The New Cartoonist Sep/Oct 2024

THE FIRST ONE SEP/OCT 2024 £2.50

READ OUR INTERVIEW WITH COVER STAR MARK WINTER

thenewcartoonist.co.uk

POLITICALLY SPEAKING...

KEVIN MAGUIRE

ELEVEN YEARS AND COUNTING

BORN TO DRAW

JOE DATOR AT BORDER CONTROL

IS A.I A REAL THREAT? JAMES MELLOR INVESTIGATES

100 CARTOONS INSIDE!

CONTENTS WANNA BE IN IT? GET IN TOUCH WITH YOUR COMMENTS, SUGGESTIONS AND CARTOONS AND WE WILL DO OUR BEST TO PUBLISH THEM!

CLICK HERE WITH SPECIAL THANKS TO...

JAMES MELLOR GLENN MARSHALL ROYSTON ROBERTSON FRANKIE WINTER RUPERT BESLEY JOE DATOR CLAUDIA DEVLIN NIC BROOK KASIA KOWALSKA THE CARTOON MUSEUM THE UNIVERSITY OF KENT THE GALWAY FESTIVAL THE PCO

CLICK HERE TO FIND ALL THE

CARTOON CONTRIBUTORS IN THIS ISSUE

02

PAGE 4

POLITICALLY SPEAKING WITH KEVIN MAGUIRE

PAGE 30

REVIEW CARTOON PUB EXHIBITON

PAGE 8

HEAD LINES MARK WINTER PROFILE

PAGE 32

ARCHIVE KENT UNIVERSTIY

PAGE 12

HERNE BAY FESTIVAL

PAGE 34

PAGE 17

INTERNATIONAL WITH JOE DATOR

EVENTS THE CARTOON MUSEUM

PAGE 37

TECH JAMES MELLOR LOOKS AT AI

EVENTS THE GALWAY FESTIVAL PREVIEW

PAGE 40

REJECTION WITH RUPERT BESLEY

THE DIRECTORY CARTOON CONTRIBUTORS

PAGE 45

COMMENTS & COMPETITION

PAGE 46

PARTING SHOT WITH CLAUDIA WARD

PAGE 20 PAGE 23 PAGE 26

MY NEW BOSS TNC MEETS LOLA GRAFF

PAGE 28

BOOK REVIEW CHURCHILL A LIFE IN CARTOONS

www.thenewcartoonist.co.uk is currenty under construction e: editor@thecartoonist.co.uk

ED’s WELCOME So here we are! Hello and welcome to the first issue of The New Cartoonist, a new home for cartoonists and for fans of cartoonists and cartoons. TNC is a bi-monthly magazine full of articles, interviews, videos, profiles, reviews, listings of events, a look at upcoming cartoonists, archives and much more; but best of all The New Cartoonist is full of cartoons!

Those of you slightly longer in the tooth may remember back in 1992/93 The Cartoonist newspaper (A broadsheet fortnightly publication). While the essence of this new magazine has that idea in its soul, it is no way trying to recreate or resurrect that fabulous old beast. Rather than that I want to create a hub where professional cartoonists, talented non-professionals and up and coming young cartoonists can come together, creating a place for those who struggle to get published to show their talent, as well as those who are regularly successful.

My name is Pete Songi and I’m the creator and Editor of this new concept. I’ve been around in the world of publishing for well over 30 years and like many of you have been cartooning since I could find something to draw with and a blank space to fill. I’ve been published in the likes of

thenewcartoonist.co.uk

The Daily Mirror, The Guardian, Morning Star, Private Eye and The Critic, and will continue to draw as much as possible, but my role here is to bring to you a magazine full of cartoon related news alongside some of the best cartoons around, six times a year. This edition is Sep/Oct 24 and there will be another before Xmas; and if you like what you see there will be a chance to purchase a subscription for 2025 in that issue.

So what’s in it?

In this bumper-packed issue you’ll find a catch up with TV’s best political pundit Kevin Maguire, including his own brilliant attempt at a cartoon (which we really appreciate Kevin, and will be asking future interviewees to have a go at, regardless of ability. You’ve set a precedent!).

There’s a profile of our cover star Mark Winter, including a visit to his studio space and a chance to win a signed print. We take a look back at this year’s fun Herne bay festival and festivals past with Royston Robertson, and revisit the Great Cartoon Pub exhibitions in Greenwich. Also James Mellor brings us a fascinating examination of A.I and what that means for all cartoonists in the future (#yikes), and alongside our centrespread cartoon special, there’s a look at the

perils of rejection with Rupert Besley. There are also amusing yarns from Joe Dator and Claudia Devlin, as well as a more thoughtful piece, including a dip into the University of Kent Cartoon Archive, with Dyana Songi.

Finally, we aim to offer a space in each issue to our youngest aspirant cartoonists with examples from talented under-12s – My New Boss this month features up and coming cartoonist Lola Graff, who celebrates her 11th birthday next week. Happy birthday to you Lola!

Finally, I’d like to express my huge appreciation to all of the contributors for the generosity they have shown with their time, and for the support they’ve given by sending in cartoons and features and other content. None of this would be possible without you. Thank you to you all.

EMAIL PETE THE EDITOR

03

POLITICALLY SPEAKING

EAT, SLEEP AND REPEAT...

THE NEW CARTOONIST CAUGHT UP WITH POLTICAL HEAVYWEIGHT JOURNALIST KEVIN MAGUIRE PETE SONGI poking and probing It’s been a chaotic year in politics in the UK and around the world and for the political journalist it must be particularly hectic.

Kevin Maguire spends his days in the dusty houses of parliament, navigating the halls of political moves and counter moves. In the evenings he’s a mainstay of political discussion programming and crams a bit more in to his mornings on top. Probably best known for his sharp views on the political classes and his verbal sword fights with various right of centre pundits on our TV screens, Kevin is a truth sayer and a commentator, with a history in the media that far outweighs the lifetimes of some of the influencers or Tik Tok merchants of today.

TYNESIDE TO WESTMINSTER TNC grabbed a few moments in between TV but is it ‘all for the birds?’ ad breaks and off stone presses to get Kevin’s view on the news, journalism and life as a pundit, problems. My biggest regret is fewer journalists as well as the most important question of all. get out now to speak to people face to face Can you draw us a cartoon? with too many reduced to organic extensions of keyboards.

You started in the media 40 years ago at The Western Morning News so you’ve witnessed huge changes from old to new technology, the influx of social media digital first strategies and now the threat of AI. Do any of these changes feel particularly negative and do you think printed media will be around in another 40 years?

Rewind to hammering knackered typewriters in a fog of other journalists’ smoke and the newsroom vibrating as presses downstairs started running when I started in 1984(now there’s a year to conjure with) and I could never have predicted 2024 never mind predict what it’ll be like fast forwarding another 40 years to 2066. Ink is in my veins so I dearly hope the printed media will be still with us even if I personally am unlikely to be.

Most of the changes are positive despite what I like to think of as social media’s teething

You’re the Associate Editor of The Mirror and appear on our screens regularly on many channels as a pundit in the political slots’, Do you ever sleep? How do you manage that timetable?

I joke that sleep is for the dead and often feel jet lagged yet I appreciate I’m lucky that people read what I write or watch and listen to what I say.

Journalism remains interesting, fun and, without sounding too pompous, important so that keeps you going. I’ve got better at saying “No” and that also helps juggle demands. I keep meeting folk who have much tougher jobs and lives and that helps keep your feet on the ground. Precious hacks are a pet hate.

LABOUR NEEDS TO START TELLING A MORE POSITIVE STORY. IMMEDIATELY.

04

Your verbal jousts in some of those slots with Andrew Pierce have become legendary. Do you just laugh about it afterwards?

BBC Breakfast paired us first back in the early noughties because he’s a Right-whinger and I’m on the Left and we took off as a chatty odd couple, me the voice of common sense and him everything that is wrong with Britain today.

Afterwards we largely go our own ways and rarely socialise because we move in different circles, him with showbiz types and the super rich and me with people you’d like. Heated debates aren’t acts but show you can disagree without hating somebody.

You have also recently been on tour with Andrew in a battle of wits.

Did you mange to get a word in edgeways? Will you be doing anymore? Panto?

Tory Boy might make a half-decent Widow Twankey or perhaps Buttons but I’d fear we’d be cast as the Ugly Sisters so best sticking with arguing.

We were thrilled at the success of “Best of Frenemies” shows at this Edinburgh’s fringe after a Leicester Square Theatre gig and have one confrontation planned in my home town of South Shields. We’ll be back on stage in Edinburgh next August and I dare say a few other places before then. My imposter syndrome is off the scale.

It’s been nearly a couple of months now since the election. How do you think the new government are doing?

Do you see any potential bumps in the road or awkward squads emerging?

CARTOON CHALLENGE

Keir Starmer and the UK Labour Government were off to a decent start and the PM was widely considered to have handled the Far Right racist riots well then scything the Winter Fuel Allowance was a bad own goal and he’s over spooned the doom and gloom. Intense scrutiny and incumbency becoming an instant burden means it is delightfully tough for whoever is in power.

Labour needs to start telling a more positive story. Immediately.

Do you see the Tories dragging themselves to the centre to become an effective opposition? Or do you seem them wallowing in the right?

Political cartooning has a rich history in this country and over your many years in the Media you must have come across some amazing work.

Anything stand out as memorable?

cartoon: Kevin Maguire

My guess is they’ll move further to the Right and by splitting that vote with Reform UK will remain in the wilderness for at least 10 years. Politics is volatile but for the Conservatives to come back from only 121 MPs to win the next General Election would surpass even Lazarus

CAN YOU DRAW US A CARTOON? DOES ANDREW PIERCE EAT

I’m a great fan of political cartoons capturing a wider truth while (sometimes, anyway) making you smile and even laugh. You and, before you, Martin Rowson do/did the ‘toons for my Mirror Monday column so I’ll resist praising the pair of you despite eternal gratitude.

Matt on the Telegraph is often spot on. When chief reporter of The Guardian I found myself at the Lib Dem conference in Bournemouth a few weeks after 9/11. The gathering felt totally irrelevant. Matt drew Osama bin Laden in a Tora Bora watching Lib Dem proceedings on TV. Genius.

Kevin Maguire is the Associate Editor of The Daily Mirror.

thenewcartoonist.co.uk

LOCKING HORNS Combatitive debates on GMTV

05

NEWS & POLITICS

06

thenewcartoonist.co.uk

07

HEAD LINES

A PORTRAIT OF MARK WINTER

AN ANTIPODEAN ANECDOTE DELVING INTO THE WORLD OF ‘CHICANE’ AND ‘CHICANARY WITH A KIWI CARTOON LEGEND TNC checked in with cartoonist Mark Winter for a chat about the world of cartooning.

Born in New Zealand Mark has now been a resident in the UK for over 16 years living alongside his wife Frankie. He contributes to many UK publications including The South London press, The Morning Star, The Oldie, Private Eye and The New Statesman as well as numerous competitions and exhibitions in the UK and overseas.

Mark remains very much involved in the news back in New Zealand meeting early deadlines for the NZ Stuff stable of national press.

THE BEGINNING So where did it start? Drawing on bedroom walls, fighting over blank sheets of paper?

“The rendering vice extends beyond my memory. Apparently I was scribbling (on paper for the record) from the moment I could feasibly hold a pen, according to eye witnesses. My first recollection of such activity was my Dad sketching cars and trucks and I would copy them - you can see where that took me! Parental warning.”

So I guess you must have been inspired pretty HOME STUDIO early. Did you look up to any cartoonists in Chicane in situ! particular?

“That’s a long list, shortened to everyone.

Specifically, some fellow kiwis and contempoWrathall .Neville Lodge, Eric Heath, Bob Brockie, ing in both countries.” raries I admired and who influenced me were: Sir Tom Scott, Murray Webb, Murray Ball, Gillian Gordon Minhinnick (Brit-born), Sid Scales, Bill Fraser, among others.

ALTER EGO I’m a huge fan of the UK’s ‘Three S’s’; Ralph You use a pen name. When did you first decide Steadman, Ronald Searle and Gerald Scarfe. on a pseudonym? And where does Chicane start Stateside I really liked the work of Pat Oliphant and Mark Winter end? (an Aussie), Jeff MacNelly, Ed Sorel, David Levine “‘Chicane’ came into existence as cartoon and the MAD Mag pair of Mort Drucker and Jack camouflage. I could produce biting social and Davis. See, everyone! political observations without detection and What about where you grew up in New Zealand retribution back in my early varsity daze in the is there a rich history of cartooning there? Do late 1970’s, so the ‘duo’ have been around for a you find the cartoon culture different in the UK? significant period of time.

“Well, I don’t know many in NZ I did toons for the student newswho have joined the Rich-Lispaper and various other publicaters through cartooning, but “Insomnia is tions. ‘Chicanery’ means deception, there is certainly a celebrated is kind of appropriate for an integral part which history following in the ink cartooning. I actually got the name of the natural from motor racing, ‘chicane’ being prints of the legendary NZborn, London-based Sir David a deceptive bend. The extent to order of Low, considered by many to be which I am deceptively bendy is a cartooning” matter of conjecture, according to a the most influential editorial cartoonist of the 20th Century. journo friend of mine.

For that reason I think there Some have labelled Chicane my are far more similarities than differences be‘alter-ego’. Not sure if that’s the case, but he tween the cartoon culture in the UK and NZ. Low certainly has his own distinctive personalities certainly set the standard for editorial cartoonand likes to be known as the ideas person - the

08

important stuff - while I have to do all the ‘art and crafty stuff’, as he puts it.“ And you draw across all cartooning platforms, including Zeitgeist, gags and politics. Would you say you have a favourite or is there one in particular that creates sparks?

“Not really, although when I’m really on fire, I can multi-task with a variety of platforms, combining all of them to produce a ‘layered’ toon with multiple meanings.”

PEN STYLES You have a very defined traditional style with sketchy fills and ink blots decorating your work.

I particularly love your ‘Golf War’ which appeared in The New Statesman. Have you always drawn this way? Do you ever dabble in some of the digital products like Procreate on iPad? or Photoshop for colour?

“Thanks. I pretty much used the same basic style, adapting to the technological evolution to incorporate things such as Photoshop. I still use the traditional tools as well; pencils, pens and promarkers (and the occasional crayon!) to produce the initial image, scan it and then give it the digital finish.

The final ‘look’ very much depends on the publication. In general, editorial cartoons are more detailed, gags for mags are more minimal-lineal shorthand with splashes of wash.

The ink blot splatters are a homage to Steadman and channelling Jackson Pollock. A graphic application to add energy to the image.

BOOK OF IDEAS! Seeking inspiration

DEADLINES As well as submitting to many UK publications you also have crazy early deadlines for your roles cartooning for the New Zealand press. How do you stay awake? It must be exhausting keeping an eye on news in the UK and 12,000 miles away.

How do you manage that “Insomnia is an integral part of the natural order of cartooning. News is news, there’s very

thenewcartoonist.co.uk

THAT FRONT COVER!

09

little difference between the UK and NZ when it comes to toonable subjects. I just need to change the personnel.

The kiwi editors like it because I actually file early. 11 pm here is 10 am there so they can sign off well ahead of deadline and I don’t need to stay awake until four in the morning. Breaking news can occasionally throw a spanner in the works.”

AWARDS As well as winning awards for cartooning you’ve also lent your skills to short hand-drawn animation

gaining further awards. Any stand out moments?

“I established a small production company called ‘Think In Ink’ in the late 1980’s to make animated shorts on budgets that rendered shoestrings unaffordable.

At the time I was a drawing and graphics tutor in the Art Department of my local Polytech and involved some of my students in the productions.

“I’M A HUGE FAN OF THE UK’S THREE ‘S’s RALPH STEADMAN, RONALD SEARLE AND GERALD SCARFFE”

Over a period of four years we produced five shorts. ‘Not My Type; a typographical fable based on the ‘Ugly Duckling’ story, which was our most successful in terms of awards recognition.

It picked-up the top prize at the Columbus International Film + Video Festival in Ohio, which qualified it to go into the mix for an Oscar nomination. That didn’t happen, but the attention did make it easier to apply for funding”

ROAMING THE STREETS You have a separate passion collecting amazing autographs for your cartoon portraits. Can you tell us who you’ve nabbed over the years?

“Passion is one way of putting it. In the beginning I had work signed by a large cross-section of the celeb spectrum, including Pelé, Don Bradman, Billy Connolly, Eric Clapton, Mick Jagger, Alec Guinness, John Gielgud, Yehudi Menuhin and Ed Hillary to name drop a few. Nowadays I tend to do more representational drawings rather than caricatures.”

You’ve been in and around cartooning so long you’ve actually have just celebrated officially retiring. Do you think there was a golden period to be a cartoonist? Any chance of you slowing down?

“I’m officially a pensioner, but not retiring. In my case that’s PENsioner with no thoughts of slowing down, in fact quite the opposite. I guess you could say I’m entering my own ‘golden period’.”

FESTIVAL WIN

MARK WINTER QUICK FIRE!

WHO’S NEXT? Here at TNC we want to actively promote young upcoming cartoonists as well as the established ones. Do you have any advice for those just starting out?

“Never give up, just keep throwing stuff in every direction, eventually one will find the mark and open the door.”

MARK WINTER

FAVOURITE FILM? NETWORK FIRST CAR? 1965 Hillman Imp SIGNATURES

FAVOURITE WRITER? Paddy Chayefsky NICKNAME AT SCHOOL? None that I know!

PIECE OF EQUIPMENT YOU CAN’T DO WITHOUT WHEN CARTOONING? Pilot Super Grip Mechanical Refillable (0.5mm 4B lead) Pencil

YOUR CHANCE TO WIN A MARK WINTER PRINT! AS FEATURED IN OUR INTERVIEW! ENTER HERE NOW

thenewcartoonist.co.uk

DRAWING OR CRICKET? I have combined both!

WHAT SUPER POWER WOULD YOU HAVE? Cartooning KIBI BBQ OR SUNDAY ROAST? Sunday BBQ 11

HERNE BAY CARTOON FESTIVAL 2024

ELEVEN YEARS COUNTING REFLECTING ON ANOTHER TRIUMPH AT THE HERNE BAY FESTIVAL 2024... AND A LOOK BACK! ROYSTON ROBERTSON by the seaside

12

in pub toilets throughout the town. The event was planned as a one-off but was such a hit that Sue and Steve secured funding in 2014 for a standalone event called Cartoonists beside the Surrealside.

“fringe festival” sprang up for the first time.

This was the work of Glenn Marshall who has since curated an exhibition of cartoon and non-cartoon work in conjunction with One New Street Gallery every year.

The cartoon festival has returned annually, with the exception of 2020, the pandemic year.

THERE’S MORE The 2021 event went ahead in a In 2015 the event went ahead again. By this reduced form and was dedicated point Nathan had left Herne Bay so to festival co-founder Steve I stepped Coombes, who sadly died of up to a cancer in December 2020. co-orAs well as the live-drawing ganiser day and the main exhibition role, as I of new and recent cartoons, live just which has been held at the down Beach Creative gallery since the 2014, over the years there coast in DES BUCKLEY in full flow have been many exhibitions Broadcelebrating the history of carstairs. toons, usually in conjunction with the Cartoonist Des British Cartoon Archive (BCA) at the University Buckley, who had recently of Kent in nearby Canterbury, as well talks and moved to the area, also workshops for children and adults. came on board to help In 2015, the year of the Charlie Hebdo out. massacre, a BCA exhibition called Outrage!

This was the year we decided that if it’s to be was held at the Seaside Museum, celebrating a regular annual event, it should probably be cartoons that historically have caused offence. called the Herne Bay Cartoon Festival. And as In 2018, when the festival marked the rise of if to prove it was now an established event, a

pictures: Karol Steele

After another successful Herne Bay Cartoon Festival this summer, cartoonist and co-organiser Royston Robertson reflects on 11 years of the event.

If the midday sun is only for mad dogs and Englishmen, as Noël Coward wrote, that must make cartoonists who stand in the August sun drawing and painting on huge canvases quite insane.

Yet despite the obvious silliness of the endeavour, this year they returned to Herne Bay once more, and the sun shone, which was by no means guaranteed this summer.

Every year there is a theme that also works as the title of the main festival exhibition and is designed to reflect current events as well as have a seaside flavour. This year it was Rocking the Boat, to reflect the upheaval of an election year, though lots of cartoonists just drew Owl and the Pussycat gags. Cartoonists tend to do what they want, it’s like herding owls.

Herne Bay Cartoon Festival sprang from a 2013 arts festival that celebrated the centenary of the conceptual artist Marcel Duchamp staying in the town. His work was often humorous and playful and he also drew cartoons, so a cartooning event seemed like a good fit. It was the brainchild of cartoonist Nathan Ariss who was a Herne Bay resident at the time and approached Sue Austen and Steve Coombes from the Duchamp festival.

Cartoonists were recruited mostly A WHYNGE OF CARTOONISTS from the gather for the group shot Professional Cartoonists’ Organisation (PCO).

Called simply Cartoonists in the Bandstand, it featured live drawing and caricatures and a pop-up exhibition. As a tribute to Duchamp’s infamous urinal, cartoons were also exhibited

pictures: Karol Steele

SPEED LIMIT! not broken

the #MeToo movement, Funny Women, at the FUNDS same venue, celebrated female cartoonists.

The festival has had to downsize a little over Possibly less politically correct, an exhibition by recent years. This is largely due to the difficulty Donald McGill, king of the saucy seaside postcard, of securing arts funding, which gets harder every was held in 2016. This year the festival celebrat- year. There are now usually two exhibitions when ed 50 years of the BCA with Golden Years, which there used to often be three and the event hosts featured cartoons from 1974-2024, with a focus around 20 cartoonists when it used to be more on election years. than 25. the event at But it is also a result of the Beach Creative, already the home of the main festival staying true exhibition and a loyal supporter of the to its principles. festival.

It originally The move proved to be a boon had a for the event, despite being high-prostreets away from the ice cream file on and candy floss. Sales in the the exhibition went up because seafront, those attending the live day being were also able to view the show held first in the same location. And the ALL SMILES! at the Birchy & Banx public that attended were not Bandstand passers-by. They proved to be and later the engaged and interested in the art Pier until 2022. of cartooning, something you don’t But the people who run always get with the typical seaside daytripper. the Pier took exception to some This year the festival felt very established in of the political content in the the new location. It was busy from the stroke cartoons. The following year they of midday when the live event gets under way. presented the organisers with a list Cartoon fans, many of whom had travelled from of demands about what they could afar, joined the mad dogs and cartoonists and a BEN CHILTON or could not draw. In the interests with a finger on the... fun time was had by all. of free expression we decided to hold

thenewcartoonist.co.uk

13

HERNE BAY CARTOON FESTIVAL 2024

MARSHALL MADNESS! getting wet is funny,

A history of the Herne Bay Cartoon Festival Cartoonists in the Bandstand. Part of the Duchamp in Herne Bay arts festival. Poster: Hunt Emerson.

Main arts festival poster: Ralph Steadman

2013

2014

Cartoonists beside the Surrealside, first standalone event.

Poster: Ian Baker

First to be called Herne Bay Cartoon Festival and to have a separate theme: Lines in the Sand. Poster: Jeremy Banx.

Side exhibitions: Outrage!; Martin Honeysett retrospective

2015

Herne Bay Cartoon Festival Takes to the Waves ie. the waves of Covid, which didn’t stop a reduced festival going ahead.

Poster: Royston Robertson.

Side exhibition: The Giles Family Holiday at Home

2021

Crossing the Line.

Poster: Andrew Birch, which mocked the Tories and annoyed the Pier people, a story that Private Eye picked up. Side exhibition: A History of Comic Strips

2022

Life’s a Beach, marking the move from the Pier to Beach Creative.

Postcards from the Seaside.

2016 Poster: Dave Brown.

Poster: Martin Rowson Side exhibitions: Donald McGill; Side exhibitions: Duchamp and the Cartoonists, a 10-year celebration; End Giles; David Hawker retrospective Captivity Forever, whales and dolphins conservation show The End of the Pier Show, 2017 reflecting Brexit and the move 2024 Rocking the Boat. from the Bandstand to the Pier.

2024 Poster: Rob Murray.

Poster: Chris Burke. Side exhibitions: Side exhibitions: Golden Years, Cartoonists All at Sea; Martin Rowson marking the 50th anniversary of the BCA; PCO’s Great British Colouring Book show the Tide, a #MeToo 2018 Turning Cartoonists attending this year were: theme.

Poster: The Surreal McCoy. Jeremy Banx, Andrew Birch, Dave Brown, Side exhibitions: Funny Women; Des Buckley, Chris Burke, Ben Chilton, PCO show on censorship, Gagged Clive Goddard, Alex Hughes, Tom Johnston, Sally Kindberg, Kathryn Lamb, Eliot Lord, Glenn Marshall, James Mellor, Fly Me to the Moon, 2019 Commemorating 50 years Rob Murray, Ed Naylor, Royston Robertson, since Apollo 11. Poster: Martha Martin Rowson, Pete Songi, Guy Venables and Chris Williams.

“Marf” Richler. Side exhibition: Space cartoons from the BCA

14

MASTERFULL! Dave Brown

2023

SCARY! Martin Rowson

LAUGHABLE! Chris ‘Dink’ Williams

ANIMAL INSTINCTS with Kathryn Lamb

picture: Karol Steele

GETTING A GRIP! Royston Robertson

NOSY BUSINESS for Chris Burke EARLY FINISHER! James Mellor

THIRSTY WORK! ....for Guy Venables

thenewcartoonist.co.uk

picture: Karol Steele

PENNIES SPENT! ....with Rob Murray

BENDY WORK! ....for Tom Johnston

15

16

INTERNATIONAL

NEW YORKER TO THE UK

FLOODS, BOOK TOURS, TRIPS ACROSS THE POND, iPADS, PET SITTING AND COUCH SURFING JOE DATOR at the airport “Name?”

“Joe Dator.”

“Jo?” “No, Joe. I’m a man.”

“Country of origin?”

“United States.”

“Occupation?”

“I’m a cartoonist and illustrator and comedy writer.”

“We’ve already got plenty of those.”

“I know. I’m another one.”

“Are you famous?”

“No. But I’m in The New Yorker. It’s famous.”

“How long have you been drawing cartoons for them?’

“Eighteen years this month.”

“And why are you visiting the UK?” “Good question! It all started a while back, when New York City was hit by a hurricane, and I was flooded out of my cozy basement apartment in Queens. The heavy rains completely overwhelmed the water table in the area, leading to devastating flash floods. Water poured into my place from outside, and the plumbing in my bathroom reversed itself, turning the toilet into a fountain. I managed to save myself and all of my original art, but my home was no longer liveable, and I was put out in the street. This happened only a few days before my first book was about to be released.”

“You wrote a book?”

“Yes. “INKED: Cartoons, Confessions, Rejected Ideas and Secret Sketches from The New Yorker’s Joe Dator.” It’s a collection of my cartoons, some of my best from TheNew Yorker and some never before seen favorites of mine, with lots of juicy behind-the-scenes stories about how they got made. Waterstones can order it for you. Here’s the link.”

“Thanks, I’m good.”

“Anyway, after the flood, I had to go out on a book tour, signing autographs and giving talks.

Everywhere I went, people congratulated me on my success. I was the most congratulated homeless man in America.”

“When I got back to New York I soon found that in the 10 years I’d had that apartment, rents in the city had tripled, but my income hadn’t.

thenewcartoonist.co.uk

I searched for something that was affordable, suitable for my needs, in a safe neighbourhood, and with a landlord willing to rent to a freelance cartoonist. It became immediately apparent that I would be more likely to find Bigfoot in Central Park.”

“So what did you do?”

“I became a couch-surfer, a kind of full-time nomad. I put my pens and ink into storage, bought an iPadPro, and went out on the road. I’ve been roaming around the US, staying with friends, family, pet-sitting, house-sitting, whatever. I’ve golfed with the retirees of the Florida coast. I’ve started my day with fresh eggs from the henhouse on a Virginia farm. In Kansas City, I walked across the state line to Missouri, and ate some of the world’s best barbecue. I stayed for two weeks all alone in a spooky Victorian house in Pennsylvania. In California, I watched the sun set over the

Hollywood Hills, then went to Musso & Frank for martinis.”

“Eventually, I thought hey, I’ve always loved spending time in England, why not go to the UK next? So I bought a plane ticket to London.”

“Alright, well, I reckon you’re good to go.

Welcome to the UK.” “Oh no, I’ve already been here for six months. I’m heading back to the US for a bit.”

“But this is Customs-Arrivals. Why are you here talking to me?”

“This was the only way my agent could get anyone to interview me.”

JOE DATOR

17

18

thenewcartoonist.co.uk

19

TECHNOLOGY

REPLACEMENT ARTWORK IS GENERATIVE AI A THREAT TO CARTOONISTS IN THE UK? JAMES MELLOR INVESTIGATES THE BOTS JAMES MELLOR a humanoid The rise of generative AI has brought a wave of change to creative industries, and cartoonists in the UK are no exception. However, while AI might assist and even transform aspects of cartooning, the creative, human-centred nature of the art form suggests that cartoonists will continue to play a vital role.

That’s reassuring to hear. But of course a machine out for my job would say that sort of thing. I appreciate it was slightly clichéd to ask an AI to write the opening paragraph but, in this case, I thought the robot was onto something.

AIs don’t see themselves as capable of replacing cartoonists, yet the existence of technology that can instantly generate images will inevitably impact an image-based profession to some extent.

You may wonder what the fuss is about. This great and terrible technology that may threaten us all seems to largely manifest itself in people dicking about online creating fake photos of Donald Trump marrying Taylor Swift. However, at ings in seconds and do so at a fraction of the the same time, art editors have reported receiv- cost of hiring a cartoonist. On top of that, the ing what they believe to be AI generated carrise of AI-driven tools would allow non-artists toons on-spec for the past two to create their own cartoons with years. Presumably there comes minimal effort. This could flood a moment when the technology AI IS STILL JUST the media with a sea of gag carprogresses to the point when toons generated in seconds.

A TOOL AND WHO editors cannot discern the difI think this prediction needs to ference. And no-one, except the THE ARTIST IS be taken with a pinch of salt or, cartoon’s creator, will know when indeed, a small salt mine. There STILL MATTERS may well be a danger – AI poses a we’ve reached that moment. We may have already. threat of sorts to all professions.

At that point, there’s a general However, as is the case when any expectation that AI would churn out line drawnew technology disrupts a market, the main danger is to those who bury their heads in the sand and don’t engage with it at all.

QUICK CONTENT Cartooning is only recently beginning to feel the intrusion of technology. I’ve been here before. Prior to being a cartoonist I worked in intelligence and counter-fraud. My old job of analysing data, looking for patterns and anomalies can now be performed by algorithms in seconds. Yet roles still exist for those who took the time to understand the new capabilities, to work alongside them rather than fight against or try to ignore them. And cartooning is a very different job indeed.

The Professional Cartoonists Organisation used to make an interesting distinction between cartoon illustration and cartooning

20

– between creating images in a cartoon style and creating cartoons with a message, usually, but not always involving humour. Those making a living from the former will already be feeling the impact of AI. Clients looking for quick, budget-friendly content are already turning to Midjourney and Dall-E. Even so, the appreciation and commercial demand for human-crafted illustration has not vanished.

When it comes to cartooning itself - gag and political cartoons - AI faces a much tougher battle. Cartoons involve subtlety, wit, and capturing cultural nuances—things AI struggles to fully grasp. UK satire thrives on irony, dry humour, and an understanding of politics and society.

While AI can attempt to mimic these qualities, it often falls short. An AI may be able to generate an image, but it can’t replicate years of lived experience or the cultural depth of a human cartoonist.

EXPERIMENT Yet. Will AI learn to replicate these qualities?

‘Never in our lifetimes’, believes AI artist @ exhaustedbirdy. Given that my own experience of AI to date had been generating a picture of a Joe Marler statue on Trafalgar Square’s fourth plinth and a visualisation of what Jack Grealish might look like as a shrub, I thought it would be wise to consult actual experts. It was a reassuring experience.

It was interesting to learn from @exhausted-

birdy, aka Saff, that AI artists find it impossible to lised some of her AI-art community to pitch in keep up with the pace of development too. They with cartoons of their own. I’m really grateful can feel as uncomfortable and overwhelmed by they took this experiment in the right spirit and the new world as the rest of us. What is also imtheir creations are also here to view opposite. mediately apparent is that Saff is very clear that Comparing a cartoonist having a first go at AI she is an artist and that AI is merely one of the with AI artists having their first go at cartooning tools she uses. AI generating an image is only may not seem immediately helpful. However, one step in a process of manual changes and seeing my creation alongside the others reinimprovements made to ensure the image ends forced the idea that AI is still just a tool and who up as she envisions. the artist is still matters. It was not easy, it took “No matter what tools you use to create, the me far, far longer than the others but, crucially, true instrument is you, and through you the I had a far clearer idea of what I needed the end universe that surrounds us all comes into focus” result to be like. wrote Rick Rubin in 2023. Though it’s a little before my time, our conversation about cartoonTRAINING A.I ists’ worries regarding AI makes me think of the Thinking of AI as a tool, rather than an artificial futile attempts by the British Musicians’ Union cartoonist is perhaps my key takeaway from my to ban synthesisers. It also crosses my mind that short foray into the generative world. It’s not Hogarth and Gillray never used about generating cartoons, per se. rotring ArtPens, photoshop, or It is looking for aspects of AI which CARTOONING IS might improve what I already do. an ‘undo’ button.

The conversation also led to a ONLY RECENTLY Training AI on my own work rather (somewhat inevitable) practical than scraping the internet seems BEGINNING TO experiment. I had a crack at an ethical step forward. Using generating a cartoon. I asked generative fill to create backFEEL THE ChatGPT for gags based on the grounds in my own style (someINTRUSION OF week’s news. I picked the 23rd thing that would allow me to focus one it came up with. I then more on the characters and the TECHNOLOGY instructed it to write a prompt gag and dispense with the tedious for Adobe Firefly to generate the process of drawing stadium crowd gag as an image using one of my old cartoons as scenes for all the rugby cartoons I draw) also a style reference. The results are below. seems potentially useful.

AI is not currently clever enough to do my job. Even experts don’t expect it to be able to replace me before I retire or shuffle off. However, technology advances at unpredictable rates so I intend to try and stay informed should things rapidly change. In any case, it seems a more useful approach than sitting around being the pub bore complaining that synthesiser players aren’t musicians. Really, though. I should leave the last word to the AI: Generative AI is unlikely to fully replace cartoonists because it lacks the creativity, originality, and emotional depth that human artists bring to their work. Cartoonists create distinctive styles, provide social and political commentary, and connect with audiences in ways that AI cannot replicate.

While AI may serve as a helpful tool for generating ideas or refining concepts, the human touch, adaptability, and personal perspective of cartoonists ensure they will remain essential in the creative process. Instead of replacing cartoonists, AI is more likely to enhance their work.

It’s a long way from something I’d try to sell, but closer than I imagined it would be. To put my(?) creation in context, Saff had also mobi-

thenewcartoonist.co.uk

JAMES MELLOR

AI ARTISTS...

deepai.org

AllianceDAO

@degenghosty using ChatGPT

@exhaustedbirdy using MidJourney 2 21

22

REJECTION

TUMBLEWEED MOMENTS...

DRAWING AND BEING FUNNY IS ONE THING BUT HOW DO YOU COPE WITH “SORRY, NOT QUITE”...

RUPERT BESLEY from the coalface

comes in. Pressure on space makes it unavoidable that much (most?) gets rejected, even when of the highest quality, widest interest and most direct relevance. That’s Rejection is part of cartooning. You just have publishing. to learn to live with it. Trouble is, you never do.

There’s no fun in failure. Only a masoMercifully we don’t have (yet) in this country the chist can enjoy it. Getting rejected is always forms of rejection meted out in the darkest cor- disappointing, often bitterly so. But there ners of the globe. That’s when cartoonists get are things to bear in mind which can sugar disappeared and maybe reappear barbarically that pill. Firstly, it helps to remember you’re mutilated in consequence of a drawing that did not alone and that everyone else, including not wholly please the ruling regime. Usually the the top performers, must face the same. offending cartoon turns out to be something so No doubt things have changed a bit these mild it would pass unnoticed here. days, but I was staggered to discover years Nor do cartoonists face the humiliations en- back that even the top performers in cardured by fellow humorists booed and barracked tooning, Fleet Street’s finest, were required off a stage or, in politer venues, watching to come up each day with at least half a their audience slip away before they do. The dozen ideas in rough from which the editor rejections got by cartoonists tend to be of three could choose the one to head the centre types. page in next day’s paper. Invariably they First there is the simple non-reply. How picked the worst. galling is that. People invite you to submit, you work long and hard to create new stuff, send SELF-CRITICISM in a careful selection and then hear nothing Next, rejection is something you do yourfurther. Stuff them. self at every stage of cartoon creation.

Then there is the standard rejection slip.

From first hazy thought to final sending, Is - or was. These days pretty well everything you hover between selection and rejection is done online and differently, but for years of line, of word, of detail, of possible outlet. cartoonists were collectors The cartoon editor who turns of rejection slips, themselves down your offering is continthe subject of further jokes, all THERE IS NO FUN uing the process of narrowing rejected. A few, a sainted few down and refinement, in IN FAILURE. ONLY which maybe you have not yet (William Hewison of Punch was one, Steve Way has been anothfar enough.

A MASOCHIST gone er), cartoon editors somehow Riffling through the mountain of CAN ENJOY IT found time and took the trouble submissions, the editor has time to add words of encouragement only to pick out that which catches or explanation to the printed the eye and instantly amuses. Luck slip. Gold-dust to any aspiring cartoonist. and chance play their part in that. But it can Finally, there is the all-too-common wolf in also be that the famously humourless cartoon sheep’s clothing. That’s the enthusiastic reeditor is at fault when something good gets sponse (‘we absolutely love what you’ve done’) missed. that comes with a ‘but’ ( ‘but could you just…’).

For years I had a small weekly cartoon in a Before you know it, you’ve lost not just words local paper that successive editors published but the whole caption, not just characters but without question. Then came one who did not the entire composition, not just details but the hesitate to pick up the phone to ask me to basic joke. ‘But it’s great what you’ve done.’ explain the joke. Who was to blame, him or me?

Probably both. All I can say is that the cartoons IN PRINT he turned down soon found takers elsewhere.

Wherever there is publication, there will always Revenge is sweet. There’s a particular be rejection. All publications get bombarded pleasure in getting a reject cartoon accepted in with hopeful submissions and, no matter how another place. And it’s hard not to smile when high or low the bar is set on acceptability, none the publishing outfit that has treated you like will ever have room to make use of all that dirt then goes to the wall. So many publications

thenewcartoonist.co.uk

that I’ve had occasional cartoons in have now folded that I begin to worry that it’s me that is the common factor and I’m the one to blame for their demise.

And then there comes that opportunity you’ve waited for so long. Out of the blue you get that cheery email from the editor you parted company with long back. ‘Hi there, remember me? At last in retirement I’m finding time for a few pet projects, including a great idea I have for a cartoon book on what the cat brought in. You should see what our Tiddles comes up with. I’ve got a short list here and thought maybe you could work your magic.’

Time for you to sit on that a month or three and then respond. ‘Sorry, not quite. PS Could you just explain the joke?’

ROB BESLEY

23

THE REJECTION GALLERY

24

THEME FOR THE NEXT ISSUE:

SUCCESS!

Email entries to editor@thenewcartoonist.co.uk Deadline: Oct 25th 2024 thenewcartoonist.co.uk

25

MY NEW BOSS!

A VERY VERY NEW CARTOONIST...

TNC CATCHES UP WITH THE NEW AND UPCOMING TALENT CHOOSING TO POKE FUN WITH A PENCIL, FELT TIPS OR iPAD

draw very glamorous outfits for Suzanna, which she loves, while Morris’ adventures all involve Friedeggy.

The family Pug, Holly, who is very obedient for mum while completely ignoring dad’s commands, Lola is 11 years old and lives in North London. features heavily. ‘I draw my mum with a permaShe likes drawing strip cartoons, and gets her nent tornado over her head, and my dad has swirly inspiration from her family, mainly.

This includes two brothers; Charlie, much older, eyes because he is ‘always out to lunch’. In my cartoons he tries really hard to get things right, but who lives with his girlfriend Suzanna, and Morris, can never quite pull that off.

7, whose favourite toy is a stuffed egg called Sometimes I like to use my ipad – but pencil and Friedeggy. Both have their own strips – Charlie and paper is my favourite medium. I also get inspiraSuzanna depicts Charlie as a lazy, smelly, eternal tion from Jeff Kinney – I love his style.’ student, which is of course a total fabrication So Lola, What kind of boss would you be? and requires a lot of artistic licence. Lola likes to

DYANA SONGI meets Lola Graff

26

LOLA AGED 10 (NEARLY 11)

“I would be a strict boss who does NOT allow any phones in the office. I mean- who knows what kind of trouble adults could cause by watching the Guardian, baseball matches at 9pm and silly dog videos of pugs dressed as Lady Ga Ga. Come on!

Shopping for IKEA glasses is way more dangerous than you think. So, if I see someone with their phone I will FIRE them. Anyways, grownups will be able to have a 15 minute break and a 45 minute lunchtime. Grown ups don’t need that long to have their lunch (Only if Dad makes his special Indian food, that takes AGES). So yeah, if people want to respect me, they’re gonna have to follow MY rules.”

Would you like to have your work featured in My New Boss?

Please email editor@thenewcartoonist.co.uk with your full name, date of birth, and a parent/guardian’s name, mobile number and email address.

You must be aged 12 or under, and be resident in the UK. You must also be prepared to take part in a Zoom interview and submit your own work only.

thenewcartoonist.co.uk

27

PENS DOWN!

A LIFE LIVED IN CARTOONS A CARTOON ANTHOLOGY FOLLOWING THE LIFE OF THE UK’S FAMOUS WAR-TIME LEADER

A fascinating new book edited by Tim Benson, highlighting the 60 year career of the most caricatured politician in history through the prism of cartoons, has just been released.

Churchill’s A life in Cartoons spans his career from entering Parliament in 1900 through to his retirement in 1954. The Anthology primarily focuses on his exploits during the second world war and the years preceding it.

Often lampooned in his early years for misjudgements and follies, Winston Churchill spent most of the 1920’s in a political wilderness due to his support of Edward VIII during the Abdication crisis and his views on India.

He went on to have a pivotal role in our response to World War II. This fascinating book is packed with over 240 pages of striking political cartoons with detailed explanations to add context. It charts Churchill’s

28

illustrious and tumultuous political career through the work of leading cartoonists from

around the world. Through these cartoons there developed very contrary views of Churchill; the glorious cigar-chomping wartime leader, but also the flawed politician. In America he was adored by cartoonists, while in Nazi Germany and in the post-war Soviet Union he was, unsurprisingly, painted as a bumbling buffoon.

Featuring the work of the some of the greatest cartoonists of all time including the great David Low Churchill, A life in Cartoons includes the very best and wittiest portrayals of Churchill. Here he is the glorious wartime leader, controversial politician, and emblematic British statesman who will be remembered always.

If you are a fan of historical cartoons than this book is a must and well worth an online trip to Amazon!

Churchill - A life in Cartoons Hutchinson Heinemann £14.99

AMAZON

thenewcartoonist.co.uk

29

PUB EXHIBITION REVIEW

DECISIONS, DECISIONS... now where’s the hammer?

ALL UP... cartoons everwhere!

SUMMER LOVIN’

MEET THE CARTOONIST S EXHIBITIO

EXTENDED UNTIL FEB

29th

N LAUN THURSDAY JUNE CH 6TH FROM 5PM!

EXHIBITION POSTERS two set to become three!

CARTOON EXHIBITION

JUN 6TH - JUL 6TH 2024

DUKE OF GREENWICH

91 COLOMB STREET, LONDON SE10 9EZ

Talent Including: Royston, Andrew Birch, Kathryn Lamb, Pete Dredge, Glenn Marshall, Vroni, Steve Bright, Martin Rowson, Guy Venables, Ben Jennings, Joe Dator, Dave Brown, Ed Naylor, Ken Pyne and many more!

WANT TO BUY A PRINT? QR codes placed!

CONTENT BAR STAFF Jack fromThe Duke

S...

ANOTHER WHYNGE OF CARTOONIST y Banx, Jess Judge, Ed Naylor, Radical Embroiderer, Jerem Nick Newman Pete Songi Mark ‘CHICANE’ Winter and

91 Colomb St, Greenwich, London SE10 9EZ

IS HAPPY HOUR OVER YET? Glenn Marshall & Mark‘CHICANE’ Wint er

CARTOONS AND ALCOHOL

THE GREAT CARTOON EXHIBTION REARED ITS HEAD ONCE MORE IN A SOUTH LONDON BOOZER

pictures: Frankie Winter

NIC BROOK from the bar stool

local talent. The Greenwich Printmakers, a local travel photographer and then a portrait artist all followed our first exhibition adorning the walls; the owners keen to keep the space occupied.

“I wanted this to be a collaborative exhibition with established cartoonists as well as entries from up and coming talent and from those not able to break through into mainstream titles like Private Eye or The Spectator.”

Anyone popping in to the “Duke of Greenwich”, close to Maze Hill station in South East London this month, might wonder if they’re visiting an art gallery, rather than a pub.

Over a hundred cartoons featuring the talent of more than sixty of the UK’s top artists adorn the walls; making this humble local the home of THE BOOZERS VIEW one of, if not THE best collections of contempoFor the Duke of Greenwich’s new owners, rary art in the country just now.

Pete’s enquiry came at an opportune time.

And relax – admission is free, and you can still They’d refurbished the bar and while they’d iniget a beer! tially left the walls bare, soon realised the decor The glorious, rib-ticklin’, CartoonFest is all needed something extra. down to Daily Mirror cartoonist Pete Songi, the Nicholas Blucert, one of the Duke’s new ownfella who illustrates Kevin Maguire’s politics’ ers takes up the story; column every week, and who’s a “I’d worked at Fleet man who clearly doesn’t like bare “THEY MAKE OUR Street’s ‘Punch walls when he’s having a drink.

Tavern’ years ago

has been fantastic. Some of Pete’s colleagues’ cartoons are quite edgy but they make our customers smile. What not to like?”

Edgy or not, it’s great to see the breadth of talent from lesser known artists having their work displayed alongside cartoons from the country’s more famous, established professionals.

Pete Songi’s not making money from the artists; he’s provided QR code links to all the PCO contributors, so if pub goers fancy buying a print they can contact the cartoonists direct.

THE FUTURE?

I ask Songi if he’s any plans to take the exhibition anywhere else or.

“I think taking it anywhere else might be a stretch though there’s no reason why we couldn’t export the whole thing as a PDF, I’ve heard a few mentions of something in Edinburgh, so watch this space” And future plans?

CUSTOMERS where hacks “I’d love to bring something WHO, WHAT, HOW? would be our like the Herne Bay Festival to SMILE, WHAT’S regulars, and my I caught-up with Pete at The Greenwich one day. Seeing Duke to ask him how he came to NOT TO LIKE?” pals and I would cartoonists like Martin Rowson transform the Greenwich boozer THE DUKE drink in the surrounded by a crowd as he Nick Blucert into a Mecca for art lovers.

A happy pub! nearby “Cartoondemonstrates his drawing, feeling “It all came about last year” ist” pub. the energy and enthusiasm, hearing recalls Songi. I was out for a pint “When Pete and his the applause when he’s finished, that with a couple of cartoonist pals, Mark Winter cartoonist pals came along with the sugkind of interaction with the general public is (New Zealand press) and Jeremy Banx (FT). gestion, the idea of connecting with that vibe just fabulous.

We dropped in at the newly refurbished ‘Duke appealed straight away.

That’s the dream. From the Duke of Greenwich of Greenwich’ and figured we – and it – needed “We didn’t want to go down the route of some to the streets of Greenwich, then who knows cheering-up a bit with some of our cartoons. pub chains and just have old historic local maps where? Cartoons for The People!

“Thankfully the new owners liked the idea. or prints on the walls, but still wanted to connect “Oh, and a locally brewed pint of lager please, We had a ‘Drinking’ themed exhibition there with our area of South East London. if you’re offering...” last January, featuring art from forty members of “We specialise in This exhibition came to an end on July 8th the Professionproviding a range of 2024 but another one is planned later in the al Cartoonists local beers rather year details below.

Organisation than more widely ( www.procarknown brands, so toonists.org ) the idea of supportthat went well, ing and celebrating and so we got local artists and invited back, community art this time the ANOTHER ONE immediately feels more walls to be tooned! theme being really comfortable.

‘Summer’.

“We’re here “The pub to provide great enjoyed a food & drink and massive boost in a great venue footfall last time for families to and the venue UALISATION! enjoy a relaxed IT’S ALL IN THE VIS CONTACT PETE has now become FOR PUB MORE enjoying the view! atmosphere, so EXHIBITION INFO a hub for other the gallery effect

thenewcartoonist.co.uk

31

THE ARCHIVE

WHY WE ALL NEED TO TALK ABOUT KEVIN HE/HIM...

HOW COMPLACENCY CAN BE PART OF THE PROBLEM WHEN IT COMES TO GENDER BIAS. THEATRE

For the last 20 plus years I’ve worked as a child actor’s agent attached to a children’s arts charity in London, so usually think of myself as After studying the walls at a recent pub car- quite well-placed in terms of what we now refer toon exhibition organized by NCT Editor Pete to as awareness. Inclusion is a huge part of our Songi, a neighbour of ours stomped towards charity’s day to day remit, and we try hard to me, her body language implying that I had incorporate that thinking into everything we in some way caused her a terrible affront by do. But especially in the current climate I think inviting her along. it’s fair to say, we remain most conscious of ad‘Not many women,’ she told me, as though I dressing the issue of gender bias when it comes was personally responsible for her evident disap- to being aware in our place of work. pointment. ‘You’re not the first person to notice The theatre and casting industries have that.’ I told her. ‘It’s a bit of a thing.’ focused closely on inclusion over the past few Tired after a very long day’s work, when she years and have made great inroads, I feel, with pressed me on the subject, I was about to bail regards to gender self-identification, neurodiwith a whiny ‘why would I know? Or ‘It’s very versity, disability and heritage, and I like to think complicated.’, shrug, smile and thank her comthat I, my colleagues and my peers, have a good ing. But she expected me, as a person on the level of awareness and understanding when periphery of the cartooning community, and as it comes to these subjects. Of course there’s female-presenting, to have strong opinions on shedloads that we don’t know, and probably nevthe subject, and quite clearly, to find it hugely er will. But what I do know is, if anyone walked in problematic. I think I mumbled something and told me I couldn’t do my job because of my about how we know women have been historigender, there’d be the very biggest of hoo-hahs. cally excluded from so many professions, male domination in the media, old boys’ network, GENDER work-life balance, yada yada…tailing off into a Why then, was it so easy for me to roll so easily realisation that she was genuinely taken aback with such a blaring discrepancy in another field? at the lack of representation of women carIs it simply laziness? An age-related ennui? toonists on the walls, and that I was genuinely Unrelatability or subject matter? Politic apathy? taken aback at her level of surprise. She was also ‘What’s it got to do with me?’ unconvinced by my pathetic response, gave me Probably on some level I think it’s a little of a look and changed the subject, complimentall of these things. What all this navel-gazing ing me on my decorating efforts (she only lives has invoked in me however, is a genuine desire across the road, she can see everything!). to be much more conscious of all work gender It was only a few days later, with some empty bias I come across, and to have a more genuine head space while decorating, again, that the understanding of why there are fewer women conversation we’d had re-entered my mind, like editorial cartoonists. past conversations are wont to do.

This is too complex a subject, with too many It really bothered me, and I couldn’t quite work issues, difficulties and questions surrounding out why. It’s not as if I’d never noticed that there it to cover in one small article of course, but was an issue myself, or not discussed it with the shame I experienced at my initial apathy others already, albeit not in a huge way. It took has at least made me put my hand up to write some time for me to work out that what irked something, in some gesture of arriving at a more me the most was not my pat answer, nor even informed position. I can only do this of course my assumption that I knew why there were fewer with the input of those in the world of profeswomen cartoonists represented without looking sional editorial cartooning. closer at it, but that I was so accepting of the Some have suggested that there is a fundastatus quo. mental difference in ability between male and

32

cartoon: Anton (Antonia Yeoman) Evening Standard 20th May 1966 ©Associated Newspapers Ltd. / Solo

DYANA SONGI asking the questions

female-presenting cartoonists, with an implication that women perhaps don’t bring the same stuff to the table. It’s a ridiculous concept and Martin Rowson argues strongly against it.

‘I don’t buy the arguments about women not being temperamentally suited to cartooning - particularly political cartooning. Given a chance they flourish on all fronts. Just look at the brilliant Ella Baron, one of the best cartoonists around right now. Seriously mad shit in her head.

So as far as I’m concerned historically it’s simply down to entrenched institutionalised sexism, barriers which are only now beginning to come down.’

In response to the claims of some that there had never been a female political cartoonist, Rowson also sends me in search of the eighteenth-century caricaturist, publisher and print seller Mary Darly.

Darly wrote, illustrated and published the first book in England on caricature drawing c. 1762, and was producing satirical prints straddling the period between Hogarth and Gillray (including prints attacking Hogarth when everyone turned against him in the 1760s). So bang goes that theory. And we now have some brilliant contemporary female editorial cartoonists, who despite the potential challenges have enjoyed huge success.

EXPECTATIONS An exhibition at the Cartoon Museum in London in 2022 featured the work of Darly along with newly commissioned cartoons by The New York-

while diagnostic trends may not capture the full er’s Nigerian-British woman cartoonist Sarah picture of neurodivergence across different genAkinterinwa, highlighting some of the similarders, research indicates that ASD is diagnosed ities between their work, despite them working more frequently in males than females, with es250 years apart. timates suggesting that males are about 4 times Akinterinwa’s excellent social commentary more likely to be diagnosed than females. cartoons feature regularly in The Guardian, While social, cultural, and clinical factors can along with those by the brilliantly talented Nicola influence how neurodivergent traits are recogJennings, the afore-mentioned Ella Baron, nized and reported, we may question whether Rebecca Hendin, Lorna Miller et al. Jennings the compulsion to use cartoons as a form of expoints out that there are different expectations pression has a connection to neurodivergence. for male and female cartoonists; Kathryn Lamb outlines that as a person who ‘The British editorial cartoon is quite formuis diagnosed autistic, she is a natural observer laic, it is a centuries old boy’s club which can be hard for a woman to function in imaginatively. It of other people. ‘Masking (which I think I have done) involves copying the behaviour of those is a running joke, an in joke between the boys. around you in order to fit in. Apparently women I wonder whether men find it uncomfortable to are good at this.’ Regularly be lampooned by a woman (and published in Private Eye and the until relatively recently most Kathryn’s autism, it editors were male): it is seen as “IT’S SIMPLY DOWN Spectator, would appear, plays a significant criticism whereas men poking fun at each other seem to be TO ENTRENCHED role in her artistic abilities, and it’s not unlikely that others make their sharing a joke, a slap on the INSTITUTIONALISED neurodivergence work for them in back. There seem to be differa similar way. ent rules for men and women SEXISM” It is also possible that an incliover what it is deemed acceptMartin Rowson nation to draw in cartoon form is able to say, for example Steve simply a personal preference of Bell always drew David Cameron artistic style and content based on wearing a condom on his head; personal interests, and might reflect gender for a man calling another man a dick head is accepted as a joke whereas if a woman calls a man these more prosaic reasons. Cartoons are great outlet for gag cartoonists, who probably just a dick head it would be deemed impermissible.

Also there is a strong tradition of using scato- really enjoy making people laugh.

And although there still appears to be fewer logical imagery which I think is a peculiarly male female gag cartoonists, this could well be changconcern.’ ing, with those who are currently active enjoying Rowson would agree with the idea of a cena lot of success, although challenges do remain, turies old boy’s club. Having been challenged and it does still feel at this point a male-domion the subject himself in the past, he answered that there were loads of brilliant women drawing nated field. Also, perhaps the specific nature of cartooning, leading to that field feeling narrower, cartoons, but that it was the editors who comand maybe less people doing it professionally or missioned the cartoons, and not him and his even publicly, means that the gender gulf looks cohorts. He does add however that beyond this that much wider. Is it possible that cartooning is an institution somewhat set it in its ways, and could be something that more men enjoy doing one that is not necessarily gender-specific – than women? If so, why is that? rather one that is self-protective of its’ status.

ARTISTIC INCLINATIONS

STAGES

Are there other factors, however, that are gender-specific, and that contribute in some way to who is drawn to cartooning in the first place?

With little experience in cartooning, but with quite a lot in the way of child development, I can say that theories in connection with artistic stages of learning throw up some interesting questions. Much is being explored in terms of the connections between neurodiversity and artistic inclinations, and greater research into the connections between neurodiversity and creativity may give us more answers.

The cartoon form allows for a certain type of expression that is at once immediate and long-lasting, without requiring further description, and is possible to do with a distinct lack of detail, if preferred.

Neurodiverse artists may find this form of expression greatly satisfying for them, and

What we can say for sure is that children of any and all genders like to draw. We know this simply by watching them do it, and by trying to scrub the crayon off the walls afterwards.

Those of us who ascribe to * Lowenfeld’s ideas on the 6 stages of artistic development, will note that while his book Creative and Mental Growth – 1947, uses the pronouns he/him and the possessive his, it does not imply that one gender dominates when it comes to developing an interest in art.

At stage 4, The Dawning Realism, ages 7- 9, it simply outlines that preferences for subject matter start to evolve ‘since there is an increasing awareness of differences in sex, and a greater attention to detail’. Understood to be the age at when children develop a more solid understanding of representational art, 7 years is when their artistic content starts to reflect the world around

thenewcartoonist.co.uk

them in a clear, if not proportionally accurate, fashion.

But apart from this, boy-identifying, girl-identifying and non-binary children appear to enjoy drawing in equal measure. While anecdotally, parents will often report that their daughters are much more likely to be found drawing or pursuing other art mediums at ‘The Decision Stage’, (around 13 – 16), than are their sons, this is the time when the inherent self-criticism of the teenager will kick in for all, and for many, the felt-tips will be consigned to the back of the drawer.

It’s possible that only the most ardent, confident artists will feel compelled to continue with their artistic endeavours into adulthood, regardless of the gender they present as, and regardless of their preferred medium.

What is evident is that a preference for artistic style starts to develop very early, and for many creatives, their chosen art form is their preferred form of expression. Whether gender influences style preferences is still not clear.

THE FUTURE What is clear is that prejudice against another person’s perceived abilities based on their gender is simply in-permissible, and that anybody who thinks otherwise needs to take a long hard look at themselves. The lower number of female-presenting cartoonists will be something that people continue to discuss, and moving forward we need to enable all young people, regardless of how they identify, to pursue art of all types if they wish, but certainly those who enjoy them to continue drawing cartoons.

My hope is that The New Cartoonist will encourage this in some way by being as inclusive as possible, and that in our lifetime there will be a better balance between all the genders, in all fields. I also hope I’ll step up more when I see unfairness, wherever it is. It’s clear that women cartoonists more than hold their own in the cartoon world, and will continue to do so.

They can be an incredibly determined half of the population! A look through the University of Kent Cartoon Archives reveals the biography of the cartoonist Antonia Yeoman, (born Beryl Thompson in 1907). Confined to her bed from the ages of 9 – 15, she lost two fingers of her right hand in her teens, and subsequently learnt to draw with her left hand, going on to draw for Tatler, Lilliput, Men Only, New Yorker, the Evening Standard, Private Eye and Punch.

Go Beryl!

With huge thanks to Nicola Jennings, Martin Rowson, Kathryn Lamb and the University of Kent Cartoon Archive. * Dr. Viktor Lowenfeld - “Creative and Mental Growth” - 1947

UNIVERSITY OF KENT ARCHIIVE

33

EVENTS

BELL’S WINDSOR TAPESTRY Two years on from his coronation, The Windsor Tapestry showcases a visual history of King Charles III from 1980 to 2023, told in cartoons drawn at the time it happened, and accompanied by Charles’s own words as imagined by legendary British cartoonist Steve Bell.

The Royal Family is intertwined with British culture, politics, and art and are a core part of everyday British life and values - but like many Royals before them, they are not immune to the sharp satire of a cartoonist’s pen and ink. With a tradition of the free press stretching back over 300 years, cartoonists have long held the Royals and other powerful figures to account, and showcased the good, the bad and the strange parts of their role in British society.

For the past forty years legendary British political cartoonist Steve Bell has been caricaturing King Charles III and his family, and Steve Bell’s Windsor Tapestry brings together 98 of these cartoons into a 28-metre long fabric tapestry telling a visual history of Charles III (in the same way the Bayeux Tapestry told the story of King Harold II and King William I, but with a lot less arrows through eyes) from 1980 to the present day and exhibited alongside original artworks by Steve Bell, and other artists’ depictions of King Charles including Gerald Scarfe and Kathryn Lamb. The tapestry was originally exhibitied in October 2023 was part of the 42nd annual Festival of caricature at the Centre International de la Caricature, du Dessin de Presse et d’Humour in St Just Le Martel near Limoges in France.

Steve Bell is one of the most revered figures in British cartooning, with a career spanning more than four decades and a wealth of iconic images, strips and caricatures

cartoon: Steve Bell

KING CHARLES lll AND A NEW CARTOON EXHIBITION 16 NOVEMBER 2024 – MARCH 2025

of famous public figures, most prominently politicians, behind him. He is notable for his long-running If… strip for The Guardian, which ran from 1981 - 2021. He has produced illustrations and comic strips for many different magazines including Whoopee, Punch, Private Eye, the Radio Times, The Spectator and The Guardian. His work has been published and exhibited all over the world and he has won numerous awards, including the Political Cartoon Society Cartoon of the Year Award in 2001 and 2008 and Cartoonist of the Year in 2005 and 2007, the British Press Awards Cartoonist of the Year in 2002 and the Channel 4 Political Humour Award in 2005.

Alongside the Windsor Tapestry, the exhibition will explore Steve Bell’s process and career through original art from his 40+ year career, including If… strips, some of his early contracting work including his first-ever strip in Whoopee comic, and original cartoons featuring public figures such as Tony Blair, John Major, Margaret Thatcher and Boris Johnson. Visitors will also get a chance to hear Steve discuss his studio and the subject of caricature itself, exploring how a cartoonist determines the character of a subject, and where their ideas for caricaturing certain physical characteristics and personality traits comes from.

HAVE YOU SEEN OUR ONLINE SHOP? CARTOON MUSEUM ONLINE SHOP

34

or visit us in person: 63 Wells Street, Fitzrovia, London. W1A 3AE 5 minutes walk from Oxford Circus underground station.

Stay in touch via our social feeds or at www.cartoonmuseum.org

CARTOON MUSEUM

Join us for a ‘super’ late night opening to celebrate our Heroes exhibition Thursday, 17th October 6pm - 10pm Watch!

A panel discussion with Shane Melisse and Dave Gibbons.

Drink!

At the bar.

Tour!

The exhibition with Captain Civilian .Dress Up! As your favourite superhero or in your go-to Cosplay.

Enjoy!

Have a great evening.

SUPER LATE HEROES EXHIB

Three Aardman Model-Making Workshops

30TH OCTOBER MAKE YOUR OWN FEATHERS MCGRAW Tickets: £18 per person BOOK EARLY!

thenewcartoonist.co.uk

AARDMAN WORKSHOP

Join us for fun drawing sessions on a range of topics during the school holidays!

Workshops are for children aged 8-14 and cost £12 per person attending.

Places on all workshops are limited, so advance booking is essential.

About The Cartoon Museum The Cartoon Museum champions cartoon and comic art, highlighting its importance to culture and society. Since 2006 it has received 420k visitors, and built a nationally important collection of 4,300 cartoons, comics and caricatures, and a library of 18k items. It runs a well-attended school programme and sell-out school holiday workshops, and over 50k children and adults have attended cartooning, comics and animation workshops at the museum. In 2023 the Museum was awarded a Museums & Heritage Award and was recognised at the Best in Heritage awards for its autism provision, and the Museum recently held the celebrated exhibition Wallace & Gromit: 30 Years of the Wrong Trousers, which broke the museum’s own attendance records.

35

36

EVENTS

UNLEASHING THE BEASTS!

A WEEK OF EXHIBITIONS AND TALKS WITH LEADING CARTOONISTS IN GLORIOUS GALWAY The Great Annual Galway Cartoon Festival is back from the 4th-9th October.

Dedicated to celebrating the art of cartooning The Galyway festival brings together artists, fans, and the wider community to enjoy and appreciate the creativity and talent within the cartooning world. The festival features workshops, exhibitions, live demonstrations, and more, providing a platform for artists to showcase their work and for fans to engage with their favourite creators.

The Festival, now in its 8th year, will be guided by the themes of Beasts, Women in Technology, and General Mayhem. Filled with drawing and discussion, workshops, exhibitions, and talks, it promises to be the most exciting, expansive, and ambitious cartoon festival yet!

FESTIVAL GUESTS Since its creation in 1994, Dave Coverly’s celebrated gag cartoon ‘Speed Bump’ has been syndicated in hundreds of papers including The Washington Post and The Los Angeles Times, winning Best Panel from America’s National Cartoonists Society four times. The Festival will hold an exhibition of Coverly’s work, as well as a public talk with cartoon illustrations titled ‘How EVENT POSTER CREATRED BY PORTUGUESE To Be A World Famous Cartoonist’.

POLITICAL CARTOONIST CRISTINA SAMPAIO Malak Mattar has come to wide attention for her astonishing grayscale painting, No Words, from 8 to 10 October for an exhibition and book her deeply personal response to the Israeli bom- launch. bardment of Gaza and the atrocities being inFrench illustrator and comic-book author flicted upon her fellow Palestinians. The author/ Lucie Arnoux is best known as an artist on the illustrator of the best-selling children’s book, Enola Holmes comics series, and for her graphSitti’s Bird: A Gaza Story, Mattar will be in Galway ic-novel autobiography Je Ne Sais Quoi. She will hold a workshop, ‘The Comic Book In Practice’ and give a public interview on the influence of comics on her life and career.

Each year, Galway Cartoon Festival showcases an artist who has made a significant contribution to the art in Ireland, so 2024’s solo exhibition will feature one of the North’s finest, Dean Patterson, whose work appears in Private Eye, The Phoenix, The Idler, and others.

Ben Jennings (The Guardian, The i Newspaper) will give an unflinching - but very funny - dissection of contemporary Britain after 14 years of Tory government in his William Hogarth inspired exhibition ‘Snowflake’s Progress’.

He will also discuss the inspirations behind this show with Harry Burton, the Irish cartoonist who came second to his first at last year’s European Cartoon Awards, in a public interview titled

thenewcartoonist.co.uk

‘Snowflake Under The Microscope’.

Another Festival public interview highlight will be ‘An Englishman in The New Yorker’, with The New Yorker’s Will McPhail, winner of both the National Cartoonists Society’s best gag cartoon prize and the British Cartoonists Association’s Young Cartoonist of the Year.

An American’s view of Galway will come via Disney/Marvel/Netflix artist Joey Mason, with the launch of his book Quay Street Sketches, inspired by his time in the city. For Galway Cartoon Festival 2024 he will hold a residency and exhibition in Áras Éanna, on the Aran Island of Inis OÍrr.

A very special visitor to this year’s Festival will be reclusive Kerry cartoonist and illustrator Ciaraíoch (Ciara Kenny), whose work draws on social justice, Feminism, nature, and Irish history and mythology.

The festival will also feature cartoons and contributions from such major Irish cartoonists as Tom Mathews, Mick O’Hara (co-creator of Zig and Zag and Podge and Rodge), Graeme Keyes (Private Eye, The Phoenix), and Jim Cogan (Irish Independent).

EXHIBITIONS & EVENTS Galway Cartoon Festival is a celebration of creativity, storytelling, the power of satire, and the joy cartoons bring to our lives, encapsulated in this year’s themes: Beasts, Women in Technology, and General Mayhem. There are three open international exhibitions under the above titles, with the Women in Technology show created in collaboration with Galway Science and Technology Festival and the Insight Centre for Data Analytics.

There will be panel discussions, including the annual ‘Speech Bubble’ which features most of the festival guests, plus ‘Everything You Ever Wanted to Know About Making Graphic Novels (But Were Afraid To Ask)’.

Irish language cartooning events will include Tarraing É I nGaeilge, the only annual show anywhere of cartoons in Irish, and a chance for the public to draw alongside leading cartoonists in ‘Can You Speak Doodle?’.

Galway Cartoon Festival will also facilitate visits

by Galway city and county schools to festival exhibitions, to inspire the next generation of cartooning talent.

THE GALWAY FESTIVAL 2024

37

KEEP THE LAUGHS COMING IN 2025

REGISTER YOUR INTEREST IN AN ANNUAL SUBSCRIPTION HERE ANNUAL SUBS INTEREST

38 34

EVENTS

thenewcartoonist.co.uk

39 35

THE DIRECTORY

ANDREW BIRCH CONTACT HERE

VRONI HOLZMANN

CONTACT HERE

IAN BAKER

CONTACT HERE

CONTACT HERE

MARK WINTER

ED GARCIA

CONTACT HERE

CONTACT HERE

DAVID SIMMONDS CONTACT HERE

DHANANJAY KHANNA CONTACT HERE

36

JESS JUDGE

KIPPER WILLIAMS CONTACT HERE

ROGER PENWILL CONTACT HERE

A LIST OF CONTRIBUTORS

GRAEME KEYES

FERGUS BOYLAN

CONTACT HERE

CONTACT HERE

TONY NOON CONTACT HERE

ROS ASQUITH CONTACT HERE

DEAN PATTERSON CONTACT HERE

KATHRYN LAMB CONTACT HERE

thenewcartoonist.co.uk

ANDREW FRASER CONTACT HERE

ACHAZ VON HARDENBERG CONTACT HERE

MIKE STOKOE CONTACT HERE

DES BUCKLEY CONTACT HERE

37

THE DIRECTORY

PETE DREDGE CONTACT HERE

STEVE BRIGHT CONTACT HERE

ED NAYLOR CONTACT HERE

CLAUDIA WARD CONTACT HERE

STEVE LILLIE CONTACT HERE

42

NICK NEWMAN CONTACT HERE

ROYSTON ROBERTSON CONTACT HERE

CLIVE GODDARD CONTACT HERE

CHRIS ‘DINK’ WILLIAMS CONTACT HERE

THE SURREAL MCCOY CONTACT HERE

A LIST OF CONTRIBUTORS

KERINA STREVENS CONTACT HERE

LOUIS HELLMAN

CONTACT HERE

JOE DATOR

CONTACT HERE

CONTACT HERE

JAMES MELLOR

RUPERT BESLEY

CONTACT HERE

CONTACT HERE

MARTIN ROWSON

KEVIN WELLS

CONTACT HERE

CONTACT HERE

GLENN MARSHALL CONTACT HERE

thenewcartoonist.co.uk

MARK REEVE

REBECCA HENDIN CONTACT HERE

44

Yes we’ve had a few already!

Send us your comments, cartoons and suggestions COMMENTS & SUGGETIONS!

“Bloody hell Pete that’s a gargantuan & heroic undertaking.

I salute your bravery, vision & energy” “Well done!

Be prepared to be inundated” “ Brilliant news!!!

I will also send in toons that will hopefully not sully The New Cartoonist’s pages.”

IT’S YOUR COMMENTS “ Fantastic!

And very brave too!”

“Ah wow this is super exciting!!

Definitely down for this!”

“You’re a very very very very very ve ry very very very very very very very very ve ry very very very very very very very very ve ry very very very very very very very very ve ry very very very very very very very very ve ry very very very very very very very very ve ry very very very very very very very very ve ry very very very very very very very very ve ry very very very very very very very very ve ry very very very very very very very very ve ry very very very very very very very very ve ry very very very very very very very very ve ry very very very very very very very very ve ry very very very very very very brave man, but admire you and would love this to grow and succeed into something special ”

CAPTION COMPETITION!

WHOSE LINE IS IT ANYWAY? Can you match the cartoonist?

WIN ME!

Opposite is a caption from a finished cartoon.

Send us your suggestions. The winner will get published alongside the original cartoon in the next issue and win this fantastic TNC mug.

Email jpg entries to editor@thenewcartoonist.co.uk or hit the link below!

The winner will be selected purely on humour and originality, open to all skill sets!....

Good Luck!

CAPTION COMPETTION

thenewcartoonist.co.uk

Well I can’t see it fooling anybody 45

PARTING SHOT

VLAD THE IMPALER, OFFICE BANTZ & YELLOW THUMBS

HOW ONE COLLEAGUE’S ONLINE DATING TROUBLES ENDED UP PUTTING THE NO INTO CYRANO CLAUDIA WARD at the water cooler We’ll call her Janet. Janet was a colleague. A Janet who was a dissatisfied regular on every one of the dating apps she qualified for.

“Listen to this…” Janet one day read out to the office, “Stephen likes making his own sourdough and clay pigeon shooting. Bore-ring! And OMG - check out his pics…”

And we all gathered round and peered at poor, optimistic, oblivious to the scrutiny Stephen, kneading with a knowing wink in one photo, air-rifle in hand and wink in the eye again in the other.

“He likes winking”, I said.

“I hope so” said Janet “’Cos I’m not meeting up with him.”

My entire journey home that evening was spent musing on how our most infamous historical figures – the celebrities of bygone days would or wouldn’t have coped with the minefield sonnet” Said Janet, blithely typing.

“Wait. You didn’t send that did you?” I cried. of these online interactions. The intimate but “Send. Yes I did.” remote game of how your heart teeters on a “Oh god” precipice for the right emoji or swipe, even if “And he’s already responded.” you’re Vlad the Impaler. Yes even “Downward yellow thumb?” he would need a “Justina liked “Crying laughing face! Now you your comment I Should Cocoa” .

“CYRANO YOU’RE have to come up with something Or Queen Boudica, say, holding EFFING FIRED!” else…But make it funnier.” her furious, Icini breath as she And this was how I became stares like thunder for a text reAND THAT I the Cyrano d’Office replying to sponse to her warrior-pose selfie THOUGHT WAS all of Janet’s dating communiwatching three dots appear then cations with Stephen which ran disappear and then reappear FAIR ENOUGH at a steady rate - with the odd again only to disappear altoflurry - throughout the day. It was gether forever. Uprisings have been sparked by less. There’s no doubt about it, an exhausting business – mainly because I was keen to maintain the standard of a job I actually online dating brings out your fragile. wanted to stop doing. Once you have a repuBack to Janet. Weeks passed and somehow tation for being good at something, it’s hard Stephen returned on the radar but now as a to throw it even when that thing is fraudulent suitable suitor instead of a sourdough making messages that are about as funny my favourite saddo. I didn’t question it – the gig is tough, oxymoron’s - Radio 4 Comedy. after all – and Janet was enjoying his banter.

So I really concentrated on my Cyrano work “Quick - help me reply” She said. “He’s being and thus they became very close without even funny about his haemorrhoids but in a really meeting. So close that Janet finally decided it humorous way. C’mon, what shall I say?!” was time for a first date and then, who knows, “Say “thanks - I’ve always enjoyed a sonnet,” she said with a Stephen like wink, perhaps I said. marriage.

“Always. Enjoyed. A sonnet…is that two n’s in

46

I was excited for her, and rather concerned , and then excited again. After all, I’d put a lot of effort into this sham working out. I waited with great anticipation for news.

Alas the next day we were informed at work first thing by our CEO that Janet wouldn’t be coming in. In fact She would be taking the entire week off.

“Has something…happened?” I asked weakly, trying not to look at Janet’s empty chair, all my dazzling wordplay of recent weeks already haunting me “Apparently she met up with a man last night who’s scammed her of all her money. She checked her account after he’d left and every penny’s gone”.

It turns out Stephen doesn’t even exist. He’s a con-artist called Roger Dean and the only dough he actually kneaded was in Janet’s wallet. Sorry.

My mobile buzzed a message. Inevitable notification from Janet. I opened it and read: “Cyrano you’re effing fired”.

And that, I thought, was fair enough.

Poor old Janet. And poor old me. I thought Stephen and I were onto something good.

CLAUDIA WARD

THE END PORTRAIT BY: KEVIN WELLS

thenewcartoonist.co.uk

47

BORN TO DRAW! WWW.THENEWCARTOONIST.CO.UK PSCreative Ltd