An unusually (for me) widescreen-shaped ink drawing with pencil colours on orange paper. We have a landscape leading, from left to right, to a cliff edge. The ground starts quite low and then curves up so the very edge is outside the top of the picture. The cliff face is very straight all the way down. The cliff face is orange, white, purple and green striped, and the ground on top is a thin layer of green, almost like icing on an oddly shaped cake. On the lower part of the cliff top we can see quite a nice, small house surrounded by lollipop-looking trees and a small fence - all this is shades of green. On the other side of the picture - a large, stylised human head, drawn in white ink, is sticking out of the cliff face, which we see in profile. White goatee. Face dominated by an enormous eye. Stood on the head's very flat top are various birds and we can see a great many others in the sky, having taken off. We can see a few white stars here and there embedded in the extremely orange sky.

And another new one for today. A right orange one.

Ink drawing with pencil colours on white paper. No ground or sky drawn, just the whiteness. On the left stands a tall, narrow house, of which we can see the front and one side. Our POV is as if we are a little taller than the house, btw. In the front of the house are two windows, one on top of the other, showing darkness inside, and a door under these. In one of the windows and just outside the door are a few people, who look pretty much the right size compared to a house. On the side of the house though, is another door, which is not far off the size of the wall. It is wide open, out of which is floating a giant (compared to the people) ghost wolf, which is whistling. The wolf is transparent but with a swirly pattern in blue over his fur. Behind all this is a row of six trees, all looking like misshapen leaves - all have very thin trunks and the actual leaves take the form of orange gloopy masses either side of the trunks. No ground is drawn, but everything is casting long, blue shadows. In the sky, a moon, which we can see all of, but a crescent of it is coloured yellow while the rest of it is blue.

New picture. Another with a wolf. A ghost wolf. A whistling ghost wolf.

Four square prints of My Scottish ufo prints

My print a beautiful horse in the sunset

My print the screaming Steves (they are both called Steve)

An envelope addressed to Mr I Madeupaname 9 pretend street There are some of my small prints scattered around it

I often repost other artists while brilliantly forgetting to plug my own stuff then moaning about my lack of sales. So with that in mind look upon my works ye mighty and think that would look smashing in the living room. marswasrubbish.etsy.com

What I'm learning from these posts today is: 28 years ago, I walked into Our Price, picked up Mezzanine by Massive Attack and was evidently utterly oblivious to this masterpiece being nearby.

I quite agree. And while we're at it, why is a Pine Marten a weaselly sort of thing when it should clearly be a bird?

Back to work. Well, if nothing else, it's interaction with other people and that's a warm and healthy thing.
*logs on, immediately starts missed training course with AI generated voice*

'Too Young To Die' Saint Etienne (1995)

Good morning

Fry: (while somehow managing to become completely entangled in a deckchair) HELP! POLICE!

Billie Piper, at the end of the last episode of Doctor Who, appearing at the other end of Ncuti Gatwa's regeneration, looking down the camera with golden hair and a galaxy-wide smile.

Just watching some of season 16 of Doctor Who, and it occurred to me Billie Piper would make a good incarnation of Romana. Although why would she have appeared in the Doctor's regeneration? Oh, I'm sure some Space Magic could explain that away.

Something to have a look at if you're at a loose end on a Sunday morning. And if you didn't see it last night.

Grandstand

Ink drawing with pencil colours on white paper. At the bottom of the picture, a blue, yellow and three shades of green striped ground, and similarly striped hills on the horizon. In the foreground, bounding across the landscape, all feet off the ground, is a wolf. Sort of. Its four legs are green and white striped and are quite spindly. The body is thick at the front and tapers away to almost nothing, like Anne Elk's brontosaurus. It has a yellow underbelly, while its back and tail are the same colours as the stripes, but fading from one colour to the next. The head, in profile, features a long, thin, stick-like nose, a yellow eye, white face and the back of its head features the stripe theme. The back of the head stretches away from the face and the ears are balanced right at the back of the elongated head.

I think this wolf is one of my favourite things I've ever drawn. I mean, it's nothing like a wolf. But it is one.

Ink drawing with pencil colours on white paper. White sky, Banks of grey cloud on the horizon. Full, grey moon high in the sky. The ground is flat land for what looks like miles around, and is grey/green, red, dark yellow, black and brown striped. Not immediately obvious, but the moon's shadow is directly under it on the ground, raising all sorts of questions I will not be taking. Over on the left, and quite far away from us, a building. A music venue! The whole building is grey. The ground floor features the doorway and round windows either side. Above this is a sign: "tonight's live band STRIX ALUCO AGOGO. 8 TIL LATE! (11 o'clock)". Above this, the next storey up is wider than the ground floor, in which we see a window with yellow light and a crowd inside. Presumably the gig. In the sky, over on the right and far away, three birds fly.

New picture...

a black and white cartoon shows a ghost standing next to a man ALT: a black and white cartoon shows a ghost standing next to a man

I think this scene is the greatest in animation history!

It could well be couldn't it!
By the time I'd seen TLB I was already into jazz via another set of cartoons - the wildly surreal early Betty Boop ones.

Ohhh, that one was close to being on the list! There were no Friz Freleng ones in the end. I really like his Pizzicato Pussycat as well.

I enjoyed that. Glad a few of you seemed to like it too! A final thing - I drew the gremlin from Falling Hare earlier, here it is - and then, as the pig said, that's all folks

One of the monster ones - Water Water Every Hare - almost made it onto the list! I love the slow motion chase at the end.

I wouldn't argue if someone said it was the best! There are just a handful of others that sneak ahead of it for me.

Excellent cartoon. I love how Bugs in particular is drawn in this one.

There are many, many great ones!

I love his misplaced faith that *this* time, surely, he won't hit another bloody tree. Fabulous stuff. All set against Maurice Noble's gorgeous yellow skies and blue foliage.

The Dover boys, directed by Chuck Jones. All three of the Dover Boys managing to punch each other in the face instead of Dan Backslide (who lies unconscious on the floor)

1. The Dover Boys (1942)
Just sublime. The three Dover Boys attempt to rescue their fiancee Dora from the villainous Dan Backslide. You are literally never more than a few seconds from a ridiculous pose, insanely delivered line or clever joke. Wonderful stuff.

Plane Daffy, directed by Frank Tashlin. Daffy, extending his neck backwards, attempts to avoid being kissed by spy Hatta Mari. He will fail, she will kiss him in such a way that he goes entirely rigid with electric fizzing off him, explodes, and then oozes gloopily to the floor - make of that what you will.

2. Plane Daffy (1944)
Daffy, working for the army, attempts to not be seduced into giving military secrets by a ridiculously hot pigeon that works for Hitler. What a bizarre sentence.

Kitty Kornered, directed by Bob Clampett. Four cats all lean on each other in odd, stylised ways, celebrating their shortlived victory over Porky Pig.

3. Kitty Kornered (1946)
Porky tries to put his cats out for the night. That is literally the plot. The cats won't go. They plot and scheme, they pretend to be aliens, they run at Porky with swords. Characters and scenery change size and shape throughout; it is absolutely crackers.

The Great Piggybank Robbery, directed by Bob Clampett. In this shot, an unimpressed looking villain with a cigarette, surrounded by shadowy, ghostly looking colleagues. The top of his head is completely flat and a little aeroplane is about to take off from it.

4. The Great Piggybank Robbery (1946)
Daffy - in a cartoon-long dream sequence - is Duck Twacy, ace detective, trying to solve the crime in the title. It features, briefly, many weird villains, best of all - this guy:

A Gruesome Twosome, directed by Bob Clampett. Two male cats on a fence, one yellow and dozy looking, one orange with a huge red nose, attempting to woo a small female cat. They are going to get absolutely battered.

5. A Gruesome Twosome (1945)
Two male cats are vying for the affections of a female cat, by each trying to catch Tweety for her. Unfortunately for them, this is one of Tweety's early cartoons where he is an absolutely sadistic little fucker, and not the cutesy thing he later turns into.

Duck Amuck, directed by Chuck Jones. Daffy looking very, very unimpressed. Around him - nothing. A complete void. Empty white. It's kind of scary as well as funny.

6. Duck Amuck (1953)
Daffy begins what he believes to be a musketeer cartoon, only to find the backgrounds, story, costumes, even *his own body* keep being changed. He goes berserk trying to keep up. Honestly - I think he does an amazing job.

Falling Hare, directed by Bob Clampett. Image shows a close-up of Bugs Bunny, eyes shut, laying on the ground, unconscious. Teeth wedged in the ground. A little gremlin leans in to check on him. The gremlin has a yellow body, huge blue head, aeroplane wings for ears and his arse is the back of an aeroplane as well.

7. Falling Hare (1943)
Bugs Bunny is at an aeroplane base, reading about gremlins. Surely they can't be real? Then one turns up and merrily tries to kill him. Bugs is far better here being irritated and annoyed, rather than the unflappable cool guy he later becomes.

Robin Hood Daffy, directed by Chuck Jones. Image shows Daffy swinging on a rope past Friar Tuck Porky, trying to convince him he IS Robin Hood. Porky is unimpressed; Daffy will shortly swing rather hard into a tree.

8. Robin Hood Daffy (1958)
Porky & Daffy again, in one of several genre parodies they did with Chuck Jones. Friar Tuck (Porky) wishes to join Robin Hood (Daffy)'s cause. But the friar is having trouble believing this idiot is the hero of legend.