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Presents information on several comic strips. Comments on the comic strips Blondie, Peanuts and Gasoline Alley; Presence of humor in the comic strips; Role of comic strips in lightening up the mood after reading a newspaper full of world crisis.

The article reports on the increasing popularity of the cartoon strip "Peanuts" in the U.S. and the hefty amount of money cartoonist Charles M. Schulz is earning for its creation. As stated, the strip gets 50-million dollars per year for its licensees mainly from Interstate Brands Corp., the company which has the license to use it. It is stated that the market of the country is flooded with Peanuts toys, cards, gifts etc. which shows a strong fan following of this cartoon.

Focuses on the printing of a cartoon picturing Mars with a satisfied smile on his lips, lighting a cigar with the peace treaty release at the time of the announcement of the peace terms with Germany. Suitability of the caricature with opinion of the people on the treaty; Views on the impact of the treaty with imperialism in Germany; Standpoints of other publications to the League of Nations.

The artlicle profiles William Henry Mauldin, editorial cartoonist of "Post-Dispatch" in Saint Louis, Missouri in 1961. Mauldin boils over onto his drawing board with the scalding impact of a well-intended spit of lava and his works are full of rebellious and caustic passions. Mauldin was borne to renown in World War II on the shoulders of his famous G.I. cartoon characters.

The article focuses on political cartoons. American cartoonists in the early period did not work for the newspapers, which had no convenient way of reproducing their drawings. As a rule the cartoons were engraved on copper or wood and sold as separate prints, in shops, where the latest examples were strung across the window to attract attention. This system of publication prevailed up to and through the Civil War, and it accounts in part for the ferocity of the early cartoons.

The article focuses on prevailing political conditions in the U.S., as of May 4, 1953. Vienna, Austria's soft spring weather finds a small crowd of people standing before the U.S. Information Service's Amerika Haus located on Vienna's smart Karntner Straze. Four blocks away the Soviet Information Center building stands. The five-story modern building advertises crude cartoons depicting every variety of Allied wickedness; in its windows American soldiers are painted with sinister hideousness. Their reading rooms contain magazines featuring signed confessions by the U.S. Marine officers that the U.S. is using germ-bombs in Korea.

Presents several letters to the editor referencing articles and topics discussed in previous issues of the periodical. Comments on the nuclear weapons policy of the Soviet Union; Suggestion for U.S. President John F. Kennedy regarding policy towards the U.S. Constitution; "From the Academy," published in the August 26 issue; "For the Record," appearing in the August 12 issue; "Freedom and Authority in Roman Catholicism," published in a previous issue; "One Step Forward, Two Steps Back," published in the August 26 issue; Appreciation for John D. Kreuttner's cartoon, published in the July 15 issue.

The article highlights the talent of cartoonist Willard Mullin who completed a cartoon with graphite tone while doing the interview. It traces the career of cartoonist Mullin who started at the arts department of the newspaper Herald in Los Angeles, California to his stint with the New York-based World-Telegram. The article also notes Mullin's interest in people, his sense of humor, quiet confidence and his enthusiasm for life.

The article features U.S. illustrator Joe Kaufman. Kaufman realized that his inclinations and talents were matched with the new kind of humorous illustration, using exaggeration and distortion. It takes three steps for most of his illustrations to be completed including rough or roughs where the best is selected, full-sized pencil drawing in line on tracing paper, and tracing of drawing on illustration board and rendering in poster color. Kaufman is also noted for his pictorial cartography.

This article presents a cartoon related to socio-political developments and movements in the Soviet Union. This cartoon is named "The Universe Inc." It represents various issues and proceedings in the field of journalism.

This article presents information on activities related to preelection initiatives in the U.S. Like businesswoman Dorothy Thompson who faces the loss of a lucrative radio contract because of her preelection attacks on the "fear" campaign waged by advertising agencies. Without naming names, she revealed the threat at a luncheon of the movie division of the Democratic National Committee. And the Scripps-Howard artist, Talburt, who drew a cartoon showing F. D. R trying unsuccessfully to slide into third base; it was captioned, "Out at Third." As returns came in on election night, Roy Howard decided not to take any chances with slow-witted subordinates and solemnly wired all member papers of the chain to omit the cartoon.

A cartoon is presented about popularizing bucket bottled beer in the U.S.

The article provides information on a comic strip titled "World Citizen," by British political cartooning artist David Low and will appear in different newspapers from around the world in September 1951. The cast of characters in the strip include Colonel Blimp, the escapist ostrich as well as the trade-union workhorse. According to Low, the comic strip runs up against such difficulties and absurdities as peace-petition politicians.

The article features Steven R. Kidd and his illustrations. He was born in Chicago, Illinois in 1911, and studied a correspondence course in cartooning when he was thirteen years old. Kidd's works included his black-and-white pen-and-brush drawings. His illustrations include "The Night Before Christmas" and "Casey at the Bat." Kidd is an admirer of artist Howard Pyle.

The article presents artist Albert Staehle and his works on poster animals and advertising designs. It stresses that Staehle creates his drawing directly from models such as dogs, cats, geese, chickens and other creatures. It compares the artist's single drawings with Walt Disney's series of animal caricatures captured in film. It claims Staehle's single drawing captures human attributes at a glance. It mentions that Staehle's posters are consistent prize winners.

An interview with illustrator Floyd M. Davis is presented. According to Davis, he finds caricature and some distortion more interesting and much more fun in illustration than the literal. He says that frequently, he finds himself creating a story character in the image of a friend or acquaintance. When asked how he composes his illustrations, Davis says he usually begins at the bottom which, when painted, gives him a sense of foundation for the rest of the picture.

The article profiles William Auerbach-Levy, a caricature artist. It mentions that Auerbach-Levy is an acclaimed distinguished artist, a painter, and an award winning caricaturist. He is a member of the National Academy of Design in the U.S. Further, it notes that Auerbach-Levy's etchings made him as a master of the copper plate.

The article features political cartoonist Rollin Kirby. His figure drawing is described as unimpeachable and his cartoons reportedly give instantaneous exposition of an idea. Kirby writes and draws newspaper editorials. As of 1940, he is working on the "New York Post." According to him, the paucity of symbols through which a cartoonist must express himself is one of the handicaps which confront the cartoonist.

The article features illustrator Victor Volk. Volk was born in Milwaukee, Wisconsin in 1906 and studied art at the Milwaukee State Teachers College and The Layton School of Art. His career began as a commercial illustrator in his town and served as a supervisor of the Wisconsin section of the Index of American Design. He describes his experience of doing caricatures in pencil and in pen. Some examples of his work are provided.

The article presents cartoons related to publishing of a newspaper.

A letter to the editor is presented in response to a cartoon about milking cow in the November 15, 1943 issue.

The article reports on the increase in the popularity of cartoonist Charles M. Schulz's the Peanuts comic strips in 1965 worldwide. The Peanuts comic strips became popular because they talked about love, hate, solitude, among other basics of life. It is claimed that the comic strips were followed by some 60 million people in 700 newspapers in the U.S. and Canada and 71 other countries worldwide.

Presents information on the conduct of six American newspapers in the Presidential campaign of 1936. Statement that one of the biggest, noisiest guns on the Republican side was The Chicago Daily Tribune; Description of "The Tribunes'," articles and cartoons speaking against Franklin D. Roosevelt, the President of the United States; Information that in comparison with The Chicago Tribune, the campaign waged by The Los Angeles Times was mild and it was one of the principal anti- Roosevelt organs on the Pacific Coast; Reference to the conduct of "The Detroit News," "The Baltimore Sun" and "The St. Louis Post-Dispatch."

The article discusses eighteenth century English political cartoons and caricatures. It examines how prints were used by the political opposition and reflected anti-ministerial positions. The author considers cartoons targeting measures including the imposition of an excise tax in 1733, Jewish naturalization in 1753, and a proposed cider tax in 1762, and people including statesman Charles James Fox and Prime Ministers Frederick North, Lord North and Sir Robert Walpole. Cartoonists discussed include William Hogarth and James Gillray.

The article explores the field of art in France during 1848, a period notable for the overthrow of the restoration monarchy of King Louis Philippe. It considers tensions within the Académie des Beaux-Arts of the Institut de France between the schools of Neoclassicism and Romanticism. Political and social caricatures by artists such as Honore Daumier and J. J. Grandville appearing in the periodicals "La Caricature" and "Le Charivari" edited by Charles Philipon are discussed. Notable artists and schools of art considered include Eugene Delacroix, the Barbizon School, and Gustave Courbet.

The article focuses on the political conditions in the U.S. The campaign now mercifully over was certainly the dirtiest thus far in the century which legislator Henry Luce hopes will be remembered as the American Century. In its loathsome course this campaign disgusted the great majority of thoughtful Americans. In its strident reiteration of distortion and disparagement it was a caricature of democracy. If the world had ever been ready to accept us as a spiritual model, the chance disappeared in the three months preceding the election. Barry Goldwater had a following among extremists, racists, fanatics and so on, but he was supported also by many decent conservatives and independents who sensed that something had gone wrong with the dream and who thought it might he restored to its one-time purity by a candidate who ran on a platform of protest and retrogression.

The article looks at the relationship between psychiatry and U.S. industry based on the fact that a major part of a man's life is spent in business. The relationship between psychiatry and industry was highlighted in the cartoons published in a booklet released by Connecticut Mutual Life Insurance Co. The article also discusses the important role of psychiatry in resolving personnel problems.

The article discusses various themes of books for children. It says that television and comic books, with their gaudy monsters and their creaking but action-filled plots, are the natural outlet for the child who knows that honor and violence are very much a part of this world, and who does not find them in the fiction offered at the bookstore or library. With factual and scientific books he makes out better and most of the imagination expended in the production of children's books goes into them and they are often extremely well written and full of insight.

This article presents information about the life of Charles M. Schulz, the creator of famous comic strip "Peanuts." Peanuts brings Schulz worldly rewards of about $250,000 a year. The cartoon has appeared in 18 floppy paper-backed volumes which have so far sold 3 million copies. The characters of the "Peanuts" have also populated two hard-cover books. The first, "Happiness Is a Warm Puppy," is nearing one million sales in three languages. The second, "Security Is a Thumb and a Blanker," has sold over 500,000 copies in less than a year. Son of a barber in Saint Paul, Minnesota, Schulz had the initial handicap of being nicknamed "Sparky" at birth. He spent two years in the eighth grade and managed to graduate from high school. The school rejected the cartoons he prepared for its graduation yearbook. He copied some of the characters out of "Popeye" and "Captain Easy" and appended his own ideas to them. To his amazement the school soon offered him a full-time staff job. Schulz has always had two dreams: one to play left field for the San Francisco, California, Giants and the other to make $1,000 a week from a comic strip.

The article presents notes on art-related subjects. It discusses the subject of the cover of the March 1959 issue of "American Artist," the cat lynx, an animal belonging to the cat family, a cartoon comment on the Carnegie Institute's International Exhibition of Contemporary Painting and Sculpture held on December 5, 1958 to February 8, 1959 and a comment on women with long hair.

The article focuses on the different methods to teach art in the classroom. Teachers can use the Millard Sheets to motivate students to use their imagination in creating a design. Wire, newspaper, paste and paint are some of the art materials that can be used for creating a caricature of animals. Moreover, a teacher must have a full knowledge on the theme of poster competition to be able to coach the contestant for the poster competition.