Lloyd William Piper (31 October 1923 – 5 September 1983) was a respected Australian cartoonist, illustrator, and art teacher, best known for being the third artist to draw the legendary comic strip Ginger Meggs. His involvement with the strip from 1973 until his untimely death in 1983 not only revived the character for a new generation but also solidified his place in the history of Australian comics. Beyond comics, Piper left his mark through his work in advertising, education, and storytelling that celebrated Australian identity and locales.
Infobox: Lloyd Piper
Name | Lloyd William Piper |
---|---|
Born | 31 October 1923, Cassilis, New South Wales, Australia |
Died | 5 September 1983 (aged 59) |
Nationality | Australian |
Occupation | Cartoonist, Illustrator, Art Teacher |
Years Active | 1946–1983 |
Notable Works | Ginger Meggs, Wolfe, Catman, Steel Barr |
Military Service | Australian Army, 2nd/2nd Field Regiment (1942–1946) |
Spouse | Essie Gwendoline “Gwen” Armstrong |
Children | John William Piper |
Early Life and Military Service
Lloyd Piper was born on 31 October 1923 in the rural town of Cassilis, in New South Wales, Australia. His parents, Thomas William Piper and Alice Mabel Piper (née Byfield), raised him during a difficult economic era—the Great Depression—a time that shaped both his personal resilience and his creative imagination.
At 19, during the height of the Second World War, Piper enlisted in the Australian Army, serving as a gunner in the 2nd/2nd Field Regiment. His unit was deployed to New Guinea, where he experienced the harsh realities of jungle warfare. Piper served until the end of the war in 1946 and was formally discharged in November that year.
After the war, he enrolled in a government-funded Rehabilitation Training Scheme, designed to assist returning soldiers. Piper relocated to Sydney, where he pursued his passion for art and began laying the foundations for a career in the creative industry.

Emergence in Australian Comics and Early Career
Piper began his artistic journey during the postwar boom in Australian comics, a time of vibrant growth in local storytelling. He was commissioned by Frew Publications to illustrate Catman and Kalar the Caveman, two of his earliest contributions to Super Yank Comics. His take on Catman significantly differed from its American counterpart—removing the superhero’s secret identity and swapping the female sidekick Kitten for a boy named Kit. Publisher Jim Shepherd later attributed this change to Ron Forsyth, a Frew co-founder who preferred male leads.
In 1946, Piper also created Steel Barr, a fearless jungle commissioner, for OPC’s Hurricane comic book series. The character, later revived in 1950 by Young’s Merchandising, became known for his relentless pursuit of a mysterious adversary called The Phantom Man. Comic historian Kevin Patrick described Steel Barr as “a granite-jawed hero battling danger in the heart of Africa.”
Adding to his portfolio, Piper crafted a filler strip called Lemmy Loo for K.G. Murray’s Captain Triumph Comics, which ran between 1949 and 1950. These early years established Piper’s name as a capable and versatile storyteller in a growing national industry.
Transition to Advertising and Teaching
By the 1950s, Piper began a long and fruitful career in the advertising industry, where he worked for over two decades as a layout artist. This phase honed his sense of design, visual hierarchy, and audience targeting—skills that would prove crucial when he later returned to comic strips.
In 1970, Piper accepted a position as a part-time Graphic Design instructor at the National Art School, one of Australia’s leading creative institutions. He continued teaching until his death in 1983. His contributions to the art school nurtured a generation of young designers and cartoonists, many of whom would go on to successful careers. Colleagues and students alike admired his blend of professional experience and pragmatic guidance.
Return to Comic Strips: Wolfe and Ginger Meggs
In October 1972, Piper made a significant return to comic storytelling with Wolfe, commissioned by the Sunday Telegraph. The strip chronicled the travels of a rugged Australian adventurer through real locations across the continent. It stood out for its local flavor, offering readers familiar landscapes and regional references. According to John Ryan, author of Panel by Panel, “Wolfe’s strength was its storytelling and setting, rooted in the everyday geography of Australia.” The comic ran for six years, before being replaced by a syndicated superhero strip.
Piper’s most enduring legacy came with his stewardship of Ginger Meggs, following the death of artist Ron Vivian. Invited by the family of the strip’s creator, Jimmy Bancks, Piper became the third official artist to draw the red-headed larrikin. He also became the first successor allowed to sign his name to the strip, a significant acknowledgment of his artistry.
In August 1977, Ginger Meggs shifted publication from the Sun Telegraph to the Sun Herald, replacing its rival strip Fatty Finn. Piper approached the project with deep respect for Bancks’s vision. In a 1983 interview, he remarked:
“I have worked 30 years in advertising. I understand all the aspects of other people’s wants. I have striven to maintain Bancks’ character, but admit that his sense of humour was so individual, his successors can hope for, but never really match it.”
Despite this dedication, Piper viewed his role with a practical lens. To friends, he often described the gig as “just a job” and once quipped: “They don’t pay me much and they get what they pay for.” Nevertheless, Piper’s version of Ginger Meggs remained true to the Australian spirit, balancing humor, mischief, and moral lessons.

Personal Life and Tragic Death
In 1953, Lloyd Piper married Essie Gwendoline “Gwen” Armstrong, with whom he had one son, John William Piper, born in 1956. The family resided in Sydney, where Piper balanced his professional responsibilities with family life.
On 5 September 1983, Lloyd Piper died in a car accident, bringing an abrupt end to a multifaceted career that had spanned illustration, comics, design, and education. His contributions to the visual arts—especially his tenure on Ginger Meggs—remain a testament to his creativity and dedication.
Today, Piper is remembered not just as a cartoonist, but as a chronicler of Australian life, a mentor to aspiring artists, and a craftsman who helped shape mid-20th century visual culture in Australia.