopy the art, send out the copy and keep the originals carefully for future reference: instead they sent the originals out to Spain or wherever, where the new text was physically pasted over the original words on the artwork itself. The original logo was torn away and pasted over or drawn over (and typically in IPC generally the artist signature was tippexed out, though people can’t have always been that rigorous over that because quite a lot of signatures survive).
A good example of this is shown in the Rodrigo Comos page below, which is from “Horse From The Sea”; it survives because it was reprinted in Princess (David is not aware of any other Jinty pages having survived). The logo itself was produced in house and was again not copied for re-use week by week: typically the same logo was removed from week 1 and re-pasted onto the space left for it on week 2’s artwork, from what David says.
The company didn’t want to spend money on storing old artwork; it simply didn’t value anything it wasn’t immediately using. David recounts horrific stories of mistreatment of artwork – used as cutting mats when working on newer art, or put on floors to soak up the rain. (Yes, really!) Apparently there was a huge bonfire (literally) of girls comics artwork once the company decided it didn’t need it any longer. When people say that none of the IPC girls’ comics artwork survives, this is the history that they are referring to – one in which a relatively recent reprint of Misty (as recounted by an audience member) was done from issues of the weekly comic, not from pristine art cleaned and tidied up. One feeble ray of hope might be that if the originals were sent to Spanish or Dutch publishers who had a better approach to keeping the artwork then perhaps some might be found in those countries, as David does not think that artwork sent for translation was typically returned to the original publishers.
I took the opportunity to ask David how it came to be that Tammy published credits in the later issues. His memory of Wilf Prigmore’s answer (the Tammy editor at the time) was that Wilf just decided to do it withouth asking anyone’s permisson, and no-one made him stop. David’s assumption was that the credits continued until the cancellation of Tammy but in recent posts on this blog we’ve seen that this wasn’t the case. Did a new editor take over Tammy in the final weeks after 11 February 1984? In any case, many heartfelt thanks are clearly due to Wilf and his unilateral decision!
I also thought to ask David something that there have been a lot of myths and rumours about, namely why were there so many Spanish artists in girls and boys comics of the time? He is the right person to ask about this (he has a book in the works about Spanish artists, which I shall be keenly interested to hear more about when any announcements are made). His understanding was that there was simply so many pages to be filled at the time that the British artists simply wouldn’t have been able to do it all! He specifically demystified the assumption / rumour that the Spanish artists were paid less and therefore undercut the rates of the British artists – they were paid the same. And of course there are a great number of extremely good Spanish artists, too, so the British publishers were very definitely getting their money’s worth.
I nearly forgot to mention one particular key point – in thinking about the pay ledgers that David saw, he was able to tell us that in the 50s, the absolute majority of names on the pay books were of female creators – perhaps 90%. Comparing that to the 70s and 80s, the number of female creators involved had obviously gone down subsequently. This was tentatively linked with the fact that the number of years that each female creator was visible on the pay books was not all that long, overall – perhaps a few years each, or some ten years of career visible on those ledgers at maximum per creator. Were they stopped from working once they became wives and mothers? Clearly not entirely so, by the anecdotes recorded from Alison Christie and Benita Brown, both of whom wrote at home while bringing up young families. But that was later, and times could well have changed by then.
There are many more snippets that I was very interested to hear at the talk, from audience members too. I will try to add key items to this post as they come to me, without making it hugely long.