Ronald Charles Vivian (19 February 1914 – 5 May 1973) was an Australian cartoonist and newspaper comic artist, best known as the second artist to draw the iconic comic strip Ginger Meggs following the death of its creator, Jimmy Bancks. Vivian maintained the beloved character’s spirit for over 20 years, becoming a silent but significant figure in the Australian comics tradition. Though not publicly credited for much of his career with the strip, his meticulous craftsmanship and commitment to Bancks’ legacy helped keep Ginger Meggs a household name throughout mid-20th century Australia.
Infobox: Ron Vivian
Full Name: Ronald Charles Vivian
Born: 19 February 1914, Sydney, New South Wales, Australia
Died: 5 May 1973, Warriewood, New South Wales, Australia
Nationality: Australian
Occupation: Cartoonist, Illustrator
Known For: Ginger Meggs (1953–1973)
Military Service: Royal Australian Air Force, 1942–1945, Sergeant
Awards: 1939–1945 Star, Pacific Star, War Medal 1939–1945, Australian Service Medal 1939–1945
Notable Works: Ginger Meggs, Winnie the War Winner, Golden Books adaptations
Employer: Australian Consolidated Press, News Limited
Years Active: 1938–1973
Hall of Fame: Australian Cartoonists’ Association Hall of Fame, 2022
Early Life and Education
Born in Sydney, New South Wales, to Charles Cecil Vivian and Vida Francis, Ron Vivian displayed a natural talent for drawing from a remarkably young age. His mother proudly claimed that he could sketch recognisable objects before he could even talk. Raised in the working-class neighbourhood of Paddington, his artistic instincts flourished. When the family moved to Chatswood, a more suburban area of Sydney, he attended Sydney Church of England Grammar School (Shore School), where his penchant for caricature and illustration began to be noticed.
Vivian initially aspired to join the navy, but his father advised him to pursue a practical backup plan and encouraged him to study art. He enrolled at East Sydney Technical College, where he studied commercial art and technical illustration. After completing his training, Vivian briefly worked at his father’s advertising agency before it collapsed during the Great Depression. His father’s bankruptcy in 1936 forced Ron to seek work elsewhere, setting him on a path that would define his future.
Early Career
Vivian soon found work with The Daily News (formerly The Labor Daily), where he was given the opportunity to create his own comic strip, Jimmy Gale, which debuted in December 1938. Although the strip had a promising start, it was abruptly cancelled in May 1939 due to the paper’s financial struggles. The collapse of the paper in 1940, followed by its acquisition by Australian Consolidated Press (ACP) under Sir Frank Packer, led to widespread layoffs. Remarkably, Vivian was retained, finding new opportunity within ACP’s sprawling media empire.
Vivian joined the art department of The Daily Telegraph, where he illustrated political cartoons and editorial drawings, and contributed to The Australian Women’s Weekly. He also took over the production of the single-panel cartoon Winnie the War Winner, originally drawn by Hottie Lahm. The cartoon, aimed at boosting wartime morale, became so widely recognised that a makeshift radio built by Australian soldiers during the Battle of Timor in 1942 was named after it. That radio, “Winnie the War Winner,” is now preserved at the Australian War Memorial.
Military Service
Although initially exempt due to his work in a protected industry, Vivian enlisted in the Royal Australian Air Force (RAAF) on 20 January 1942, and served as part of Sparrow Force in Australia and New Guinea. His experience in the jungle warfare theatre was harrowing, and he was later diagnosed with what would now be recognised as post-traumatic stress disorder (PTSD).
Recognising his artistic abilities, the RAAF reassigned him to the Victorian Air Board, where he produced technical illustrations, comic panels, and morale-boosting materials for military publications. For his service, Vivian was awarded the 1939–1945 Star, Pacific Star, War Medal 1939–1945, and the Australian Service Medal 1939–1945. He was discharged as a sergeant in December 1945 and quietly transitioned back into civilian life and professional art.
Ginger Meggs and ACP Career
Upon his return, Vivian resumed work with ACP, contributing regularly to various publications. His life changed dramatically in 1952, when Ginger Meggs creator Jimmy Bancks died suddenly. Bancks left behind a cache of unpublished comic strips, giving ACP time to find a suitable replacement. Vivian, already a trusted and proven illustrator within the organisation, was selected by ACP’s art director Tom Hughes to carry the torch. Hughes recognised that Vivian’s rare ability to mimic other artists’ styles made him the ideal choice.
Vivian’s first Ginger Meggs strip appeared in December 1952, and by April 1953, he had taken full control of the strip. His adaptations were so faithful that readers rarely realised a new artist had taken over. However, under contract, he was prohibited from signing his work, and the strip carried only the credit “Created by Bancks.” Despite this, Vivian poured his heart into the strip, producing thousands of pages over two decades. He once said, “There’s a little bit of Ginger in each of us.”
Vivian’s role expanded to include Ginger Meggs-related merchandise, including the production of ceramic cups, mugs, plates, and a series of Little Golden Books and COR colouring books. In 1954, he signed a lucrative agreement with Golden Press to illustrate two Ginger Meggs Golden Books annually. Three were published: Ginger Meggs and Herbert the Billy Goat, Ginger Meggs and the Country Cousin, and Ginger Meggs’ Lucky Break. The books were projected to sell tens of thousands of copies and formed a vital part of ACP’s merchandising efforts.
Later Years and Challenges
The 1960s brought both recognition and frustration. In 1961, ACP implemented major cost-cutting measures. While Vivian retained his position, the budget constraints led to the cancellation of the Ginger Meggs Annual after 35 consecutive years. Vivian continued to draw the strip and work on illustrations for other ACP titles, all while quietly managing the pressure of meeting weekly deadlines and generating new storylines.
He admitted that inspiration often came spontaneously—in the garden, at the grocery store, or even during night shifts at the Daily Telegraph. He once said, “You never quite stop thinking about what Ginger should be up to next.”
In 1971, Ginger Meggs celebrated its 50th anniversary. Vivian reflected on the character’s enduring charm: “Even though times change, boys don’t. The mischief, the curiosity, the friendships—they’re timeless.” Despite technological and cultural shifts, Ginger Meggs remained a fixture in Australian life.
The following year, News Limited purchased The Daily Telegraph and The Sunday Telegraph, and Vivian, along with other staff, relocated to News Ltd’s Holt Street offices. Although he adjusted well, the demands of his role increased. He began working two nights a week in the art department while still drawing the strip from home. In 1973, for the first time in 21 years, Vivian prepared to take a proper holiday, with plans for The Sunday Telegraph to reprint old strips during his absence.
Death and Legacy
Tragically, Ron Vivian passed away unexpectedly from a heart attack on 5 May 1973, shortly after beginning his leave. His death came as a shock to colleagues and readers alike. According to artist Alex King, a friend and co-worker, news of Vivian’s death left the art department in stunned silence.
After his death, the task of continuing Ginger Meggs passed to Lloyd Piper, who became the third artist to take on the iconic character. Though largely unrecognised during his lifetime due to contractual limitations, Ron Vivian’s impact was monumental.
In 2022, the Australian Cartoonists’ Association posthumously inducted him into their Hall of Fame, acknowledging his significant, if understated, contribution to Australia’s cultural and artistic landscape.
Legacy and Recognition
Ron Vivian’s contribution to Australian cartooning lies not just in the volume of his work, but in its integrity, consistency, and heart. For over 20 years, he kept Ginger Meggs alive and relevant, never veering from the tone and humour that Jimmy Bancks had established. His ability to balance commercial constraints with creative excellence is a testament to his quiet professionalism.
Vivian’s legacy is one of dedication, humility, and passion. Though he never signed the strip or received public accolades during his lifetime, he remains a crucial figure in the history of Australian comics. His story is a powerful reminder of the many unsung artists who shape our cultural memory from behind the curtain—leaving behind a legacy that speaks volumes, even in silence.
