Goof from the Comics UK Forum has kindly supplied a list of the comics work done by John Richardson over the years.
End Of The Line… 12/08/78 – 18/11/78
Red Knee – White Terror! (Beasts Story) 4/2/1978
Green Grow The Riches – O! 18/2/1978
The Dummy (Nightmare Story) 25/2/1978
The Secret Of Lan-Shi… (Beasts Story) 11/3/1978
The Haunting (Nightmare Story) 18/3/1978
Napoleon Comes Home… (Beasts Story) 25/2/1978
Stone Cold Revenge 6/5/1978
Sticks And Stones 20/5/1978
A Spell Of Trouble (Nightmare Story) 15/7/1978
Titch’s Tale… (Beasts Story) 29/7/1978
Dance Of Death 5/8/1978
Yet Another Teacher For Molly! (Nightmare Story) 16/12/1978
Examination Nerves 23/12/1978
A Girl’s Best Friend 30/12/1978
The Sad Eyes Of Sorrow 13/1/1979
Happy Birthday, Spooky Sue! 20/1/1979
Pot Luck 10/3/1979
The Curse Of The Wolf 31/3/1979
The Choice Of Silence 14/4/1978
The Uglies 14/4/1978
One Hour In Time 12/5/1979
The Disembodied 26/5/1979
A Stain On Her Character 23/6/1979
The Writing On The Wall 21/7/1979
Time To Spare 18/8/1979
Inside Story 25/8/1979
Mrs Grundy’s Guest House 29/9/1979
The Pig People 1/12/1979
Black Sunday Summer Special 1978
Old Ethna’s House Holiday Special 1979
The Pipe Dream of Marty Scuttle Holiday Special 1979
The Swarm Annual 1979
The Duchess of Dead-End Drive 2/03/74 – 16/03/74
Moonlight Prowler 17/7/1982
Shock Treatment 20/11/1982
Carla’s Best Friend 15/1/1983
(Reprint from Misty “A Girl’s Best Friend”)
The Turning Point 12/3/1983
Donkey’s Years 17/9/1983
Fair Shares 24/12/1983?
This is Your Life 14/6/1980
The Beauty Contest 6/3/1981
Monster Movie 28/3/1981
Lost for Words 11/4/1981
The House of Leopards 9/5/1981
Water Under the Bridge 13/6/1981
The Carrier Bag 22/8/1981
Down to Earth 10/10/1981
Safe as Houses 17/10/1981
Star Born 26/12/1981
The Burry Man 20/3/1982
All the Fright of the Fair ?
(?) The Pharaoh’s Daughter’s Stand-In (?) ?
The Gargoyle 16/1/1982
The Guardian 27/2/1982
Old Bug’s Last Trip 15/5/1982
Series: Wee Sue:
Weekly episodes 14/09/74? – 1982?
(Main artist from September 1974 to March 1977?)
1 story Annual 1977
1 story Annual 1979
3 stories Annual 1982
1 story Annual 1984
1 story Summer Special 1975
1 story Summer Special 1976
3 stories Holiday Special 1982
1 story Holiday Special 1983
…Through Rose-Coloured Glasses Annual 1982
Star of Wonder Annual 1982
Roy Newby is thought to have drawn only only a few stories in Jinty, but he was certainly a long-running artist in other girls’ comics titles, particularly Girl, where he drew “Robbie of Red Hall” for many years. I do not yet have a fuller comic bibliography to list in this post, but on the UK Comics Forum, mention is also made of a story in the second Girl Annual which is specifically credited to him as artist: “Late For Dancing”, written by George Beardmore. Additionally, comics newssite Down The Tubes states that Newby worked on stories that appeared in other titles such as Tammy, Poppet, Judy, and Valentine.
Newby died relatively recently, having lived to the age of 98; the obituary in the Guardian, written by his son Mike, can be seen here. Mike Newby has likewise created a dedicated site showing his work (though not including many examples of comics, unfortunately for us). Finally, the Lambiek Comiclopedia has a little more on him here.
List of stories attributable to Roy Newby in Jinty:
When researching this post, I got in contact with Mike Newby and his sister Clare, who shared some memories with me. Mike told me that “…Dad’s original artwork for his comics was destroyed by the publishers as soon as they’d done the necessary for a print-run. (What a shame!) But Dad kept pretty much everything in printed form. He’d go and buy that week’s edition of whatever comic he’d drawn and stick it in a scrapbook.”.
Clare told me more details of her father’s time as a comics creator and her time as a reader of comics: “Through the late 50s and 60s, Friday afternoon was comic day! After school, I got School Friend, Girl’s Crystal and one other; Jackie/Tammy/or whatever. I saw Dad’s stuff free! Whenever I was ill in bed, I used to look at the scrapbooks of mostly Girl. Dad said he preferred girls papers as they didn’t have as many technical, fiddly buttons and switches (spaceships) as boys. Also, he used to get any scripts set in dancing schools as he could use me for reference (I studied ballet which I went on to do professionally). He particularly liked historical costume stories. As I got older, he worked on Valentine and Roxy. I was about 13 and wasn’t allowed to read them, so I would sneak into his studio when he was out and read about teen life. I put everything back and thought I’d got away with it, but he told me years later, he always knew!”
Courtesy of Clare Newby, here are two images of her father’s work – a photograph of some of the scrapbook pages, and a beautiful little sketch of herself reading them in bed, when ill at one time. Many thanks indeed to her for sending those in!
This was the last-ever issue of Mandy. After a long run that began on 21 January 1967, Mandy and her sister comic Judy both ended so they would amalgamate into a whole new comic, Mandy & Judy (later M&J), instead of one incorporating and absorbing the other, as was so often the case with mergers.
Mandy’s cover story of the week was usually a series of misadventures that played on a single word or phrase, such as knots, stars, melting, music, ups and downs, and guesswork. This sometimes had a happy ending, sometimes not. But in this case it is meeting up with Judy, the cover girl from the comic she will amalgamate with next week. Judy moves in next door to Mandy, and the two girls come together when Mandy’s dog Patch goes missing and it’s Judy who finds him. This is the last time Claude Berridge drew the Mandy cover stories as he had done for years, and the last time Norman Lee drew Judy’s cover story. Next week Guy Peeters takes over for both Mandy and Judy in their new two-in-one comic.
As this is Mandy’s final issue, her stories come to an end. The only exception is “Glenda the Guide”, which carried on in Mandy & Judy but didn’t last long. This was a humour strip about a blundering girl guide who is always trying to win badges, but her efforts always lead to failure and loads of laughs for the readers.
In the other stories, Lindy Grey is always getting into trouble by copying her favourite soap, “Life with the Greens”. Now it’s her birthday, she decides not to copy it to be sure of a happy birthday. Ironically, Lindy’s birthday copies the soap all by itself and nothing goes wrong! Then the soap finishes, but Lindy is eager to watch and copy its replacement because the star is also called Lindy.
The two girls in “Best Friends!” are anything but. They hate each other but keep being shoved together because their mothers are friends. Then an emergency brings the two girls together when their mothers come down with food poisoning, and they are surprised to learn that their mothers started off as enemies too.
Pippa Roberts has all sorts of adventures on her paper round. This time it’s helping an old man who refuses to go into a home. Pippa’s solution is for a neighbour to help him with housework in exchange for him helping her with her garden. Brilliant!
“Freda Who?” is one of two Mandy reprints. Karen Wilkinson is puzzled by new girl Freda, who seems to be oddly clueless about things. Now it is revealed that Freda comes from the 23rd century, where warfare has rendered England virtually uninhabitable. Freda’s father sent her on a one-way time travel into the 20th century to save her life. This reveal must have had readers in tears.
Gwen is taking five goats across the country to Melbury Market as a publicity stunt for her mother’s health food shop. In the final episode she finally gets to Melbury and gets all the publicity she could want, plus a welcome lift to get her goats home.
Susan Smith has been faking deafness to continue getting favoured treatment after the genuine deafness from an illness wore off. But of course it all has to unravel in the end, which is what the whole of the final episode is all about. A new girl, Sonia, who had the same illness, has gotten suspicious of Susan. After several attempts, Sonia eventually succeeds in exposing Susan’s deceit to the other girls. Susan puts on the bravado, saying what fools she’s made of them, it’s been great fun, and she’s come out the winner. But she soon finds out she is no winner because nobody ever trusts her again.
It is fitting that the last-ever Mandy ends on the final episode of the most popular serial she ever ran: “Angel”. A wealthy Victorian woman, Angela Hamilton, is diagnosed with an incurable illness. She goes into the London slums to dedicate her remaining time to caring for the needy as “Miss Angel”. This was Angel’s second reprint in the regular Mandy comic, and the reprint in Lucky Charm makes it three. Angel was not reprinted in the Mandy & Judy merger (probably too close to the last reprint in Mandy). But as the lineup for Mandy & Judy explains, she did carry on in the amalgamation with “The Diary of Angel”.
Debbie at the School for Horses (artist Oliver Passingham)
Find the Hidden Headphones Competition
Harvey – Go Home!
Here’s another dip into DCT. This time we are going to take a look at the issue where Tracy merged with Judy on 19 January 1985. Judy is also celebrating her 25th Jubilee, which makes the issue even more significant. Her competition is being run because of the Jubilee, not because of the merger. It is not surprising that Judy is also looking back on her past. This week she begins to repeat one of her very first stories, “Sandra of the Secret Ballet”. She also brings back another established Judy favourite: “Junior Nanny”.
The merger is unusual in that the merger issue came out the same week Tracy published her final issue. Well, at least Tracy readers didn’t need to wait a week to see their stories continue in the merger. Or rather, more than a week, considering that Tracy came out on Saturday and Judy on Thursday. Perhaps it was done out of consideration to the readers.
However, one odd and annoying thing about the last issue of Tracy is that she began a new story in it, “Little Amy”. Why the first episode of Amy couldn’t wait until the merger issue so all readers could read the serial in its entirety is something I don’t understand.
Other Tracy stories that came over were: “Harvey – Go Home!”, where a lost dog has adventures while trying to find his owner; “Georgie and the Dragon” a humour story about a baby dragon; and “Microgirl”, which is a sequel to an earlier Tracy story about an evil scientist who can shrink people. Tracy’s budgie, Elton, also came over, and he appeared on Judy’s covers for quite some time.
Judy also begins a completely new story, “Twin Trouble”. The trouble is about an accident girl who causes trouble for her twin sister because she blames the twin for the accident – quite wrongly, of course. Judy’s other stories are “Hard Times for Helen” and “Debbie at the School for Horses”. In the former, Helen Shaw suffers not only from the fallout of an over-busy mother but also from bully teachers who constantly compare her unfairly with the mother and make unjust accusations of bad behaviour against her. In the latter, Debbie Marsh is on a steep learning curve on how to look after horses at a riding school.
John Wagner is known to have worked on girls’ comics and written girls stories in the 1970s. I didn’t know of any previous interviews which had focused on this part of his career in particular: many thanks to him for answering the questions below in this brief interview.
1 I’d love to know how you got started in writing for girls’ comics, and what you did during that part of your comics career. What stories did you write? How did you balance writing comics alongside being an editor – or was that all part of what the editor was expected to do?
The girls’ comic side of my career started with Romeo, the DC Thomson romantic comic/mag, the poor sister of Jackie. Girls’ romance was just a step up from normal girls’ fare with the addition of boys. We never touched on lesbian love back then! Then when I left to go freelance with Pat Mills, girls’ stories was one of our target markets. We were given “School of No Escape” (was that in Sandie or Tammy? [that was in Sandie]) by the managing editor, John Purdie. The story had already been started, was running, but either the writer had quit, or been sacked. In any case editorial didn’t know quite how to handle it. It was quite a challenging first assignment but we made a pretty good fist of it. I helped Pat devise “School for Snobs” and write the first couple of episodes before we split up and I went to work in the IPC office in London. My only girls’ comic story after that was “Jeannie and Her Uncle Meanie”.
2 We’re always on the lookout for information on other creators of girls comics from the time. I have already asked you for any suggestions on the name of the artist on “Slave of the Trapeze” and “School of No Escape”, which sadly for us you weren’t able to recall. Are there stories by other people that you particularly remember from that time, which you would be able to help us to credit the creators on? For instance, anything written by any of Gerry Finley-Day, Malcolm Shaw, Charles Herring, Jay Over, Ian Mennell, Benita Brown, Maureen Spurgeon?
Malcolm Shaw was my sub on Sandie for a while, quite a good, reliable one. I’m afraid I don’t remember any particular stories any of the people you mention wrote, though Gerry would have done two or three for me. Never heard of Jay Over or Benita Brown and assume Maureen then went by another surname that I can’t remember.
3 Pat Mills has fond memories and a lot of respect for specific girls’ comics titles and the hard-hitting gritty stories that ran in them. What kind of comparisons would you draw between the world of girls’ comics and that of the boys’ titles you worked on?
They were pretty different, up until Pat and I started work on Battle Picture Weekly. I refer to the IPC boys’ stories, as DC Thomson boys’ comics had some excellent stories and were almost the equal of their girls’ titles. But IPC boys’ titles had stagnated, with stories that were formulaic, repetitive, barely credible and carried very little emotional power. They paled in comparison to the stories in Judy, Mandy and especially Bunty – clever, meaty, affecting.
4 You started your comics career working for DC Thomson before moving south to IPC/Fleetway. Were there things about creating comics that you learned at DC Thomson which you were keen to bring with you to IPC, or perhaps keen to move away from? Or other memories of differences between the two publishers?
I was keen to move away from poverty! The key lesson I learned there was self-criticism. Nothing you write can’t be better. Always question yourself – am I getting the best out of that scene, those characters, is there a better way of doing things?
5 Finally, anything you can tell us about your time at Sandie would be good to know. It was a fairly short-lived title, only lasting for 89 issues. What do you think that was down to? Did you leave it as it finished, or earlier? Who else worked on it that you can recall?
My memory is that they closed it down – or merged it – on a circulation of about 180,000 (though that figure may be inflated in my mind). In any case the low cover price meant that they had to sell enormous numbers. I was told the comic was going under and that they wanted me to move on to Princess Tina (which was also dying) and revamp it in an attempt to save it. Norman Worker (I think) was brought in to see Sandie laid to rest. In turn I made an awful hash of Tina, whereupon I quit journalism to become caretaker of an estate in Scotland, never to return (I thought!).
I’ve already mentioned [in email] some of the names of Sandie staff – subs Kyra Clegg, Rhoda Miller, Malcolm Shaw. Ally McKay was assistant art man for a while, and John…John…ah, I forget, but he was art editor.
Many thanks again to John Wagner for this interview. I have a small number of issues of Sandie, which I looked at in this post. Catawiki has details on a few Sandie issues also, and the Great News for All Readers blog has posted in detail about two issues in 2016. Mistyfan also wrote a post about the advert for Sandie’s launch, and another on issue 7 of Sandie in 1972.
Publication: 28 October 1978 – 17 March 1979 (18 episodes) Artist: Ron Smith Writer: Unknown
Translations/reprints: None known
Lisa Carstairs is a talented pianist and a selfish, self-obsessed girl who cares nothing for anyone or anything except her piano. We see a glimpse of her life as a rich girl who can spend as much time as she wants just practicing her piano, waited on by maids and fawned on at school. Her father works hard at keeping his business together but to no avail: it comes to an end with a crash, when his business partner flees the country and leaves Mr Carstairs with the associated debts. Everything has to be sold to pay for it, including Lisa’s beloved piano – and her sympathy is kept all for her own losses, with none left for her parents’ difficulties.
For much of the rest of the story, all Lisa can think of is how to get access to a piano, preferably her own. She goes to the auction house and threatens to have the law on anyone who touches ‘her’ piano or dares to buy it, but of course she is onto a loser there. The family move into a little terraced house and she is sent to the local school rather than her posh private school. Her posh private school, for all their glib words about admiring her talent, want nothing to do with ‘the daughter of a bankrupt’ so there is no chance of playing their piano! There is a piano at the new school but she has already set everyone against her there by failing to listen to anyone, failing to adapt to her changed circumstances, and failing to understand that people aren’t going to fawn over her talent any more. She only barely gets to play the school piano, which she is only allowed to do once she has apologized to a teacher that she was rude to (and even then she gives one of those rubbish ‘I’m sorry if you were offended’ type apologies – actually she says ‘The Head wishes me to apologise to you’ which should have been something they would have seen through but still).
Playing the school piano isn’t enough, mostly because she is not treated with the amount of adulation she still expects (without in any way having earned it of course). The assembly music she’s given to play is not what she wants to play, so she summarily sweeps it aside in favour of some technically challenging classical music – not surprisingly this approach fails to go down well. The kids are unimpressed, Lisa is angry at them for not fawning over her (er, I mean appreciating her obvious talent when she condescends to play for them), and she calls them loud-mouthed, ignorant and stupid. So it’s war between Lisa and the whole school from now on.
Well, not quite the whole school. Tracey is a girl who likes classical music and has some sympathy for Lisa. She stands up for her even when everyone else is sick of the sight of her. Including the Carstairs parents, probably: Lisa was nearly starting to be sympathetic to their difficulties when she heard them say they’d try to make it up to her by getting a replacement musical instrument. She immediately imagines a beautiful piano taking up most of the space in their shabby small terrace – but of course all they are able to buy is a tiny electric chord organ, which from Lisa’s point of view is nothing better than a toy. Not that anything excuses her reaction, which is to kick it to pieces in a tantrum!
Another try at getting access to a piano is when she finds out that her piano was sold to the Mayor, for his spoiled daughter to plink-plonk on. Rosalind, the mayor’s daughter, takes the opportunity to bully Lisa by playing on her desperation: she has Lisa steal and beg for a chance to play. It doesn’t take Lisa that long to realise that Rosalind has no intention of actually helping, but it does take a little longer before she can bring herself to swallow her longing and walk away from her old piano.
Lisa’s quest for a piano to play nearly breaks up the family when she finds that a piano showroom is advertising for a cleaner. Lisa herself is too young to take the job but she cajoles her mother into it, despite her father’s opposition – he was made redundant just previous to that point, and his pride is injured at the idea of his wife working to bring the money in. It works well for a time, and Lisa even shows some signs of empathy – when her father strides into the house announcing he is going away, she thinks it is because of her doing, and she realises she would much rather have her father around than access to a piano to play. It turns out not to be as bad as she had feared – Mr Carstairs is not leaving his wife because of the argument about her working, phew! In fact he has been offered another job, but it is far away and he will have to travel there and be located elsewhere. Mrs Carstairs is relieved to think that she can give up the cleaning job, but an also-relieved Lisa is a newly-selfish Lisa, who pressures her mother to continue with the job for the sake of her music.
It turns out to be the final straw of stress on Mrs Carstairs though – she collapses, and it is revealed she has been in pain for a long time previously without mentioning it. Lisa needs to go and stay with her one school friend, Tracey, in her busy house: and of course the ungrateful Lisa only thinks of the bad side, in particular the fact she has to do chores which she fears could damage her artistic hands. To top it all, Mr Carstairs is not able to come to be at his wife’s hospital bedside – because he has vanished! It seems he never appeared at the new job workplace at all.
Lisa’s last fling of selfishness is to refuse to go back to Tracey’s house when her mother tells her she must – she uses the housekeeping money that her mother gives her, and goes to see her godmother in London. Little does she know that said godmother has departed for a long international voyage! So there is no home for her there, and none back at Tracey’s house – because her worn-out mother has finally snapped, and told the authorities that Lisa must be looked after in a Home. So it is welfare for her…
This final, very nasty, surprise is the making of the girl – she is quiet and not boastful in her new location, and she doesn’t go all out to find a piano to play, as she had before. She spends her time helping with the younger children and mucking in, even roughening her hands or running the risk of injury if it seems like a worthwhile activity needs her help. And when finally she does play the piano again, after a long time of refusing to even try, it is only at the earnest request of a little boy she is helping to entertain – she is doing it for his sake, not her own. The reward comes at last – her parents return, both together – Mr Carstairs has been found! He had been injured and had lost his memory and his luggage, so his identity took a long time to be established. And Lisa has come to realise that the most important thing for her right now is to be together, as a family – and that is more important even than music for her.
Lisa Carstairs is one of the more unpleasant, selfish, hard-hearted protagonists that there is in Jinty. She’s not outright evil, as is the case with Stacey in “The Slave of Form 3B“, but because she is such a hard case it takes a long road, and a lot of knocks, to redeem her. You might think that the opening episode, where she loses her family home and all their worldly wealth, would be enough to do it, but in girls comics there is definitely further to fall. In her case, she needs to plumb the absolute depths before she can come back up again – and here that means losing her whole family, and knowing it is her own fault and no-one else’s. In other stories the sense of guilt can be an illusion built up in the protagonist’s mind – for instance in the case of Ann Ridley in “I’ll Make Up For Mary”, where it drives the whole plot – but here it is not over-done and it is effective as a wake-up call.
The passage of time in this story is done quite well. For instance, the last episode (which is 4 pages long) covers the timespan from Lisa’s arrival in the Home to her final happy moments of realization. It isn’t supposed to take place in only a day or two – the text explicitly refers to several weeks having passed. Likewise, earlier on, the passage of time is made rather more visible to the reader than in most stories. This all makes the main driver of the story – Lisa’s redemption – more realistic.
This is Ron Smith‘s second and final story done for Jinty – after around this time he was found doing the bulk of his work for 2000AD, so he is often thought of as primarily an artist for that title, and on Judge Dredd specifically. His work on that is indeed fantastic, but it means that it’s easy to overlook the fact he had a long career as a girls comics artist before then, working for DC Thomson’s Bunty and Judy in particular.
Carlos Freixas Baleito (31 October 1923 – 26 February 2003) was a Spanish artist. Freixas had a long career in girls’ comics in a wide range of titles. At IPC his artwork appeared in Valentina, Marilyn, June, Misty, Tammy and Jinty. At DCT, he drew for Bunty, Mandy, Tracy, Nikki, Judy, Emma, M&J and Spellbound. He had a fluid style that lent itself to a diverse range of stories, including supernatural, horror, period, adventure and school. An incomplete list of Carlos Freixas stories for DCT can be found at http://girlscomicsofyesterday.com/?s=carlos+freixas
Freixas started out as an illustrator at the age of 14, guided by his father Emilio Freixas. He studied at the Academy of Fine Arts and, as his father’s assistant, published his first work in Lecciondes. Freixas and his father then began an association with the publishing house Molino. This collaboration eventually resulted in the publishing project Mosquito, which they started with the aid of Angel Puigmiquel in 1944. At this time, Freixas created his first character, ‘Pistol Jim’, who appeared in Gran Chicos and later Plaza El Coyote.
In 1947, Molino asked Freixas to join the Argentine division of their publishing house, so Freixas moved to Buenos Aires, where he established himself as a well-known and respected artist. His first Argentine work was for Patoruzito, where he created the boxing ‘Tucho, de Canilla a Campeón’ and several detective (‘Elmer King’) and motor comics (‘Juan Manuel Fangio’). He often collaborated with Alberto Ongaro, who wrote ‘Drake el Aventurero’ for him and with whom he illustrated Hector German Oesterheld’s scripts for ‘El Indio Suarez’. Freixas was also the author of ‘Darío Malbrán Psicoanalista’ for Aventuras.
In 1956, Freixas returned to Spain because of homesickness, and resumed his collaboration with his father and cooperated on most of his father’s illustration work. He also took on agency work for the British market through Creaciones Editoriales, where he broke into IPC and DCT titles.
Back in Spain, Freixas contributed to Juan Martí Pavón’s magazine Chito in 1975, made a comics adaptation of Joseph Conrad’s ‘Gaspar Ruiz’, and some horror stories for Bruguera. In the last years of his career, Freixas worked for US comics, which included Marvel’s Monsters Unleashed. He also worked for Swedish comics (‘Joe Dakota’ stories for Semic’s Colt) and Dutch comics, where he was a regular artist on stories like ‘Marleen’ for the Dutch girls’ magazine Tina.
One of the artists mentioned in the recent talk about girls comics was Ana Rodriguez. David Roach has a set of portfolio samples used to showcase her drawing abilities (see below) which credits her as such. Initially I had little luck in finding any internet trace of her but eventually I found an entry for her on Spain’s comic artist database, Tebeosfera, as Anita Rodriguez Ruiz . This also links to an entry on Lambiek’s Comiclopedia.
(The latter list is taken from Catawiki, with many thanks to that site.)
She also drew a large number of stories in DC Thomson titles such as Debbie, Judy, Tracy. See the Girls Comics of Yesterday site for posts tagged with her name.
Her particular focus is clearly on girls comics, though there is little solid information on the Tebeosfera and Comiclopedia sites about other work done by her. Here are some pages from “Blind Ballerina”, where Ana Rodriguez’s showcasing of the girl protagonist’s faces is very evident.
Hugh Thornton-Jones has been a long-serving artist in girls’ comics. His work spans all across the DCT titles Bunty, Mandy, Judy, Tracy and Debbie. An (incomplete) list of his stories there can be found here:
In regard to IPC, no information is currently available on what work Thornton-Jones did for June or School Friend. He drew “The Incredible Shrinking Girl” for the short-lived Princess (series 2). For Tammy, Thornton-Jones drew one serial “Claire’s Airs and Graces”, a few Strange Stories (“The Lollipop Man’s Promise”, reprinted as a Gypsy Rose story), but was seen most often as one of the Wee Sue artists. During Tammy’s credits period, Thornton-Jones was credited with just one story, “Postcards from the Past”. This sole credit is what establishes the name of what might otherwise be another unknown Jinty artist.
Thornton-Jones started on Jinty as a filler artist for “The Jinx from St Jonah’s” and “Champion in Hiding”, but it was not long before he drew his own stories for Jinty. These were “Sue’s Fantastic Fun-Bag!” and “Gaye’s Gloomy Ghost”. Both of them were humour strips that starred a fantasy character who created paranormal hijinks every week. They kept Thornton-Jones busy because they both ran for a long time; the former lasted three years and the latter two years, right up until the last issue of Jinty.
Thornton-Jones’s style was not quite as strong as some artists, such as Mario Capaldi. But it is a genial, pleasing style that can fit in with a lot of general stories (school, ponies, emotional). Thornton-Jones could draw period stories, such as The Guardian Tree (Mandy) and Catch the Cat! (Bunty), though his art was seen more often in contemporary settings. Thornton-Jones also had a flair for humour and caricature, especially for drawing people with long, thin, pointed noses. So his style was also used in more zany, offbeat stories, such “Sue’s Fantastic Fun-Bag!”, “Gaye’s Gloomy Ghost” and “Microgirl” (Tracy).
Ron Smith (1924 -2019) is best-known as a Judge Dredd artist, which is how I initially came across his work. Or should I say, that is how I first came across his credited work, because Smith drew two stories for Jinty, which I read well before I even read my first 2000AD.
His reputation as a Dredd artist overshadows the huge body of work that he has done elsewhere. The Down the Tubes comics site is currently publishing a retrospective of Smith’s work: so far three posts have gone up here, here, and here, with more to follow from writer Colin Noble. They show the vast number of titles and stories that Smith has contributed to British comics over the years. Many of the stories he illustrated were boys adventures in titles such as The Hotspur, but he also drew for DC Thomson’s girls titles Judy and Bunty. (The UK Comics Wiki also has a comprehensive entry on this important artist.) [Edited to add: Down The Tubes has also just published Ron Smith’s obituary and an appreciation by fan and expert Colin Noble.]
As we have not [or had not, at the time of posting!] yet written about either of them to link to, of course I need to include some of Smith’s stylish artwork from one of those stories in this post. Here, then, are three pages from the episode of “7 Steps To The Sisterhood” printed in the issue dated 23 September 1978.