You are browsing the archive for 2016 September.

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.

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.

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

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.

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.