2017 Award for Courage in Editorial Cartooning

November 6, 2017 in General

 

This year the winner of CRNI’s award is cartoonist and activist Ramón Esono Ebalé who is currently in detention in Equatorial Guinea. His work has been very critical of the current regime and he was arrested during a visit back to his home country from Paraguay where he currently lives.

The award was made at the annual convention of AAEC (The American Association of Editorial Cartoonists) in New York. In Ramón’s absence the honour was accepted by his wife Eloisa Vaello Marco.

The presentation by CRNI’s Matt Wuerker to Ramón’s wife and daughter.

CRNI together with EJ Justice and other International organisations are launching a hashtag campaign for Ramón on 6th November. Cartoonists and artists around the world are invited to create artwork in support of Ramón and post it with  . Selected work will be shown on the EG Justice website where you can also find more details.

Submission by PCO’s  © Steve Jones

illustration © Ramón Esono Ebalé

Ramón works under the name Jamón y Queso (Ham & Cheese). Some of his work can be seen here.

 

 

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Political Cartoon of the Year Awards 2017

November 1, 2017 in General

© Will McPhail

Ellwood Atfield host the awards again, and they will take place at St. John’s Smith Square, Westminster on Thursday 23rd November.

The guest of honour will be George Osborne, once the victim of and now advocate for political cartooning. (In his new role as editor of The Evening Standard he re-introduced the political cartoon to its pages with the appointment of the brilliant Christian Adams. Yes, that’s right; George Osborne gave us something, as opposed to taking it away…)

Tim Benson, founder of the Political Cartoon Gallery, helped organise the awards again this year, and Heineken have been generous in their support of the event, so both deserve our appreciation.

© Lorna Miller

© Nicola Jennings

© Lou McKeever

We’re happy to see a healthy PCO presence too, with Andy Davey, Dave Brown, Will McPhail and the Steve’s Bright and Bell amongst the runners. Another heartening factor is the very strong female representation, as you can see from the superb artworks shown here by Kate Evans, Lorna Miller, Lou McKeever and Nicola Jennings.

© Kate Evans

© Andy Davey

You can vote for the political cartoon of your choice here on the Ellwood Atfield site.

Political Cartoon of the Year Awards 2017

St. John’s Smith Square

Westminster

Thursday 23rd November

6.15pm onwards

More information available here

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Zoom Rockman goes live at the Apple Store, London

October 29, 2017 in General

© Zoom Rockman

Our newest (and youngest) member, the precociously talented Zoom Rockman, will be bringing the Regent Street store’s celebration of The Big Draw to a close on Tuesday 31st October, 6:30 – 8:00pm

Cartoonist Zoom will be sharing his passion for innovation in the world of comics and talk about publishing work as a young artist. He will also reveal his process from pencil sketches to finished artwork. Those attending will then be given the chance to create their own mini cartoon strip version of Zoom’s ‘Skanky Pigeon’ using iPad Pro, Apple Pencil and Procreate.

© Zoom Rockman

Live Art: Comic Book Creative with Zoom Rockman

Apple Store

235 Regent Street

London, W1B 2EL

Tuesday 31st October, 6:30 – 8:00pm

You can find a link to directions on the Apple news site

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Speaking up for those who can’t be heard…

October 26, 2017 in General

© Banx Cartoons
PCO Chair Bill Stott writes:

Repressive governments the world over fear cartoonists. Cartoonists get straight to the point. Images remain in the public eye longer than do acres of type. Whilst we in the UK and Europe generally accept often excoriating depictions of our leaders, this is definitely not the case in the rest of the world. Here, politicians actually applaud critical and often insulting drawings of themselves, sometimes even assembling personal collections thereof. Not so elsewhere. In at least one verified instance, a foreign cartoonist was visited by government agents and had his hands broken. Doubtless there are others. Repressive governments, fearful of the truth, regularly imprison cartoonists.

The Professional Cartoonists’ Organisation [UK] works with other agencies – in this instance alongside Cartoonists’ Rights Network International and Index on Censorship – to try to bring the plight of persecuted cartoonists to the fore. This exhibition seeks to do that. Whilst it is not easy to highlight a repressive government’s treatment of any given cartoonist because that government will often react by threatening the cartoonist’s family and friends, any and all proceeds from this exhibition will go towards trying to alleviate the conditions many cartoonists the world over have to live with.’

 

© Pete Dredge

There will be a selling Private View (invitation only) on Tuesday 21st November from 6-8pm with all proceeds going to charity.

As well as the exhibition itself other events include:
A Workshop With Banx & TheSurreal McCoy

This is a not-to-be-missed opportunity to learn from two consummate cartoonists and will take place on Saturday 25th (2-4pm)
banxandsurrealmccoy.eventbrite.co.uk

A talk hosted political cartoonist Andy Davey with Jodie Ginsberg from Index on Censorship and Guardian cartoonist Martin Rowson. They will also be joined via video link with malaysian cartoonist Zunar and Robert Russell, founder of cartoonists Rights Network International. All are experts in disparate fields whose common aim is to throw light on dark places.

This takes place on Tuesday 28th (6-8pm). Please book your free place for this on Eventbrite: cartoonistdaveyginsberg.eventbrite.co.uk

© Andy Davey
#GaggedExhib

The exhibition runs from 21st November – 1st December 2017 at:

Westminster Reference Library

35 St Martin’s Street

London WC2H 7HP

Tel: 020 7641 6200 (press 2)

Email: referencelibrarywc2@westminster.gov.uk

Opening hours:

Mon – Fri 10am to 8pm

Sat 10am to 5pm

Sun Closed

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Bill Stott has a bee under his bonnet…

October 24, 2017 in General

© Bill Stott

Another rant from our esteemed Chair, Bill Stott:

It’s difficult to argue against electric cars without sounding like Jeremy Clarkson. Mind you, quite apart from punching the odd producer, he did make some interesting observations about these short- range, expensive vehicles some time ago.

Yes, electric cars in themselves are greener than petrol and certainly diesel cars. They have nice, touchy-feely names like “Leaf” [Nissan]. However, the environmental cost of the mining the essentials – like lithium – for car batteries is huge ,and environmentally very dirty, apparently.

I wonder if the Smuggs at No 37 [they have solar panels too] ever think about that as they set off on a necessarily fairly short journey [range is around 230 miles] No, they probably don’t. But at 199 miles they’ll be desperately trying to find a re-charging point, which are few and far between and take ages. A full charge requires an overnight stay.

I suppose the half and half hybrid cars represent a solution of sorts, but their batteries are dirty to produce as well.

Of course, as technology advances, electric cars will eventually become the norm with increased ranges and, who knows, much speedier recharging points on every street corner. But we’re a long way from that right now and Volvo’s declaration that they will be making only electric cars by 2030 seems very optimistic.

But I’m getting off track here. My Main Rant is against Driverless Cars. What on earth is wrong with people who like the idea ? Don’t they LIKE driving ? Don’t they like the way their car feels and sounds and handles ?

Well maybe not if they’ve got one of those apologetic little things like the Suzuki Wagon R, or God forbid, a Yaris. If you’re ever held up at 30mph in a 60mph area, it’ll be by a Yaris. I know, I know, none of that matters if you’re stuck in an M6 tailback.

One of the alleged advantages of driverless cars is that freed from the business of actually controlling the vehicle, you’d be able to get on with work. Really ? Wouldn’t you have to be on instant stand-by to regain manual control just in case the Artificial Intelligence element threw a wobbler ?

I simply do not understand the attraction of driverless cars. I love driving. I wouldn’t love driving if I had a Leaf or a Wagon R or a Yaris. In fact the way many human drivers behave in those dreadful vehicles, suggests that they should be compulsorily driverless. You often see cars like the Yaris on motorways in the inside lane following lorries. Lorry Followers. I sometimes wonder if they go all the way to the depot behind Bradshaw’s Grommets of Doncaster.

If I had a driverless car, what would I DO ? Gaze out of the window at certain parts of Birkenhead ? Read a book ? Have a nod ? But I don’t want to do any of those things. I want to DRIVE. I want to gauge braking distances, anticipate gaps [in front of a Yaris], press the loud pedal and feel and hear the response.

I can’t do that in a driverless or an electric car, although a certain Mr Musk does offer an electric one at enormous cost which will do 0-60 in three seconds. Then it runs out of juice.

I think I just have to face it. I’m an automotive dinosaur. I’ve got a 17 year old 4litre Jaguar which drinks petrol but goes like stink. Its beautifully made, very well balanced, responsive and a pleasure to drive. If it was driverless, it would still be very nice to sit in, but I’d be bored silly after a few miles.

To be fair though, when I’m driving my 4 litre beast, especially on motorways at 70mph plus [and a bit more in all honesty], I am very aware of what dangerous places motorways are; lumps of metal with very soft bits inside zooming along at approach speeds of 140mph at least, and of how many thoughtless, inadequate and stupid drivers there are out there. BMW drivers have been overtaken by Audi drivers in the arrogance stakes. Then there are the nitwits who don’t know what mirrors are for and blithely change lanes without signalling. Whilst texting.

So logic suggests that taking responsibility out of the human’s hands and passing it to a robot would make driving safer. I have to admit that it probably would. It would also make car travel a whole lot slower. Driverless cars would make Suzuki Wagon R drivers of us all. We’d all become Yarisites. Everything would be safe. Risk would be eliminated and human judgment redundant.

Because I’m a dinosaur, I simply cannot imagine a motoring world where there are no Jaguars, Maseratis, Alfas, Astons, Bentleys etc., etc…..the list goes on. They’d all disappear to be replaced by anonymous wheeled boxes which would be differentiated in price by whether they had an on-board Jacuzzi or not.

What is life without risk? What is life without control? Human control.

Dull. That’s what it would be. Risk helps you feel alive. Risk helps keep your brain active. Having to assess risk certainly does that.

I know I’m on the losing side of this argument though and I’m grateful that I’m old enough never to be part of a world where I’d climb into my driverless car and read War and Peace on the way to Swanage. Or Goole. [Thinks ; Are the residents of Goole called Goolies ?]

Bill Stott.

 

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Good Guys, Bad Guys

October 24, 2017 in General

© Rupert Besley

Rupert Besley writes:

In cartooning, as with any other line of business, there’s good clients and there’s not so good. It’s not hard to tell them apart.

The good guys – and they do exist – are, of course, those who show appreciation of what you have done and can’t wait to pay you for it. They tend also to be the people who know what they want in the first place and communicate in clear and simple terms. Invariably, these are the same customers who take the trouble to follow-up and close the deal, either, in the case of a publication, by providing full publication details and sending you a copy or, with a presentation maybe, reporting back on how things went.

The bad guys – of these there are plenty, and multiplying – don’t know what they want, but they want it yesterday. And when they get it, all needs changing. But when it comes to payment, they have all the time in the world – usually requiring you first to jump through all manner of hoop and process to get what you are owed. They don’t inform you of acceptance or rejection, but hold things in limbo until they are lost. Some try that ploy of payment on publication, but don’t then inform you of publication – or, where applicable, don’t ever return the artwork. I think just over 9 years was the longest it took me to get payment for a major job – but I got there in the end.

We all know print media is up against it, with magazines going weekly to the wall. But that still gives no excuse for what is both bad manners and bad business practice. But it may explain the number of regulars of a certain age to be found in WH Smith furtively thumbing their way through the magazines in search of not what you might think but the answer to whether or not their cartoon has made it into print.

The PCO is not about moaning. Instead, this organisation hands out PCO Special Awards to good guys, such as editors who are a pleasure to work with. Editors from the same mould as Bill Hewison, who, as Art Editor for Punch 1960-84 (and a great cartoonist in his own right) not only ran things to high standards of efficiency and professionalism but took the trouble also to write helpful notes on the rejection slips. To him and his ilk, let’s raise a glass.

Rupert Besley.

 

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Martin Rowson’s ‘Life Drawing’ series on Radio 4

August 23, 2017 in General

Martin Rowson and Julia Langdon

In what is described as a series of “inky interviews”, Martin draws and interviews people who have shaped his work and wider life.

During the five part series, which started on Monday and continues all week (check out BBC i>Player here), the Guardian and Daily Mirror political cartoonist (and PCO member) also puts pen to paper with ex-Chancellor George Osborne, illustrator Ralph Steadman, zoologist Sarah Christie and punk poet John Cooper Clarke.

Interviewed for the BBC’s Radio Times, the hard hitting cartoonist makes a surprising confession:

“There’s almost a wilful self-delusion about the whole mutually abusive, if mutually dependent, relationship that I describe as mind over matter – the politicians pretend they don’t mind; the cartoonists pretend we matter.

One of our occupational hazards is a weird variation on Stockholm Syndrome, whereby kidnap victims fall in love with their captors. We, instead, fall in love with our victims, whom, however much we deplore them or their policies, we come to love drawing.”

Reassuringly (or not, depending on your point of view) Martin proves he’s not going totally soft on “the enemy” by concluding that what he does is “what we have instead of bloody revolutions – for a while anyway.”

You can see the great man at work on his Julia Langdon portrait here

Cartoonist and politician (sorry, editor) gaze into each other’s eyes over a caricature

Martin Rowson’s series Life Drawing started on Monday and runs until Friday at 1.45pm on Radio 4 (Monday and Friday on FM only)

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Jane Mattimoe’s UK Case for Pencils (2): Bill Stott

August 22, 2017 in General

© Bill Stott

Our friend from across the pond, Jane Mattimoe of A Case for Pencils fame, turns her attention from one venerable PCO nibmeister, Ralph Steadman, to another:

Bill Stott

Bio: Where have I been published? Well, lots of places, but increasingly in recent years, fewer. I’ve had stuff in The Times [education section] and the Telegraph and I was a regular in dear, dead Punch – a great magazine murdered by stupid publishers. Alan Coren was THE greatest editor. I do a lot of work for what are called “niche” magazines – for hobbyists really – fanatically dedicated folk who restore tractors or who build amazingly detailed railway layouts, or who restore quaint old Stationary Engines. The editors of these magazines have a sense of humour and see the editorial value of cartoons – unlike, in recent years, the editors and publishers of so-called “lifestyle” magazines. They and the often faceless wielders of power in the UK press are ditching cartoonists at an alarming rate.

PCO is very concerned about this. Its obvious that UK publishers don’t listen to each other. Ian Hislop, editor of the very successful Private Eye [I very occasionally get a gag in that] is on record saying that increasing cartoon content increases circulation. Tell that to the faceless ones at Saga Magazine which recently dropped ALL cartoons. We’re often told it’s all to do with costs. Which is accountant-speak nonsense. I think it’s to do with a humour dis-connect with journo-centric editors who’d rather fill their pages with dense fields of print and photos and who don’t know how to “read” a cartoon. I mean, there are unfortunates who don’t have a sense of humour, aren’t there ? Whoa ! This is getting way too serious so I’ll move on to……………

Tools of Choice:

[1] Heavy brass Rotring propelling pencil [2b leads]. I’ve got a few heavy brass Rotring fountain pens too. I don’t like light pens.

[2] Dip – in pen nibs and holders. Leonardt nibs are best because they are flexible enough to go from fine line to thick without wearing out too quickly. These nibs are the same as the ones I used as a child in school

60-odd years ago! WAY more expensive now though. And you’ve got to use a little brass slip-on reservoir on them.

[3] FW Black acrylic ink. Super stuff. Much better than the old Indian ink.

[4]  Winsor and Newton watercolour.

[5] A range of watercolour brushes.

[5] A good eraser.

Bill used a scanner to create images of his art supplies.

Tools I wish I could use better:

All of the above.

Tools I wish existed:

I can’t think of any. I love the physical business of actually drawing; the sound and feel of nib on paper. I have good friends who have made the transition from that to working wholly digitally. And their product is really good, if sometimes a bit too perfect. But whilst I’ve been fascinated watching a colleague use a Cintiq, for example, it doesn’t attract me. I mean, you never get your hands dirty, do you ? Incidentally, I also paint using acrylics on canvas. I went to Art College in my youth, before spending many years teaching Art.

© Bill Stott

© Bill Stott

Tricks.

Don’t have any. All a bit conventionally boring, really.

Misc.

Once I’ve had an idea, I listen to music, mostly classical, New Orleans Jazz and certain others, e.g., Joan Baez, Bob Dylan, Bruce Springsteen. My studio [studio ?- hah ha ha – it’s the back bedroom really] overlooks the garden where my chickens live. There’s a pond too and a high Leylandii hedge in which scores of house sparrows fight and argue. So when I’m trying to think up an idea, I’ll stare out there. My studio’s a mess. Well, not to me – I know where everything MIGHT be. The rest of the relatively small house is contemporary/minimally furnished and my studio drives my partner Sheila mad. But I like it. Its organic. Besides, when I totter downstairs to make coffee, everything looks pleasingly tidy and neat.

© Bill Stott

From time to time I’ll get a studio visitor called Maggie. She’s my elderly dog who pops in from time to time to see what the Human is doing. I also smoke too much. AND I have an old, environmentally-unfriendly Jaguar XK8- the most beautiful car they ever made – which still goes like stink, and a beat-up Mazda station wagon which is the dog-car.

Goes without saying that I’m very involved with the PCO. I work with what must be the best Committee in the world. The Surreal McCoy, Rupert Besley, Jeremy Banx, Steve Jones, Glenn Marshall, and Andrew Birch are the backbone of the PCO.

I could go on about family and kids [son – a lawyer, and daughter a dental hygienist -both in their 40s now] but I won’t because you must be bored silly by now.

This is me – on the left – presenting an award to the organiser of the festival, Bill McCabe. PCO sponsors cartoon festivals in the UK because [a] the public love cartoons and like to see cartoonists working live, and [b] the festivals give colleagues the chance to meet up. Do publishers come to festivals, despite being invited ? No they do not, and as I’ve already said, the present attitude of UK publishers is woeful.

© Bill Stott

Website:

I get occasional sales through my website and my PCO portfolio and also sell a lot of prints through Albert Rusling’s Cartoon Gallery in Chester. In fact, Albert, Mike Williams and Bill Tidy taught me a lot about cartooning. I also have a lot of originals at the Chris Beetles Gallery in London. Chris’s client base is such that he can sell cartoons for a lot more money than cartoonists can currently expect from magazines. He and his son Alex are really good supporters of cartooning.

© Bill Stott

 

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“Daily Funnies” exhibition at The Cartoon Museum

August 20, 2017 in General

© Steven Appleby

Most (if not all!) of the best loved newspaper and magazine cartoon strips from the last 100 years feature in the museum’s latest must see spectacle.

As their presence on the printed page diminishes (with notable exceptions) this exhibition is a timely reminder of the pleasure cartoon strips can offer.

© Maurice Dood & Dennis Collins

Including the likes of Alex, Andy Capp, Biff, Bristow, Dick Tracy, Doris, Flook, Fred Basset, If… ,Jeff Hawke, Modesty Blaise, Nipper, Oor Wullie, Peanuts, The Perishers, Pop, Rupert, Supermodels and many others, the exhibition runs until 5th November 2017.

The Cartoon Museum
35 Little Russell Street
London
WC1A 2HH

T: 0207 580 8155

“Daily Funnies” Exhibition at The Cartoon Museum

 

 

 

Eaten Fish exhibition and workshop at Herne Bay

August 19, 2017 in General

photo © @aroom4myfriend

The Surreal McCoy writes:

At the Herne Bay cartoon festival this summer, PCO committee member Glenn Marshall organised an exhibition of some of the cartoons drawn for PCO’s internet campaign #AddAFish for #EatenFish, the refugee cartoonist from Iran currently detained by Australian authorities on an island off Papua New Guinea. Contributing cartoonists from all over the world gave permission for their work to be shown and we hope to send it overseas as a pop-up exhibition in order to bring attention to the plight of Eaten Fish and his fellow refugees.

Exhibition contributions by © Martin Rowson and © Ralph Steadman

Fellow committee members The Surreal McCoy and Jeremy Banks ran a #DrawAFish workshop which was extremely well-attended and thanks to the Herne Bay contributors our shoal of cartoon fish grew even bigger.

photo © @aroom4myfriend

photo © @aroom4myfriend

photo © @aroom4myfriend

photo © @aroom4myfriend