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by Royston

Cartoonists conquer new festival

October 20, 2016 in Events, General, News

The festival was officially opened at the Martin Honeysett exhibition and Hastings Museum and Art Gallery

The Hasting & 1066 Country Cartoon Festival was officially opened at the  Honeysett exhibition held at the Museum and Art Gallery

The first Hastings & 1066 Country Cartoon Festival took place on the weekend of October 15 and 16, to coincide with the 950th anniversary of the battle that changed the course of English history.

The cartoonists, mostly Professional Cartoonists Organisation members, expected to do battle with the elements, as it’s unusual to have an outdoor cartoon festival in October, but in fact the sun shone brightly on the Big Festival Day — 11am-5pm on the Sunday — and there was quite a buzz around the event.

Big board cartoons were drawn in a marquee on The Stade, on Hastings seafront. There were also two “community boards” for members of the public, both children and adults, to draw on, as live music and magic was performed throughout the day.

Bill Stott at work

Bill Stott, the PCO chairleg, at work on his big board

The Marquee on The Stade, where big board cartoons were drawn

The Marquee on The Stade, where big board cartoons were drawn

Opposite the marquee, in the slightly warmer Stade Hall, the main festival exhibition could be viewed and there were workshops, much drawing of caricatures and festival merchandise for sale.

Glenn Marshall attempted a recreation of the Bayeux Tapestry — but with funnnier gags — on a roll of wallpaper. But he hadn’t realised that the Tapestry is 70 metres long so he didn’t even make it to the battle. He has pledged to finish it by the 1,000th anniversary in 2066.

Passers-by and other artists helped Glenn Marshall recreate the Bayeux Tapestry (up to a point ...)

The public and other artists helped Glenn Marshall to recreate the story of the Bayeux Tapestry (up to a point …)

Workshops in The Stade Hall

Thinking and inking: workshops in The Stade Hall

The workshops for all ages were very well attended

The workshops for all ages were very well attended

It was one in the eye for Harold in this workshop

It was one in the eye for Harold in this workshop

On the Saturday there was a reception for an exhibition by the late Martin Honeysett, who lived in Hastings, at the town’s Museum and Art Gallery.

At this event, the festival was officially opened with a speech by Bill Stott, the PCO chairleg, and was followed by a cartoonists’ panel discussion and Q&A, including a slideshow of cartoons, with Royston Robertson, The Surreal McCoy, and the aforementioned Glenn Marshall.

The Surreal McCoy, centre, refused to take part in an eyebrow-raising contest with Royston, left, and Marshall

The Surreal McCoy, centre, refused to take part in an eyebrow-raising competition  with Royston Robertson, left, and Glenn Marshall

The other cartoonists taking part in the festival were Nathan Ariss, Jeremy Banx, Rupert Besley, Andrew Birch, Chris Burke, Denis Dowland, Clive Goddard and Cathy Simpson. They were joined by the French cartoonists Robert Rousso and Emmanuel Cerisier.

French cartoonist Robert Rousso, centre, in red, draws in The Stade Hall

French cartoonist Robert Rousso, centre, in red, draws in The Stade Hall

Also taking part in the event, and in workshops in the weeks leading up to the Big Festival Day, were the local artists James Brandow, Loulou Cousin, Scott Garrett, Ottilie Hainsworth, Julian Hanshaw, Jon Higham, Christopher Hoggins, Rachael House, Emily Johns, John Knowles, Robin Knowles and Andy Willard.

Many thanks must go to the organisers of the event: Penny Precious, Erica Smith and Pete Donohue. They hope to do it all again next year — and, who knows, maybe it will last until the 1,000th anniversary of the Battle of Hastings.

Visit the website:

Photos: Denis Dowland, Royston Robertson and Mika Schick.

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by Jonesy

Saint – Just – le – Martel (take 2)

October 12, 2016 in General


Justine makes her entrance © Mika Schick

Report by Terry Anderson Photography by Mika Schick

As previously noted on the Blog, the 35th Salon International de la Caricature, du Dessin de Presse et d’Humour took place in Saint-Just-le-Martel, France from the 1st to 9th of October.

After three and a half decades the Salon can truly be considered an institution, firmly ensconced in the permanent centre for cartooning in the village of Saint-Just. Myself and other PCO members have written before about the festival’s hallmarks – a fondness for cows, the presentations of porcelain prizes, the sheer number and diversity and cartoons on display, the enthusiasm of the villagers who volunteer their services and offer hospitality to the visiting cartoonists – and all remain very much in evidence.


A word from our correspondent: Terry Anderson addresses the audience © Mika Schick

In a nation still reeling from terrorist atrocities, however, there are some new details. Portraits of the five cartoonists who perished in Paris on the 7th of January last year are now affixed to the exterior of the Éspace Loup (itself named for the cartoonist and dedicated supporter of the Salon who passed away in the last twelve months). Security was highly visible with gendarmes within and military personnel outside the venue.


A vast array of cartoons were on display © Mika Schick


© Mika Schick

The office of the late Georges Wolinski, donated by his widow, can be found perfectly preserved at the heart of the exhibition space, right down to a half-finished cartoon on the drawing board. Alongside it this year were a selection of drawings by Jean Cabut (CABU), another murder victim, behind black drapery. Nearby a big retrospective of work by Charlie Hebdo cover artist and last year’s Prix de l’Humour Vache winner, Corinne Rey (COCO) included a poignant tribute to her absent friends. Coco herself must now travel incognito, with her participation during the opening weekend of the Salon kept out of the advance publicity. A sad sign of the times.

Other collections of note in the exhibition for 2016 included: typically sharp political cartoons by French Canadian Guy Badeaux (BADO); extraordinary geometric caricatures by Gérard Gibaux (GIBO), who claimed this year’s prize for best book; and beautiful, text-free cartoons on social issues by Cuba’s Angel Boligan. Daryl Cagle, who has organised substantial showings of American cartoonists in the last several years, returned with work by members of his cartoon syndicate themed on the Statue of Liberty’s 130th anniversary. A little British corner could be found in the international section including cartoons by myself, The Surreal McCoy, Tayo Fatunla and the ever-reliable Ross Thomson. Tayo had attended the opening weekend with the rest of us forming a post-“Brexit” missionary team for the closing days of the festival.


“The Ripper of Glasgow” gets to work © Mika Schick

2016 is the tenth anniversary of Cartooning For Peace, an organisation that owes much to the Salon, so it was appropriate that two of its members were made Humour Vache laureates this year – Khalid Gueddar of Morocco and Michel Kichka of Israel. Kichka is a fluent Francophone and proceeded to give a barn-storming acceptance speech full of Nous Sommes Charlie sentiment that was received with rapture by those who had assembled to see the usual visit from Justine the cow.

At such festivals all over the world there’s greater effort than ever to make the process of cartooning more of a spectacle. This year, aside from several communal murals there was an evening of improvised comedy that took cartoons as prompts instead of audience suggestions as well as “Dessring”, a quick cartoon competition styled after a boxing match. Reports of a contestant billed as “The Ripper of Glasgow” cannot be confirmed by your correspondent.

Toward the end of the festival FECO France held their annual general meeting and it’s worth noting that their long-serving president Alain Roche (NALAIR) has handed over to Pierre Ballouhey. Congratulations to both.

Thanks as always to Salon President Gérard Vandenbroucke, to Corinne Villegier & Marie-Christine Guyot who work with cartoonists all year round as well the multitude of volunteers of every age from Saint-Just-le-Martel who make this wonderful event possible every autumn.


The Liberty Cow © Mika Schick


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by Jonesy

Cartoonist to help boost CBS ratings

October 6, 2016 in General


Liza Donnelly

The major US TV broadcaster is adding New Yorker cartoonist Liza Donnelly to its “CBS This Morning” crew in order to “grow its brand on social media and beyond”. The idea is to “differentiate” the show’s coverage on TV and via social media.

“It brings a visual component to stories that doesn’t exist in our space,” said the show’s executive producer Ryan Kadro. “We look at the social platforms as an extension of our brand. When we put Liza on television it’s to make people aware that we have this happening on our other platforms, to go and check out our Instagram and social feeds.”


© Liza Donnelly/CBS

Donnelly – who will continue to contribute to The New Yorker – was first introduced to the “CBS This Morning” team during the Democratic Party’s convention in Philadelphia this summer. The cartoonist, who was on assignment for The New Yorker, appeared on the show to publicise her illustrations of the convention. While in the greenroom, she made a quick sketch of guest Carole King, who would perform on the last night of the convention. Her ability to quickly depict a scene by sketching on an iPad drew the attention of the three hosts and crew.


© Liza Donnelly

A few collaborations with CBS followed, including a series of sketches of the anchors and crew at work during the Democrats’ National Convention and other behind-the-scenes moments. Her stints have proven very popular and now Donnelly’s tenure is on a more permanent basis.

So there it is. A cartoonist providing unique, intriguing and humorous content to attract people’s attention: who’d have thought it?

You can read more about this in Alexandra Steigrad’s piece on the WWD website.

Thanks to Glenn Marshall for drawing this to the Blog’s attention.



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by Jonesy

PCO Profile: Rory Walker

October 5, 2016 in General


© Rory Walker

Rory’s many talents include artworks and assets created for Publishing, Traditional Media, New Media, and everything else in-between. Children’s books, chapter books, magazine editorial, video game and smart apps. You name the pie, Rory’s got  got his fingers in it.
© Rory Walker


© Rory Walker

Specialties: Art, illustration, cartoons, cartooning, art direction, drawing, painting, character design, background design, concept art, imagination, imagineering, story telling, story creation, live art, conference art, murals.

And we haven’t even mentioned wag, humouriser or wearer of hats…


© Rory Walker

You can see more of Rory Walker’s wonderful work here.

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by Jonesy

Meanwhile in Europe…

October 2, 2016 in General


© CoCo

As The Guardian quietly ushers three more long serving cartoonists out of the back door – more on that in a future Blog – we take a sneaky peak across the Channel where the cartooning arts appear to be held in much higher esteem.

The 35th Saint Just-le-Martel International Salon of Caricature, Editorial and Gag Cartoons is underway, running from 1st – 9th October. Two PCO members, The Surreal McCoy and Terry Anderson, are attending and we hope that one or both may provide the Blog with further insight into the event at a later date.


The many attractions on offer include exhibitions by Cartooning for Peace, Coco, Gibo, Pichon and Samson and an historical perspective, Léon Blum: caricature against the Popular Front” . There are also retrospectives of cartoonists Bado and Boligan plus tributes to recently deceased cartoonists Cabu and Siné.


The “Humour Vache” Prize, for the meanest cartoon on show, as well as the Porcelain Prize, for the most poetic cartoon, will be given out on consecutive weekends.

You can read more about the 35th Saint Just-le-Martel International Salon on Bado’s Blog or, if your French isn’t too rusty, here.

Over in Holland the main library in Amsterdam is hosting an exhibition of the 100 best Dutch editorial cartoons from the past year, created by 40 cartoonists from the Netherlands.


The Amsterdam exhibition will run until 4th January 2017 and features the work of top cartoonists such as Trik, Maarten Wolterink and Benjamin Kikkert. World events – including Brexit – are covered with with wit and graphic invention as demonstrated by the two examples shown here.


© Tjeerd Royaards


© Trik

The exhibition is also on display in the central library of The Hague until 7th November 2016.

Find out more on the Cartoon Movement website.



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by Jonesy

Christmas comes early: The Best of Kipper Williams – out now

September 20, 2016 in General

© Kipper Williams & Amberley Publishing
Working on the premise that advertisers feel no compunction about promoting Easter eggs in January, the PCO is happy to shamelessly plug our very own Kipper Williams’ new book as a must-purchase stocking filler.

One of Britain’s most popular cartoonists, Kipper’s work has appeared in virtually all the major publications including the Spectator, the Guardian, Private Eye, the Sunday Times and Country Life.

His book ‘In or Out?’- Europe in Cartoons’ was published by Amberley ahead of the EU Referendum in 2016. He has illustrated a number of books including Bill Bryson’s ‘A Short History of Nearly Everything’ and Dr Tanya Byron’s ‘Your Child, Your Way’.

You can enjoy an early Kippermas by purchasing the book here.

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by Jonesy

Nathan Ariss ponders the ‘filler’ – plus the happy rookie mistake!

September 20, 2016 in General


© Nathan Ariss

Nathan Ariss writes:

If I blogged, I guess this would be a nice enough subject to fill my social media day with, in full expectation of some ‘yeah, been there’ comments and other helpful feedback about the perils and delights of submitting cartoons to publications. There’s rules, of course:

1) Keep accurate, up-to-the-day records about where you have submitted cartoons to.
Thus ensuring 2) doesn’t happen…

2) Do not submitted a previously-rejected cartoon to the very same publication some months later!

Combine this ‘undersight’ with an inevitable last-minute ‘filler’ cartoon (the one you never think will tickle or probably ever get published) to make up a nice ‘Benedict’ (a number batch of 6 or 10 to submit is generally considered good form), and you have the lesser-spotted double-whimsy of today’s delight for me. They accepted it!

The cartoon was published in the September issue of Prospect magazine.

In other words, forget the bloody rules at times, and learn to love your mistakes.

You can see more of Nathan’s work here.

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by Jonesy

CRNI call for cartoons in support of detained refugee artist Eaten Fish

September 18, 2016 in General


© Eaten Fish

Via Terry Anderson:

Dear friends and colleagues,

You may all have seen our press release about a month ago, identifying cartoonist Eaten Fish as the 2016 recipient of our Award for Courage and Editorial Cartooning.

The award will be given out at the final dinner of this year’s convention of the Association of American Editorial Cartoonists in Durham, North Carolina, on the evening of September 24, 2016.

We are in the last week or so before the convention. Our liaison in Australia with Eaten Fish is Janet Galbraith a poet and founding member of an organization trying to help the inmates of the infamous Manus Island refugee camp. The camp serves the refugee detention needs of the government of Australia.

While I know this is very late notice, Janet advises us that at this point a strong diplomatic and cartooning initiative coinciding with the award could make a very big difference in Eaten Fish’s immediate future.

Our diplomatic strength comes in the figure of one of our board of director members, a former US ambassador to the Netherlands, Cynthia Schneider. She and Nik Kowser met at the Australian Embassy yesterday and was introduced to some very influential people from the media and certain diplomatic circles in Australia.

They recommended using the award ceremony as a pivot point or other diplomatic and cartooning initiatives. This is a critical time for the fate of Eaten Fish, and other inmates at Manus Island, as a very large cohort of inmates have recently sent letters to a number of international protection agencies and a number of heads of state asking intervention with the illegal operations at Manus Island. It will be a poor show if these great risk takers aren’t followed quickly by the international community.

Would you please be so kind as to alert your membership that we would like cartoonists from all over the world to generate a cartoon or two that will support the freedom and basic human rights of Eaten Fish and other inmates of Manus Island.

There is plenty about him on the Internet. There are some good links as well on our website.

Please ask your cartoonists to draw as quickly as possible sending their cartoons to you for your own website and copy me at so we can work the cartoons into something public in time for the convention.

Thanks so much,

Bro Russell
Executive Director
Cartoonists Rights Network International

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by Jonesy

1066 and all that…

September 15, 2016 in General


© The Estate of Martin Honeysett

The Hastings Cartoon Festival couldn’t wish for a better kick start than tonight’s A Taste of Honeysett exhibition at Hastings Museum. Be warned, however: this is not a gentle introduction to the cartooning art! The late and much lamented man dipped his pen into a bottle containing the darkest inky black humour, producing work of acerbic wit conveyed by grotesques. “Moth-eaten grannies in wrinkled stockings, slippers and curlers, to slobbish youths with multiple piercings, baseball caps askew and falling-down jeans” is fellow cartoonist Ken Pyne’s description. Above all, though, Martin Honeysett’s cartoons are very, very funny and the locals will be delighted to see one of our most revered cartoonists’ work being displayed in the town he made his home.


© Clive Goddard

Other highlights of the Festival will be Hastings Bonfire Weekend; on Saturday 15th October there will be a special event at Hastings Museum with a panel of PCO members led by Royston Robertson, and on Sunday 16 October there will be a whole day of free cartooning events in Stade Hall and on The Stade. There will also be an exhibition of 1066 related originals and prints by some of our finest cartoonists, all of which are for sale so you can buy your own little slice of history!


© Rupert Besley

The Festival has been made possible by the support of Hastings Borough Council, the Foreshore Trust, Heritage Lottery Fund, Awards for All and Sussex Community Foundation.

To learn more about the event you can read Erica Smith’s Hastings Online Times article and visit the website, Facebook page and Twitter.

You might also like to read the PCO’s very own Cathy Simpson’s wonderful tribute to Martin Honeysett, also from the Hastings Online Times.

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by Jonesy


September 4, 2016 in General

One or the other? Or both? Nathan Ariss ponders these questions and more…


Picture: “Cartoon or illustration?” From a series of Hutchinson Design and Technology books, 1991.

An occasional borelog on artists and subjectivity, and whether one really decides what kind of artist one actually is: do you let the market (eventually) decide, or do you just persist in what you feel best expresses yourself or the subject at the time… (I always think rhetorical polemics don’t require a question mark).
I haven’t the foggiest, to answer myself, as curiously I rarely actually try to over-analyse it.
As an ‘artist’ artist – please forgive if I include cartoonist in that (Arts Council England don’t, and they ‘should’ know) – I spent years surrounded by painters, illustrators and the world of graphics, and was dissuaded by school art teachers from my cartoony, ‘lower’ form, and encouraged first into realism, then interpretative, and very nearly driven to abstraction. So, I asked myself, more not than often, does it really have to accurately ‘represent’, beyond the plain patronage and rather sad aggrandising caricature commission, and particularly after photography superceded the whole superball game?
With the exception of one brilliant person on here, I very often see artists just copying their photographs, using them beyond simple reference material for their artwork, and invariably am left with the impression that the photograph might have done just as well. Perhaps it’s easier than standing ‘live’ and working the eye/brain/hand gateway to mastery, let alone adjusting to the nuance of light and texture – it is after all what gives us form, colour and ‘life’. If practising the technique is all, why is it invariably just the one technique that is worked on and comes to dominate?; to me that is as restrictive as having no technique at all. I seem to have many techniques; my commercial downfall is I seem to have too many, and often produce work in different modes even in the same batch. Perhaps it’s a lack of discipline, or intelligence, not to limit myself. The expectation for similitude is in great demand from an editor, a viewer, a buyer: how do they know they can rely on something turning out the way they expected it to? My stream-of-typing thought process here thinks that that is a very boring ‘artistic’ world indeed. ” don’t actually like the work, but at least I knew what I was getting”.

So, for years, I guess, I became technically, photographically ‘good’: boring, to my eyes, but it paid the rent. Safety in (drawing by) numbers. But even then I think I was subverting the thing and channelling my inner cartoonist. There’s no one quite so stupid as someone not applying their intelligence, I now realise.

I need to stay in more.

This article was first seen on Facebook.

See for yourself the variety in Nathan’s work right here.