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The artwork is done in pencil and ink, with some areas highlighted in blue, typical of Caprioli's style for this series. Caprioli's illustrations for "Moby Dick" are known for their detailed linework and expressive character portrayals, capturing the mood and atmosphere of the story.
Franco Caprioli is an Italian author and illustrator who created a comic book adaptation of Herman Melville's "Moby Dick" titled "Moby Dick - La balena bianca"
सई परांजपे , लोकसत्ता, जानेवारी २०१४:
"... शकुंतला परांजपे हे नाव ती लेखिका असल्यामुळे परिचित असले तरी माझ्या मते तिची खरी ओळख तिने संततिनियमनाच्या क्षेत्रात केलेल्या कामगिरीमुळे नोंदवली जावी. रघुनाथ धोंडो कर्वे हे आईचे दूरचे चुलतभाऊ. (अप्पा आणि भारतरत्न महर्षी धोंडो केशव कर्वे हे सख्खे आते-मामेभाऊ!) पण नाते जरी दोन चुलींपलीकडचे होते, तरी कर्वे-परांजपे जवळीक दाट होती. कर्वे तेव्हा समाजात संततिप्रतिबंधाचा प्रचार करण्याच्या प्रयत्नांत होते. पण ते बरेचसे अरण्यरुदन होते. कारण तो विषयच तेव्हा अप्रिय होता. तेव्हा कुणी त्यांचा उपदेश आचरण्याचे तर सोडाच; पण ऐकण्याच्याही मन:स्थितीत नव्हते. एकदा ते आईला म्हणाले, ‘‘या कामाचा खरं तर स्त्रियांच्यात प्रचार व्हायला हवा. पण त्यासाठी एखादी खंबीर बाई उभी राहिली पाहिजे. तू करशील का हे काम?’’
‘‘अप्पांना विचारून सांगते,’’ असे तिने उत्तर दिले. अप्पांनी तात्काळ संमती दिली. म्हणाले, ‘‘हे कार्य अतिशय निकडीचे आहे. प्रजा अशीच बेसुमार वाढत राहिली तर देशात फार कठीण परिस्थिती ओढवणार आहे.’’ मग आईने या खडतर कार्याचा श्रीगणेशा केला. अर्थात् मार्गदर्शक आणि गुरू र. धों. कर्वे होते. .."
This cartoon was published during James Thurber’s early years as a regular contributor to The New Yorker, where he worked as both writer and artist. By the early 1930s, his cartoons had begun to appear with some frequency, helping to define the magazine’s tone: understated, literary, and visually unconventional.
The drawing is a typical example of Thurber’s style. His characters are rendered with minimal, almost primitive lines—an aesthetic shaped in part by his declining vision. Thurber lost most of the sight in one eye during a childhood accident, and his eyesight continued to deteriorate throughout his life. As a result, many of his cartoons were drawn in black crayon or pencil on oversized paper, then resized for publication by the magazine’s art department.
This cartoon uses a simple two-character scene with a visual absurdity—the seal on the headboard—introduced without narrative buildup. That approach was common in Thurber’s work. He frequently combined ordinary domestic scenarios with surreal elements, often leaving their presence unexplained. These cartoons appeared alongside his essays and short fiction, contributing to his reputation as one of the defining voices of The New Yorker in its formative decades.
courtesy: cartoonstock.com
