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Reprint on the "National Newswatch" website (3)
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World Press Photo 2014
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| African migrants on the shore of Djibouti city at night |
The international jury of the 57th annual World Press Photo Contest has selected an image by American photographer John Stanmeyer of the VII Photo Agency as the World Press Photo of the Year 2013.
The picture shows African migrants on the shore of Djibouti city at night, raising their phones in an attempt to capture an inexpensive signal from neighboring Somalia—a tenuous link to relatives abroad. Djibouti is a common stop-off point for migrants in transit from such countries as Somalia, Ethiopia and Eritrea, seeking a better life in Europe and the Middle East.
The picture also won 1st Prize in the Contemporary Issues category, and was shot for National Geographic.
Other winners:
Spot News
1st Prize Singles
Philippe Lopez ((AFP)
Spot News
1st Prize Stories
Goran Tomasevic
Other winners:
Spot News
1st Prize Singles
Philippe Lopez ((AFP)
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| Survivors of typhoon Haiyan march during a religious procession in Tolosa, on the eastern island of Leyte. One of the strongest cyclones ever recorded, Haiyan left 8,000 people dead and missing and more than four million homeless after it hit the central Philippines. |
Spot News
1st Prize Stories
Goran Tomasevic
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| Syrian rebel fighters take position as they prepare to attack a Syrian Army checkpoint in the Ain Tarma neighborhood of Damascus. The men would soon would be hit by sniper fire. |
Alessandro Penso
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| Military Ramp, an emergency refugee center, was opened in September 2013 in an abandoned school in Sofia, Bulgaria. The center provides housing for about 800 Syrian refugees, including 390 children. Bulgaria, already hard hit by the economic crisis and heightened political instability, is confronting a refugee crisis that appears to coincide with increased efforts by Greece to close off its border with Turkey. Bulgaria, however, is totally unprepared to face a refugee crisis. |
Chris McGrath
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| View of a destroyed coastline in Tacloban City. Leyte, Philippines. |
Sara Naomi Lewkowicz
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| "A Portrait of Domestic Violence" |
Emiliano Lasalvia
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| Pablo Mac Donough of Dolfina falls from his horse during the Argentine Polo Open in Buenos Aires, Argentina. |
Jia Guorong
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| Chinese gymnasts compete for medals on the horizontal, parallel and uneven bars in September 2013 at the National Athletic Meet in Shenyang, China. |
Julius Schrank
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| Kachin Independence Army fighters are drinking and celebrating at a funeral of one of their commanders who died that day before. The city is under siege by the Burmese army. |
Fred Ramos
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| "The Last Outfit of the Misssing" |
Markus Schreiber
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| A woman reacts in disappointment after access to see former South Africa President Nelson Mandela was closed on the third and final days of his casket lying in state, outside Union Buildings in Pretoria, South Africa. |
Carla Kogelman
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| Hannah and Alena. A series about two sisters living in the rural village of Merkenbrechts, Austria. |
Staged Portraits
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| A group of blind albino boys photographed in their boarding room at the Vivekananda mission school for the blind in West Bengal, India. This is one of the very few schools for the blind in India today. West Bengal, India. |
Staged Portraits
Danila Tkachenko
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| People who have decided to withdraw from society and live alone and isolated in the wilderness. Russia and Ukraine. |
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CalArts, A113, and Bill Moore
From Ann Telnaes' blog.
The March issue of Vanity Fair has an article about the the early character animation program at California Institute of the Arts, better known as CalArts. It focuses mainly on the students who attended when the program first started in 1975 and a few years afterwards.
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| THE KIDS FROM CALARTS From left: Steve Hillenburg, Tim Burton, Brad Bird, Mark Andrews (in ape suit), Jerry Rees, Chris Buck (with Viking helmet), John Musker, Genndy Tartakovsky, Leslie Gorin, Mike Giaimo, Brenda Chapman, Glen Keane, Kirk Wise (in beige sweater), Andrew Stanton, Pete Docter (with Lei), Rob Minkoff, Rich Moore, John Lasseter, and Henry Selick, in the famed CalArts classroom A113. |
The March issue of Vanity Fair has an article about the the early character animation program at California Institute of the Arts, better known as CalArts. It focuses mainly on the students who attended when the program first started in 1975 and a few years afterwards.
Even if you’re not in the animation business you’ll recognize some of these names: Tim Burton, John Lasseter, Brad Bird, Glen Keane, Nancy Beiman, Jerry Rees, Mike Giaimo, John Musker, to name a few. It really is amazing all that talent came from a small art school within the span of a few years.
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The article gives the reader some behind-the-scenes glimpses into life as a character animation student at CalArts; the life drawing classes (which for many students was their first introduction to nude models), the infamous Halloween parties, the meaning behind the room A113, and the profound impact one of the teachers had on so many of the students.
That teacher was Bill Moore. Formerly from the famous Chouinard Art Institute, he taught color and design and was the one who influenced so many of the students in the character animation program. I attended CalArts in the early 80′s and had Moore as my teacher during my first year, the last class he taught before becoming ill. As the article mentions, he was quite a character and very intimidating. I remember agonizing over projects and the fear which would fill the classroom when he walked in to review our efforts, hung on the wall for review. We all had heard the legend of Bill Moore (who always had a lit cigarette in his hand) setting on fire any work he didn’t like. But he was a wonderful teacher. I learned everything I know about design from Bill Moore. And even though he sometimes came across as too tough, too insensitive- I still have a vivid memory of him briefly letting his cranky persona down.
At the end of particularly stressful design class my classmates and I retreated to our animation desks to resume work on our pencil tests and lick our wounds. My friend and cubicle mate, Lynette was especially irritated with Moore that day and decided to challenge him as he walked looking around as he did occasionally after class. Why do you act that way when you teach, she asked him. Do you have to be so rude? I expected him to reply with his usual one-liners but instead his expression softened and said “because when you get out there it’ll be much worse”.
The article gives the reader some behind-the-scenes glimpses into life as a character animation student at CalArts; the life drawing classes (which for many students was their first introduction to nude models), the infamous Halloween parties, the meaning behind the room A113, and the profound impact one of the teachers had on so many of the students.
That teacher was Bill Moore. Formerly from the famous Chouinard Art Institute, he taught color and design and was the one who influenced so many of the students in the character animation program. I attended CalArts in the early 80′s and had Moore as my teacher during my first year, the last class he taught before becoming ill. As the article mentions, he was quite a character and very intimidating. I remember agonizing over projects and the fear which would fill the classroom when he walked in to review our efforts, hung on the wall for review. We all had heard the legend of Bill Moore (who always had a lit cigarette in his hand) setting on fire any work he didn’t like. But he was a wonderful teacher. I learned everything I know about design from Bill Moore. And even though he sometimes came across as too tough, too insensitive- I still have a vivid memory of him briefly letting his cranky persona down.
At the end of particularly stressful design class my classmates and I retreated to our animation desks to resume work on our pencil tests and lick our wounds. My friend and cubicle mate, Lynette was especially irritated with Moore that day and decided to challenge him as he walked looking around as he did occasionally after class. Why do you act that way when you teach, she asked him. Do you have to be so rude? I expected him to reply with his usual one-liners but instead his expression softened and said “because when you get out there it’ll be much worse”.
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| Notes from my first day in Bill Moore’s class |
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| A design assignment for Bill Moore’s class- 1983 (I recall him not being particularly impressed) |
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14th World Press Freedom International Editorial Cartoon Competition
Here are the rules and regulations:
The Canadian Committee for World Press Freedom 14th International Editorial Cartoon Competition
1. The theme for the 13th International Editorial Cartoon Competition is:
Big Brother is watching you
Whistleblower Edward Snowden revealed how the National Security Agency worked with government agencies to spy on the private communications of millions of individuals. Further revelations disclosed how the U.S. agency used massive data collected by internet and telephone corporations to circumvent laws that prohibit government agencies from spying on their own citizens. Without protection from illegal and unwarranted surveillance, the private communications of individuals can be chilled, leading to massive self censorship, the shackling of free speech and the creation of a Big Brother society.
2. Prizes: three prizes will be given: a first prize of $1500 plus a Certificate from Canadian UNESCO, a second prize of $750 and a third of $500. All sums are in Canadian dollars. Ten additional cartoons will receive an ‘Award of Excellence,’ Regrettably no financial remuneration accompanies the Awards of Excellence.
3. Only one cartoon will be accepted from each cartoonist. It may be either in color or black and white and must not have won an award.
4. The size of the cartoon should not exceed A4; 21 by 29.2 cm; or 8.50 by 11 inches.
5. The name, address, telephone number and a short biography of the cartoonist must be included in the submission.
6. The Canadian Committee for World Press Freedom shall have the rights to use any of the cartoons entered in the Competition for promotion of our Editorial Cartoon Competition and World Press Freedom Day.
7. The winners of the Cartoon Competition will be announced at the World Press Freedom Day Luncheon held at the National Arts Centre in Ottawa, Canada on Friday May 2, 2014 as well as being advised by e-mail. The winner’s names and their cartoons will be posted on the CCWFP web site: http://www.ccwpf-cclpm.ca/
8. The winning cartoons will be exhibited at the luncheon.
The deadline for receipt of cartoons is 5 p.m. GMT, Friday, April 4, 2014.
Send submissions by e-mail to : info@ccwpf-cclpm.ca
Cartoons should be in jpeg format at 300 dpi
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"Exploring Calvin and Hobbes"
From the Billy Ireland Cartoon Library & Museum.
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Exploring Calvin and Hobbes revisits the beloved comic strip created by Watterson from 1985 to 1995. The exhibition will feature original Calvin and Hobbes dailies and Sundays as well as specialty pieces by Watterson from his collection of more than 3,000 originals housed at the BICLM. This is only the second exhibition devoted to Calvin and Hobbes, which appeared in 2,400 newspapers worldwide at the height of its popularity. Watterson won the National Cartoonists Society’s prestigious Reuben Award for “Outstanding Cartoonist of the Year” in both 1986 and 1988.
Six-year-old Calvin, named after the 16th-century theologian John Calvin, has a vivid imagination; an aversion to homework, chores, and girls; and a penchant for discussing the meaning of life. Hobbes, named for the 17th-century British philosopher Thomas Hobbes, appears to most of the strips’ characters as a stuffed animal, but from Calvin’s perspective, he is a living, breathing—sometimes even dangerous—tiger. He’s also a best friend, a playmate, a co-conspirator, and occasionally the voice of reason. The strip follows the two as they navigate the bumpy ride of life, surrounded by a supporting cast that includes Calvin’s parents, his neighbor Susie, his babysitter Rosalyn, the school bully Moe, and his teacher, Mrs. Wormwood.
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The exhibition, curated by BICLM curator Jenny E. Robb, explores Watterson’s mastery of the comic strip art form through engaging characters, thoughtful writing, and creative layouts. It will also include original art by cartoonists who influenced Watterson, chosen by the artist from the BICLM’s collection, such as Charles Schulz, George Herriman, Jim Borgman, Berkeley Breathed, Garry Trudeau, and Ralph Steadman.
Dates/Times
March 22 to August 3, 2014
1:00 pm - 5:00 pm
Location
Friends of the Libraries Gallery, Billy Ireland Cartoon Library & Museum
Sullivant Hall, 1813 North High St.
Columbus Ohio 43210
About the Billy Ireland Cartoon Library & Museum:
The BICLM is one of The Ohio State University Libraries’ special collections. Its primary mission is to develop a comprehensive research collection of materials documenting American printed cartoon art (editorial cartoons, comic strips, comic books, graphic novels, sports cartoons, and magazine cartoons) and to provide access to the collections. The BICLM recently moved into its newly-renovated 30,000 sq. ft. facility that includes a museum with three exhibition galleries, a reading room for researchers and a state-of-the-art collections storage space.
The library reading room is open Monday-Friday 9 a.m. to 5 p.m. and Sunday 1 – 5 p.m.
The museum is open Tuesday-Sunday from 1 – 5 p.m.
See http://cartoons.osu.edu/ for further information.
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"The Irresistible Force Meets the Immovable Object: A Richard Thompson Retrospective"
From the Billy Ireland Cartoon Library & Museum.
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Richard Thompson, the 2011 winner of the Reuben Award for “Outstanding Cartoonist of the Year,” will be featured in the exhibition, The Irresistible Force Meets the Immovable Object: A Richard Thompson Retrospective. This exhibit, curated by Caitlin McGurk, will not only include gorgeously hand-watercolored Sunday originals and black-and-white dailies from Thompson’s popular comic strip Cul de Sac, but will celebrate his lesser-known abilities as a master of caricature, gags, and editorial cartoons— both as cartoonist and painter.
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Location
Friends of the Libraries Gallery, Billy Ireland Cartoon Library & Museum
Sullivant Hall, 1813 North High St.
Columbus Ohio 43210
The six-year run of Cul De Sac serves as an insightful, humorous, and at times sentimental illustration of suburban family life on the outskirts of the city, and therefore a meditation on the tiny and sacred universe we form with our family outside of the rest of the world. The strip orbits around the activities of sibling child characters Alice and Petey Otterloop. In an interview with Mike Rhode in 2008, Thompson explained, “Let’s have a comic strip with kids, because comic strips are only this big now, so if you can fit somebody into it, it better be a kid. I thought the kids should be the opposite—a small child who’s the unstoppable force and the brother who’s the immovable object and the way they collide would make some humor.”
This sentiment has grown to have a double meaning, as Thompson had to discontinue the strip in September 2012 due to the advancement of his Parkinson’s disease. Thompson’s work continues to be celebrated in the upcoming release of The Complete Cul de Sac and The Art of Richard Thompson (both to be published by Andrews McMeel), the $100,000 that has been raised and donated to the Michael J. Fox Foundation in Richard’s name, and this exhibition, the most extensive display of his work to date.
Dates/Times
March 22 to August 3, 2014
1:00 pm - 5:00 pm
Dates/Times
March 22 to August 3, 2014
1:00 pm - 5:00 pm
Location
Friends of the Libraries Gallery, Billy Ireland Cartoon Library & Museum
Sullivant Hall, 1813 North High St.
Columbus Ohio 43210
About the Billy Ireland Cartoon Library & Museum:
The BICLM is one of The Ohio State University Libraries’ special collections. Its primary mission is to develop a comprehensive research collection of materials documenting American printed cartoon art (editorial cartoons, comic strips, comic books, graphic novels, sports cartoons, and magazine cartoons) and to provide access to the collections. The BICLM recently moved into its newly-renovated 30,000 sq. ft. facility that includes a museum with three exhibition galleries, a reading room for researchers and a state-of-the-art collections storage space.
The library reading room is open Monday-Friday 9 a.m. to 5 p.m. and Sunday 1 – 5 p.m.
The museum is open Tuesday-Sunday from 1 – 5 p.m.
See http://cartoons.osu.edu/ for further information.
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I Wish I'd Drawn… (27)
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My Ukrainian Flag
Here's a cartoon I drew ten years ago.
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| Le Droit, November 29, 2004 |
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Martyn Turner: the Gentle Giant of Cartoons
From Procartoonists.
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©
Andy Davey talks to editorial cartoonist Martyn Turner who has been drawing for The Irish Times for more than 40 years.
©Andy Davey talks to editorial cartoonist Martyn Turner who has been drawing for The Irish Times for more than 40 years.
Martyn Turner has just become eligible for his free bus pass. It doesn’t look as though he’ll be taking up the offer though. He asked his editor whether he wanted him to shuffle off to his beloved golf course and the answer came back “Not while I’m editor”.
Buoyed by this enthusiastic endorsement, he is going to stay put. Still, it’s surely time to take stock, as he has been doing this job for more than 40 years.
The Irish Times ran an article commemorating this anniversary a while back. Looking for comments to support the piece, they asked around and a deluge of testimonials arrived from all sources – politicians, former editors, fellow cartoonists from around the world, even hotel managers – and that’s before you get to the readers.
Everyone seems to have nice words to say about Turner. This may not be unrelated to the fact that he stands at 6ft 7ins and weighs in at 20 stone. But he’s also a Very Nice Chap.
If you look, you can see this in his cartoons. The caricatures are not like the graphic distortions of a Sebastian Kruger or a Gerald Scarfe. They are more like theatrical masks, giving just enough information to identify the character and make the point. He says they’re “not strictly caricatures, they’re a person representing that particular character. It’s not a personal attack”.
Buoyed by this enthusiastic endorsement, he is going to stay put. Still, it’s surely time to take stock, as he has been doing this job for more than 40 years.
The Irish Times ran an article commemorating this anniversary a while back. Looking for comments to support the piece, they asked around and a deluge of testimonials arrived from all sources – politicians, former editors, fellow cartoonists from around the world, even hotel managers – and that’s before you get to the readers.
Everyone seems to have nice words to say about Turner. This may not be unrelated to the fact that he stands at 6ft 7ins and weighs in at 20 stone. But he’s also a Very Nice Chap.
If you look, you can see this in his cartoons. The caricatures are not like the graphic distortions of a Sebastian Kruger or a Gerald Scarfe. They are more like theatrical masks, giving just enough information to identify the character and make the point. He says they’re “not strictly caricatures, they’re a person representing that particular character. It’s not a personal attack”.
The artwork – though highly accomplished – doesn’t dominate the idea. The words are the thing. Maybe this befits a literary culture like Ireland’s. Tellingly, Turner says he thinks in words, “which is why my average cartoon has about 200 words in it”. Turner’s longevity in the post is all the more surprising since he is English. Born and bred in urban Essex and East London (born in Wanstead, raised in Hackney and Chingford, to be precise). The son of East Enders, he won a scholarship to a private school, which he hated. That and his parents’ divorce turned him inwards and he says he sought refuge in outsider status, both socially and geographically. He fled to first to Belfast to university and then south to become immersed in the venal horse-trading of Irish politics, which remains a mystery to most outsiders. How does he do it, drawing four to five topical cartoons a week for 40-odd years? His wife of 46 years, Jean, claims that it’s because “he’s remained a child”. It’s not just Jean who says so – a guest psychiatrist on the Pat Kenny Show on Irish radio cast him as a “perpetual child who sees that none of the emperors have any clothes”. He has a crack at politicians of all stripes. He has political conviction, but not one that fits into party politics. “I’m just an ageing hippy who thinks everyone should love each other and get on with it and be nice.” He lives in semi-rural Kildare, although spends increasing amounts of time in France. His daily working practice is pretty idyllic. When in Ireland, he rises early, takes a dip at the local pool, returns to review the papers and listen to the news. Around lunchtime he distils an idea out of the noise.
Like many a creative soul, he advocates letting the subconscious do the work. “The harder you think about something, the less likely you are to come up with something that isn’t what everyone else is thinking.” He draws the cartoon in the afternoon and sends it over to the paper. The routine in the early days reinforces the image of delightful prelapsarian innocence and oddness we are encouraged to believe rural Ireland runs on. He used to put his cartoon on the afternoon bus into Dublin, handing it over to the driver who delivered it to a sub-editor waiting at the bus stop outside the Irish Times office. Nowadays it’s done by email, of course. There’s no reason for him to stop now. Everyone seems to think his cartoons are an essential part of the paper, and of Irish politics. What’s more, he says he’s absurdly happy – “a round peg in a round hole” – and there is surely no better way to be. You can see some of Turner’s recent cartoons here. He would also like us to know that his 19th “collection of cartoons and written bits” will be available in October. |
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"Spitting Image: From Start to Finish"
From Procartoonists.
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The exhibition Spitting Image: From Start to Finish opens at the Cartoon Museum in London tomorrow (26 February) – 30 years to the day since the TV series burst into our living rooms and put satire back at the heart of British comedy.
The BFI is also joining in the celebrations with an anniversary event and a screening of the BBC Four Arena documentary Whatever Happened To Spitting Image? on Thursday. It will be broadcast in spring.
The anniversary has already prompted a debate on the current state of satire on TV, with the Spitting Image producer John Lloyd and the Private Eye editor Ian Hislop, a former writer for the show, putting forward opposing views.
The BFI is also joining in the celebrations with an anniversary event and a screening of the BBC Four Arena documentary Whatever Happened To Spitting Image? on Thursday. It will be broadcast in spring.
The anniversary has already prompted a debate on the current state of satire on TV, with the Spitting Image producer John Lloyd and the Private Eye editor Ian Hislop, a former writer for the show, putting forward opposing views.
Excerpt from BFI Southbank:
Thirty years ago, Roger Law and Peter Fluck were happily ensconced in a converted Temperance Hall in Cambridge making cruelly funny plasticine caricatures. These models were photographed and presented to the world in print under the anonymous byline ‘Luck & Flaw.’ Unlike a drawing, the caricatures looked like they might move and, Geppetto-style, they did. Law and Fluck, with co-conspirator, TV comedy supremo John Lloyd, unleashed one of the most shocking and hilarious TV series ever.
A TV satire with a difference, Spitting Image was first broadcast on 26 February 1984 and continued to mercilessly caricature the great and the good of Britain until 1996, using latex puppet created by created by Peter Fluck, Roger Law and Martin Lambie-Nairn.
No politician or celebrity was safe: Margaret Thatcher, Ronald Regan and The Queen to Mick Jagger, Alan Bennett and Arnold Schwarzenegger were all captured in latex for the show, which included scripts from Private Eye editor Ian Hislop, Ben Elton, Red Dwarf co-creator Rob Grant, Richard Curtis and many more – and featured vice work from then unknown performers such as Hugh Dennis, Steve Coogan and Harry Enfield.
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German newspaper blamed for anti-Semitic cartoon
From The Mail Online.
The German newspaper, Süddeutsche Zeitung, has been accused of anti-Semitism after it published a cartoon depicting Mark Zuckerberg as an octopus controlling the world.
The cartoon was published in the newspaper last Friday after the announcement that Facebook had purchased Whatsapp. Two versions were published, one with the caption ‘Krake Zuckerberg’, the other ‘Krake Facebook’ – Facebook Octopus and Zuckerberg Octopus.
In the drawing, the 29-year-old Facebook founder is portrayed with a hooked nose, fleshy lips and curly hair, features ascribed to Jewish people in Nazi cartoons.
The cartoon was ‘starkly reminiscent’ of anti-Semitic Nazi era cartoons, Efraim Zuroff from the Simon Wiesenthal Centre told the Jerusalem Post.
‘[I]f anyone has any doubts about the anti-Semitic dimension of the cartoon, we can point to Mark Zuckerberg’s very prominent nose, which is not the case in real life,’ said Mr Zuroff who added that he found the cartoon, 'Absolutely disgusting!'
The cartoon depicts Mr Zuckerberg, who was raised Jewish but now describes himself as an atheist, as an octopus grasping at computers around him. In one of his tentacles he holds the logo of Whatsapp, the instant messaging service his company recently purchased for $19billion.
‘The nefarious Jew/octopus was a caricature deployed by Nazis. That was used pretty much as a staple by the Nazis in terms of their hateful campaign against the Jews in the 1930s. [An] exaggerated Jewish nose removes any question if this was unconscious anti-Semitism,’ Rabbi Abraham Cooper, Associate Dean of the Simon Wiesenthal Centre told Algemeiner.
‘Mark Zuckerberg is fair game for the media, including German media, but no German should deploy such caricatures,’ he said.
The cartoonist, Burkhard Mohr, apologised for the offence his cartoon caused in an email to the Jerusalem Post on Monday.
‘Anti-Semitism and racism are ideologies which are totally foreign to me,’ he wrote. ‘It is the last thing I would do, to defame people because of their nationality, religious view or origin.’
The newspaper took to Twitter on Monday to address the issue, writing simply: ‘We apologise for the cartoon.’
Mr Mohr released an updated version of the cartoon this week, replacing Zuckerberg’s face with a blank rectangular hole.
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| Zuckerberg Octopus: The cartoon was published in Süddeutsche Zeitung newspaper last week and has led to accusations of anti-Semitism. |
The German newspaper, Süddeutsche Zeitung, has been accused of anti-Semitism after it published a cartoon depicting Mark Zuckerberg as an octopus controlling the world.
The cartoon was published in the newspaper last Friday after the announcement that Facebook had purchased Whatsapp. Two versions were published, one with the caption ‘Krake Zuckerberg’, the other ‘Krake Facebook’ – Facebook Octopus and Zuckerberg Octopus.
In the drawing, the 29-year-old Facebook founder is portrayed with a hooked nose, fleshy lips and curly hair, features ascribed to Jewish people in Nazi cartoons.
The cartoon was ‘starkly reminiscent’ of anti-Semitic Nazi era cartoons, Efraim Zuroff from the Simon Wiesenthal Centre told the Jerusalem Post.
‘[I]f anyone has any doubts about the anti-Semitic dimension of the cartoon, we can point to Mark Zuckerberg’s very prominent nose, which is not the case in real life,’ said Mr Zuroff who added that he found the cartoon, 'Absolutely disgusting!'
The cartoon depicts Mr Zuckerberg, who was raised Jewish but now describes himself as an atheist, as an octopus grasping at computers around him. In one of his tentacles he holds the logo of Whatsapp, the instant messaging service his company recently purchased for $19billion.
‘Mark Zuckerberg is fair game for the media, including German media, but no German should deploy such caricatures,’ he said.
The cartoonist, Burkhard Mohr, apologised for the offence his cartoon caused in an email to the Jerusalem Post on Monday.
‘Anti-Semitism and racism are ideologies which are totally foreign to me,’ he wrote. ‘It is the last thing I would do, to defame people because of their nationality, religious view or origin.’
The newspaper took to Twitter on Monday to address the issue, writing simply: ‘We apologise for the cartoon.’
Mr Mohr released an updated version of the cartoon this week, replacing Zuckerberg’s face with a blank rectangular hole.
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The Süddeutsche Zeitung came under fire for publishing a cartoon that seemed to depict the State of Israel as a ravenous monster.
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| The cartoon as it originally appeared in the newspaper last Friday. It bears the caption 'Krake Zuckerberg', or Zuckerberg Octopus |
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Brad Holland's Rejects
From Poor Bradford's Almanach.
Discover in the article 13 of Brad Holland's favorite Society of Illustrators rejects.
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| Heavy Medals |
Discover in the article 13 of Brad Holland's favorite Society of Illustrators rejects.
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Bill Watterson Draws Poster for "Stripped" Documentary
From The New York Times Arts Beat:
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In putting together“Stripped,” a documentary exploring the art and evolution of newspaper comic strips, Dave Kellett and Fred Schroeder, the co-directors, interviewed more than 70 cartoonists. One of the biggest gets was Bill Watterson, the reclusive creator of “Calvin & Hobbes,” the beloved newspaper strip about a mischievous boy and his stuffed tiger, which ran from 1985 to 1995.
“In the right hands, a comic strip attains a beauty and an elegance that really I would put against any other art,” Mr. Watterson says in his interview. Mr. Schroeder said, “It seemed like he really wanted to express some thoughts about comics and cartooning, where they had been and where they are going.” The retired cartoonist was so pleased with the documentary that he also supplied the artwork for the poster of the film.
The film has evolved from its initial concept. “I started out wanting to make a documentary about artists in their studio spaces,” Mr. Schroeder said. But thanks to the access of Mr. Kellett, a cartoonist himself, the project grew into its current form: a musing on comic strips by many of their creators, how the medium has evolved and the migration to the Internet, some of it forced as the number of newspaper outlets for the strips has shrunk and some of it voluntary by a new generation of artists.
“Digital distribution changes everything,” Mr. Kellett said. “It’s kind of a magical time when everyone can do things themselves.” The co-directors are taking advantage of those opportunities themselves, with plans to release the film in various digital platforms as well as sales of a DVD, which will have extended footage of the interviews. “Stripped” will be available for advance ordering on iTunes at midnight Wednesday. The DVD will go on sale April 2.
In putting together“Stripped,” a documentary exploring the art and evolution of newspaper comic strips, Dave Kellett and Fred Schroeder, the co-directors, interviewed more than 70 cartoonists. One of the biggest gets was Bill Watterson, the reclusive creator of “Calvin & Hobbes,” the beloved newspaper strip about a mischievous boy and his stuffed tiger, which ran from 1985 to 1995.
“In the right hands, a comic strip attains a beauty and an elegance that really I would put against any other art,” Mr. Watterson says in his interview. Mr. Schroeder said, “It seemed like he really wanted to express some thoughts about comics and cartooning, where they had been and where they are going.” The retired cartoonist was so pleased with the documentary that he also supplied the artwork for the poster of the film.
The film has evolved from its initial concept. “I started out wanting to make a documentary about artists in their studio spaces,” Mr. Schroeder said. But thanks to the access of Mr. Kellett, a cartoonist himself, the project grew into its current form: a musing on comic strips by many of their creators, how the medium has evolved and the migration to the Internet, some of it forced as the number of newspaper outlets for the strips has shrunk and some of it voluntary by a new generation of artists.
“Digital distribution changes everything,” Mr. Kellett said. “It’s kind of a magical time when everyone can do things themselves.” The co-directors are taking advantage of those opportunities themselves, with plans to release the film in various digital platforms as well as sales of a DVD, which will have extended footage of the interviews. “Stripped” will be available for advance ordering on iTunes at midnight Wednesday. The DVD will go on sale April 2.
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2013 NCS Cartoonist of the Year Nominees
From the National Cartoonists Society website.
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NCS membership nomination voting has been tabulated, and the nominees for the 2013 Reuben Award for “Outstanding Cartoonist of the Year” are: Wiley Miller, Stephan Pastis, Hilary Price and Mark Tatulli.
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Wiley Miller is the creator of Non Sequitur, a daily comic strip syndicated by Universal UClick. Started in 1992, Non Sequitur has been honored with four National Cartoonists Society Divisional Awards, including Best Newspaper Comic Strip in 1992, and Best Newspaper Panel in 1995, 1996 and 1998. It is the only comic strip to win in its first year of syndication and the only title to ever win both the best comic strip and best comic panel categories. Wiley also worked as an editorial cartoonist for newspapers including the San Fransisco Examiner. This is Wiley’s first nomination for the Reuben award.
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Stephan Pastis is the creator of the daily comic strip Pearls Before Swine, syndicated by Universal Uclick. Stephan practiced law in the San Fransisco Bay area before following his love of cartooning and eventually seeing syndication with Pearls, which was launched in newspapers beginning December 31, 2001. The National Cartoonists Society awarded Pearls Before Swine the Best Newspaper Comic Strip in 2003 and in 2006. Stephan is also the author of the children’s book series Timmy Failure. Stephan lives in northern California with his wife Staci and their two children. This is his sixth nomination for the Reuben award.
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Hilary Price is the creator of Rhymes With Orange, a daily newspaper comic strip syndicated by King Features Syndicate. Created in 1995, Rhymes With Orange has twice won the NCS Best Newspaper Panel Division (2007 and 2009). Her work has also appeared in Parade Magazine,The Funny Times, People and Glamour. When she began drawing Rhymes With Orange, she was the youngest woman to ever have a syndicated strip. Hilary draws the strip in an old toothbrush factory that has since been converted to studio space for artists. She lives in western Massachusetts. This is Hilary’s first nomination for the Reuben award.
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Mark Tatulli is the creator of Heart of the City and Lio, both daily newspaper comic strip syndicated by Universal Uclick. Heart of the City debuted in 1998. Lio, one of the few fully pantomime strips in major syndication, began running in 2007 and earned Mark an NCS divisional award for Best Newspaper Strip in 2008. In addition to his comic strip work, Mark is also an animator and television producer, known for his work on the cable reality television series Trading Spaces and A Wedding Story, and the winner of three Emmy awards. Mark lives and works in New Jersey with his wife Donna ans their three children. This is Mark’s first nomination for the Reuben award.
The winner of the 2013 “Outstanding Cartoonist of the Year” will be announced on May 24th at the annual NCS Reuben Awards dinner in San Diego, CA.
NCS membership nomination voting has been tabulated, and the nominees for the 2013 Reuben Award for “Outstanding Cartoonist of the Year” are: Wiley Miller, Stephan Pastis, Hilary Price and Mark Tatulli.
Wiley Miller is the creator of Non Sequitur, a daily comic strip syndicated by Universal UClick. Started in 1992, Non Sequitur has been honored with four National Cartoonists Society Divisional Awards, including Best Newspaper Comic Strip in 1992, and Best Newspaper Panel in 1995, 1996 and 1998. It is the only comic strip to win in its first year of syndication and the only title to ever win both the best comic strip and best comic panel categories. Wiley also worked as an editorial cartoonist for newspapers including the San Fransisco Examiner. This is Wiley’s first nomination for the Reuben award.
Stephan Pastis is the creator of the daily comic strip Pearls Before Swine, syndicated by Universal Uclick. Stephan practiced law in the San Fransisco Bay area before following his love of cartooning and eventually seeing syndication with Pearls, which was launched in newspapers beginning December 31, 2001. The National Cartoonists Society awarded Pearls Before Swine the Best Newspaper Comic Strip in 2003 and in 2006. Stephan is also the author of the children’s book series Timmy Failure. Stephan lives in northern California with his wife Staci and their two children. This is his sixth nomination for the Reuben award.
Hilary Price is the creator of Rhymes With Orange, a daily newspaper comic strip syndicated by King Features Syndicate. Created in 1995, Rhymes With Orange has twice won the NCS Best Newspaper Panel Division (2007 and 2009). Her work has also appeared in Parade Magazine,The Funny Times, People and Glamour. When she began drawing Rhymes With Orange, she was the youngest woman to ever have a syndicated strip. Hilary draws the strip in an old toothbrush factory that has since been converted to studio space for artists. She lives in western Massachusetts. This is Hilary’s first nomination for the Reuben award.
Mark Tatulli is the creator of Heart of the City and Lio, both daily newspaper comic strip syndicated by Universal Uclick. Heart of the City debuted in 1998. Lio, one of the few fully pantomime strips in major syndication, began running in 2007 and earned Mark an NCS divisional award for Best Newspaper Strip in 2008. In addition to his comic strip work, Mark is also an animator and television producer, known for his work on the cable reality television series Trading Spaces and A Wedding Story, and the winner of three Emmy awards. Mark lives and works in New Jersey with his wife Donna ans their three children. This is Mark’s first nomination for the Reuben award.
The winner of the 2013 “Outstanding Cartoonist of the Year” will be announced on May 24th at the annual NCS Reuben Awards dinner in San Diego, CA.
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Reprint on the "National Newswatch" website (4)
The drawing I drew in Wednesday edition of Le Droit was reprinted in the National Newswatch website.
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Nick Park's "Creature Comforts"
I'm very happy to share a very funny animated short by the creator of "Wallace & Gromit".
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Mike Parker, Godfather of Helvetica, Dies
From Fast©Design.
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Mike Parker, a legendary typographer, type designer, and historian who is perhaps best known for his work giving the world Helvetica, died Sunday night. He was 85.
A consultant, type historian, and designer at Font Bureau, Parker has been described as "the font god," with the development of more than 1,100 typefaces to his credit. His colleagues called him a shepherd of typography, who over the course of 50 years, helped guide the type landscape from hot metal, to photocomposition, and finally to digital printing.
To most people, though, Parker will be best known as the godfather of Helvetica. Parker did not invent Helvetica, but he's perhaps more responsible than any other person for the font's success.
Joining the Mergenthaler Linotype Company in 1959 as design director, Parker went
Parker's accomplishments did not end at Helvetica. He was responsible for more than 1,100 fonts during his lifetime, as well as the foundation of Bitstream, the world's first all-digital type company. Parker also created Pages Software, the developer of a powerful early word processor on Steve Jobs NeXT Computer platform; perhaps not coincidentally, Apple's own word processor, released after Steve Jobs came back to Apple in 1997, is called Pages. As recently as 2009, Parker was still producing new typefaces: Starling, a series of typefaces based upon the proto-Times Roman designs of Starling Burgess.
Despite his many successes, Parker's own heart seemed to swell when he talked about Helvetica. Consider this beautiful quote from his interview in Gary Hustwit's 2007 documentary on the typeface:
According to Parker's ex wife-turned-caregiver Sibyl Masquelier, Parker suffered a stroke on February 20, 2014, after a years-long fight with Alzheimer's disease. He died Sunday, February 24, with family present at his bedside. His ashes will be scattered at his family home in Colrain, Massachusetts, without a tombstone to mark him. But why would Parker need a stamped stone to tell that he had once lived on this Earth? On every street corner, computer screen, and bookshelf, a thousand fonts scream that he was here, and that he mattered. Rest in peace, Mike.
Mike Parker, a legendary typographer, type designer, and historian who is perhaps best known for his work giving the world Helvetica, died Sunday night. He was 85.
A consultant, type historian, and designer at Font Bureau, Parker has been described as "the font god," with the development of more than 1,100 typefaces to his credit. His colleagues called him a shepherd of typography, who over the course of 50 years, helped guide the type landscape from hot metal, to photocomposition, and finally to digital printing.
To most people, though, Parker will be best known as the godfather of Helvetica. Parker did not invent Helvetica, but he's perhaps more responsible than any other person for the font's success.
Joining the Mergenthaler Linotype Company in 1959 as design director, Parker went
looking for an adaptable European font that would work at many different weights. He particularly liked the new Swiss style of letter design, in which, Parker said, "you draw the counters and let the black fall where it will." Parker soon discovered Neue Haas Grotesk, a sans-serif typeface created by Swiss designers Max Miedinger and Eduard Hoffman of the Haas Type Foundry.
Designed as a clear, neutral typeface that could be used in a wide variety of settings, Neue Haas Grotesk had one problem: it wasn't designed to be used in a Mergenthaler Linotype hot metal typesetting machine--the industry standard machine, created by Mergenthaler Linotype, for printing newspapers, magazines, and posters. As such, Parker and his team took Haas's original drawings and began reworking them to work on Linotype's machines. The modified design eventually became known as Helvetica.
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You only have to look around you to see how Parker's efforts worked out in the end. When you do your taxes, the form is set in Helvetica; when you ride the subway in New York, you get off at a stop marked in Helvetica. In all likelihood, the computer you're reading this on comes with Helvetica pre-installed.
You only have to look around you to see how Parker's efforts worked out in the end. When you do your taxes, the form is set in Helvetica; when you ride the subway in New York, you get off at a stop marked in Helvetica. In all likelihood, the computer you're reading this on comes with Helvetica pre-installed.
Parker's accomplishments did not end at Helvetica. He was responsible for more than 1,100 fonts during his lifetime, as well as the foundation of Bitstream, the world's first all-digital type company. Parker also created Pages Software, the developer of a powerful early word processor on Steve Jobs NeXT Computer platform; perhaps not coincidentally, Apple's own word processor, released after Steve Jobs came back to Apple in 1997, is called Pages. As recently as 2009, Parker was still producing new typefaces: Starling, a series of typefaces based upon the proto-Times Roman designs of Starling Burgess.
When you talk about the design of Haas Neue Grotesk or Helvetic, what it's all about is the interrelationship of the negative shape, the figure-ground relationship, the shapes between characters and within characters, with the black, if you like, with the inked surface... I mean you can't imagine anything moving; it is so firm. It is not a letter that bent to shape; it's a letter that lives in a powerful matrix of surrounding space. It's... oh, it's brilliant when it's done well.
According to Parker's ex wife-turned-caregiver Sibyl Masquelier, Parker suffered a stroke on February 20, 2014, after a years-long fight with Alzheimer's disease. He died Sunday, February 24, with family present at his bedside. His ashes will be scattered at his family home in Colrain, Massachusetts, without a tombstone to mark him. But why would Parker need a stamped stone to tell that he had once lived on this Earth? On every street corner, computer screen, and bookshelf, a thousand fonts scream that he was here, and that he mattered. Rest in peace, Mike.
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‘Mr. Hublot’: The Oscar Winning Animated Short
Sunday night, the Academy Award for Best Animated Short Film went to Mr. Hublot. Set in a mechanical world, Mr. Hublot follows a man with OCD who brings a robot puppy into his life.
Laurent Witz wrote and directed the award-winning short, which manages to transport us fully to its world of factories and gears while maintaining a strong emotional core. It's easy to see what made it Oscar-worthy.
An interview with co-director Alexandre Espigares:
Mr Hublot lives in a world where characters made partially of mechanical parts, driving huge vehicles, rub shoulders with each other. A world where the giant scale of machines and the relentless use of salvaged materials reign supreme.
A withdrawn, idiosyncratic character with Obsessive–compulsive disorder, Mr Hublot is scared of change and the outside world. His solution: he doesn't step foot outside his apartment! The arrival of the dog Robot Pet will turn his life upside down: he has to share his home with this very invasive companion…
For a look at the art of Mr. Hublot, read Amid Amidi's article at Cartoon Brew.
Written and Directed by Laurent Witz
Co-Directed by Alexandre Espigares.
The film is based on Stéphane Halleux's Universe.
http://www.mrhublot.com
http://www.facebook.com/mrhublot
http://www.twitter.com/mrhublot
Production ZEILT productions
Coproduction WATT frame - Arte
Computing Fox renderfarm
With support of Film Fund Luxembourg - CNC - Région Lorraine
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Restaurant Closings in "Richard's Poor Almanac"
From Cul de Sac.
Like many newspapers, the Washington Post runs a column listing various health code violations for the week. Each entry describes the circumstances leading to a closure of a food establishment by the investigating health department. Here's a sample of a recent column:
It's buried in the Local Living type section along with another column equally enjoyable, the Animal Watch, listing those run ins with animals, wild and domesticated, that've required the intervention of a vested authority. (Its probably-untoppable apex was reached years ago with a report about a squirrel found racing around inside a single-family residence. Two policemen showed up after the homeowner called 911 and quickly isolated the rodent in the living room curtains, but the squirrel broke free and dove into a grand piano. One officer, thinking quickly, played a few bars of something by Toad the Wet Sprocket and the squirrel shot out of the piano and disappeared out the front door.)
These columns appeal to me for all kinds of reasons: the poker faced style, the easily graspable nature of the incidents and, in the case of the health code violations, the fact that restaurants are fun to draw. When I was doing the Poor Almanac (1997-2009) and was looking for an idea (always) I could usually scare up enough jokes to fill out the cartoon without the desperation being too apparent. Because restaurants are not only fun to draw; they're inherently funny.
Here's one of only 4 or 5 in color, from c. 2000. Lugubrio's is based on a place near Dupont Circle where the lights were so low the waiters were disembodied voices and you ate by feel, often off another's plate.
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| The first appearance of "Restaurant Closings" in Richard Thompson's strip. |
Like many newspapers, the Washington Post runs a column listing various health code violations for the week. Each entry describes the circumstances leading to a closure of a food establishment by the investigating health department. Here's a sample of a recent column:
Hollywood Bistro
1800 G St. NW
Closed Friday for operating without a certified food manager.
Lucky Corner Market
5433 Georgia Ave. NW
Closed April 19 for operating without a license, gross unsanitary conditions and operating without a certified food manager. Reopened April 23.
Mid-City Deli
1418 14th St. NW
Closed Friday for failure to minimize vermin, circumstances that might endanger public health and improper food holding temperatures.
It's buried in the Local Living type section along with another column equally enjoyable, the Animal Watch, listing those run ins with animals, wild and domesticated, that've required the intervention of a vested authority. (Its probably-untoppable apex was reached years ago with a report about a squirrel found racing around inside a single-family residence. Two policemen showed up after the homeowner called 911 and quickly isolated the rodent in the living room curtains, but the squirrel broke free and dove into a grand piano. One officer, thinking quickly, played a few bars of something by Toad the Wet Sprocket and the squirrel shot out of the piano and disappeared out the front door.)
These columns appeal to me for all kinds of reasons: the poker faced style, the easily graspable nature of the incidents and, in the case of the health code violations, the fact that restaurants are fun to draw. When I was doing the Poor Almanac (1997-2009) and was looking for an idea (always) I could usually scare up enough jokes to fill out the cartoon without the desperation being too apparent. Because restaurants are not only fun to draw; they're inherently funny.
Here's one of only 4 or 5 in color, from c. 2000. Lugubrio's is based on a place near Dupont Circle where the lights were so low the waiters were disembodied voices and you ate by feel, often off another's plate.
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Edward Koren Appointed Vermont’s Second Cartoonist Laureate
From the Mike Lynch Blog.
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Vermont resident Ed Koren was appointed Vermont Cartoonist Laureate on February 27, 2014.
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The complete press release is here.
Vermont resident Ed Koren was appointed Vermont Cartoonist Laureate on February 27, 2014.
Montpelier, Vermont—Brookfield, Vermont resident Edward Koren will become Vermont’s second cartoonist laureate on Thursday, February 27, 2014, when he will be recognized on the State House floor. Vermont is the only state that regularly appoints a cartoonist laureate.
Edward Koren has long been associated with the The New Yorker magazine, where he has published over 1,000 cartoons, as well as numerous covers and illustrations. David Remnick, The New Yorker’s editor, has this to say about Koren’s work: “The great imaginative artists, comic or seriocomic (what other kinds are there?), are great at least in part because they create a world: Baldwin’s Harlem, Faulkner’s hamlet, Chekhov’s dachas. Ed Koren not only created a world—the Koren worlds are both urban and Vermontian, but all Koren—he also created creatures, part human, part fantastical, to represent and give voice to all of our anxieties, joys, and craziness. Long live Ed Koren, his world and his creatures!”
The complete press release is here.
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