Dik Browne on Hi & Lois
Oct. 4th, 2021 06:45 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
johncomicFor the past few days, I've been devoting my drawing time to doing studies of Dik Browne's work on Hi & Lois. And, as so often happens when I spend any time studying Browne, I come away with renewed awe at his genius. The only reason I rank Bill Watterson higher as a cartoonist is because of Watterson's peerless writing, so that he is The Total Package of cartoonists. But if we are just talking cartoon art, then no one beats Dik Browne.
Before he began working in syndicated comic strips, Browne had a thriving career in advertising art [he designed the classic 50s overhaul of the Campbell's Kids]. But Mort Walker hired Browne to tackle the art for Hi & Lois, where he very deliberately modelled his work on Walker's style, a unique and groundbreaking style that would take its classic shape in early-60s Beetle Bailey. Walker's style was extremely simple and open, meaning that it could still look good when significantly shrunk [a prime consideration in newspaper strips]. It was also cute and expressive and appealing, easy to read and easy to grasp.
Browne essentially perfected this style by adding a sense of grace and beauty to pristine immaculate economical linework, along with his mastery of cute. (Off the top of my head, the only cartoonists I can think of whose kids can equal his in cuteness would be Warren Kremer and Gene Hazelton.) His H&L work captures the formica ideal of postwar suburban America like no one else.
Before he began working in syndicated comic strips, Browne had a thriving career in advertising art [he designed the classic 50s overhaul of the Campbell's Kids]. But Mort Walker hired Browne to tackle the art for Hi & Lois, where he very deliberately modelled his work on Walker's style, a unique and groundbreaking style that would take its classic shape in early-60s Beetle Bailey. Walker's style was extremely simple and open, meaning that it could still look good when significantly shrunk [a prime consideration in newspaper strips]. It was also cute and expressive and appealing, easy to read and easy to grasp.
Browne essentially perfected this style by adding a sense of grace and beauty to pristine immaculate economical linework, along with his mastery of cute. (Off the top of my head, the only cartoonists I can think of whose kids can equal his in cuteness would be Warren Kremer and Gene Hazelton.) His H&L work captures the formica ideal of postwar suburban America like no one else.
