Hank Ketcham made it look so easy…and that was the trick. His loose, thick cartoony line seemed to skate across the page. A Dennis the Menace daily feels so comfortable and easy to take in at a glance, as if we are in the flow of Ketcham’s relaxed line. And his imagery is equally easy, almost as abstract as a UPA cartoon (Gerald McBoing Boing, Mr. MaGoo). But unlike the jazzy cartoon aesthetic of the 50s, Dennis the Menace was firmly situated, perhaps petrified, in the iconography post-WWII white suburbia. And Ketcham himself said he aspired for his art not to call attention to itself and almost look not there.
But of course, this kind of easy transparent style was the result of tremendous skill and care. Take for instance this otherwise anodyne daily of Dennis making yet another disastrous assault on his perennial target, the cookie jar. Ketchum’s loose, flowing pen line was much admired by fellow cartoonists because it was at once light in spirit and cartoony but also controlled and precise. He credits Noel Sickles with teaching him how to use a pen more like a brush and relax his line so it seemed to flow so effortlessly.
Consider the sheer economy of this scene, how so few lines establish his figures and setting. He establishes his modern suburban kitchen setting with such selective specificity – refrigerator and cabinet handles are sparse and abstract, but the three storage jars on the counter embody the post-war mid-century modern style. And yet the broken cookie jar is detailed and minute, pulling the eye to the center of the chaos.
I have read some fellow artists praise Ketcham’s mastery of drapery, and here is a great example of using that detail to carry the weight of mother Alice’s reaction. Henry and Alice Mitchell only speak for themselves on occasion in Dennisworld. Most often they are reacting graphically to Dennis’s transgressions in minute details – the positioning of an eyebrow line, body posture, slightly splayed feet. In this panel, we don’t even need Alice’s facial expression to complete the scene. Ketcham positions us at kid level and uses the drape of her skirt and flying kerchief to render the reaction shot.
Hank Ketcham mapped mid-century American suburbia so simply and beautifully. He was a perfectionist with establishing perspective that made you part of the scene. In this early 50s panel, his composition and staging of characters is everything. It establishes the dynamic among characters and separates Dennis from the group in just the way he is emotionally. And Ketcham’s Disney training comes through in the ways each of the adults is animated and characterized individually. Every person in the scene is laughing in a particular way that suggests their own character and backstory. And it was all told visually with that signature loose and flowing pen work that makes a well-planned panel feel effortless. No wonder so many of his contemporaries envied his artistry.
Perspective was critical to Ketcham. He often finds ways to place us in the scene that also involves us in the flow of the action or in relation to a character’s perspective. The panel above underscores his thoughtful use of point of view to heighten meaning. Here Dennis and the gang’s boyish conspiracy feels more intense, intimate, secretive by being set back from the action.
The aesthetic of Dennis the Menace is centered in the brilliant design of Dennis himself of course. First it is important note that Dennis is impossibly small. Compared to the adults around him, this five-year-old is considerably smaller than his age, barely reaches the knees of his distinctly lanky parents. His bunched, oversized coveralls keep him even more grounded and often give him the appearance of a cannonball in motion.. Dennis rarely trips, falls or loses control. It is the physical and human world around Dennis that loses its footing. Adults grimace, recoil in shock or just scatter and lie akimbo in his wake. Ketcham describes Dennis as innocent. But the power of this strip is the way Ketcham embodies that innocence visually. Dennis is pure innocent determination embodied in physics. Either his low center of gravity keeps him steadfast in his attitude or momentum expresses the conviction of his chase or escape.
In earlier stints at the Lantz and Disney animation studios, Ketcham absorbed his strong sense of animated motion and rich characterization. But he also found at Disney and his work on many Donald Duck shorts the visual model for Dennis himself. With his butt sticking out, legs angled back to balance a cantilevered belly out front, Ketcham describes Dennis in one of his model sheets as “not unlike D. Duck.”
Nudism is one of Dennis’s favored modes of expression…and Kaetcham’s. He flees his dreaded bath by careening bare-assed and in flight into the neighborhood. He is not just unselfconscious but truly free. When he stands principled against clothing, butt to the viewer, the open arms and declarative mouth dramatize obliviousness, not shame. The otherwise buttoned down Ketcham somehow finds in nude Dennis a way to celebrate visually a sense of liberation in nakedness that in an unlikely way anticipates counter-cultural ideas a decade in advance.
Which is to say that Dennis the Menace exemplifies what makes the comic strip medium distinct. In its best hands, cartooning is not just an illustrated or dramatized punch line. The artwork embodies and deepens the meaning of the idea.