inkspot 41

Calling for submissions!

THE REUBENSREPORT

The Life and Times of Paul Rigby

16th ROTARY

AWARDS

PLUS!

PLUS!!

FIRST EVER FIRST EVER FIRST EVER FIRST EVER

WA PRODUCEDWA PRODUCEDWA PRODUCEDWA PRODUCED INKSPOT!!

A VISIT FROM TOM RICHMOND OF the

National Cartoonists Society

..AND TERRY CHRISTIEN OF the

Cartoonists’ CLUB OF GREAT BRITAIN

FIRST EVER FIRST EVER

WA PRODUCEDWA PRODUCED

Official Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' AssociationOfficial Electric Basoon of the Australian Cartoonists' Association Number 41, Winter 2004

abwac.org.au

CRICKET CARTOON AWARDS 2004

This month’s collection of presidential babble, goss and unenviable grammar

makes its way to you from the dry and dusty mid-west and the smoggy, (“hazy” as the locals describe it) car-clogged west coast of the USA. I began optimistically trying to put pixels to LCD in Kansas City with the best intentions of meeting Jason’s deadline and by doing so silencing his gnashing teeth and bleating pleas for copy. I am a wiser man for the futile attempt which has taught me that such a task, is bordering on the Herculean, when a Reubens weekend is the backdrop for those intentions. Broels, elsewhere in this issue, shares our adventures so I’ll leave it to him. I will take the opportunity however, on behalf of Peter, Gary Clark, and Sean Leahy to publicly thank NSC President Steve McGarry, his Board, the jovial staff at Universal Press Syndicate and the many, many scribbling colleagues who made the four of us feel an important part of their cartooning family. Should you ever have the opportunity to attend a Reubens’ weekend, grab it with both hands, it’s an experience that will last a lifetime… it’s also a great tax deduction!

There’s a sweet irony that I am currently sitting in an Anaheim hotel, in front of a laptop, tapping this out with that monotonous soft click. I am, after all, on the American west coast and about to email this to the Australian west coast for the “Collector’s Edition” WA issue of our Club’s magazine. Thanks to the crew over in Perth, especially editor and designer Jason Chatfield as well as Sandgroping ACA legends Mick and Smithy. It only took eighty years to produce a West Oz mag but I hope you agree the wait was worth it.

Yes, this year the ACA, through a few name changes, turns 80 on July 17. Each State chapter will hopefully organize a local celebration and a couple of beers while the Club as a whole will hold back marking the occasion until Stanleys 2004. For the moment though I’ll sip my Bud Lite and toast your health and the longevity of the world’s oldest cartoonists’ organization. Cheers!

Stanleys 2004 is well down the organizational track with the steering committee doing the duck-on-the-pond routine, looking calm on top but paddling like blazes underneath. In the coming months you will receive a registration brochure and full details of what is planned for “Stanleys in the Highlands” during the first weekend in November in picturesque Bowral. For now I can tell you a winery and antiquarian bookshop tour, a welcome cocktail party and cricket cartoon exhibition opening in the Bradman Museum, the inaugural Bunker Cartoon Gallery Wall of Fame inductees, a mini-trade show, a cartoonists’ cricket match on the hallowed turf of Bradman Oval and a farewell barbeque are just a few of the events planned to complement our 2004 AGM, conference and awards.

The night itself will see a Leak/Brown encore! With all our 2003 sponsors returning along with a number of welcome newbies we can promise you a memorable time at an affordable price. BUT this year get your forms in EARLY! At the risk of sounding like coach-tour salesman, spaces are limited. It is doubtful any late minute “walk-ups” will get a guernsey this November.

In the last issue of Inkspot you will recall I wrote about the agreement with Viscopy that the ACA entered into. Members were given the choice to individually opt out of any involvement, should they wish, by the April 30 cut off date. With only one exception, and that by a member I understand had already signed with the collection agency prior to the Club negotiating the blanket deal, the full membership “opted in” and the wheels are now spinning down in Viscopy’s Surry Hills offices to see who is due a share of the lazy cash snoring in the bureaucrats’ coffers.

Finally it’s great to know that in our 80th year the ACA is going from strength to strength both financially and membership-wise. Your membership renewal remains pivotal to the future of the ACA and I encourage you to take advantage of the offered discount available for renewals made before July 1.

Fraternally et al,

President's Parlay

InkspotNumber 41 : Winter 2004

www.abwac.org.au( (02) 9601 7688

ACA BoardPresident

James Kemsley(02) 4871 2551 [email protected]

SecretarySteve Panozzo

(02) 8920 9996 [email protected]

TreasurerMick Horne


Vice PresidentsRoger Fletcher (NSW)


Vane Lindsay (Vic/Tas)(03) 9523 8635 [email protected]

Gary Clark (Qld)(07) 3353 0422 [email protected]

John Martin (SA/NT)(08) 8297 8516 [email protected]

Greg Smith (WA)(08) 9409 5026 [email protected]

ABN 19 140 290 841Inkspot is produced four times a year by the

Australian Cartoonists’ Association.

PO Box 318Strawberry Hills NSW 2012

ACA AFFILIATED ORGANISATIONS

National Cartoonists SocietyPresident Steve McGarrySecretary Rick Kirkman

www.reuben.org

Cartoonists’ Club of Great BritainPresident Graham FowellSecretary Richard Tomes

www.ccgb.org.uk

FECOPresident General Roger Penwill

Secretary General Peter Nieuwendijk www.fecoweb.org

Australia Post RegistrationPP 533798/0015

Inkspot Boffin: Jason ChatfieldInskpot Profraeder: Steve Panozzo

Inkspot contributors: James Kemsley, Peter Broelman, Mick Horne, Steve Panozzo, Vane Lindsay, Rolf Heimann, Greg Smith, Tom Richmond, Terry Christien, Richard Newcombe, Dr. Leigh Summers, Gary Clarke, Ian Thomas, Michelle Baginski, Bob Hay, Daniel Zachariou, Phil Faigen, Judy Horacek, John Martin, Lisa Mackay-Sim, Michael Collins & Dean Alston

Cover caricature by Dean Alston

Tom

Ric

hmon

d

2

SINCE 1924

3

The Australian Cartoonists’ Association isnow calling for submissions for the 20thStanley Awards. Submissions are collatedand published in the annual ACA YearBook, representing cartoons, comicstrips, caricatures and illustrations pub-lished over the past year. The categoriesfor the Stanley Awards are:

STANLEY AWARD CATEGORIES

Comic Strip ArtistAn artist whose published body of work is aprimarily multi-panel sequential comic cartoonstrip, adventure or illustrated comic strip.

Editorial CartoonistAn artist whose published body of work is politicaland/or social satire in cartoon form.It can be either single frame or comic strip.

Single Gag CartoonistAn artist whose published body of work is aprimarily single frame, non-editorial/politicallandscape or portrait panel gags. A cartoonistcannot enter the same feature in both the ComicStrip and the Single Gag categories.

CaricaturistAn artist whose published body of work is pub-lished caricatured likenesses.

Humorous IllustratorAn artist whose published body of work is pub-lished humorous illustration to newspaper/maga-zine articles, books, advertising etc. Workdeemed to be political, single-gag, caricature, orcomic strip based will not be eligible for thiscategory.

General IllustratorAn artist whose published body of work is pub-lished non-caricatured portraits and realist repre-sentations, stylized or metaphoric illustrations.

Digital IllustratorAn artist whose published body of work is pub-lished digitally-generated artwork.

NOTE: Full members can opt to submit their artwork for the YearBook and chose NOT to be a competitive entry. Any such entrieswill be marked accordingly and will not be considered eligible forthe Stanley Awards. Instead that submission will be consideredan acknowledgment and record of that artist’s work.

CONDITIONS OF ENTRY

1) You must be a full member of theAustralian Cartoonists’ Association andhave your 2004/2005 financial year mem-bership fees paid in full. Please note thatall memberships expire on July 1. If youhave not renewed your membership thisyear for 2004/2005 you can not enter theStanley Awards. Full Membership renewals can be sub-mitted with your Stanleys entry. A membership renewalform will be included for all members who are yet to renewmembership.

2) All work submitted must have been profession-ally published between July 1, 2003 and June 30, 2004and must be accompanied by proof of publication. Self-published entries are not acceptable. Work on personal(or non-commercial) websites are not acceptable.

3) You may enter TWO categories with one pageper category. Work not included in its proper category willhave the appropriate category assigned by the Year Booksub-committee.

4) All entries must be electronic submissions oncorrect sized pages. If you have difficulty is arrangingscanning and emailing contact the ACA.

5) E-mail submissions are preferred. If you choseB/W it must be 600 dpi (tiff). B/W entries must NOT begreyscale. If you chose greyscale (for colour work) it mustbe a 300 dpi tif file or jpeg. Submissions can also be ondisk. Colour entries at 300 dpi will also be accepted.They will be reproduced as greyscale BUT will bepublished online in colour on the ACA website.

6) All entries must be accompanied with yourname, address, contact telephone number, e-mail addressand website.

7) Please identify caricatures by adding thesubject’s name within your page. NOTE: “Live” caricaturistsmay make a submission however their entry will not beeligible for the Stanley Awards.

8) The Year Book sub-committee reserves the rightto reject any entry it feels does not comply with the rules.

9) By entering the Stanleys the artist givespermission for ACA to publish his/her work to promoteAustralian cartoonists and cartoons in ACA publicationsand website. ACA will not publish for financial gain anyartwork without the express permission of the artistconcerned. Copyright will reside with the artist.

10) The closing date is July 31, 2004.

YEAR BOOK PAGE GUIDELINESThe format of the 2004 Year Book is A4. Submis-

sions are allocated one half of a page. Your artwork mustbe arranged to fit between a maximum page width of180mm and a page depth of 110mm. There is a title strapto go above your submission. Please ensure you havesupplied the correct details: name, telephone number,website and email.

The Year Book is published in black and white.You may indicate on your entry if your work was publishedin colour.

Your finished page on computer disk may be sent to:

ACA Stanleys PO Box 580Elizabeth, South Australia 5112or you can e-mail your entry to [email protected]

All enquiries to Peter Broelman: 08 8255 9939or via the email address.











CONDITIONS OF ENTRY



























CONDITIONS OF ENTRY

















[email protected]











CONDITIONS OF ENTRY

















If you wish to have a non-competitive entry, please indicate clearly when submitting.











CONDITIONS OF ENTRY

















Humorous IllustratorAn artist whose published body of work is humorous illustration for newspaper/magazine articles, books, advertising etc. Work deemed to be political, single-gag, caricature or comic strip based will not be eligible for this category

NOTE: Full members may opt to submit their artwork for the Year Book and choose for it NOT to be a competitive entry. Any such entries will be marked accordingly and will not be considered eligible for the Stanley Awards. Instead that submission will be considered an acknowledgment and record of that artist's work.











CONDITIONS OF ENTRY



























CONDITIONS OF ENTRY

















AUSTRALIANCARTOONISTS'ASSOCIATION

4

THE 2004 NCSThe parallel between the Aussie Stanleys and Yankee Reubens is uncanny- a bunch of anything-goes cartoonists rocking up for a big, no-holds-barred (or no-bars-holed) celebrationary, backslapping, chest-hugging, “great-to-see-you-again” weekend. It’s no surprise that the word “fraternal” is thrown around by NCS President Steve McGarry with reckless abandon, as these cartoonists know how to make the most of it.

Like the Stanleys, the Reubens is comprised of basically two parts; the hard-grind industry conference (“convention” in that part of the world) and the swank awards ceremony, with a smattering of cocktail parties thrown in for good measure. The big difference between them and us is the scale of it all. The NCS’s main focus is the syndication business, which is comparatively non-existent in Australia. The US syndicates put up the sponsorship dollars and the networking begins. It’s not so much a free-for-all for cartoonists to show their wares, though a bit of that does go on, but rather a chance to put faces to names and an opportunity to get a feeling of the American comic business in which a lot of Aussie cartoonists would like to get involved.

For Leahy it was his first Reubens’ weekend, Clark his second in ten years, and the third in a row for Kemsley and myself. We were given an hour on Friday morning’s convention bill to inform, educate, and generally amuse the rest of the delegates about the ACA and the Aussie comic/cartoon scene. With the modern wonder of Power Point we assembled an e-presentation featuring a broad selection of artwork from the 2003 Year Book with ACA President Kemsley spruicking and promoting the diversity,

quality and standard of Australian talent. This was complimented by half a dozen copies of the Year Book and information leaflets being passed around the auditorium. We then each took turns in presenting our own work, my APN editorial cartoons, Clark’s “Swamp”, Leahy’s editorials and “Beyond The Black Stump” strip and finally Kemsley’s “Ginger Meggs”. With a healthy Q&A period after all had been said and done, the sixty minutes quickly passed. I have to say the NCSers were enthusiastic about the presentation, the work they saw and the Aussie scene… they must have been as all the Year Books were souvenired and each of us were photographed and waylayed by groups and individuals after the presentation with more questions. Kemsley was even bought a beer by one enthusiastic Aussiephile!

“Mutts” creator Patrick McDonnell followed the Aussie assault and “MAD”’s legendary Mort Drucker rounded off Friday’s conference agenda to a packed house.

Gary Clark, Peter Broelman, James Kemsley and Sean Leahy discusspre-Reuben tactics at Downtown Disney.

Peter Broelman

Peter Broelman, editorial cartoonist for the APN group of newspapers, is the ACA membership secretary and a former editor of Inkspot. The report covers the 2004 Reubens weekend which took place from May 28 – 31.

Rube Goldberg

5

Aided by UPS staff, dressed in 1920’s period costume, cartoonists and partners were given free range of the company’s modern facilities that included head-honcho John McMeel’s state of the comic-art office, complete with a selection of original Bill Wattersons, a massive Pat Oliphant oil-on-canvass and toilet with a view over the city. Not a bad gig!

Afterwards, the “official” welcome cocktail party back at the Fairmont Hotel became a full-on and fun karaoke contest into the early hours of Saturday morning. Where the shy and retiring Aussies erred on the side of vocal caution, the same couldn’t be said for McMeel, “The Simpsons’” art director David Silverman, LA Times’ Michael Ramirez and scores of locals, many of whom demonstrated that while they had gallons of bravado, had only a few drops of singing talent, giving truth to the old gag that “karaoke” is Japanese for “tone deaf”. Some degenerates then retired to McGarry’s plush presidential quarters to raid his overstocked, gratis bar and sing crude, rude and childish songs until sunrise. My vocal chords have since recovered.

The remainder of Saturday morning was a good opportunity to sleep in while others, less lucky, had to conduct official NCS business meetings… their version of our AGM but surprising very well attended… so I’m told.

The Saturday afternoon conference featured Hallmark greeting cards star Sandra Boynton, who brought the house down with a humorous presentation and Jules Feiffer who displayed his editorial work, illustrative creations, panels AND his screen/playwright achievements, which were received with a standing ovation – a busy schedule indeed.

REUBEN AWARDSYet another cocktail party kicked off the actual Reubens (who said cartoonists didn’t drink?) before MC Dan Pirarro (creator of “Bizzaro”), dressed as Wyatt Earp- we were in the mid-West after all- took to the stage singing a rousing country-style rendition of something taking the piss out of Kansas City, coincidentally his birth place, and his fellow cartoonists. As he did last year he slayed the huge ballroom audience and seems to have cemented the prestigious compere job for a few years yet. The entertaining evening was all over by midnight, probably too quick considering the huge amount of work, enthusiasm and preparation put in by the NCS Board.

Former Aussie resident Greg Evans (see Inkspot #40) snagged the major gong for his United Media syndicated strip “Luann”. It was Evans’ sixth nomination that finally brought him the USA’s highest cartooning accolade.

The quietly spoken Evans was obviously surprised and clearly overcome by the long overdue peer-recognition when accepting the large gold statuette from legendary inker Mort “Beetle Bailey” Walker, so much so that in keeping with his reputation for being a cartoonist of few words invited wife Betty to the stage to deliver his acceptance speech. The noisy acclamation in the packed Fairmont Hotel ballroom was testament to the couple’s popularity and confirmation the ballot had delivered the right result.

NCS President Steve McGarry nibbles on Mell Lazarus’ earlobe

Cartoonist of the Year, Greg Evans

Art director of MAD Magazine Sam Viviano and MAD artist Tom Richmond

James Kemsley

6

With gongs safely stowed away, dinner jackets removed and bow ties loosened, a large group retired to yet another private cocktail party (complete with a thick-necked, rarely smiling, armed guard on the front door) to acknowledge nominees, winners and those who worked on the Reubens weekend and, as it turned out, to watch the sun creak though the Kansas City skyline and slide up over the brown Missouri horizon. Sunday was all-round recovery time before NCS Past President and elder statesman Mell Lazarus was honoured with a roast that evening. Pirarro again led the charge with Cathy “Cathy” Guisewite, Bil “Family Circus” Keane and Jerry “Baby Blues/Zits” Scott with Rick “Baby Blues” Kirkman singing a rousing rendition of a song about nothing rhyming with Lazarus. A “Perfect Match” send-up showed that grown men dressing up in women’s clothing isn’t just the domain of “The Footy Show” and that it tickles the US’s funny bone as much as it does the Aussies’. The Reubens weekend was again a worthwhile experience for the visiting “fraternal” Aussies, with some pencilling-in 2005 already taking place. While on a smaller scale, the Stanleys are comparable to the fun NCS members enjoy once a year, so, if you think you’ll never make it to the Reubens, scribble-in the Stanleys at Bowral in November this year!

LEAHY’S JOURNEY CONTINUES BEYOND THE REUBENS.

A recipient of a Churchill Fellowship to study animation, his itinerary includes meeting the production crew of “The Simpsons” in LA before travelling to San Francisco, New York and London as part of a 5-week tour. Look for a full report of his Odyssey in an upcoming issue of Inkspot.

The 2003 Stanley recipient must surely hold the record for productivity. To get ahead of deadlines before flying to the US, the Queenslander completed 25 comic strips in one day! Rumours that he photocopied the same art work and just changed the tag are false.

PM John Howard visited California at the same time as we did but you wouldn’t have heard about it. News broadcasts ignored his visit, no one else knew about it and those few who did couldn’t care less.

The Reubens is a black-tie event, something Leahy forgot. So when he turned up in an open-necked green shirt he was promptly pulled over … by Lee Salem, Executive Vice-President and Editor of Universal Press Syndicate of all people! With the help of a Creators Syndicate sales rep he was quickly able to rectify his casual down-under appearance.

A spare afternoon allowed Daryl, Peggy and Buster

Cagle to chaperone the Aussies to a ballgame between

the Kansas City Royals and the Minnesota Twins.

The Aussies stuck with the home team. They lost. Royals fans

asked us to never return to Kansas City ever again.

While walking through Kansas City, Kemsley and

Broelman stopped into an ice-cream parlour to stock

up. A middle-aged couple, pro-Bush, noticed the accent

and thanked us for sending troops to Iraq. They turned

out to be newspaper publishers from South Dakota.

They were politely informed

that many Australians

disagreed with the

war and that many

more were

anti-Bush. And

so went any

opportunity

to get Ginger

Meggs into

their pages.

THE RESULTS:

Cartoonist of the Year: Greg Evans

Milt Caniff Lifetime Achievement Award: Jules Feiffer

Editorial Cartoons: Tom Toles

Newspaper Panels: Jerry Van Amerongen (“Ballard Street”)

Greeting Cards: Glenn McCoy

Newspaper Illustration: Bob Rich

Comic Strips: Stephan Pastis (“Pearls Before Swine”)

Magazine Feature/Magazine Illustration: Hermann Mejia

Book Illustration: Chris Payne

Advertising Illustration: Tom Richmond

Comic Books: Terry Moore: “Strangers in Paradise”

Gag Cartoons: Jack Ziegler

TV Animation: Paul Rudish: “Star Wars: Clone Wars”

Feature Animation: Andrew Stanton: “Finding Nemo"

TAKE ME OUT TO THE BALL GAME

Gary Clark

7

CONFESSIONS OF A THEME PARK CARICATURIST

What transpired that summer, a direct result of my skipping that class and seeing that flyer, changed my professional life and gave me the direction I was seeking. I learned two important things: I discovered I loved the art of caricature, and I also discovered I was far from a good artist. I had the privilege of working with some veteran caricaturists that summer who went on to become very successful magazine and book illustrators, comic book artists and

animators. I was in awe of their skills, and suddenly realized that this art thing wasn’t something that got handed to you at birth; it was something you had to work at… and hard. Fortunately, I still had plenty of young, confident and stupid left in me, or I might have thought myself incapable of ever reaching the levels of the artists around me. I also had a good dose of mid-west USA work ethic, meaning giving something only 110% was like taking a day off. Thanks to that summer of inspiration, perspiration and humble pie, I now had a form of art to focus on, and a somewhat clear path ahead of me. I was going to be a magazine illustrator, with a specialty in caricature. At least that was the plan. I worked very hard on my caricature skills that summer. In my research on great caricature artists I rediscovered MAD Magazine. I had loved MAD as a kid, as most kids do at one time or another, but never before really understood how incredible the level of artwork was in that publication. Now, the work of Drucker, Davis, Wood, Torres, Viviano and others had a different and deeper meaning to me. I announced to the other caricaturists at the theme park that my goal was to draw for MAD!

That got a big laugh.

I learned something else that summer. It’s the goal of virtually EVERY theme park caricaturist to draw for MAD Magazine. Maybe that’s why they all had copies of it in their backpacks and laying around their apartments. Oh, well. Young, confident and stupid was still going strong. I drew caricatures at that theme park near Chicago for four summers, and then moved my newly graduated self and my

Given time to reflect, I think nearly everyone can pinpoint a few moments in time where something happened that had

an enormous impact on their lives. In terms of my eventual job (or lack thereof depending on your perspective) as a cartoonist and humorous illustrator, that moment happened in 1985 while I was a freshman at the University of Minnesota, USA. I was skipping a particularly pretentious art class called “Alternative Sculpture”, and as we all know any art class with the word “alternative” in the title is a likely class to skip, when I happened upon a flyer in the studio arts commons area with the headline “can you draw?”. It seemed the company who posted the flyer was looking for artists to draw caricatures at a local theme park that summer. Well, being young, confident and stupid I thought I could draw pretty well, and I sent in some samples and arranged a meeting with the caricature company to procure summer employment. I brashly showed samples of various celebrity caricatures I’d kicked out the night before my interview, fully expecting an immediate and enthusiastic offering of a job.

I was summarily rejected.

That did not go as well as I had expected. I was only 19 and had no real direction in my life other than I knew I wanted to be an artist. That had been my goal since I first started drawing as a kid, copying Batman comics from cover to cover. I wasn’t really focused on comic book art as a career, or any other kind of art, and that was the problem. I only vaguely knew what caricature was, I just thought it would be a fun summer job. This job was my first attempt at a commercial application for my artwork, and I’d failed before I’d even started. Then, many weeks later, I got a call from that same company. It seemed that someone had backed out, and I was offered a job after all. It was, however, not at the local theme park but at another about 650 miles away in Chicago. Undaunted, I packed up my dorm room and went to Chicago, knowing no one and not yet artistically ready to draw caricatures for money.

Cont'd On Page 8

Tom Richmond has been a professional cartoonist, caricaturist and humorous illustrator since 1989, and is a regular contributor to MAD magazine among other clients. He was honored and humbled to win a divisonal Reuben award for advertising illustration from the National Cartoonist Society at

the 2004 Reubens. However he was highly disappointed that James Kemsley, president of the ACA, never bought him a beer the entire weekend!

This Season's NCS Contributor is MAD Magazine's Tom Richmond

8

new wife to Atlanta, GA to manage a caricature operation for that same company. My young, confident and stupid was starting to lose steam, and it was obvious to me that while I was showing a lot of improvement in my artwork I was nowhere near a level worthy of consideration for MAD, and so far I had only sent them one package of work, earning the first of several rejection letters. In the ensuing years I moved back to Minnesota to start my own theme park and retail operations, and gradually began to get some publication work, including in comics during the glut of the 90’s when work was plentiful for even novice artists. Some magazine work followed as my art improved, and eventually I had a steady clientele. MAD was still a distant dream.

It was in 1998 that another of those pivotal moments in time happened. My lovely wife and now mother of our 4 children gave me a very special 10th anniversary gift… a caricature of myself done by none other than the incomparable Mort Drucker. People

who know Mort will understand how rare something like that is… Mort as a rule doesn’t do personal commissions, and it was by chance, circumstance and the support of Mort’s wife Barbara that this happened, as a surprise for me, no less. As incredible as that gift was, it was nothing compared to what happened next. Having been sent samples of my work by my wife, Mort wanted me to call him and have a chat. He encouraged me to submit my work to MAD, and sponsored me for membership in the NCS. I attended my first Reubens in San Antonio in 1999, and showed my work to Charles Kochman and Nick Meglin of MAD!

Cont'd from Page 7

I was summarily rejected. This seemed familiar. My young, confident and stupid was long gone, but something kept me going… belief in myself thanks to the encouragement of others. Charlie was very supportive, and Mort continued to encourage me. Eventually I showed my work to Sam Viviano, longtime MAD artist and now art director. Sam was also very encouraging, and after several submissions of work and a short stint at MAD wannabe Cracked magazine, I finally got that phone call and first job for MAD. Apparently MAD’s famously low standards had finally fallen so far that I was MAD material. I’ve been lucky enough to work regularly for the magazine ever since, eventually working up to the point of doing what I’d always dreamed of… movie and TV parodies. So, in a very real sense, I am living the dream of theme park caricaturists everywhere. Oddly enough, however, I am STILL doing caricatures in theme parks. I still own several operations around the US, and draw at them periodically throughout the summer. It is my secret weapon… there is no better way to sharpen your eye and skills than to draw quick, spontaneous caricatures from live models for hours on end. I used to get a lot of “you should draw for MAD Magazine” while working at the park. Now I get somewhat the opposite. One day last summer, a kid at the park accused me of ripping off MAD with a sample I had hanging up of Tom Green on the wall of our booth. “I saw that exact same caricature in MAD Magazine! You stole that!” he cried. “You did see that in MAD,” I replied, “but I drew it for them.” The kid was quiet for a second, and then he exclaimed: “Yeah… RIIIIGHT!” and walked away shaking his head.

Summarily rejected again! ~ Tom Richmond

9

CARTOONISTS' CLUB OF

GREAT BRITAIN Thank you for the opportunity to contribute - what’s this, you’ve been established 80 years - surely not, that’s way older than Skippy by many generations!

In the past I’ve exchanged mails with Steve Panozzo and embraced the effervescent enthusiasm of young James the Kemsley and Dean Alston whenever they’ve come over to see us.So, to continue the joining of fraternal hands across many oceans, I proffer some cartoon bites from the old country.

Might as well ingratiate myself with this excellent host cartooning publication by saying, and I mean it, the overall standard and quality of cartoon art and graphic art too for that matter in Oz, is extremely high. Talking cartoon in particular, you’ve practiced and accomplished the art well - god love yuh!

Over the years, wherever possible I’ve enjoyed putting forward a cartoon solution to solve design problems and concepts and I see it in your country to great effect.Do you think there’s any justification for thinking that the mere mention of being a cartoonist is not looked on as a proper job despite many people enviously wishing they were one of those too? We collectively

do an abnormal amount of navel gazing due to the art and therefore job enjoyment level. Of course there’s absolutely no justification at all but I remember being subjected to that feeling in my younger days.In the Autumn issue of Inkspot (love the masthead!), I see you reviewed Robin Hall’s book ‘Cartoonists’ & Illustrators’ - next to ‘How to be a brain surgeon - part 1’ as you’re poised with scalpel - Robin’s book comes highly recommended to both budding and established cartoonists alike. As a contributor myself, I would say that wouldn’t I - but it adds a discerning and practical volume to our cartoon book shelves.

After my innings (and I hesitate to use a cricket euphemism!) of eight years as Hon Sec of the Cartoonists’ Club of GB (quaint that GB bit isn’t it?) for my sins I am now Projects Officer, a newly found title which takes in all manor of flying fur and feathers - good in’it!I’ve been a member of the CCGB since 1988 and what a grand bunch of mates the guys and gals are - I’ve learned a lot and of course, extended contacts and friends like your good selves all over.Continued kind regards and best wishes

Terry ChristienProjects Officer - Cartoonists’ Club of GB

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Terry ChristienI'm the one on the right, by the way

MARGARET RIVER CARTOONING WEEKEND 2004

We eventually arrived at the Wicked Ale Brewery Yallingup for the official opening of our exhibition ( WA INK: a collection of our most recent works) and a BBQ lunch. After three kegs of chili beer and a crate of Dirty Dan stout the crew was poured onto the bus for the long trip home. And what a long trip it was. A couple of hours from Perth the bus developed mechanical problems forcing it, and the driver, to breakdown just north of Bunbury. A mayday call was sent out and a camp set up on the side of the highway next to an

An enjoyable time was had by a large contingent of WA ACA members on their recent Margaret River cartooning weekend.

A bus was chartered, chalets booked and a posse of 17 gathered in the conference room at the Riverglen Chalets Margaret River. Red and white wine flowed as a number of speakers discussed various aspects of cartooning including marketing, computer skills, sourcing ideas and caricaturing. Special guest Paul Rigby spoke at length on his illustrious career and passed on some priceless tips and anecdotes to an eager audience.The evening was spent at a local restaurant discussing cartooning and downing copious amounts of the local drop and Guinness. Afterwards guitar virtuosos “The Three Must-have-beers“ (Michelle Baginski, Jason Chatfield and James Foley ) entertained the troops into the wee small hours back at the chalets. The following morning the gang shook off the effects of the previous evening ( although Graham Lepage is still suffering from a bout of Tinnitus after sharing a chalet with Dave Gray and his sawn cello) and headed north for a whistle stop tour of the region which included a stop at the Margaret River

We immediately ransacked the emergency supply of Cab Sav , “The Three Must-have-beers “ launched into a version of "The Roadhouse Blues”, and Kev our bus driver from hell skulled the last of his Prozac and called for another bus.

Finally a buggered but contented lot of cartoonists arrived home around 2a.m.

More photos from the trip can be viewed at: www.jasonchatfield.com

Greg "Smithy" Smith is the WA Vice President of the ACA. He is the editorial cartoonist

for several local WA newspapers.set up on the side of the highway next to an amorous herd of Friesians.

Chocolate Factory and a compulsory visit to the Evans and Tate winery.

for several local WA newspapers.

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National, refereed journal “metro” magazine is the first to publish the brand new cartoon strip “Rusty Filmmaker”, created by WA cartoonist Baggas (Michelle Baginski) and writer Cavan Gallagher.

Rusty Filmmaker is a satirical strip that follows the misadventures of an incompetent filmmaker. The central character, Rusty Filmmaker himself, is the kind of overbearing, pretentious and ultimately clueless person every sane operative in the film industry dreads having to work with.

Although primarily aimed at those working in the film & television industry, hopefully everyone can identify with the strip through knowing similar people to Rusty, who believes he was born perfect and is too in love with himself to ever think he has to improve.

Just hating a character doesn’t necessarily make them interesting; the fascination often comes from a depth that lets us understand them despite ourselves, and it’s an element that Baggas and Cavan Gallagher are keen on developing in Rusty.

Baggas can be contacted via email at [email protected] or phone 0415 805 938

RUSTY FILMMAKER

Another WA cartoonist who has been involved in cartooning in Australia for the past 5 years, Bob Hay has recently developed a column

that is suitable for weekly/monthly newspapers and magazines; combining what he writes with cartoons that he draws.

"The problem that I’ve found in Australia is that editors are used to getting either columns from a writer or cartoons from a cartoonist, but not both from the same person."

The column is about a recently separated male and his experiences in getting over it, then getting back into dating again. They are written as a serial, in a humourous manner, and are each illustrated with a single panel cartoon.

There is an additional ‘banner’ cartoon that could be run with the column for ease of identification. Each column is about 900 words in length.

"I’ve had a number of people review these columns/cartoons, and most, including Paul Rigby, find them quite insightful as well as funny. If you could offer any ideas/contacts for publishing these in Australia, it would be most appreciated."

Bob can be contacted via email at:[email protected] or Phone: 08 9245 5706.

If Rusty knew one thing, it was how to communicate with actors

That's News to MeMay 24th saw the Albury Border Mail become only the third major Australian daily newspaper to publish their comic section in full colour. The Canberra Times and the Launceston Examiner being the other two. The Griffith Area News, a thrice weekly publication, also have colour daily comics. The Border Mail increased their line-up from seven to ten strips. In the reshuffle losing three and taking on six new titles. Included in the revamped line-up are five by ACA members; Gary Clark’s Swamp, Tony Lopes’ Insanity Streak, Sean Leahy’s Beyond the Black Stump, James Kemsley’s Ginger Meggs and Steve McGarry’s Mullets. The first four are past recipients of the Stanley for Best Comic Strip. Imports Hägar, Crock, BC, Pooch Café and Garfield complete the page. Previously Swamp was the only Australian strip in the Border Mail’s comic pages though Lee Sheppard’s Cactus Island, Mark Lynch’s Clancy and Ginger Meggs were used in the Saturday edition.

That's News to Me Deputy editor of the Border Mail, Ken Dyason, told Inkspot “(he) was happy to be able to increase local comic content on their pages” and continued “The ACA magazine (Inkspot) and ACA web site were used as a reference during (his) decision making process.”

The Border Mail follows the trend began recently by Wollongong’s Illawarra Mercury to increase the size of their daily comic section in order to attract new readers to the newspaper.

The ‘irreverent’ cartoons of Darwin-based editorial cartoonist Colin Wicking have be recognised as a ‘cultural heritage icon’ by the National Trust in the Northern Territory. After public nominations nine Territory ‘icons’ were chosen in all, ranging from Cyclone Tracy to Darwin’s famous Beer Can Regatta. Wicking is now in his sixteenth year with the Northern Territory News.

WICKING TOONS : CULTURAL HERITAGE ICON

A Wicking 'Territorian'

Bob Hay

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Paul Rigby

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Like many at the time, Paul was a teenager when he was put into an RAAF uniform and sent overseas to play his part in World War II. He was on his way home at the end of hostilities when he disembarked from a troop ship in Fremantle. Paul liked the look of the place and thought he might like to return some day. After studying commercial art in Melbourne, he thought he would head for Europe. This was around 1949, and there would be many opportunities as various countries grew from the ashes to reshape their destinies. The trip to Europe failed to materialize when he ran out of money. He had only made it as far as Perth, and now a job was high on the list of priorities. Working as a commercial artist, it would be a couple of years before he got his big break.

In 1952, Paul became the editorial cartoonist for Perth’s afternoon newspaper, the Daily News. He was part of the Arts and Crafts department, a close team of “characters”, who were known to frequent many of the nearby watering holes. After a “joyful” lunch break, some would go back to work and cover for those who did not. The Editor referred to them as the “Organized Hooligans”. Paul did not realize it at the time, but the 17 years he had in this job proved to be the foundation of a very successful career in the industry. Paul’s cartoon was prominent in each edition at the top of the back page, which he shared with columnist Kirwan Ward. This back page partnership

was to spread across the globe as the pair set off on many dubious jaunts around the world. These were the famous “Walkabout” trips in which Paul and Kirwin would visit some of the most remote corners of the world, and send back stories and cartoons to the Daily News. Paul recalls many of these stories, but some can only be told over a cold drink in a quiet bar.

Paul’s working conditions at the Daily News would definitely warrant a cartoon. His “office” was an enlarged broom closet beneath a set of stairs. From here, hunched up over his drawing board, he would produce many a masterpiece for the Perth public to enjoy. And yes, even the most prominent cartoonists have the occasional mental block when trying to develop a caption. He recalls one of these occasions when the Editor (the deadline past) was hovering and pestering him for the finished item. When he asked Paul about the caption, he swore at the Ed and told him (with much stronger language) to “get stuffed”. That day, the Ed had them run off the first 6 prints of the afternoons edition with Paul’s swear words as the caption. Everyone enjoyed a good laugh at the time, but unfortunately Paul didn’t keep a copy for himself.

His famous trade mark of course was the little boy and dog who appeared in each of his cartoons. These tiny figures gave his readers additional entertainment as they tried to find them in each of his cartoons. On the rare occasions he left them out, the phones would run hot at the switchboard. They were never given names by Paul, but readers had their own names for the little boy. In Perth, the “Urchin” was the most popular. Paul said “I never really christened him. I guess he was just the little bastard. And the dog; well I guess it was just a dog with no name.”

The life and times of Paul Rigby

“ He figures he has done in excess of 15,000 cartoons

in his career. ”

“ A man with so much experience, he is a joy to listen to, and an inspiration to any budding cartoonist. Even those in mid-career would have a tinge of green in their eyes."This article is a précis of a magnificent career. And I’m sure many of his achievements would not have been possible without the dedicated support of his wife Marlene. " - Mick Horne

WA Cartoonist, Michael Collins (AKA Black Splash)

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So impressed with Rigby’s prowess as a leading cartoonist (the winner of 5 Walkley Awards for “Cartoonist of the Year”), Rupert Murdoch “attracted” Paul to London in 1969 where he produced 7 cartoons a week for the London Sun and the News of the World. The popularity of his cartoons grew rapidly, and it wasn’t long before they were being used in English pubs as the basis for raffles. A cartoon would be cut up into 200 pieces and sold for 2 shillings a piece, with the pool going to the one who picked the piece with the dog on it. In the meantime, the Urchin had adopted his own English touch by donning an English bowler hat. Paul also did work for Germany’s Springer publishing company, his work appearing on a regular basis throughout Europe.

In 1975 he returned to Australia and syndicated cartoons here and in the US. Murdoch purchased the New York Post in 1977 and enticed Paul away to the US to join the Post as the daily editorial cartoonist. He also contributed to the Star, a sister publication of the Post. 1984 saw Rigby (for ethical reasons) jump ship and take his pen and ink across town to the New York Daily News. Murdoch didn’t like this very much, and replaced Paul with Bay Rigby (Paul’s son). Bay was living at home with Paul and Marlene, and held the job for 8 years. When Bay left the New York Post in 1992, Paul took his old job back and stayed until retirement in 2000.

He enjoyed his time in New York, applying his cartooning wit to the varying cultural, social, and political scenes. Most of the politicians loved what he did, and rarely

complained. One of his particular targets was the Mayor of New York, Ed Koch, with whom he socialized. Ed never complained, saying “it was Rigby’s job to do what he did”.

But he did ask for the originals and of course, never paid for them. In 1999 he was visited by the Prime Minister John Howard and presented with the Order of Australia medal. He

is also a recipient of the New York Post Press Club Page One Award (4 times), and the Press Club Presentation for the Graphic Arts.

In retirement, Paul and Marlene sold up in New York and moved to Florida. Florida did not provide the retirement ideal they had hoped for, and they started to look elsewhere. After much

research, they settled for Margaret River, where they can be found relaxing in their lovely renovated weatherboard home on 5ha of land. The Margaret River region is well know for its fine wine production, and is about a 4 hour drive south of Perth. Surrounded by his paints and brushes, he could not be happier as he rediscovers the magic of colour. The Vasse Felix Winery was the venue for Paul’s extremely successful 50 Years Retrospective where he exhibited many original cartoons, and over 50 items of oil paintings, water colours, and ink on paper. That was in 2002, and its success is a strong motivator for his next exhibition this year at the same Winery.

Rigby has come a long way since his days in Perth’s Daily News Arts and Crafts department, and he still carries a small note book with him for capturing that moment or idea. He figures he has done in excess of 15,000 cartoons in his career. Food for thought if you reflect back on Paul’s view of his early life in the art world when he said he was “born and sold into art slavery”

So impressed with Rigby’s prowess as a leading cartoonist (the winner of 5 Walkley Awards for “Cartoonist of the Year”), Rupert Murdoch “attracted” Paul to London in 1969 where he produced 7 cartoons a week for the London Sun and the News of the World. The popularity of his cartoons grew rapidly, and it wasn’t long before they were being used in English pubs as the basis for raffles. A cartoon would be cut up into 200 pieces and sold for 2 shillings a piece, with the pool going to the one who picked the piece with the dog on it. In the meantime, the Urchin had adopted his own English touch by donning an English bowler hat. Paul also did work for Germany’s Springer publishing company, his work appearing on a regular basis throughout Europe.

In 1975 he returned to Australia and syndicated cartoons here and in the US. Murdoch purchased the New York Post in 1977 and enticed Paul away to the US to join the Post as the daily editorial cartoonist. He also contributed to the Star, a sister publication of the Post. 1984 saw Rigby (for ethical reasons) jump ship and take his pen and ink across town to the New York Daily News. Murdoch didn’t like this very much, and replaced Paul with Bay Rigby (Paul’s son). Bay was living at home with Paul and Marlene, and held the job for 8 years. When Bay left the New York Post in 1992, Paul took his old job back and stayed until retirement in 2000.

He enjoyed his time in New York, applying his cartooning wit to the varying cultural, social, and political scenes. Most of the politicians loved what he did, and rarely

complained. One of his particular targets was the Mayor of New York, Ed Koch, with whom he socialized. Ed never complained, saying “it was Rigby’s job to do what he did”.

But he did ask for the originals and of course, never paid for them. In 1999 he was visited by the Prime Minister John Howard and presented with the Order of Australia medal. He

is also a recipient of the New York Post Press Club Page One Award (4 times), and the Press Club Presentation for the Graphic Arts.

In retirement, Paul and Marlene sold up in New York and moved to Florida. Florida did not provide the retirement ideal they had hoped for, and they started to look elsewhere. After much

Mick Horne is the current treasurer and stalwart of the ACA. A retired Aircraft Maintenance Electrician, he has held two editorial cartooning jobs and his work currently features on Perth’s A.B.C. radio website.

"Ooops, midnight! Tools down everybc

"A great read!"

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Kylie Timmins and Fiona Lee’s “Sushi Place” is delightful, with its tale of the travails of bunny Sensei Hinky and his fish sidekick, Soyboy (the eye-catching front cover to #4 is also by Lee). Another personal favourite is Rob O’Connor’s recurring slice-of-liff… er… life, strip, “Liff.” His sardonic spin on the everyday life with wife and kids is highly amusing. Scatological (but funny) humour hasn’t disappeared with the departure of Darren Randall (who appeared in #1 and #2), if Mark Upton’s “Anally Invasive Hamsters” in #4 is any indication.

The brevity and humour of these short vignettes places many of the pieces in an area somewhere between comic strips and comic books. While they are often so short as to seem fleeting, their consistency is a tribute to the editors’ vision for this entertaining book.

The Crumpleton Experiments Published by Nautilus Illustrations, Preston South, Vic.25-27pg, Standard comic size, B&W (#1-4) $5Reviewed by Ian C. Thomas

In “The Crumpleton Experiments” writer/illustrator Daniel Reed has created something truly original. The inventive approach of the story - with elements of Victorian horror, surreal art and outlandish pseudopsychology – makes for a weird but cohesive blend. The vision is unlike anything I’ve encountered in comics and is perfectly realized in Reed’s dexterous linework.

The first issue opens in classic style, with the arrival of Wendy Brown at Professor Crumpleton’s. Seeing his work for the first time through her eyes eases the reader into Crumpleton’s bizarre world. It is a world of weird psychological experimentation that soon engulfs Brown herself.

Crumpleton’s Dream-O-Matic allows its users to slip into people’s minds to observe their dreams first hand. Being a natural meddler (like all good scientists) he drags the physical realizations of their personal demons and grisly psychoses back into the real world, in the hope of bettering humankind. Naturally, this has some unforeseen consequences.

The Professor himself bears a passing resemblance to Arthur Horner’s classic comic-strip character, Colonel Pewter, but there the similarity ends: both engage in strange and fantastic adventures, with humorous aspects, but “The Crumpleton Experiments” is much darker. In fact, the Gothic horror elements, and psychosexual imagery (in the latest issue), might make the book too dark for younger readers, though it’s a recommended read for teens and adults.

While each issue stands alone, #2 and #3 work the elements into a two-part story, and #4 begins an even longer tale. Each story successfully breathes further life into Crumpleton’s strange world, building the peculiar

SporadicPublished by Sporadic Press28pg, A5, B&W (#1-4) $5Reviewed by Ian C. ThomasAvailable at: http://www.jaseharper.com/comics.htm

It’s great to see a consistently strong anthology coming out on a regular basis. “Sporadic” is from Queensland and features a broad range of artists and styles. Diversity is the key to its success.

The cornerstone artists are Jase Harper and Jules Faber, along with a rotating cast of regulars. Their stories in the early issues tend to see Harper focusing more on the absurd, with his wild flights of humorous fantasy covering the social difficulties of a burning man, zombies, robot sex and floating into space. Faber’s contributions have tended to concentrate more on poignant autobiographical pieces, movingly recounted. With #4, the signs are that this may be changing, with Harper and Faber swapping places in terms of content.

The many other artists all demonstrate totally different approaches to their material; such contrasts are one of the strengths of a good anthology comic book.

Bram Jewsoure contributes well-composed, stylish pieces. His use of shaded greys in conjunction with black linework is a lesson in how well this approach can work. It’s a pity the page order of his “The Sky is Falling” in #3 is incorrect, leading to confusion and necessitating a continuity guide in #4 before this fable of people and aliens can continue, though it does so with great success.

Reviews

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The Advertiser’s Michael Atchison has been announced as the inaugural appointee of the Hall of Fame in the S.A. Media Awards conducted by the Media Entertainment & Arts Alliance.

Entry to the South Australian Media Hall of Fame is based on an individual’s longterm commitment and achievement in the media. Entry is open to individuals working in the media, from photographers and camera operators to artists, journalists, subeditors and editors.

MEAA Branch Secretary, Dana Wortley, lavished praise on Michael who

has worked for such auspicious publications as Britain’s Punch to Australia’s racy Man magazine, as well as newspapers ranging from Sydney’s Daily Mirror and the Sunday Advertiser (both now defunct) to The Advertiser where he started in 1967.

“But at the age of 70 - and far from defunct himself - our appointee still explores the indiosyncracies of our politicians with a deft hand on a daily basis - he has cited amongst his favourite subjects Paul Keating, Bob Hawke, Don Dunstan, and Steel Hall, while sports personalities, film stars and just about anybody who finds themselves in the public spotlight can’t escape his attention”.

“While some journalists might spend thousands of words exploring the ins and outs of the rich and famous, our appointee can capture the essence of the story in one satirical blow - all with the help of his trusty art pens and, for the past 30 years, a furry little dog who became instantly famous by urinating in his first ever appearance in the media".

Michael was surprised by the inauguration into the Hall of Fame, which he mistakenly thought was something about a walking frame, having never sought recognition by entering awards. “I only enter the Stanleys”, Michael said, “..it was out of the blue, so the recognition is good from that point of view”.

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elements, witty dialogue and intricate pictures into a convincing and compelling whole.

The totally hand-drawn style, like the story, draws diverse elements together effectively: surreal visualisations of evil loom like the demons of a medieval fresco or painting by Brueghel, but they manage to look comfortable alongside the scientists, priests and other denizens of this Edwardian world.

Overall, a consistently excellent, wholly original independent comic! See: http://www.crumpletonexperiments.org

* Please note: The incorrect price was published for 'Terinu' in Inkspot #40 (Pg. 14).The Correct and current price is $5. (www.terinu.com)

demons of a medieval fresco or painting by Brueghel, but they manage to look comfortable alongside the scientists, priests and

Overall, a consistently excellent, wholly original independent comic!

* Please note: The incorrect price was published for 'Terinu' in Inkspot

cont'd. from page 14

Ian C. Thomas currently draws serials for 'The Ink' and manga comic, 'Xuan Xuan'. His earlier work includes 'Maelstrom', 'Reverie' and the 'Busker Jim' strip for Melbourne paper 'City Extra'

Local members of the ACA joined what felt like half the population of Adelaide at the opening of an exhibition of cartoons by Michael Atchison. The exhibition showcased work created by Michael over the last few years

Dave Allen and Don Hatcher blockingthe footpath in front of the Gallery

AND ON THAT NOTE..

As close as we got to the Chardonnay

although he has worked at the Advertiser since 1967, producing some 108,000 cartoons and becoming a ‘cultural institution’ in the process. The opening attracted people from a variety of walks of life including politicians who have often been satirized by Michael. Unable to get close enough to score a glass of chardonnay or hear the proceedings, the ACA members in attendance were relegated to the footpath where they stood with good humour - their grubby, winsome faces pressed against the window.

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5. By participating in the competition all entrants agree that all cartoons received will be donated to the Bradman Foundation to assist in raising funds for the Foundation or an associated charity. The cartoons may be exhibited and reproduced in a catalogue or similar, onto post cards etc. at the Foundation’s discretion anytime in the future for sale through the Bradman Museum.

6. All exhibited cartoonists will receive a gratis copy of the exhibition catalogue if published.

7. The Bradman Foundation and the Australian Cartoonists’ Association will appoint judges for the competition. Judges will not be eligible to enter the competition.

8. Winners of the 2004 competition will be announced at the 20th Annual Stanley Awards on November 6th 2004. The Bradman Foundation will notify all fi nalists.

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1. The Mailey Cricket Cartoon Awards are open to anyone over the age of 18. Entry to the awards will be taken as an agreement to accept the conditions of the rules as well as the resolution of the judges. The decisions of the judges will be fi nal and no correspondence will be entered into.

2. Cartoons must be originals and may be either colour or black & white. Suggested size of cartoon entries is A4(210mm x 297mm) but oversized entries will be accepted. Please do not frame entries.

3. There are no restrictions on the number of entries submitted and entries may have been published or unpublished. Allcartoons submitted must be clearly labeled with the artist’s name, address, telephone number and email address.

4. Entrants should pack their submissions securely and send them at their own expense to:THE MAILEYSThe Bradman MuseumPO Box 9994Bowral. NSW 2576Australia

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An action packed weekend was enjoyed by over 7,000 fans of popular culture May 1 & 2 at the 2004 Supanova Expo in Sydney.

Aficionados of sequential art and illustration were well looked after, proceedings officially beginning on April 29 with the Top Cow Marc Silvestri Masterclass at the Val-halla Cinema, Glebe, and ending, fittingly, with the same dedicated Silvestri sketching until an hour after the con-vention at Darling Harbour had closed on Sunday night.

Fans were also treated to Brian Michael Bendis & Alex Maleev’s art classes on the Friday night. For those unfamiliar with the names, Bendis is currently the hottest writing ticket in the US comic-book industry, with titles such as the Ultimate Spider-Man, Ultimate X-Men, Alias, Powers, Secret Wars and the criti-cally acclaimed, Daredevil to his credit list. The illustrative gen-ius behind his words is Maleev. Their presence at Supanova was a fascinating insight into how these two creators work together.

International guests were joined by local artists David Yardin (District X for Marvel) and Jon Sommariva (Go Boy 7 for Dark Horse) both of whom have recently broken into the US market, as well as fan favourites Dillon (Batrisha) Naylor, Jason (Hairbutt the Hippo) Paulos, Darren (Kil-leroo) Close and two Aussie publishers who are begin-ning the make forays into the local and international comic community, Phos-phorescent Comics and Cult Fiction Comics Australia.

SUPANOVA 2004! - SYDNEYIn a Supanova first, a “pure” cartoonist was featured as a guest, ACA president James (Ginger Meggs) Kemsley, entertained fans with the history his long-running comic strip and of the Australian Cartoonists’ Association. His summary about Supanova; “I’m look-ing forward to being asked [to be a guest] again”.

Another exciting aspect of the convention is always walking down Artists’ Al-ley to view the work the keenest and most enthusiastic self-publishing creators have concocted for the event. This year was no exception with a interesting mix of zines, comics and Manga inspired work. The number of Alley attendees influenced by Manga was also an interesting insight into the growth of this form of artistic expression and the cultural emphases that it brings. Without doubt it’s something worth watching in the future.

Besides the strictly artistic bent of the Expo, there were also many great guests to meet and chat with includ-ing David (Kung Fu & Kill Bill) Carradine, George (Star Trek) Takei and four time Oscar-winner Richard (Lord of the Rings) Taylor from New Zealand’s WETA Workshop.A great weekend was had by all and sundry with the focus now shifting to the next scheduled Supanova:September 18 & 19 in the Walter Burnett Building at the RNA Showgrounds, Brisbane, Queensland. For more details visit: www.supanova.com.au

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Daniel Zachariou is the Event Director of Supanova Expo

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Places, People, Politics - An Anthology20th Century Western Australian Cartoonists and their Artistic Works

Cartoonists have been involved in a “bitter-sweet” repartee with politicians and notable members of the public ever since the printing press came into being. However, most members of the public are not aware that cartoonists are artists first and foremost and use cartooning as an extension of their talents. A public exhibition to demonstrate the artistic talents of West Australians who have practised as cartoonists in Western Australia from 1900 - 2000 will occur in October 2004 so as

to showcase the history, heritage and achievements of their work. The works chosen will reflect the advancement and changes to artistic styles through the turn of the 19th/20th century, the pre-war times and into the vibrant times of the 50’s and 60’s to where we have arrived in the current era.

Already many well-known artists have indicated their willingness to provide work and participate including Alan Langoulant, Paul Rigby, Sean Leahy, Mike Jones, Dean Alston and many others. Already many pieces are at hand, others are being organised, the final collection may not

be known until the artists involved (or their families) can make their final selection.

Many artists/cartoonists have taken their talents overseas (Canada, U.K., U.S.A. and to the eastern states. Most have already been located and have offered to contribute.The anthology will present not only their cartoons but other works such as portraits, water colours, oils caricatures printed works (books) in such a way as to respond to the criteria set for WA's 175th anniversary.If you practiced in WA in the period between 1900 - 2000 or know of anyone who did and would be willing to offer

works for exhibition, please contact Phil Faigen urgently and let him know. The exhibition will be at the Constitutional Centre in West Perth from 15th - 24th October 2004. You may contact Phil on:

Clive Gordon

"Cartoonists areartists first"

Fred Harfery

"Honest, Dear! I thought it was some kind of harvester!"

T (08) 9316 3025 M 0413 757 885e-mail: [email protected]

P.O. Box 757 Applecross, WA 6953

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I suspect that most artists, writers, poets and suchlike are to some degree eccentric, or, put another way, intelligent, interesting, and a delight to know. I found Cav, as he was affectionately known, to be such. On our first meeting I took to this small, bearded, smartly dressed, vital personality with his deer-stalker hat, brightly coloured bow tie, and witty personality to match. It took me no time to recognize Cav as an artist of quality who had studied his craft under William Dargie at the National Gallery in Melbourne. Bruce was born in Perth in 1931 and was educated at Haileybury, having won a scholarship to that college. Cav, when young, was a choir boy in that fine custom following on from those other wonderful artists Noel Counihan and Bill (Weg) Green, both of whom wore the cassock and surplice. Cav entered journalism as a copy boy on the staff of The Herald where he formed a lifelong friendship with Weg, to whom he supplied joke ideas unfailingly when Weg, on occasions, had artist’s block. During the mid 1950s Cav sailed on (I think) the Orient liner Otranto to London. There, he immediately submitted his joke cartoons to Punch, where his work was frequently published, together with other Fleet Street publications. For a time Cav was cartooning for the Sunday Observer newspaper. And in London Cav was a founding member of the British Cartoonists’ Club. One can imagine his joy travelling on an ocean liner, for he was keenly interested in passenger ships, and was an expert authority on the Titanic. Such was his keen interest in ships that only a few weeks ago when the QE2 was berthed at Port Melbourne, Cav, ill as he then was, bravely visited the ship in fond remembrance of when he and his devoted friend Margaret sailed on the QE2 a few years ago. Modern jazz and its exponents were among his other interests.It is, I think, not widely known that besides being a successful professional cartoonist, Bruce was a surprisingly talented painter of watercolours and oil paintings. Despite his sometimes raucous, but always funny story telling, with which he could command the attention of a group, Cav was a model person who never bragged or even spoke about this other significant aspect of his creative self. Bruce Cavalier belonged to the old school of traditional, classical drawing, and had no patience, or respect, for those published doodlers and scribblers who could not draw. As with many of us cartoonists, Cav lived and worked at the very end of a period seemingly now passed, when sound drawing and attention to its principles mattered. Cav was a distinguished part of that period. He was a loyal member of the Australian Cartoonists’ Association, and his passing leaves a huge void in our ranks.

- - Vane Lindesay

Douglas Edward Tainsh1921 - 2004

On a miserably cold night during 1941 at the Ballarat showgrounds, on a vast concrete floor a train load of rookie soldiers were stuffing large Hessian sacks with straw for mattresses. Next to me a young lad, having finished his, sat on it, produced a trumpet and after a few riffs, to the surprise of most, nonchalantly played some traditional Dixieland jazz. This was my introduction to Douglas Edward Tainsh. From here I was drafted to Darwin, incidentally just in time for the first of ninety-odd Japanese bombing raids. Doug was sent to New Guinea as a signals wireless operator and mercifully we survived to be again mates with our common interest in cartooning after the fighting in 1945. Doug born in Sydney, studied painting at the National Art Gallery in Melbourne, drew cartoons in England for Punch, Everybodys, The Strand, Lilliput and, back in Australia he drew for the Melbourne Argus newspaper and the national magazine Australasian Post. After various jobs around shearing sheds, contract fencing and clearing in the Australian outback, Doug, for twenty years also wrote over 200 documentaries and films for television. These included “Homicide”, “Matlock Police”, “Division Four” and “Hunter” among others. During this period he had been a movie cameraman, film

editor, art director, film director, and of course script writer. During the national awareness revolution in the 1950s when Australia was being re-discovered – or put another way, 'aspects of our broad culture were being examined seriously' and for the first time, cartoonist Doug Tainsh and writer Alan Marshall collaborated to produce a humorous Australian

folklore strip “Speewah Jack” for publication in the Melbourne Argus newspaper. This daily feature was a phenomenal success, indeed it was to be twenty-five years before another Australian stript of this quality appeared as Arthur Horner’s “Colonel Pewter” in “The Pukka Ashes” for the Melbourne Age newspaper. Doug created his itinerant swaggie “Cedric” and his dog “Digger”, a single panel cartoon which was first published in 1952 and continued weekly for forty-five years in the Australasian Post magazine. Failing eyesight forced Doug to relinquish “Cedric” to his nephew Joff Manders who continued this feature, Doug supplying the joke lines and situation, right up until the demise of Post in 2002.Doug Tainsh, Eric Jolliffe an Ken Maynard were the last of a school to celebrate in their work our rural origins we know today as “The Australian Legend” – Doug was, and remains, a significant link.

- Vane Lindesay

Vane Lindesay is the ACA’s longest serving Vice-president (NT/VIC) and

a recipient of the Silver Stanley for Contribution to Australian Cartooning,

(now the Jim Russell Award). A prolific author among his many books is

the definitive work on Australian black & white art “The Inked-In Image.”

Bruce Cavalier1931 - 2004Vale

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NEWS FROM THE BUN KERBUNKER CAR TOON GAL LERY, COFFS HARBOUR

Hi Cartoonists, a quick note from the Bunker Cartoon Gallery. So much has unfolded since the last Inkspot and so much more lies ahead. Leunig Animated has attracted many visitors to the Bunker with the result that the sturdy office door separating this computer from the gallery space is no longer kept ajar. The frequent peals of laughter punctuated by prolonged wistful sighs were proving too much of a distraction to staff chipping away in the back office.

Leunig’s sweet-faced characters also recently exercised their charm at Coffs Harbour’s inaugural Poetry Slam held here at the Bunker. For those who have not attended a Slam, the event involves gathering together as many people as possible in one room, presenting them with a glass of wine and a pencil, allowing them to view the exhibitions, then giving all participants ten minutes to write a poem based on a predetermined theme related to the exhibition. Nearly 40 people attended the Slam, including an entire table of English teachers who smuggled in their own alcohol and anthologies in order to plagiarise the classics. (a ploy highly regarded by the management) Slamming continued until the late hours with table after table of aspiring poets performing their works, which ranged from utter doggerel to saucy limericks and scintillating sonnets. The catch was that each ‘work’ had to be less than one minute’s duration. Alas gentle reader, censorship laws prevent Inkspot from publishing material inspired by the theme of ‘Leunig’s Duck’, but you can imagine. The success of the Slam means that others will be held to coincide with each exhibition. Everyone is welcome, so should you be in town for the next Slam….

The departure of Leunig Animated in mid June will be followed by the installation of two discrete exhibitions, Mining the Archives and Fashionista. Mining the Archives will see the installation of many hilarious cartoons garnered

from the Bunker’s substantial collections that will be hung on the gallery’s western walls. Fashionista, installed in the Eastern gallery space, will showcase the work of young TAFE fashion designers, from design inception to completed garment, with all works inspired by a cartoon theme. Donald Duck and his ilk have been banished from this show to be replaced by variants of anime, manga, tank grrl and hello kitty. This is a very youthful exhibition, devised to bring a younger audience to the Bunker and encourage younger artists to keep on cartooning. Work by illustrator Dee Texidor and cartoons by local artist Richard Newcombe will also be installed to take the ‘micky’ out of fashion.

Richard Newcombe is a recent émigré to Coffs Harbour. Richard previously lived in Brisbane where he was kept busy as a graphic designer/ sign writer, an occupation that honed his skills but which left little time for his cartoon work. His range of light hearted greeting cards are available in the Bunker’s foyer gift shop and several of his cartoons will be displayed during Fashionista. As readers of Inkspot will testify, breaking into the world of cartooning isn’t easy, but Richard’s talent and drive will, I am sure, see his star rise before too long. His furry tales comic strip can be viewed on his website www.aardvarkpro.com.au If you get a chance, have a close look at both these cute critters and Richard’s cartoons.

While the Bunker Cartoon Gallery is determined to promote emerging cartoonists it also has a duty of care to promote the work of established cartoonists. Lindsay Foyle, well-known cartoonist for the Australian (and all round nice guy) will be exhibiting recent work at the Bunker in late June. Forty works will be hung and many originals will be for sale. Planning is already well underway for an exciting and novel opening night. Lindsay has kindly agreed to host a Pictionary evening with a difference for the Gallery

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Guests take part in Coffs Harbour’s inaugural Poetry Slam at the Bunker

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Cont'd. from Page 20

following the opening of his exhibition on 12 June 2004. This event is bound to attract many people with drawing skills as well as those who (like myself), struggle with the stick man school of art. As games go Pictionary is an extreme sport for those who love to laugh, regardless of their level of artistic ability. The artistically challenged as well as the gifted will be made very welcome. It is hoped that many established Australian cartoonists will also enjoy a ‘featured artist’ space at the gallery over the next three years. Please contact me if you would like to be a featured artist as there are still spots available in the exhibition calendar for this and next year.

This brings me to put out a call for help. I would like to install a major exhibition at the Bunker Cartoon Gallery in 2005 that looks at the history of the comic strip. I’m hoping that cartoonists who collect strips may loan them to the gallery for a 3-month period. At this stage I’m not sure how much original material is out there. Perhaps you could let me know if you have access to original strips and would consider loaning them to the Bunker? If so please give me a call on 6651 7343 or send me an email on [email protected]

Finally the Rotary National Cartoon Competition is nigh. Would readers be so kind as to urge all friends and colleagues to submit their work? The Bunker will exhibit entries for more than three months, giving wonderful exposure to the genre as well as to individual cartoonists. See page 21 for details or visit the snappy new website at www.rotarycartoonawards.com.au/default.asp

Look forward to seeing you at the Bunker Cartoon Gallery soon.

Dr Leigh SummersCurator AdministratorBunker Cartoon Gallery

specifically address identified areas where cartoons and media art can make a positive impact on readership or income of newspapers. It is a recognised fact that if we wish to be taken seriously any message we do attempt to bring to Editors needs to be backed up with statistical information and research. This information we hope to gather through the Club's associations and connections within the Cartooning industry both here and overseas.

Any members that believe they have information that may be of interest, please send it by post or email to the Club Secretary marked ‘Panpa Commitee’

~ Gary Clark

September 6-8 The annual Panpa Conference is being held in Sydney. Planning is underway to see the Club have a presence in this event as we did last year. As a part of the preparation towards this event it has also be planned to submit articles to the Panpa Magazine which now goes out monthly to the hundreds of Editors and Newspaper industry members. These articles will be designed to prepare the ground and mirror the message we hope to bring to the conference. Several topics have been discussed and the single message is yet to be decided. Generally speaking the topic and theme chosen will be aimed to

PANPAPACIFIC AREA NEWSPAPER PUBLISHERS' ASSOCIATION

The ACA is an associate member of the Pacific Area Newspaper Publishers’ Association. Gary Clark is Queensland vice-president

and the ACA Board’s PANPA liaison officer.

updateVISCOPY’s December 2003 distribution returned over $145,800 to Australian visual artists, a 24% increase on our June 2003 distribution. Over $263,000 in royalties has been paid to Australian artists over the last 12 months.

22% of royalties from this distribution was paid to indigenous artists, a 40% increase on the June 2003 figure.

As of March 2004, VISCOPY’s membership grew to over 4,300, a 30% increase from June 2003.

Australian Artists* $145,837International Artists $74, 520*Includes $32,110 to Aboriginal and Torres Strait Islander (ATSI) members.

Percentage per territoryAustralia 66% United Kingdom 14% France 9% USA 7% Germany 2% Other territories 2%These figures represent the combined distribution of primary and statutory royalties.

Statutory royalties to Australian artists from educational copying accounted for 13.5% of the total payout, amounting to over $19,700. 221 VISCOPY members received income from educational copying done under “statutory licences”.

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rgFECOFederation of Cartoonists Organisations

Kiev, Ukraine

THEME: Independence and TerrorismDEADLINE: 20th JULY 2004PRIZES: USD$500; USD$400; USD$300MAXIMUM NUMBER OF ENTRIES: 3For more information, visit the website at:http://www.cartoon.org.ua

ACA Members can keep up-to-date with the latest competition and exhibition news by visiting the FECO website at www.fecoweb.org To access the members-only pages

that list the competitions, you will need to enter the username "fecocontests" and the password "andyslist"

4th International CaRTOON Contest "Independence"

THEME: To cover work done in the year 2004, reflecting the

importance of human dignity, mutual respect and friendship

among nations, as well as economic and environmental

responsibilities towards each other.

DEADLINE: 1 SEPTEMBER 2004PRIZES: $10,000; $5,000; $3,000 + 10 plaquesMAXIMUM NUMBER OF ENTRIES: 2For more information, visit: http://lurieunaward.com

will take place in the picturesque French village between September 25th and October 3rd. The organizers arrange transport between Paris and St Just and accommodation with local family. For details contact Salon International du dessin de presse et d’humour Tel + 33 (05) 5509 2670 Fax + 33 (05) 5509 2633email: [email protected] URL: http://st-just.com

In the past ACAers Rolf Heinmann, David Rowe and James Kemsley have attended what has become Europe’s premier cartoon event.

THE 23RD ST JUST- LE-MARTEL CARTOON FESTIVAL

United Nations, New York, USA

Join Mem and Judy on a search for the green sheep, in this stylish, funny, illustrated picture book. It will charm both parents and children with its carefully chosen text and wonderful illustrations.

Judy Horacek and Mem Fox signing books at the launch

Swagmen studied by Aliens!Rolf Heimann has written and illustrated ‘Mission Embarassing’ a childrens book now being published by Lothian. A school class from a distant galaxy visits earth to study what makes humans tick. They are intrigued by the phenomenon ‘embarrassment’, and disguised as swagmen they try their best to embarrass the locals, just to study their reactions. In the end the visitors themselves experience what embarrassment is all about.

‘Where is the Green Sheep?’ by Mem Fox and Judy Horacek was launched by Mark Latham on Monday 31st May at the Helen Maxwell Gallery in Braddon

Join Mem and Judy on a search for

Victorian cartoonists had a great outing on April 14th to one of their state’s regional centres, Castlemaine. The art gallery of that historic town has an interesting collection of original cartoons, including works by Norman Lindsay, Phil May and Percy Leason. The cartoonists showed their thanks for a special tour by donating some of their own work and the gallery now posseses some modern cartoons as well, by Vane Lindesay, WEG (Bill Green), George Haddon and others. The director of the gallery, Peter Perry, has a special interest in cartoons and by allowing the visitors a look behind the scenes, cartoonists had a chance to gain some insights into matters of acqusition, conservation etc. Over lunch in one of Castlemaine’s pleasant restaurants everyone agreed that the day was a total success. Thanks to Vane Lindesay for organising it!

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COOLAC FESTIVAL OF FUNBALD ARCHY PEOPLE’S CHOICEA painting of the Opposition Leader, Mark Latham, entitled “Young Mark’s Big Career”, by Tony Sowersby of Seaford, Victoria, has been voted the People’s Choice in the 2004 Bald Archy Prize. Reminiscent of an illustration from ‘Boy’s Own Journal’, the picture is dominated by a rather feckless Latham at the wheel of a Dodgem-style car accompanied by passengers Carmen Lawrence, looking somewhat forgetful, and Kevin Rudd, studiously reading a children’s book. Sprawled on the road, a victim of road rage, Kim Beazely, and to one side Abbot and Costello look on from their ageing Holden. Further down the road, John Howard poses for photographers with a cricketer and a soldier, while a dazed taxi driver is left far behind in the background. “Tony Sowersby is a regular exhibitor in the Bald Archy,” said Peter Batey, the Director of the Coolac Festival Of Fun, from whence the highly popular competition emanates, “and while there is no People’s Choice prize for the artist, it is all part of the fun. This picture has an appropriate naive, almost juvenile, painting style to it. His portraits have always been popular and have sold for very good prices.” Close on the heels of the Latham portrait was Xavier Ghazi’s $5,000 winning portrait of Rupert Murdoch, entitled “I’ll Eat You In The End”, not many votes behind in second place. The announcement some weeks ago of this picture as winner of the 2004 Bald Archy Prize gained worldwide press interest. The Bald Archy is the alternative fun competition to the Archibald Prize, sponsored by Shield Mercantile.This year’s exhibition was held at The Living Art Gallery in Chippendale.

Peter Batey may be contacted on Mob: 0439 672 213 Tony Sowersby: (03) 9786 0131

PULITZER PRIZE FOR CARTOONINGThe Editorial cartoonist of the Journal News of White Plains, NY - Matt Davies, has been awarded the 2004 Pulitzer Prize for cartooning ahead of finalists “Doonesbury” creator Gary Trudeau and Minneapolis Star Tribune cartoonist, Steve Sack. Davies’ winning portfolio can be seen on http://www.thejournalnews.com/davies/In March Davies, 37, an Englishman who moved to the US, was named the first recipient of the $US10,000 Herblock Prize for editorial cartooning from a field of 64 entrants.The Pulitzer also carried $US10,000 prize money.

CHINA CALLING!t

The 6th World Comics Summit in China, which had been cancelled last year due to SARS, is now taking place in Beijing in mid-October. Rolf Heimann, who took part in the preparatory conference, will be travelling again to China for that event. Fellow cartoonists (or other interested parties) who might consider coming along, may contact Rolf on [email protected] or (03) 9699 4858. Group travel may be cheaper. Here are the exhibition requests:Theme: “National Characteristics” Submission Expiration Date: July 31st 2004 Original works only. Computer designs considered as originals. 4 artworks per artist. Size: A4 or B4.Further info through e-mail:[email protected] or contact Rolf.

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"I'll eat you in the end" by Xavier Ghazi "Young Mark's Big Career" by Tony Sowersby of Seaford, Victoria - voted the Peoples' Choice in the 2004 Bald Archy Prize

John Jensen OnlineEx-pat Aussie scribbler, the legendary John Jensen, has finally been set upon by the electronic age. The London-based cartooning master’s art can now be viewed on-line at: www.johnjensen.co.uk If you know Jensen’s work the site is a treat for surfing eyes, for those who don’t, do yourself a favour and log on.

The Art of Charity

ACA E-MagChristophe Granet and Luke Fox are busily putting together the next Emag edition for ACA members only. If you have a cartoon and would like to contribute please send your artistic flair to: [email protected]

ACA E-Mag

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Following a resolution at the 2003 AGM for the ACA to “adopt” a charity on an annual basis and, in the eight months since Ettalong, having received varied submissions from members, the Board has chosen the Asthma Foundation as that charity until 2005. After lengthy discussions the Board agreed the Asthma Foundation was an organization worthy to be the focus of the Association’s attention and support. The support will be in the form of an annual fund-raising exhibition of members’ work as well as a percentage of money raised via the “traditional” auction at the Stanleys awards dinner and presentations. The Board felt that since it has taken longer than expected to work out the logistics associated with the “adoption”, it was appropriate to have the agreement in place for until 2005. Prior to the 2005 AGM suggestions will be called for from the membership and another charity selected for a twelve month period.

The Art of Charity

Photo: David Pope

BELOW THE BELT

Australian Financial Review cartoonist and head Sculpey trainer David Rowe unveiled his latest heavyweight talent during the Canberra bout of Behind the Lines, the National Museum of Australia’s political cartooning exhibition. Behind the Lines is slugging it out in Canberra until the end of June, before travelling to the Constitutional Centre of WA in Perth (9 July to 31 August), and the Library and Office of the Legislative Assembly in Darwin (10 September to 14 October). The exhibition can also be viewed online at http://www.nma.gov.au/exhibitions/travelling/behind_the_lines/

Fellow freelancers Steve Panozzo and Brett Bower, tired of flicking jobs to each other on a seemingly continual basis, have decided to form a partnership called Dial a Cartoonist, providing new and existing clients “double the trouble”.

A big part of the drawing duo’s enterprise is the recently-revamped Luna Park Sydney, where they have established a “Cartoon Shop”. Luna Park’s visitors get to take home a unique souvenir and the boys bemusedly find themselves with the equivalent of a steady job.

For any enquiries, phone (02) 9589 4717or visit: www.dialacartoonist.com.au

Steve Panozzo and Brett Bower are the official cartoonists for Big Brother! Southern Star Endemol, who produce the series, asked the guys to create caricatures of all 14 “housemates”. Viewers of Big Brother Up Late take part in a competition to win a signed caricature of each housemate as they get “evicted”.

Big BrothersBig Brothers

John Jensen Online

Brett Bower (left) and Steve Panozzo (right) hard at work at their new Luna Park "Cartoon Shop"

inkspot 41

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reubensreportthe life

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unenviable grammar

futile attempt

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