William Ellis Green OAM (12 August 1923 – 29 December 2008), professionally known as WEG, was a beloved Australian editorial cartoonist, caricaturist, and illustrator, best known for his long-standing work with The Herald newspaper and for creating the iconic Australian Football League (AFL) Grand Final premiership posters. With a career that spanned over four decades, WEG’s whimsical and instantly recognizable illustrations became a cherished part of Australia’s cultural and sporting identity. His legacy endures not only through his artwork but also through his contributions to public life, community fundraising, and the nurturing of Australia’s cartooning heritage.
Infobox: William Ellis Green
Name: William Ellis Green
Pen Name: WEG
Born: 12 August 1923, Fitzroy, Victoria, Australia
Died: 29 December 2008 (aged 85), Heathmont, Victoria, Australia
Nationality: Australian
Occupation: Editorial cartoonist, illustrator, caricaturist
Years Active: 1946–2008
Known For: AFL Grand Final premiership posters, “Weg’s Day” pocket cartoons in The Herald
Notable Awards: Medal of the Order of Australia (2001), Jim Russell Award (2003), Quill Award for Lifetime Achievement (2009, posthumous), ACA Hall of Fame (2023)
Spouse: Joan Green (m. 1945–2008)
Military Service: Australian Army, 15th Brigade Army Intelligence, World War II
Other Work: Children’s book illustrations, postage stamps, political and sports caricatures
Early Life and Education
William Ellis Green was born Ian Ellis Green in the inner Melbourne suburb of Fitzroy on 12 August 1923. He was raised by a single mother in Essendon, a suburb marked by modest working-class values, which instilled in him a sense of resilience and independence from an early age. Green often described his childhood as filled with quiet observation and introspective creativity. One of his earliest and fondest memories, he often recalled, was sketching in a high chair using pencils scavenged from around the house. His bedroom walls were decorated with cut-outs from The Bulletin and Smith’s Weekly, which became his visual education in satire and storytelling, sparking a lifelong passion for cartooning and character design.
Although he exhibited prodigious artistic talent from a young age, Green’s mother was understandably cautious about her son pursuing such an uncertain career path. She encouraged him to become an architect instead, famously warning him that he would “starve” if he chose to be a cartoonist. Despite his own desire to draw professionally, Green initially heeded her advice.
After completing his education at Essendon High School, Green enrolled at Melbourne Technical College (now RMIT) to study architecture. While he demonstrated a competent grasp of the technical and design aspects of the course, his heart was never fully in it. He would often fill the margins of architectural drawings with playful caricatures or humorous sketches, and his professors reportedly noticed his distraction. His growing disillusionment with architecture coincided with an expanding ambition to communicate ideas more directly through illustration. This internal conflict continued until 1941, when the outbreak of World War II dramatically changed the course of his life and redirected his talents toward service and artistic expression in new and unexpected ways.
Military Service and Artistic Development
At the age of 18, Green enlisted in the Australian Army, serving in the 15th Brigade Army Intelligence unit in New Guinea during World War II. Stationed in one of the most remote and challenging theaters of war, Green’s duties included gathering and analyzing intelligence, which required keen observation skills—skills that dovetailed with his natural instincts as a cartoonist. Despite the rigors and dangers of wartime service, Green found opportunities to contribute creatively. He began producing cartoons for the army’s publications, illustrating lighthearted and morale-boosting features that provided comic relief and helped build camaraderie among soldiers enduring the stresses of war.
These wartime cartoons proved to be more than just entertainment. They sharpened his ability to distill complex ideas and emotions into a few expressive lines—a skill that would become the cornerstone of his professional style. His artistic output during this time not only kept spirits high in the barracks but also caught the attention of superior officers, some of whom encouraged him to pursue cartooning professionally after the war. The experience also convinced Green of the vital role humor and satire played in both personal and national morale.
Following his discharge in 1946, Green returned to civilian life with renewed purpose. Though he initially resumed his architectural studies, he soon realized that his calling lay in art, not engineering. He abandoned architecture permanently and enrolled in a postwar rehabilitation course in painting and drawing at the National Gallery of Victoria Art School. There, he studied under the guidance of Sir William Dargie, an acclaimed portraitist and war artist, who recognized Green’s talent and encouraged him to develop his own voice.
This period of formal artistic training exposed Green to a wide array of techniques and disciplines, from classical drawing and oil painting to etching and composition. It also immersed him in Melbourne’s postwar art scene, where he engaged with fellow students, teachers, and mentors who would later become significant figures in Australian art. His time at the gallery school helped refine his technique and solidify his artistic direction—giving him both the confidence and the practical skills to transition into a career as a professional cartoonist.
Entry into Professional Cartooning
While still a student, Green submitted freelance work to The Herald, demonstrating his growing confidence and ambition to enter the world of professional cartooning. His early submissions showcased his natural knack for visual storytelling and topical wit. His illustrations displayed an ability to translate nuanced political and social commentary into simple, striking imagery—a rare skill that immediately set him apart. In 1946, when veteran cartoonist Sammy Wells took a six-week leave, Green was invited to fill in temporarily—a significant opportunity in an era when newspaper cartooning was a prominent and competitive field, with limited opportunities for newcomers to break in.
During this trial period, Green worked diligently under pressure, often sketching until late at night to meet publishing deadlines. His cartoons addressed both lighthearted and serious topics, capturing the everyday realities of postwar Australia while subtly infusing them with humor and critical insight. His clean linework, expressive characters, and concise messages earned the admiration of editors and readers alike. Many subscribers wrote letters of praise to the newspaper, citing the refreshing tone and relevance of his work. His artistic style was not only efficient but highly readable—traits that would become his trademark throughout his career.
What was intended as a temporary role quickly evolved into something more permanent. By 1947, recognizing his growing popularity, the strength of his artistic voice, and his reliability under deadline pressure, The Herald offered Green a full-time position. The appointment marked a turning point in his life and career. No longer just an aspiring illustrator, Green had become a full-fledged professional in a major Australian publication. Over the next four decades, he would evolve into one of the country’s most influential cartoonists—his work shaping public discourse, entertaining readers, and earning a permanent place in Australia’s cultural history.
Career at The Herald
From 1947 to 1986, WEG became a staple of Melbourne journalism. His most famous contribution was the creation of “Weg’s Day,” a daily “pocket cartoon” that appeared in the corner of The Herald’s front page starting in 1949. These single-column cartoons delivered humorous takes on current events and became a beloved fixture of the paper, providing sharp social and political commentary wrapped in lighthearted wit. His cartoons were known for their quick wit, visual economy, and ability to condense complex situations into a few effective pen strokes. Often combining satire with a touch of whimsy, “Weg’s Day” appealed to a wide readership, from political enthusiasts to everyday Australians who simply enjoyed starting their day with a clever laugh.
WEG’s illustrations were not only artistically sharp but culturally attuned. They covered everything from shifting prime ministerships and global conflicts to everyday social irritations, cultural shifts, and sporting mishaps. Each cartoon was drawn with immediacy and a strong sense of timing—qualities that required a deep understanding of current events and public sentiment. His editorial instincts and quick turnaround were legendary in the newsroom.
Although WEG occasionally ventured into full-page editorial cartoons, his preference remained with the pocket format—quick, punchy, and widely accessible. He believed that the intimacy of the small cartoon made it more likely to connect with the average reader. His commitment to daily topical humour gave readers a unique lens through which to interpret politics, sports, and society. Many readers reportedly purchased The Herald specifically for the chance to see WEG’s daily contribution.
Even as media tastes changed and newspapers evolved with the rise of television and tabloid journalism, his popularity endured. His cartoons had become a cultural habit—expected, appreciated, and frequently discussed in public conversations. However, in the 1980s, internal editorial shifts under Neil Mitchell brought a new direction to the newspaper. As the layout and focus of The Herald began to change, so too did the visibility of WEG’s work. His cartoons began appearing less frequently, sometimes omitted altogether, which frustrated loyal readers.
In 1986, WEG was unceremoniously dismissed from his long-held position. The decision, seen by many as a misguided move, prompted backlash from fans, colleagues, and members of the wider artistic community. Letters flooded the editorial desk, decrying the loss of a cultural institution. Despite this setback, WEG continued to work freelance and retained an enduring presence in the national consciousness through his other projects—particularly his beloved AFL Grand Final posters.
The Grand Final Posters
Perhaps WEG’s most enduring legacy lies in the tradition he started in 1954, when he created the first caricature poster for the VFL Grand Final (now AFL). These posters, featuring animated depictions of the winning team’s mascot celebrating triumphantly, captured the jubilation of the moment and became essential memorabilia for generations of football fans. They served as both a tribute to athletic achievement and a humorous, heartfelt souvenir that fans could proudly display in their homes, clubs, and schools.
Initially published in the Weekend Herald, the posters became so popular that by the mid-1960s, the newspaper began printing and selling them to the public. WEG’s artwork resonated with fans of all ages, thanks to his unmistakable style—bright, energetic, and always cheerful. The posters captured not only the spirit of the winning team but also the wider excitement of Melbourne’s grand sporting tradition. Over the years, they became so iconic that missing a year became unthinkable for many collectors and fans.
As demand grew, Green responded with enthusiasm, drawing posters retroactively for every premiership back to 1897 to satisfy a passionate collector base. This effort reflected his deep commitment to the sport and its cultural heritage. Each poster became a time capsule—chronicling team mascots, trends in design, and shifts in the league’s identity across decades.
Each year, the posters sold approximately 100,000 copies, with proceeds helping to raise over $2 million for the Royal Children’s Hospital Good Friday Appeal, a cause close to WEG’s heart. His involvement in the campaign demonstrated his strong belief in using art for social good. These sales not only reinforced the posters’ popularity but turned them into a force for community fundraising.
The posters became an annual ritual, as integral to Grand Final celebrations as the game itself—fans eagerly awaited the final siren to see WEG’s latest design, and local news outlets often covered their release. After WEG’s death, the tradition was continued by his family’s private company, Weg Art, which kept his vision alive using artwork he had prepared before his passing. In 2009, Herald Sun cartoonist Mark Knight respectfully took over the creative reins, guided by Green’s unmistakable artistic DNA and commitment to celebrating the game with humour and affection.
Today, the WEG posters remain a treasured element of AFL culture, displayed with pride across the country. They are not only artistic keepsakes but visual symbols of community, sportsmanship, and one man’s remarkable legacy.
Other Artistic Work
In addition to his cartooning and footy posters, WEG produced a wide range of work including:
- Illustrations for children’s books and school textbooks
- Cricket-themed books by Australian cricketer Max Walker
- Designs for postage stamps, particularly commemorative issues
- Cartoons for publications such as The Bulletin, Nation Review, The Sydney Morning Herald, Man, and even The New York Times
His versatility and commitment to using visual storytelling as both entertainment and commentary earned him a reputation not just as a cartoonist, but as a true visual journalist.
A Life of Dedication
WEG’s commitment to his craft was unwavering. Even in his eighties, he continued to sketch prolifically, often surprising those around him with his sharp observational skills and dedication. In 2005, at the age of 82, he played an unexpected role in solving a crime that made national headlines. After confronting a burglar darting through his backyard in Heathmont, WEG realized he might struggle to verbally describe the man to police. Instead, relying on his instincts, he picked up a pencil and paper and drew a caricature of the intruder.
The resulting sketch was so distinctive and accurate that the police recognized the suspect immediately and apprehended him shortly thereafter at a local shop. This real-life example of his artistic precision reinforced his reputation not just as a cartoonist but as a sharp-eyed chronicler of human features and behavior. It also delighted the public, showcasing that even in retirement, WEG’s talents remained as vital as ever.
In 2008, as his health declined due to complications that required hospitalization, doctors advised Green against leaving the hospital, warning that his condition was precarious. However, with the AFL Grand Final looming, WEG insisted on returning home to complete what he knew would likely be his final premiership poster. His determination to fulfill this yearly tradition spoke volumes about his love for the game and his deep sense of artistic responsibility to fans. Against medical advice, he discharged himself from hospital two weeks before the Grand Final. From his home studio—where he had created hundreds of illustrations—he completed the poster, leaving behind one last joyful caricature that celebrated the sport he adored.
WEG died peacefully later that year in December 2008, at home in Heathmont, Victoria, with his beloved wife Joan, to whom he had been married for 63 years, at his side. The moment symbolized the culmination of a life lived with purpose, humor, and an unwavering connection to community through art.
William Ellis Green’s personal life
William Ellis Green’s original name was Ian; he later legally changed it to William. Born in the Melbourne suburb of Fitzroy on 12 August 1923 to an unknown father, William Ellis Green grew up in Essendon. Torn between becoming an architect or a cartoonist after leaving Essendon High School, he studied architecture at the Melbourne Technical College because his mother warned: “You’ll starve if you’re a cartoonist.” At the age of 18, he enlisted in the Australian Army and was attached to the 15th Brigade, Army Intelligence in New Guinea. On 14 May 1949, Green married Joan Hettie Currell in Milton, Queensland. His wife’s name was Joan, and he had a daughter (Lynette)and a son (Ian).
Professional life
Green continued working as a caricaturist and illustrator, with his work appearing in cricket books by Max Walker, on stamps, and in children’s books. At the age of 18, he enlisted in the Australian Army and was attached to the 15th Brigade, Army Intelligence in New Guinea. He drew cartoons that were published in the army’s newspaper.
Following his discharge from the army at the end of World War II, Green resumed his architectural studies, but he abandoned architecture in favor of a postwar rehabilitation art course at the National Gallery of Victoria, where his tutors included Sir William Dargie. During this time he submitted cartoons to The Herald. When the paper’s political cartoonist, Sammy Wells, went on holiday for six weeks in 1946, Green was asked to fill in for him. His work appealed to the editor-in-chief, John Williams.
In 1947 he was invited to join The Herald staff permanently. He continued to be a political cartoonist for the paper until he retired in 1986, after 40 years in that role. William Ellis Green was responsible for introducing the daily “pocket” cartoon, Weg’s Day, a single column topical comment humorously presented, that appeared for the first time in 1949 and continued on the paper’s front page for 38 years.
Later life and death
On 14 January 2005, the 82-year-old William Ellis Green confronted a burglar running through his backyard in Heathmont, Victoria. After confronting the man, William Ellis Green called the police and then proceeded to take pen to paper and produce a caricature. His art was immediately recognizable to the local police. The offender was soon apprehended at a local shop, as the cartoon clearly showed the man responsible. Green died on 29 December 2008 at the Maroondah Hospital; he was survived by his wife Joan, daughter Lynette and son Ian.
Honours and Legacy
- 2001: Awarded the Medal of the Order of Australia (OAM) for contributions to art and charity. This national honor recognized not only his achievements as an artist but also his charitable work, particularly through the Royal Children’s Hospital’s Good Friday Appeal, to which his poster sales contributed significantly.
- 2003: Received the Jim Russell Award from the Australian Cartoonists’ Association, acknowledging his decades-long service to the art of cartooning and his impact on future generations of artists.
- 2009: Posthumously awarded the Melbourne Press Club Quill Award for Lifetime Achievement, an accolade given to individuals who have made exceptional contributions to journalism and visual storytelling over a lifetime.
- 2023: Inducted into the Australian Cartoonists’ Association Hall of Fame, cementing his status as one of the most important and beloved figures in the history of Australian cartooning.
William Ellis Green’s influence continues to be felt across Australia. His blend of humour, clarity, and community spirit brought joy to generations. His AFL posters are treasured as much for their artistic value as for the memories they evoke. Museums, sports bars, and private homes across the country proudly display WEG’s work. His illustrations remain conversation starters, cultural touchstones, and symbols of shared experience.
In academic settings, his cartoons are studied not only for their artistic style but also for their commentary on social and political life in postwar Australia. His ability to balance humor with incisive observation has made his work timeless. Green’s legacy is also visible in the countless young cartoonists who cite him as an influence, drawing inspiration from his disciplined work ethic, narrative flair, and deep empathy for the everyday Australian.
More than just a cartoonist, WEG was a storyteller, social commentator, and cultural icon, whose drawings captured not just what was happening—but what it meant to everyday Australians. His work transcended the page to become a cherished part of the national identity.
Frequently Asked Questions (FAQ) about William Ellis Green (WEG)
1. Who was William Ellis Green, and what was his significance in art and illustration?
William Ellis Green, known by his pen name “WEG,” was an Australian editorial cartoonist and illustrator. He gained prominence for his editorial cartoons, and is particularly famous for drawing the Australian Football League (AFL) premiership posters from 1954 until his passing in 2008.
2. When and where was William Ellis Green born?
William Ellis Green was born on August 12, 1923, in the Melbourne suburb of Fitzroy, Australia.
3. What was WEG’s original name, and why did he change it?
WEG’s original name was Ian, but he legally changed it to William.
4. Can you tell me about his early life and education?
From a young age, Green grew up in Essendon, Australia, and had a passion for cartooning. He was torn between pursuing a career as an architect or a cartoonist, but ultimately chose architecture. He studied architecture at Melbourne Technical College, but later switched to a postwar rehabilitation art course at the National Gallery of Victoria after World War II.
5. What was WEG’s military service during World War II?
In 1941, at 18, William Ellis Green enlisted in the Australian Army and was attached to the 15th Brigade, Army Intelligence in New Guinea. He drew cartoons that were published in the army’s newspaper.
6. When did WEG start his career in cartooning, and where did he work?
After World War II, Green resumed his studies but abandoned architecture to pursue a career in cartooning. He submitted cartoons to The Herald newspaper and filled in for the paper’s political cartoonist, Sammy Wells, in 1946. His work impressed the editor-in-chief, John Williams, and he was invited to join The Herald staff permanently in 1947. He continued to work as a political cartoonist for the paper until his retirement in 1986.
7. What was WEG’s contribution to The Herald newspaper?
William Ellis Green introduced the daily “pocket” cartoon called “Weg’s Day,” which featured a single-column topical comment presented with humor. This cartoon appeared on the newspaper’s front page for 38 years, starting in 1949.
8. Did WEG have a family, and when did he get married?
William Ellis Green married Joan Hettie Currell in Milton, Queensland, on May 14, 1949. They had a daughter named Lynette and a son named Ian.
9. What are WEG’s famous works apart from political cartoons?
In addition to his political cartoons, WEG’s illustrations appeared in cricket books by Max Walker, on stamps, and in children’s books.
10. What is WEG’s legacy in the context of the AFL premiership posters?
William Ellis Green began drawing premiership posters for the Victorian Football League (VFL) Grand Final winning teams in 1954. These posters featured caricatures of the winning club’s mascots and became extremely popular. The tradition of creating these posters continued even after his death, with Herald Sun cartoonist Mark Knight taking over as the illustrator in 2009.
11. What honors and awards did WEG receive during his lifetime?
WEG received several honors and awards during his lifetime. In 2001, he was awarded the Medal of the Order of Australia for his service to art as a cartoonist and illustrator and his contributions to the community, mainly through the Good Friday Appeal of the Royal Children’s Hospital. In 2003, he received the Jim Russell Award from the Australian Cartoonists’ Association for his lifelong contribution to cartooning. Posthumously, in 2009, the Melbourne Press Club gave him the Quill Award for Lifetime Achievement.
12. When did William Ellis Green pass away, and what were the circumstances of his death?
William Ellis Green died at Maroondah Hospital on December 29, 2008. His wife Joan, daughter Lynette, and son Ian survived him.
Please note that this FAQ is based on the provided information and may not cover all aspects of WEG’s life and career.
