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==Life and career==
==Life and career==
Phil Marquis Davis was the youngest son of Charles Henry and Ethel Herchenrath Davis. He had an older brother Hugo (b. 1903) and a younger sister Emily (b. 1908).
Phil Marquis Davis was born in 1906 in Saint Louis, Missouri. His father was Charles Henry Davis and his mother was Ethel Herchenrath Davis. He spent a happy childhood with his older brother Hugo (b.1903) and his baby sister Emily (b. 1908).  


He liked to draw from the time he was a small boy. During a summer vacation when he was 12 years old - that was during the first World War - he got a job as a tool boy in the Liberty Motors plant. There he met Franz Berger, who used to be captain of Purdue University's baseball and football teams. Berger was a mechanical engineering professor at Washington University - also doing a war job during the summer - and he encouraged Phil to take a manual training course at high school. Phil did, with every hope of becoming an engineer.  
At the age of 6 he got deeply interested in drawings: ''"I had a mania for parades”, he says. “I drew every parade I could see. My family neither encouraged nor discouraged me; they just went along and accepted my dark fate."''


But when he graduated from Soldan High School, his family was in financial trouble, and he had to get a job right away. Because of his training in mechanical drawing he was able to work for the telephone company as a draftsman.  
During a summer vacation when he was 12 years old - that was during the first World War - he got a job as a tool boy in the Liberty Motors plant. There he met Franz Berger, who used to be captain of Purdue University's baseball and football teams. Berger was a mechanical engineering professor at Washington University - also doing a war job during the summer - and he encouraged Phil to take a manual training course at high school. Phil did, with every hope of becoming an engineer.
 
When he graduated from Soldan High School, his family was in financial trouble, and he had to get a job right away. Because of his training in mechanical drawing he was able to work in the technical department of a telephone company as a draftsman.


Then young Davis hit a series of bad luck streaks. He'd been sick in the flu epidemic, and had a form of sleeping sickness as an after-effect. The phone company had to transfer him to outside work - switch-board installation - but the continuing effects of the sleeping sickness made him undependable and he was laid off.  
Then young Davis hit a series of bad luck streaks. He'd been sick in the flu epidemic, and had a form of sleeping sickness as an after-effect. The phone company had to transfer him to outside work - switch-board installation - but the continuing effects of the sleeping sickness made him undependable and he was laid off.  


Phil tinkered with radio and got a first-class ham license (9 EDD). He took night-school courses in trigonometry and drafting, and finally hooked up with a civil engineering firm, where his lettering work was very much admired. One day the head draftsman said, "Why don't you try commercial lettering? There's a lot of money in that!" Phil took a Y.M.C.A. course in showcard lettering, and bought all the books on the subject that he could find. And through a series of small art jobs, he finally landed in the advertising agency where he met Falk.
Phil tinkered with radio and got a first-class ham license (9 EDD). He took night-school courses in trigonometry and drafting, and finally hooked up with a civil engineering firm, where his lettering work was very much admired. One day the head draftsman said, ''"Why don't you try commercial lettering? There's a lot of money in that!"''  
 
"I didn't have any idea of the amount of work involved in a comic strip," Phil recalls. "I nearly killed myself in Mandrake's first year-working 14 hours every day, and 5 hours on Sunday besides! There's a lot of difference between taking a week to do one drawing for an advertisement - and doing 24 complete drawings for six comic strips! "Still, I wouldn't go away from my anatomically correct figures to do the faster type of cartoon illustration. Anyway, once you start a strip, the Syndicate wants it to be always exactly the same. "But all this pressure has had its advantage. By doing good art for Mandrake, I don't lose my touch, and I can always do commercial work in addition. I find that Mandrake has made me a better artist, and a much faster worker."
 
Phil Davis has a studio in a downtown office building, another in his home, and a couple of drawing boards in his country house in the foothills of the Ozark mountains. He isn't temperamental at all, and does his work at whichever of the three places he happens to be.
 
Drawing Mandrake may be a little easier for Phil, because he doesn't have to worry too much about the story. The stories - the trade name is "continuities" - are all written by Lee Falk, who lives in New York now, and mails two or three months' supply at a time to Phil. Phil studies the script, edits it a little, cuts down the amount of talking the characters do (on account of space limitations) and proceeds to rough out in pencil.
 
When he has six strips finished this way, he sends them over to a lettering man who inks in all the lettering. Sometimes a balloon will take more or less space than Phil had estimated, and with the lettering in first, he can adjust the drawings to fill the panels properly.
 
Nowadays, Phil has a real assistant - his wife, Martha, who used to be a fashion illustrator for St. Louis department stores. During the recent war, Phil felt that he ought to help, and did some work in preparing instruction manuals at the Curtis plant. Martha started working on Mandrake. "And now," says Phil, "she's just as good as I am! After the war, she didn't want to leave Mandrake - so now we work together, and each of us can do any part of the job, or finish the work of the other one."
 
Phil Davis stands 6 feet 4½ inches tall (yes, he was on the basketball team at Soldan) and weighs only 175 pounds. He has a little mustache, chestnut hair that's wavy on the ends, and brown eyes. He wears glasses only when he's at the drawing board. "I'm the laziest guy in St. Louis." He says. But he doesn't really mean that, because he has a complete power-tool woodworking shop in his country house, and he has done most of the cabinet work, plumbing and electrical work out there. He likes to swim in the river and lake behind his property. Do a little hunting, and play with his two dogs: Julius, a French poodle and Max, a dachshund.
 
Phil doesn't think he should give suggestion to young men. "I don't think there's any fixed formula that two different people can follow." He says, "because everybody learns differently. I'd say that all education is good, but in my opinion art education would take some of the freshness away from natural cartooning ability." If a fellow's got a touch and a technique of his own, he should certainly develop that individually, and not try to follow somebody else's pattern !"
 
 
 
He started his art career in 1928 at St. Louis Post Advertising and did, as free lance artist,  advertising illustrations until 1934.


In 1934 he met Lee Falk and Mandrake the Magician was born.
Phil took a Y.M.C.A. course in showcard lettering, and bought all the books on the subject that he could find. His first commercial art work appeared in "St. Louis Post Dispatch" in 1928.  


In 1941 he won the national competition for designing the A.N.P.A. medal, award each year to the outstanding student of journalism.
Through a series of small art jobs as a free lance artist (spending the night at Washington University art school, studying figure painting and illustration), he finally landed in a advertising agency who calling themselves The Illustrators Inc. The agency was in the 12.th floor in the Louderman Building, where several commercial artists rented a studio together. With Al Parker as the main illustrator.


During WW2 he served as an art director for Curtis-Wright Aircraft Corp. During this time his wife Martha, gave up her career as fashion artist for on of St. Louis department store, to assist him in preparing Mandrake drawings.
Shortly after US Liberty Magazine printed a Phil Davis cover for the September 1933 issue a young man named Lee Falk came walking into his office.


His hobbies included swimming, woodworking and gardening.
==Mandrake - The Early Years==

Revision as of 15:09, 11 February 2011

Phil Marquis Davis
Biographical information
Born: March 04, 1906
Died: Desember 16, 1964
Nationality: Mini usa.gif American
Occupation: Artist
Website: N/A


Life and career

Phil Marquis Davis was born in 1906 in Saint Louis, Missouri. His father was Charles Henry Davis and his mother was Ethel Herchenrath Davis. He spent a happy childhood with his older brother Hugo (b.1903) and his baby sister Emily (b. 1908).

At the age of 6 he got deeply interested in drawings: "I had a mania for parades”, he says. “I drew every parade I could see. My family neither encouraged nor discouraged me; they just went along and accepted my dark fate."

During a summer vacation when he was 12 years old - that was during the first World War - he got a job as a tool boy in the Liberty Motors plant. There he met Franz Berger, who used to be captain of Purdue University's baseball and football teams. Berger was a mechanical engineering professor at Washington University - also doing a war job during the summer - and he encouraged Phil to take a manual training course at high school. Phil did, with every hope of becoming an engineer.

When he graduated from Soldan High School, his family was in financial trouble, and he had to get a job right away. Because of his training in mechanical drawing he was able to work in the technical department of a telephone company as a draftsman.

Then young Davis hit a series of bad luck streaks. He'd been sick in the flu epidemic, and had a form of sleeping sickness as an after-effect. The phone company had to transfer him to outside work - switch-board installation - but the continuing effects of the sleeping sickness made him undependable and he was laid off.

Phil tinkered with radio and got a first-class ham license (9 EDD). He took night-school courses in trigonometry and drafting, and finally hooked up with a civil engineering firm, where his lettering work was very much admired. One day the head draftsman said, "Why don't you try commercial lettering? There's a lot of money in that!"

Phil took a Y.M.C.A. course in showcard lettering, and bought all the books on the subject that he could find. His first commercial art work appeared in "St. Louis Post Dispatch" in 1928.

Through a series of small art jobs as a free lance artist (spending the night at Washington University art school, studying figure painting and illustration), he finally landed in a advertising agency who calling themselves The Illustrators Inc. The agency was in the 12.th floor in the Louderman Building, where several commercial artists rented a studio together. With Al Parker as the main illustrator.

Shortly after US Liberty Magazine printed a Phil Davis cover for the September 1933 issue a young man named Lee Falk came walking into his office.

Mandrake - The Early Years

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