Opinion: The Young Cartoonists of the Year 2012
October 25, 2012 in Comment, Events, General
We recently published details of the annual Young Cartoonists of the Year awards, run by our sister organisation the British Cartoonists’ Association. We received a large reaction from readers which included this piece of opinion from cartoonist Alison Sampson.
You should know that fairly recently I picked up a pen again, not least because of the work of the Professional Cartoonists Organisation – and thankfully, the internet.
We publish her reaction to the competition below:
I am 12. I am just leaving the old hen hut where we keep and read the tattered, second-hand comics our mum buys from jumble sales. We have 2000AD, Valiant, Victor and Misty. Also in the hut are my felt pens and the printer’s offcuts I have to draw on. I like drawing. I can’t imagine a life without it.
As I’m passing through the door, I wonder how could I do this for the rest of my life and think through the options. All I can think of are jobs as a newspaper cartoonist, or working for Private Eye. All our comics are old and it doesn’t occur to me anyone draws them. I dismiss the option. All those jobs are full, with the people who are doing them. A couple of years later I see Posy Simmonds’ work in the newspaper and my heart breaks. I wish I could have a job like that.
Later I will work as a perspective artist for a local construction company and go to university to read architecture. I will not draw for myself again, or look at a comic, for twenty-plus years. Fast forwarding to now, imagine my disappointment on seeing that the apogee of cartooning, as represented by the judges list for the BCA Young Cartoonists prize, is still entirely composed of newspaper cartoonists.
I now know that there were are other forms of cartooning: comic books, web comics, posters and so on. Not everybody knows this. The competition is an important way of reaching out to those outside the circle. The judges list should represent the profession, not just one exclusive segment, no matter how skilled. This would help in informing other young cartoonists that their work is worth persevering with, and that it has a future.
She added:
I also do not want to cast aspersions on any of the work of the judges or the BCA. However, not everyone has been, or will be so lucky as to know about the possibilities for cartooning, and my getting back into it was only by accident. When I saw the competition, I had to remind myself I was too old, despite thinking of myself as the youngest of the young cartoonists, I am just starting at the age of 42.
You can find Alison’s own work here and read some in the collection – Solipsistic Pop.
Editor adds: We’d like to thank Alison for taking the time to write about this and we welcome your thoughts in the comments below.
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Bill Stott said on October 25, 2012
Interesting stuff, Alison. 42 ? Nothing of an age. Obviously, you can draw and there’s a pleasing development from objective to cartoon. Send work to all and sundry. Shrug at rejection. Keep on keeping on.
Terry Anderson said on October 25, 2012
Full disclosure: 1) I entered the Young Cartoonist of the Year a few times, never won anything but did receive lovely hand-written feedback from Martin Rowson which was very much appreciated. 2) I have tried and failed to join the PCO. 3) For ten years I produced illustrations for The Herald in Glasgow before editors were informed to stop using such things because of lack of money.Alison raises an important point. Of course the judges are among the best cartoonists in this country. The danger here is the implication that someone who doesn’t do a regular single panel, captioned cartoon for a paper periodical isn’t a cartoonist. My generation of cartoonists have missed the boat as British newspapers stagger on through ever-dwindling circulation, facing judicial enquiries and public distrust as well as the ravages of the encroaching internet. Sadly the majority of us will never know the discipline of the daily editorial cartoon. And doubly sadly the idea may be entirely unknown to the next generation.Nonetheless I make a living by drawing cartoon images, therefore I am a cartoonist and I don’t need a third party to endorse what’s demonstrably true. But young people crave and thrive upon such validation. By rethinking the parameters and/or presentation of their competition the BCA have an opportunity to create an inspirational event for all young people trying to build careers in cartooning, whatever shape they take in the decades ahead.
Pete Dredge said on October 25, 2012
Alison and others have eloquently described how ‘cartooning’ has splintered in to many different directions and disciplines far removed from the ‘traditional’ definition of what a cartoonist is or was. I would guess that the majority of aspiring creators are now producing sequential comic art rather than the traditional ‘gag’ cartoon. Joke creating is not the overriding raison d’etre in most cases.
BRIGHTY said on October 25, 2012
Fine words, Alison and Terry, which hopefully the BCA will take on board, along with reviewing their insistence upon original artwork only (unreturnable) as entries for the competition, thereby excluding an ever-increasing sector of cartoonists who routinely employ digital methods, either in part or wholly (as I do, and I passed the age criterion many, many moons ago), and further diluting the veracity of their claim to be acclaiming The Young Cartoonists Of The Year.
Rob Murray said on October 25, 2012
As far as the competition goes, I think one of the problems with the
insistence on sending originals is that they also say they won’t return
them. That’s where sending a digital work – or even a print of something
that was originally done in pen and ink – would be beneficial to a lot
of possible entrants. I wonder whether some truly talented youngsters
are put off entering because they know they will never get their lovely
(original and irreplaceable) work back.
BRIGHTY said on October 25, 2012
Pete, I’ve been a cartoonist for thirty years, and never had a gag cartoon published. This doesn’t represent the woeful success rate it might suggest – it’s because I’ve never submitted to the spec gag market. I’ve been a cartoonist who has specialised in sequential art since Day One, the vast majority of which has been humour based. I cannot recall any time in my life when the “traditional definition” of a cartoonist referred solely or even largely to the creator of gag cartoons.
Terry Anderson said on October 25, 2012
Steve, even as someone who still prefers paper and ink, I absolutely agree on the digital point. I know why competitions and exhibitions insist on originals; partly the erroneous idea that digital media is a short cut and anti-craft, partly that a show of physical objects is meaningful in a way that reproductions, prints, projections or on-screen images isn’t.But we’ll all soon have to accept that for a substantial portion, if not majority of commercial artists and cartoonists, there are no more “originals”.On a related note and entirely unknown to me when I wrote this morning’s comment, the Cartoon Museum recently returned the original drawing I sent in to the BCA’s competition in 2003. Not sure why but nice to have it back anyway!
Andy Davey said on October 26, 2012
Wise and interesting words from Alison and
Terry. It’s instructive to hear views from cartoonists outside the small
community we inhabit. They raise questions about the PCO/procartoonists and
about the Young Cartoonist of the Year (YCotY). I should state an interest
before I start windbagging; 1) I used to be chairman of PCO, so must take
partial responsibility for entry criteria and 2) I am nominally on the
committee of judges of the Young Cartoonist of the Year.
First, the YCotY competition may seem to outsiders
(as Brighty’s comment underlines) to represent THE cartooning
industry/community/artform. Unfortunately, it’s a lot less organized than that.
Yes, it IS an initiative to encourage young people to draw cartoons but it
doesn’t really represent anything. It is, in short, a PR exercise – but with
the best of intentions. Yes, the judges comprise a woefully restrictive band of
middle aged, middle-class white blokes who work in newspapers, but that doesn’t
seem to stop young entrants sending in all manner of indefinable artwork that boldly
crosses boundaries of taste, genre, intelligibility and quality without fear. There
are practical reasons for demanding work sent in on paper – as with most
international cartoon competitions – it’s much easier to pass sheets of paper
around the judging table. As for digital vs analogue, Chairman Rowson does have
a natural bias towards the inky stick but I doubt if anyone would notice if
someone submitted a print of a drawing that had used a drawing program. And
what are rules for, other than breaking? I’m sorry to disappoint the paranoid
cynics, but it’s cock-up rather than conspiracy. Winning the competition is not
going to get anyone a job. That usually requires years of sending stuff of to
the right places. Or marrying an editor.
Now for the PCO and its shortcomings, of
which I am painfully aware. We set out in 2006 to be a “PR agency for the art
form of cartoons” which showed the very best of British cartoon art in an era
when cartooning is under serious threat.
Alison and Terry may understandably not be
encouraged to learn that the PCO committee spent many hours and many terabytes
of forum discussion on the impossible subject of what a cartoonist is. But, oh
Boy, we did. Steve (Brighty) will no doubt tell you – with justification – that
we failed on this task. I think we did employ an unstated bias towards the
gag/strip end of the spectrum because we felt this was the sector which was at
most peril. We felt that other cartoon
genres – caricature, comics art and illustration each had their own
organisations to represent those sectors. What’s more, it also allowed the
organization to have some much-needed focus when showing off to the disparate
digital markets for these sectors.
I have realised I have drifted inexorably into
mindless management-speak. More importantly, I suspect you all have drifted
into comas, so I will stop here.
The point is…cartooning of all stripes
faces a difficult, uncertain future. The PCO is a bunch of people shouting
“hey, we’re still here, we can still draw and we’re still funny (sometimes,
given the right fee)”. The YCotY competition is a bit of fun. Anyone young
enough can enter. Don’t let the rules put you off. Who heard of rules in
cartooning?
Oh, and Alison should not think it’s too
late. I was about that age when I began to submit work to newspapers. I have
since sunk without trace. Let that be a lesson.
Bill Stott said on October 26, 2012
Its obvious from comments so far that YC of the Y judges should consider widening their criteria [it doesn't hurt these days] They might do that, they might not.
The other point which comes up is where cartoonists find work. Digitally and otherwise.
I’ve long maintained that despite what Terry calls the ravages of the encroaching internet, the work IS there, especially in niche, specialist magazines. And I don’t mean the rude ones. Of course, the shotgun technique via internet and snail mail, of peppering editors with relevant gags is time consuming – and I think prints posted with an sae is better than emailed letters with attachments – but eventually, somebody bites. That wipes out the bitterness of rejection.
As for the internet, it has encroached. We’re knee deep in it. And its massively useful.
Two PCO members have just launched a blog called The Pangolin featuring, eventually, all hands’ gags. It, like all blogs, gets fired off like a shotgun. Its got links to all and sundry and it will bring work in. But the targeted, focused nature of prints in an envelope is best for individual approaches, I think.
Like Steve, I’ve done this job for a long time. On balance, its excellent. It keeps the wolf down the bottom of the garden and it uses whatever skills I have. Of course, at the other end of the scale are the editors who reject me;the cartoon ideas which get nowhere, and arthritis in my drawing hand thumb.
Bill Stott said on October 26, 2012
Had a look at solopsistic pop. ‘Struth !
Bill Stott said on October 26, 2012
Oops ! solipsistic. Apologies
Bill Stott said on October 26, 2012
Hmmm. Just looked up “solipsism” in OED. It says, “a view that the self is the only object of real knowledge or the only really existent thing. ” That’s a bit convenient, isn’t it ?
BRIGHTY said on October 26, 2012
Thanks for the comprehensive reply, Andy.
Andy Davey said on October 26, 2012
Yes, Steve.
I can’t disagree with any of your comments – and you floor me as ever with your
forensic arguments. Perhaps I made too light of the award itself – after all,
several currently working excellent cartoonists were recipients of it, including
Messrs Buck and Hughes of this digital parish. And last year’s winner (I think)
got a gig at the Indy. But – as you say – in these uncertain times, the winner
can expect nothing beyond the bauble.
However, we
all know that anyone who is serious about making some kind of living out of
cartoons won’t be discouraged by that negativity. They know that – as Bill
explains above – the lot of the cartoonist is unrelenting mailing of work to
magazines, newspapers and media buyers…and then marrying the editor.
Just to
clarify one point; I don’t “have” any artwork from any entrants. I have no
knowledge of this year’s entries. They are all collected by the Cartoon Museum
and brought along to the judging meeting. That meeting is the first time any
judge sees any of the work. I was talking generally about previous year’s
entries. In my brief experience, I think there are usually around 200 or so
entries for each age category . They vary wildly in quality, genre, content and
intelligibility. There are often one or two entrants who stand out, which makes
it simpler. In other years, it is virtually impossible. However, I should
stress that – despite my tendency towards flippancy – the judges do take the
judging seriously. And yes, I’d have been proud to win it as a yoof.
Bill Stott said on October 26, 2012
The “marrying the editor” bit should really be dropped from this debate. It simply didn’t work for me. He snored.
Gary Barker said on October 27, 2012
I can empathise completely with Alison as I came back to cartooning after thinking pretty much the same things as her about the chances of actually being one of the lucky ones able to make a living in the profession. As many others I had a career as first a scientist and then teacher I thought I would do til retired and had drawn a thing for well over ten years (and it certainly showed) when I was lucky enough to win the first cartooning competition I had ever entered at about the same age as Alison is now. Although I make a a good percentage of my income from newspaper work my regular jobs are with non-political magazines. So my message to her and anyone else who thinks similarly is not to despair and it’s never too late.
On the subject of originals, I am in full support of this as there are so many opportunities for plagiarism and/or the use of software which can be used to suggest there is artistic drawing talent where none actually exists. And as the BCA is small non-profit organisation it’s understandable there aren’t the resources to return the originals especially if there are a large number of entries.
Bill Stott said on October 27, 2012
Personally, I’m waiting for the Late Middle Aged Cartoonist Who Doesn’t Use Anything Electric and Who Lives Near Northwich Cartoonist of the Year competition.
Terry Anderson said on October 27, 2012
Andy- thanks for your perspective. But I must say that to an outsider the YCotY competition looks VERY official. I never entered as a child but certainly did in my twenties, motivated by the thought that winning would further my career. I knew enough about the business at that point to be aware that there are no guarantees and, ultimately, the quality of our drawings will always speak louder than any qualification or gong ever can. Nevertheless, the award seemed an honour truly worth having.I’m not in the least surprised that much blood, sweat and tears went into the constitution of the PCO. I’ve been there myself with the SAU in Scotland. Our entry criteria are sometimes cited as being too exclusive, although it hasn’t stopped nigh-on a thousand visual artists joining, nor a cartoonist being president for three years
All I can say is that looking at the “portfolios” page on the PCO site today I get the strong impression that this a cartoonists’ org first and foremost, with the format of work given less consideration than its quality. On that basis I don’t think you need to drastically change anything in your internal processes. Some people will make the grade, some won’t, them’s the breaks.Bill- I’m glad you’re finding work in magazines and the like but I can’t relate similar experiences. I personally don’t have the energy, inclination or temperament for the “shotgun” approach. I admire those who do.I didn’t mean to sound like a luddite. Clearly the internet offers great opportunities. What I’ve failed to see – and I’m willing to accept I’m looking in the wrong places – is any magazine or newspaper that’s really got to grips with all the wonderful possibilities of cartooning in their e-reader or web editions. Many drop whatever cartoons they use in print, which is nuts. There’s actually a strong argument to be made that the move from paper to pixels should INCREASE the quantity of cartooning in the press. Can you imagine news events being routinely summarised in the way the RSA use Cognitive Media for their animated chalk talks? But if the editors don’t have the money, what can we do?
BRIGHTY said on October 27, 2012
Gary Barker wrote: ”On the subject of originals, I am in full support of this as there are so many opportunities for plagiarism and/or the use of software which can be used to suggest there is artistic drawing talent where none actually exists. ”
Gary Barker said on October 27, 2012
Then I suggest you take that up ther Chair of the BCA who I believe is leading the judges panel then if you feel so strongly because my points about plaigerism are also the reasons given for why originals are required by him too.
BRIGHTY said on October 27, 2012
Already have, Gary.
Gary Barker said on October 27, 2012
Then I guess we must all bow down to your greater ability than all the rest of us put together then and it’s only right the BCA hand over all the judging to you Steve
BRIGHTY said on October 27, 2012
Sigh!
Bill Stott said on October 27, 2012
That’s NOT what Steve’s suggesting. This has been, so far, an interesting and informative discussion. My suggestion [above] about older cartoonists’ awards wasn’t entirely by way of a joke, but I’m experienced enough to know that it probably won’t happen in my working life. That’s just the way it is. Whilst I think most of us – in and out of PCO – would agree that a Best Cartoonist of the Year in Any Category knees-ups would help the profile of cartooning nationally, we’re realistic and see that the rather more hum-drum business of presenting a professional , considered [and funny] face to the industry through PCO and other bodies is the best way forward..
I haven’t detected anyone in this discussion who would appear to want to be the sole judge of any competition. I have noticed acceptably worded disagreement – not much admittedly- but then, without disagreement, there can be no debate. Can there ?
BRIGHTY said on October 27, 2012
I’d like to take issue with that, Bill… except I can’t. Beautifully put, and I’d also welcome and Old(er) Cartoonist Of The year category, although I suspect that trying to define the numbers on that one may result in the mother of all controversies.
Andy Davey said on October 27, 2012
Terry – hear hear to what you say about the stupidity – the downright counterintuitive dumbness – of ditching cartoons just when your publication transfers to a medium which is designed for pictures. I just do not understand it. Part of our (PCO) raison d’être was/is to try to point this out in the kindest way to those editors and decision makers, while showing them just what they are missing. I fear it will be a long job.
Andy Davey said on October 28, 2012
Terry, to my shame I didn’t know of the SAU. Wow! That is one impressive set of aims. Hats off all round, I think. And blimey – a thousand members. I am stunned. Setting that up must have been a Sysiphean task. Despite all this, your criteria for membership are quite – correctly – stiff. You must have an impressive engine running all this.