Concrete Surfer is set for a face-off against her spiteful cousin Carol in a skateboarding contest. Carol has stolen her skateboard, and in the contest she shows what a brilliant skateboarder she has become. She’ll be very hard to beat.
Alley Cat is seeing red after being painted with it by an angry artist. But he and the artist sort things out in the end and enjoy a nosh-up together.
In “Somewhere Over the Rainbow”, the dreaded grey telegram informing the Peters family that Dad’s been killed in action puts a damper their enjoying the upcoming VE Day celebrations. What’s more, Mum is now the family breadwinner and has to find a job. Her new job as cleaner at a theatre looks set to advance the plot considerably.
Pat Day’s natural mother, now Mrs Knight, hence the “Knight and Day” title, is suddenly demanding her back after four years of abandonment. What’s brought this on? Pat soon finds out it was just so she and her family would qualify for a council flat. Surprise, surprise. Added to that, stepsister Janet’s a bully, and we doubt the parents are much better.
The Swan’s tricks to ensnare her Slave, the amnesiac Katrina Vale, grow worse and worse. This week she spins a lie that Katrina is a delinquent who burned down an orphanage, which is why she lost her memory, and the Swan’s the only one who will have her. Oh, no! If Katrina and her only helper Sarah fall for this, Katrina will not only be even more ensnared but lose her avenue of help as well.
Clancy on Trial is having a real trial all right, and it’s not just learning to walk again after an accident. No sooner has she arrived at grandfather’s place when she discovers how demanding he is in how he is testing her. At least she is rising to the occasion so far.
In “Cathy’s Casebook”, the demands on Cathy’s doctor father remain as unrelenting as ever, which means the demands on her to help relieve his workload are too. Naturally, new troubles crop up this week, and, as usual, it’s up to Cathy to find a way to sort them out. No peace for the wicked.
The Zodiac Prince sorts out a circus act, but it’s not long before another candidate for his astral gifts appears. This time it’s a girl who’s being cruel to a donkey.
This issue is an exciting one, for two reasons. First, we have a competition and part 1 of a new pull-out on A-Z of of things to do, so Alley Cat and “Sue’s Fantastic Fun-Bag!” get bumped to make room for them. Second, three new stories start.
The first new story is a real attention-grabber for using a four-page spread instead of the usual three. It’s “Somewhere Over the Rainbow”, which went on to become one of Jinty’s longest-running serials. It has already proved what a powerful story it’s going to be, as it has knocked “Concrete Surfer” off first spot in the issue, a spot “Concrete Surfer” has enjoyed since its run began. It reunites the Alison Christie/Phil Townsend team from “Stefa’s Heart of Stone” and “Save Old Smokey!” with another emotional serial to warm your heart and make you cry. Dorrie and Max Peters are excited that World War II is about to end, but then comes the dreaded grey telegram, which means their father has been killed in action. And that’s only the first episode. What more could be in store for these kids?
In the second new story, “Knight and Day”, Pat Day’s mother suddenly wants her back after four years of abandonment and nothing to do with her. Change of heart and wanting to make things up? We’ll be surprised. Unfortunately, social welfare doesn’t see it that way; they’re forcing Pat to go back to her mother when she was so happy with her foster parents.
The third new story, “Clancy on Trial”, went on to become one of Jinty’s most popular stories, and it’s drawn by Ron Lumsden, which is a bonus. Grandfather has a change of heart about disowning Clancy’s mother over her marriage. For the first time in Clancy’s life, her grandfather is going to have something to do with her and is impressed at how Clancy is determined to walk again after an accident. But it doesn’t look like Clancy’s relationship with her grandfather is going to be an easy one.
There’s a major development in “Concrete Surfer”, which tells us the story will reach its conclusion soon. After weeks of not being 100% sure whether her cousin Carol really is a smarmy schemer, Jean finally catches her out. But proving the truth about Carol to others is not going to be easy. Also, there’s the matter of Carol stealing Jean’s skateboard to stop her entering a competition.
The Zodiac Prince reunites a girl with her father, who works as a clown at the circus, and gives her an astral gift to make her a circus star. But this has upset another circus worker, and we’re warned this will lead to big trouble next week.
Investigators come sniffing around in search of Katrina Vale in “Slave of the Swan”, and the Swan is pulling tricks to keep her Slave in her power. It looks like the Swan wins again, but bits of memory are filtering through Katrina’s amnesia. Will it be her key to freedom?
Dad has to defend himself against a charge of neglecting a patient. Or rather, Cathy does the defending for him as he hasn’t got the spirit to fight. She gets Dad off, and the board agrees to help delegate his workload. But of course fresh trouble isn’t far off, and here it is in the last panel – a runaway horse.
Darling Clementine (artist Richard Neillands, writer Alison Christie) – final episode
Grabby Bag – Feature
Now we are in April, so here is Jinty’s 1 April issue for 1978. Strangely, despite the date, there’s no April fooling in it. Not even from Alley Cat, who doesn’t appear at all this week. And instead of having fun on April Fool’s Day, Henrietta the Fun-Bag shows Minnie the Moaner that the good old days are not all they’re cracked up to be, and she should appreciate modern times more. A session in the stocks in the 18th century (as shown on the cover) certainly teaches Minnie that!
However, in Jinty’s new ballet story, “Slave of the Swan”, we have a girl who’s about to be fooled all right, but in a most terrible way. Katrina Vale goes to seek help from Mum’s old friend Rosa Kachinsky after Mum is hospitalised. But she contracts amnesia along the way, and Kachinsky, who has gone from being Mum’s friend to her worst enemy, is all set to take advantage of this when she sees it.
It’s the final episode of “Darling Clementine”. It’s nice to see it doesn’t end on the cliché of the heroine miraculously rising from her sickbed to win the waterskiing contest and the prize money her dad so badly needs for a country cottage. Instead, she’s not sufficiently recovered from her hospitalisation to be on top form and is placed third, and then it’s the power of the press and human interest stories to the rescue.
Concrete Surfer Jean’s annoyed that there’s no skateboard park around and wants to do something about it. She’s also trying a lot harder to get along with her relatives, but as she doesn’t trust her cousin Carol, it’s not going to be easy.
Poor Paula! She has seen how the destruction of her father’s factory has made Marnie and her family suffer and is finally learning to look beyond herself. She tries to do something nice for Marnie, but it blows up in her face and makes her enemies worse. And here’s another development – Dad has escaped from prison.
In “Waking Nightmare”, Phil finally reads what has been in the newspapers about their escape – she’s actually busted a mentally ill girl out of an institution where she was receiving medical treatment. What does she do about it? She and Carol carry straight on, to where Carol’s gran lives – only to find gran isn’t there and the people who are don’t look very nice.
For once, Dad has praise for the Zodiac Prince when he helps a girl to prove herself as a mechanic.
In “Shadow on the Fen”, our heroines get a nasty shock when the Witchfinder shows up at school as the new archaeology teacher! What’s his game now? Is it connected with the apothecary’s shop being unearthed at the archaeological dig?
“I need air!” Jean thinks at how her aunt and uncle are fawning and fussing over her smarmy cousin when she dresses up for the theatre. Barf bags might be in order too. Blechh!
Spotty Muchloot’s put in charge of minding his dad’s prize sunflowers, but he prefers to mess with Alley Cat. The results are the sunflowers coming a cropper and Spotty being kicked out of the house. Now wishing you’d stuck to the sunflowers, Spotty?
In “Waking Nightmare”, Phil plunges even deeper into the nightmare when Carol takes another strange turn, causing her to take a nasty plunge over some hills. What’s more, Carol’s conduct has caused Phil to lose her suitcase and most of her money on a bus. That would be a vital clue to anyone looking for them.
Can “Paula’s Puppets” be used for good when they’ve only been used for revenge so far? This week, Paula puts it to the test. She uses their power to see if it gets Lindy, who’s in a coma because of it, to recover. But Paula doesn’t realise that while she’s doing it, one of her enemies is spying on her.
Meanwhile, Ella succeeds in bringing Clem out of her coma despite Val Lester’s tricks to stop her. Will she finally be able to prove it was Val and not her who was responsible for Clem’s accident?
Sue wishes she and her friends are on Cloud 9. Oh dear, watch what you wish for when your fun-bag’s around, Sue!
“Two Mothers for Maggie” reaches its penultimate episode. Maggie goes all out to help Miss Keyes make a go of the rundown theatre she’s bought over, and the results are promising. But what’s Mum, who’s never liked Miss Keyes, going to say about her return? And so the stage is set for the final episode.
In “Shadow on the Fen”, our protagonists clash with hoons, and things get worse when the Witchfinder recruits their help to destroy the witch ball, which is their protection against him. He fails this time, but he’ll try again, of course.
The Zodiac Prince and Shrimp decide to move – only it looks like they’re moving on straight into more trouble. The Zodiac Prince looks like he’s about to run someone over!
For this March issue we’ve got a fun cover, with fun with skateboarding and fun with juggling. And inside, Sue’s Fantastic Fun-Bag uses a spell to teach a stuffy man about fun.
Concrete Surfer Jean writes an essay on skateboarding, and is surprised to find teach liked it better than smarmy cousin Carol’s. Jean’s delighted to have triumphed over her sneaky cousin at last. Or has she? We know all too well that Carol will pull a fast one to stay top dog if her nose gets put out of joint.
In “Darling Clementine”, it’s now well and truly the end of Ella trying to win the waterskiing competition on Clem’s behalf. She turns to getting Clem out of the coma, but Val Lester, the girl responsible for Clem’s condition, is pulling dirty tricks to stop her.
Phil continues to protect Carol in “Waking Nightmare”, but it’s marred by Carol having strange mood swings between hysterics and happiness. A headline, which says a sick girl is missing, could explain things, but Phil fails to notice it.
The Zodiac Prince uses the power of the Zodiac wheel to give hopeless girls new talents, but soon finds it wasn’t the way to help them. They’ve gotten cocky and carried away with their new gifts, which has led to trouble. Can the Zodiac Prince find a way to put things right?
In “Two Mothers for Maggie”, Maggie tracks down Miss Keyes after she disappeared in the previous issue, but is shocked to find her cleaning in a rundown theatre.
A man throws a cricket ball at Alley Cat for disturbing his sleep when poor Alley Cat wasn’t even doing it. It all rebounds on the man when the ball goes his neighbour’s way instead.
Speaking of balls, in “Shadow on the Fen”, the girls find a witch ball can ward off the Witchfinder. Now that’s a funny twist – weren’t witch balls supposed to ward off witches?
After the power of the puppets causes an accident, Paula vows never to use them again. But she soon finds that the temptation to use them is hard to resist, not only because so many people are against her but also because the puppets won’t be destroyed.
It’s now March, so we present some March issues from Jinty. Mother’s Day (UK) is coming up, and in this issue, Jinty gives instructions on how to make a gift for her.
In Concrete Surfer, Jean’s trouble with her smarmy cousin Carol worsens. Jean has overheard Carol telling her parents something she didn’t want Jean to know about, but Jean couldn’t pick up what. There can be no doubt this is a gun in Scene 1 that is set to go off in Scene 3, and when it does, it will spell more trouble for Jean. Later, Jean’s hopes are raised that smarmy Carol will be caught out at last, but we wouldn’t bank on it. Not until the final episode, Jean, and that’s not for some episodes yet.
Concrete Surfer must have started a skateboarding craze. Alley Cat’s arch-enemy Spotty Muchloot has caught the bug, and his skateboarding is making him even more of a pest than usual for Alley Cat. But of course Alley Cat turns the tables on him and his skateboard in the end.
In a fit of pique, Sue tells her fun-bag she’ll have better luck without her around. Now that really is asking for a spell of bad luck – literally.
In “Two Mothers for Maggie” Maggie finds that one of her mothers, Miss Keyes, has put up her house for sale. Is it just one mother for her now?
Phil continues to hide Carol from the authorities although something’s now telling her that she should be checking things out more. As the two continue to travel together, it’s not only instinct that makes Phil uneasy – it’s Carol’s strange conduct as well.
The Zodiac Prince learns a few lessons about Earth food this week – like bath soap is not a food. Fortunately, he’s stopped before he gets a mouthful of soap, and later it’s his astral power to the rescue in cooking up a feast.
Paula uses the power of the puppets to get revenge on the people who are bullying her because of her jailed father. But the inevitable happens – it goes too far and now a girl’s injured because of it. This looks like the shock Paula badly needs to snap her out of her selfishness and set her on the path to redemption that is also part of the narrative.
The Witchfinder in “Shadow on the Fen” also causes a nasty accident, at an archaeological dig, which has unearthed a 17th century apothecary’s shop. A clear sign that our heroines are sniffing too close to something.
In “Darling Clementine”, Ella sprains her ankle, which puts paid to her entering the water-skiing heats on Clem’s behalf. She’s braving it all the same, but is her ankle up to it?
In this issue, two stories are clearly on their penultimate episodes: “Come Into My Parlour” and “Land of No Tears”.
In the former, Mother Heggerty’s spell forces Jody to set fire to the Kings’ store. But she’s been caught in the act. She could be facing criminal charges, but the blurb for next week says fire will strike at something else other than the store. Maybe someone is going to burn the old witch at the stake or something?
In the latter, Cassy comes close to losing the vital swimming marathon the Gamma Girls need to win because of a forced bargain with the ruthless Perfecta. Fortunately Perfecta injures herself from over-exertion in the race and drops out, freeing Cassy from all that and enabling her to catch up in the nick of time. Everyone is cheering her on, much to the villainous Hive Inspector’s chagrin. His response to secret helper Miss Norm’s delight in Cassy catching up – “What do you mean, Miss Norm? It’s a disgrace!” – cracks me up every time. Now Cassy is duking out the final length with two others and it’s so close. Everyone except the Hive Inspector and Perfecta is on the edge of their seats to see if Cassy will win.
“Two Mothers for Maggie” looks like it could be nearing its end as well. Mum is critically ill. It looks like the crisis has actually aroused a bit of conscience in Maggie’s horrible stepfather, but he’s not treating Maggie any better because of it.
A new story starts, “Paula’s Puppets”. Paula Richards is a spoiled, selfish girl whose rocky road to redemption starts when her father’s toy factory burns down and he is arrested for it. Her life turns upside-down while he protests his innocence. We believe him though nobody else does, but we know the poor bloke’s going to go down for it. Meanwhile, Paula finds some weird puppets at the burned-out factory, which seem to possess some kind of power.
People should really watch what they say with Sue’s Fantastic Fun-Bag around. Two pitying women whisper what an “absolute dragon” poor Jenny’s got for an aunt and she needs a knight in shining armour. Henrietta obliges, but she has taken it a bit literally and hijinks ensue. But of course it sorts out the old dragon.
Ella is not making much progress with her training for the waterskiing event she wants to win for her family, nor with convincing others she was not to blame for her cousin Clem’s accident. Then Ella makes progress with something else – finding the girl who really caused Clem’s accident. But when she confronts the girl, the miscreant makes it clear she is not going to own up and clear Ella’s name.
Alley Cat gets freebies from the sausage factory, but trust Spotty Muchloot to make trouble. Fortunately it all turns to the advantage of the factory and Alley Cat is rewarded, much to Spotty’s consternation.
Phil is trying to work out how break into Hardacre House, where she believes Carol is being held prisoner. It’s still very odd that Carol’s family clam up about it. It gets even odder when Phil learns Hardacre House and its owners are very mysterious, and she does not like the look of them when she sees them. After an accident with a tractor she is finally inside. The blurb for next week hints she will not like the look of what she finds there either.
Skateboarding is the only thing that gives Concrete Surfer Jean Everidge the upper hand over her smarmy cousin Carol. Jean’s about to start her new school with Carol, but the leadup to it is not going well, and Jean senses Carol is behind it.
Jinty’s gearing us all up for Christmas with Christmas covers, Christmas features, Christmas jokes, and a Christmas party story from Sue and her Fantastic Fun-Bag.
There is a dash of Christmas with a yew tree walk in this week’s Gypsy Rose story, but definitely not in the Christmas spirit. New owners are warned not to cut down the yew trees or they will evoke a druid’s curse. Of course they do precisely that, and if they can’t find a way to lift the curse their very lives could be danger.
“Race for a Fortune” also gives a hint of Christmas, because it’s party time this week. Katie drops in on the Larrup Stick Dance and takes the opportunity to give her cheating cousins some “stick” after that dirty trick they played on her in the last issue.
It may not be Christmas in “Land of No Tears” – something we highly doubt is celebrated in that cold-hearted world where all emotion is banned. Still, it is as good as Christmas when Miranda’s mysterious mother offers to train the Gamma girls for the Golden Girl Award after Cassy takes a brunt to protect her and Miranda from being caught by the ruthless Perfecta.
What about presents? Maggie gets presents, in the form of lovely dresses, from both her real mother and her TV mother. Unfortunately the presents are creating conflicting loyalties.
In Alley Cat it’s Christmas stockings. Spotty is unravelling people’s sweaters and pinching the wool right off their backs, in order to knit his own giant Christmas stocking. What a grinch! We can imagine what his stocking will be filled with on Christmas Day.
In the last episode of “Stage Fright!” it takes a fire and the loss of his mansion because of the deranged Lady Alice to make Lord Banbury realise all he had cared about was the acting trophy and not enough about his family. Granddaughter Melanie is not quite ready to forgive him, but the story ends on a hopeful note that a better relationship will build between them.
Not much happens this week to advance the plot in “Come Into My Parlour”, except wait for the full moon in order to cast the spell to help unravel the mystery of the vanished Saxtons. But bullies get a surprise when the power of Mother Heggerty’s necklace enables Jody to give them a good walloping!
So the mysterious white horse is a mare! After a time trip to the past, Janey realises the white horse is Epona, the horse goddess, and it is a power that has awakened in response to the threat of the motorway. She returns to her own time with the sword she has taken as a symbol of Epona’s strength and compassion, and finds Epona has gathered a horse army. Now what can Epona have in mind? Let’s not forget she’s a goddess, and not even bulldozers are a match for a goddess.
With many thanks to Christine Ellingham for sending through such detailed and interesting answers to the interview questions below – and of course also thanks to her for getting in contact in the first place!
Question 1 – Can you please give a bit of background context to your time in comics – when did you start doing work for picture strips / comics titles, and what got you into them in the first place? You say that your time as a strip artist was short – what led you to cut it short, if there was anything specific?
As with a lot of the jobs I have done over the years, I arrived at IPC, then Fleetway Publications, purely by accident and good luck.
I had been a staff layout artist plus fashion illustrator on a girls’ teenage magazine called, Go Girl! (This is where I first met Malcolm Shaw.) Go Girl! was part of City Magazines, the magazine division of The News of the World. This was in 1968.
Unfortunately, Go Girl! folded after a very short life and it was suggested that I approach Leonard Matthews, the then Director of Juvenile Publications, not sure of his correct title, at Fleetway. I did, and was offered a job there. In those days it was relatively easy to move around from one job to another.
Initially, I was placed in a department with several other people, not a specific title, where we did odd jobs for different papers, i.e. illustration, lettering, pasteup and, in the case of Alf Saporito, cartoons. I remember John Fernley being one of us, possibly Tony Hunt, though I’m not sure.
After a short period I was moved to the Nursery group, under the managing editor, Stuart Pride, and there I worked on a new publication called Bobo Bunny. This had come from Holland and needed adjusting size wise and certain content adaptation making it suitable for the UK market.
By now John Sanders was the overall editor of the juveniles. I have a feeling I wasn’t the first to be offered the position of art editor of a new girls’ paper called Tammy but I accepted it nevertheless and moved from juvenile to teenage. John Purdie was the editor and Gerry Finley-Day and Iain MacDonald made up the editorial team.
Under John, we gathered writers and artists and the aim was to compete with D.C. Thomson’s Bunty and maybe other titles of that type. I remember John and I made a trip to Rome to talk to the Giorgetti stable of artists and we were wined and dined by Giorgio Giorgetti and his American wife. We also attracted all the relevant artist’s agents, Danny Kelleher and his son Pat of Temple Arts, Linden Artists and Bardon Art for example, and collected together a group of strip artists, writers and balloon letterers.
Eventually, Tammy was launched and did very well. I was able to contribute a small amount of artwork, the back cover of the first edition is mine, but really my job was to get it all together, see the agents and in one case, the artists themselves (I remember Roy Newby used to deliver his own work) but usually the agents would deliver the artwork.
I have to admit, I was not entirely happy in the role of art editor. I had studied illustration at Hornsey College of Art and that was what I wanted to do. I left Fleetway 1971/72. Barry Coker and Keith Davis of Bardon Art represented mainly Spanish strip artists. I thought that maybe I could ‘have a go’ at doing this as a freelance and doing it from Spain. Barry and Keith took me on and my then partner and I moved to Spain. Just like that! This was 1972. Amazing really.
Christine Ellingham, 1973/74
First of all my work was for D.C. Thomson; they waited for a whole series to be complete before publishing so as I was a novice and slow, this suited me. Fleetway needed an episode completed in a week, too much for me then. I am hazy about the titles, there may have been something called, “Warning Wind Bells” and another with an Egyptian theme with a character or a cat called Nofret, or these could have been later for IPC. I have a few old diaries of that time and one story I worked on I have only the initials of the title, S.O.S. I wonder what that stood for! 1972. There was “Topsy of the Pops”, “Vet on the Hill” and “Lindy Under the Lake”, all for Thomson’s circa 1973. (This is the date that I drew them, not necessarily of publication.)
As agents, Barry and Keith were superb. They made sure I was never without work, one story followed immediately after another, that I was paid promptly and they gave me such good advice regarding page layout, technique and story interpretation.
While I was still working on Tammy I started to have problems with my right hand (I am right handed), it not functioning properly. This continued to get worse when we were in Spain and instead of speeding up and refining my style the opposite was happening, my work deteriorated. Bardon Art kept me going but eventually we had to return to England in 1974, where I continued to struggle depressingly.
During the Spanish time I illustrated at least two Annual covers, Tammy 1972, including the front endpapers depicting National Costumes and Sandie Annual 1973, plus various spot illustrations. I still have these annuals. Or I could have done these before Spain.
After inconclusive tests that found nothing terribly wrong with my hand or me generally, the GP at the time suggested I learn to use my left hand. After thinking initially, he doesn’t know what he’s talking about, I realised this was my only option. I remember one ten-part story for Thomson’s started with me using my right hand and gradually with training, ended using my left hand. I can’t remember which story that was.
From then on things got better. I speeded up and developed my style. Bardon got me the first IPC job. I’m not one hundred percent sure but it could have been, Cove of Secrets or Secret Cove, something like that, for the Jinty Annual possibly 1974. Also The Whittington’s Cat Princess, DCT, around the same time. To this day, I draw, paint and write using my left hand.
“Concrete Surfer” came later. That particular story stands out for me because it was such fun to do. It was all action with hardly any background, it was very modern and I love doing figure work. I remember we bought a skate board so that I could see what it looked like from all angles, a helmet too, still got them!
I cannot remember how many strip stories I worked on after “Concrete Surfer” but at some point I felt the need to move on, that I wasn’t being stretched any more. Bardon Art were no longer able to represent me, as strip was their speciality, and sadly, we parted company. I started contributing illustrations to Oh Boy, Loving and other IPC papers for older teens.
After a few years I moved on again and, as an illustrator, contributed to national newspapers, women’s magazines, house magazines, mail order publications, coin design, greetings cards and so on.
The work was still there after my retirement but the need to move on again got the better of me and now I paint, back in Spain.
Question 2 – On the blog we are always very keen to try to establish any creator credits for artists and writers, as these are otherwise very likely to get lost in the mists of time. As far as we can tell from the art style, it looks like you drew three stories for Jinty (“Race for a Fortune” (1977-78), “Concrete Surfer” (1978), and “Dance Into Darkness” (1978) plus some covers and spot illustrations, as well as a story in the Lindy Summer Special (1975) and in the Jinty Annual 1978. It may be asking too much at this distance in time, but what other work do you recall doing and in which publications?
I would have to look at these stories that you mention to verify that I actually drew them! As I have said, Concrete Surfer stands out because for me it was a joy to do. The others, some I have managed to see on line and they do look vaguely familiar. At the time I used my partner as a model. I found men more difficult to draw than women and girls and I have noticed him in certain frames even though I tried hard to make them not look like him! When I see him I know that I did that one!
Jinty 8 July 1978: cover shows “Dance Into Darkness”
Question 3 – At the time it was very usual for artists and writers to work quite separately from each other, particularly freelance creators. Was this the case with you, or did you know others working in the same area? I ask partly in case there are any interesting stories or anecdotes that you can relate at this distance in time, but also in case you remember any names of people on the creative or publishing side that can feed in to our information of who did what.
Yes, this was the case for me. Artists do lead a solitary life and being freelance meant I would be at my desk not wanting to be interrupted. The deadlines, especially for IPC, were pretty tight. In my case the work would be delivered to Bardon Art and they would take it to the publication in the case of Fleetway, a few minutes walk away. Though in Spain I posted it directly to DCT. Nevertheless, Barry and Keith were very much involved and would add their comments sometimes.
While we were in Spain the work was rolled into a tube and posted. The tubes had to be open at both ends, some string threaded through and tied and a description of the contents had to be stuck to the outside, or left with an official at the post office.
I did meet one artist in Spain, Miguel Quesada. It was he who told me how to send artwork to England. He and some of his very large family, (a lot of mouths to feed), visited us unexpectedly. He was one of Bardon’s and a contributor to Tammy. I never met any of the other artists apart from Roy Newby, but that was before I was a contributor myself.
I did meet John Jackson when he was the art editor of Jinty and of course, Mavis Miller.
Question 4 – I am keen to understand more about the creative and publishing processes of the time. Presumably the writer supplied a script, and the editor chose the artist, but I don’t know how everything interacted. Did you get any guidance (say as part of the written script) or conversely any interference from the editor or art editor, or was the published page pretty much under your design control including the composition of the page?
Yes, the editor would choose the artist, art editors didn’t have much say in the matter, (Though this is just from my experience of working on Tammy.) And I think the editorial team would have suggested an idea for a story to the writer, again, this is how it happened on Tammy.
The artists were given a lot of guidance. Before even starting, we would be briefed on the content and theme of the story, to get to know the main characters. In the case of IPC the scripts would come one at a time, having only just been written, probably. The artist would receive a document containing the dialogue for each balloon and the positioning of the balloons had to be in that same order in the frame, also, there would be instructions on the action and mood in the frame, i.e. the heroine to look sad, the bad girl to look vindictive; a closeup and so on. The composition of each frame would be influenced by the order and size of the balloons and the overall design of the page would have had input from the editor. Quite a lot to work out, now I come to think of it! [An example of a script has been previously sent in by Pat Davidson, wife of Jinty story writer Alan Davidson: see link here.]
I always had to submit pencil roughs that would be shown to the editor for his/her comments. In Spain there were many visits to the post office, pencils going off to Stan Stamper in Dundee, coming back with comments, a finished, inked episode flying off, the two passing each other on the way. Also, we artists had to work ‘half up’ so there was a lot of ground to cover. [‘Half up’ means using a larger piece of art paper – half as much again as the finished size, so that for instance if the finished publication is 10 inches by 12 inches, half up would be 15 inches by 18 inches – with the artwork being photographically reduced in size during the production process.]
Question 5 – A slightly self-indulgent question but with a point to it – how did you come across the Jinty blog? Was it a case of happening to suddenly remember something you worked on years ago and searching for it, or being sent to it? (I ask because I would love to hear from other creators from the time, and if there is anything I can do to increase the chances of someone posting a comment saying that they wrote or drew a story from the time, I will certainly consider it.)
I’m trying to think. How did I find it? I get carried away on the internet sometimes. I think I was looking up an old friend of my now husband’s, the two of them used to work together on Eagle, Swift, Robin and Girl papers, as balloon letterers and layout artists. I started looking at Girl artwork as I do have a couple of Girl Annuals, No.3 and No.5. I noticed that the writers and artists all got a credit; one name I recognised was the artist Dudley Pout, I wonder if he contributed to any of the Jinty stories? Though he was probably of another generation.
The friend of my husband had died but in reading his obituary I found links to other sites and by then I was interested to see if any of my work was featured anywhere, the only title I could think of was, “Concrete Surfer”!
The panel from “Slave of the Swan” actually appeared in the story some weeks ago, which is a bit irregular. Usually Jinty used panels from the current episode of a story for a cover. The depiction of Katrina’s apron is reminiscent of a tutu, which is very clever and also fitting for the ballet theme. And in this week’s episode of “Slave of the Swan”, the Swan’s lies get even crueller. Now she’s got poor Katrina thinking she’s an arsonist and a murderer who burned down an orphanage in revenge and killed someone in the flames!
Last week “Concrete Surfer” was pushed off its usual slot of leading story, but it’s back there this week. Carol freely admits to Jean how she had played Jean for a fool. Belatedly, Jean wishes she had had a tape recorder on hand so she could prove it to everyone else. They all think Carol is a sweet girl and Jean bullies her. The skateboard contest gets underway and Jean is thinking up her own lyrics to the piece of music Carol has chosen: “Isn’t she sickening…? Isn’t she spiteful…? I never thought what a cat she could be…”
In part two of “Somewhere Over the Rainbow” the war ends in victory for the Allies, but the Peters children have no heart for celebrating because their father was KIA. They cheer up when Mum gets complimentary tickets for them to see a “Wizard of Oz” production. This introduces the Wizard of Oz theme that will resonate throughout the rest of the serial.
In “Knight and Day”, Pat meets her stepsister Janet, who’s a very nasty piece of work and bullies Pat. At least she reveals the real reason why Mum reclaimed the daughter she had always neglected: it was so they could get a council flat. Well, well, well!
“Clancy on Trial” impresses her grandfather by standing up to him (the only one who does), especially when he expresses his long-standing disapproval of her mother’s marriage to a bus driver. Meanwhile, Sandra continues to help Clancy to learn to walk again.
Last week “The Zodiac Prince” and his gift of balance to Julie unwittingly made another circus performer jealous. Now she’s putting herself in danger trying to prove herself on the high wire. Fortunately Julie is able to come to the rescue and everything is sorted out. Fresh trouble isn’t far away though, and it comes when the Zodiac Prince sees a girl mistreating a donkey and decides it’s time for another astral gift. However, next week’s blurb informs us that he’s about to make a big mistake.
There are double emergencies in “Cathy’s Casebook” this week. Mr Shaw’s daughter gets injured after being thrown from her horse and loses her nerve, and a café owner collapses from a perforated ulcer.
A Resource on Jinty: Artists, Writers, Stories 