C/o The New Zealand Cartoonists Collective P.O. Box 13335 Christchurch 9 December 2000 CARTOONLAND NEWS
Lars Cawley is working on producing an ongoing online resource of all recent New Zealand comics produced this year, complete with reviews, available through the Black River Digital e-mail group and hopefully on paper for the Armageddon Comic Convention. So if you want your production included, send a copy for review to Lars Cawley c/- 106 Malcolm Ave. Christchurch (or get a 3rd party to review it and send the review).
The Black River Digital mailing list is an easy way for people interested in New Zealand comics to keep each other informed about who is drawing what and where to get it. Promotion of new work by New Zealand cartoonists is encouraged. Discussion about any and all issues related to the production of comics is also smiled upon. You can join the BRD mailing group by going to www.egroups.com/group/brd
Cartoonists are being targeted internationally by unscrupulous people who see people who draw funny pictures as easy marks, so beware of "too good to be true" schemes, companies that want art on spec, people with a great idea who just want someone to illustrate it before they can make bucketloads of cash, and people who offer their services as agents guaranteeing sales (for a small up front fee).
Remember Lurie, the cartoonist whose wonderful caricatures once adorned New Zealand newspapers? Israeli born Lurie, (68), holds the record as "The most widely syndicated political cartoonist in the world. As of July 1998, his work was published in 103 countries in 1,105 newspapers with a total circulation of 104 million copies." (THE 1999 GUINNESS BOOK OF WORLD RECORDS.)
The pencils are done for the new ASSOCIATES project that Craig Peterson and Cornelius Stone are working on, Craig has also written a short film script for Mr Stone to shoot, dealing with the relationship between vampires and werewolves. Another of Craig's projects is an on-line horror comic called REVENANT.
Another Kiwi cartoonist to self publish his manic cartoons on the web is prolific Funtime cartoonist Andrew Kepple, his most recent strip is Post-Ironic Pig at the Olympic Games which can be seen at www.geocities. com/toomuchsparetime_ak/pipep4ns.htm For more on P.-I.P. see page 9.
Peter Johnstone's written works are now available through the web, you've seen his comix, now read the stories, poetry and his foray into phonetics at www.geocities.com/el_tango_solo
Seth Winn has created his own first solo comic titled BRAKE FLUID which he submitted for his 7th form art. It includes his When Curiosity killed the cat, 153.48.2 and a stunning new one pager to be printed in the next issue of ROGUE. He has graciously sent us a copy for the NZCC library, for other new additions to the library see page 4.
Karl Wills has sold his psychopathic Mr Gasalaska to Animation Express-Wired Magazine for their website. There is no due date yet for going on line. It's a sobering thought that people all over the world will one day be innocently surfing the net and will accidentally stumble upon old Gassy and have their long held beliefs shattered of how cartoon characters should behave, even the violent ones.
Many additions to our nz comix library (available to all) including a pile of about 25 which includes all four issues of "Jesus On A Stick" and several 1st issues of other comix, given to us by Peter Johnstone.
The NZ Cartoon Archive Trust have a new sposor L.J.Hooker Ltd, the international propety firm. They are sponsors of the Black and White Artists Club in Australia and hold an annual school cartooning competion, they are looking at having a similar competition here. Which should do wonders for raising the profile of cartooning in Aotearoa
A CHAT WITH JARED LANE
Jared Lane is over from Oz at the moment and he has brought a few copies of PURE EVIL #5, an 80 page comix anthology
Tony; Tell us about Pure Evil Jared; It's a compilation of NZ and Australian cartoonists, mostly Australian. Actually there's 10 Aussies and 3 Kiwis. Tony; Well, it favours us per capita. Jared; Yes, I suppose it does. Tony; Is it available here? Jared; I've put some into Comics Compulsion, but Alan was a bit wary of it. It's not really worth their while stocking them.
Tony; How is small press stuff received by theAustralian comic shops? Jared; Just the same as here, they are all geared up for the glossy American comics and trading cards, but there is one shop that specialises in small press comics. Tony; Really, what's that called? Jared; Polyester. Tony; What is the print run of 'Pure Evil'? Jared; Only 300, it's quite small. But they should sell well, there is quite a community in Australia that makes and buys small press comics. Tony; How do the Australians view NZ cartoonists? Jared; They think we are all quite good. They think we all do very clean crisp work with lots of good blacks with slightly weird stories. Probably because they've only heard of a few like Dylan Horrocks, and Roger Langridge, so they think we all draw like that. Tony; Are you back in NZ for good or is it a holiday? Jared; I'm not sure yet, I've got a job offer pending, doing drawing with a computer games company in Canberra, if that falls through I'll be moving back to New Zealand. Tony; The job in Canberra, is it animation work? That could be pretty repetitive. Jared; No, they do all that. It's just concept drawing, I'd just be sitting around all day drawing. It sounds really good. Tony; In your previous jobs over there, were you using your drawing skills? Jared; No, jobs like this Canberra one are pretty rare. If anyone over there wants to make money in comics or the related fields they usually go to America or Europe. Some of the small press stuff is very good, but once they become well known they're off.
We review PURE EVIL on page 8
Spotlight On Dwyllis Maggs
I describe myself as a humorous illustrator. This encompasses a lot 51; caricatures, cartoons, comic strips, funny illustrations. Caricatures are what I do best though. They're always a challenge.
I'm pretty much self-taught though I have done a course or two. Courses are good. They push you to do things that you don't feel naturally inclined to do and you learn in a couple of hours what would take a couple of weeks of trial and error. I exaggerate, but you get the picture (sorry about the puns). I learn mostly by looking at the work of other artists, seeing how they solve pictorial problems. It's great to have a magazine like this where people can share what they do.
Life is a balancing act at present. I still have my "day job" so it's a struggle sometimes to find the time to draw. I do mostly commissioned work i.e. I already have a buyer before I put pencil to paper. I've tried freelancing but when time is precious you don't want to waste it doing drawings which might not sell. Having said that I have been working on my own project on and off for a couple of months now and it's been a lot of fun. Keep up the good work.
Your attention please!
Don't get out much any more? Do you find it increasingly hard to remember what your fellow cartoonists look like? Tired of bumping into your mates on the way to the photocopy shop when you're both in too much of a hurry to stop and chat?
The answer to these modern ailments is at hand, my friends. I propose that we institute a rigorous series of meetings, during which
cartoonists from all corners of the world can come together, sip beverages and discuss rising toner prices. Now when I say vigorous, I
figure once a month should just about do it. Something simple to remember is also important and to this end I propose the following...
On the first Monday of each month there be a gathering at Alleluya Cafe on K Rd. Any time from 6pm onwards, but 7:30 would be a more popular time perhaps. Jam comics could be an amusing feature of such events I'll warrant. Now the first Monday of 2001 is the 1st and I'll be out of town as will a few others no doubt, but don't let that stop you all!
Clearly such happenings are only of peripheral interest to NZ cartoonists living in say, Helsinki, but they would appreciate knowing that should they ever be passing through Auckland around the beginning of the month they could find a welcoming circle containing "ladies and gentlemen of the ink" with which to pleasantly pass the time. -Lars Cawley
Cartoons On the Web...the big FAQ ; is there money in it?
There is a stupendous amount of cartoons and comix on the web, some of it is very good and some isn't. Some cartoon web sites are making money, and even the most amateur of cartoonists dream of making a bit of cash out of their cartoons.
The cartoonists that are actually turning a profit from their sites, have a few things in common, they have lots of great cartoon, they have well designed sites with their own domain names (not just web space as provided free by the major e-mail groups), they produce their cartoons regularly and possibly the most importantly they shamelessly promote themselves at every opportunity.
They make their lolly through the advertising on their sites- they get a few cents every time someone follows a link from their site, through merchandising, selling tee-shirts and coffee mugs to their fans and of course the sale of cartoons to newspapers and magazines. Most cartoonists use their sites as a catalogue or portfolio for their work, sending their URLs to editors, although the editor of Cracked magazine reports that he prefers posted submissions over URLs as he doesn't have time to trawl through countless websites looking for cartoons.
Some cartoonists like South African cartoonist Myke Ashley-Cooper and Spike Bakkar from Holland set up E-mail groups and send people regular free cartoons. Myke has two e-mail groups, one for 'clean' cartoons, with approximately 5700 subscribers, and the other for not so clean cartoons, called Lood Cartoons, which has about 8500 people receiving a daily free cartoon. Myke's site at www.cartoons4fun.com attracts about 2500 visitors each day.
"I was just incredibly lucky that I was "discovered" by a very bright man, Vincent Cleppe, who designed my website. He puts all my cartoons on it, arranges the advertising and is the best friend and partner I've made!!! What I found interesting was that the book of cartoons I published last year did not sell at all well to my cartoon lists of 18,000+ names and I came to the conclusion that, with cartoons, one can get so many thousands on the net, so why buy them?"
Spike has only recently started his e-mail group and has enjoyed a rapidly growing membership, One of Spike's marketing ploys is to tell people he has naked pictures of Britney Spiers on his site. His site, asickpuppy.com gets about 700 hits per day (Britney isn't really there, I checked).
Other cartoon sites worth checking; www.royston.dircon.co.uk www.thecartoonist.com www.fatcatoons.com www.vlaskolarov.com www.ruthcomix.keenspace.com Some New Zealand cartoonists on the web Andy Conlan; www.teethworld.com Karl Wills; www.comicbookfactory.net Roger Langridge; www.hotelfred.com
(The largest e.groups cartoon mailing list is foggysfunnies with 18500 subscribers )
NEW ADDITIONS TO THE NZCC LIBRARY
Chivalry, River Comics, Pretentious#1, Mainstream#1, Pistake#1, 2 & 10, Umph, Filth#4, Blademaster, Jesus On A Stick#1-4, Dan The Alien, Hyperbreed, Horn#3, Check The Blinker, Strumming Teeth#1, Can't Find Jacob, Season To Taste#3
COMICS THE UNDERDOG
Originally published in SALIENT for a readership largely unfamiliar with non- mainstream comix
Comics- Lycra bodysuits, stupid names, moronic 'plot' lines, super villains and ridiculously small waists and ankles? It doesn't have to be that way. "The official history of comics is a history of frustration, of unrealised potential" explains Kupe, the symbolic 'lighthouse keeper' of Dylan Horrocks' graphic novel Pickle, "a medium locked into a ghetto and ignored by countless people who could have made it sing".
That the comic book has been largely ignored as a legitimate form of creative expression is certainly true for the majority of New Zealanders. Ask someone to list 'artistic mediums' and invariably you'll get Art, Literature, Poetry, Music, even Dance. Comics, instead are perceived as childish, simple, exploitative and often sexist and immoral. If comics had a brow, it'd be so low you'd need a spatula to scrape it from the gutter.
Yet the potential for comics is limitless: As a combination of both art and literature the comic can, at the best of times, transcend both- To a writer the introduction of visual images is a whole new tool to master- to an artist shaping images into sequential passages, comics bring new storytelling avenues to explore. Each comic is so unique and expressive: if a novel expresses a lot about the person who wrote it, imagine if it were published in their own handwriting. As a blank page becomes a new world, every panel, every line of dialogue, even the thickness of each line comes down the artist. (In fact I would argue no other craft allows its creator such control: even a writer or poet only has a limited vocabulary to work with).
So how and why have comics been
ignored? The answer, I would argue, lies in comics as an industry. The roots of western comics lie in newspaper strips of the early 20th century: cartoons that were (originally, at least) in no way low-brow. George Herriman's Krazy Kat (early 1920's) was a major forbearer of (and direct influence on) the Beat Writers (particularly Jack Kerouac) while Winsor McCay's Little Nemo in Slumberland (1905-1911) remains an exquisite example of Art-Nouveau design and of exciting and original visual narrative techniques. Somewhere around the early 1940's however, things took a turn for the worse.
As they grew in popularity, books consisting solely of cartoons were published. As the audience (mainly consisting of teenage boys) for the new medium grew, so did comics as a marketable industry. Companies began to market long lines of detective and horror (along with, later, their greatest creation, the 'superhero' comics to this new audience, achieving two things: comics not only lost their adult audience (and therefore stopped aspiring to any challenging literary ideals) and the sheer amount of comics produced (churned out to meet consumer demand) meant standards set by artists about their work were inevitably lowered. In my mind, mainstream comics have never looked back since.
However, the creation of a financially interested comics industry is not, of course, the only reason comics are not regarded highly today (After all, literature has its John Grishams and Mills and Boons- Film its Hollywood Action industry, and we still acknowledge Literature and Film as legitimate 'fine' arts.), instead I point to comics' male-dominated culture as the nail in its own coffin. The new audience comics built in the 40's and 50's was, unlike the audience of any other artistic medium, predominantly adolescent and male, and the comics were written accordingly. As the comics industry has progressed its depiction of women has, in my mind, only become more and more degrading. When such a male dominated culture is formed, female readers understandably reject it. The male readers of those comics who accept this become the next generation of cartoonists, perpetuating the system. Walk into any comic store around the western world and male customers will outnumber females ten to one. The reason? The male cartoonists on the shelves outnumber the females 20 to 1. Easy. (In 1998 Dylan Horrocks produced Nga Pakiwaituhi O Aotearoa, profiling 50 New Zealand cartoonists- four were female. This seems bad, but its worth taking into account that these were 'alternative' cartoonists - the superhero mainstream is FAR worse.)
But how much does this reputation have to do with the nature of the comics medium itself? "Comics are, by their very nature, a medium of subversion", wrote local comics historian (and ex-Salient cartoonist) Tim Bollinger: a perfect medium for propaganda. Comics can be understood by people of all languages and literacy levels, and simple comics are perfect learning tools for children. On the other hand, none of these facts explain the special place comics have found in our society- the trash can. (In Japan the several weekly 400-page weekly comics rank up with the country's highest circulation publications; In Europe the top cartoonists take a place alongside sports stars in the 'national hero' stakes).
So are comics worth giving a second chance? Well, my 'of course' answer is obvious, but like anything it's a matter of sifting through the junk to find the gems. Under the layer of derivative, simplistic and frankly boring mainstream comics is an increasingly large group of intelligent and talented people that grew up with comics and carry on the medium in challenging, and enjoyable, new directions and yes- they are definitely worth reading, and not just for comics fans.
Love and Rockets was the first comic that showed me (and many others) there was more out there: Throughout the 80's and early 90's the Hernandez brothers work showcased strong stories revolving around Hispanic-American culture and featured (particularly in Jaime's stories) consistently believable strong female characters. Today, Chris Ware's book Acme Novelty Library pushes the boundaries of graphic storytelling and design in breathtaking, and genuinely exciting ways, while Jessica Abel and Adrian Tomine form part of a movement of extremely talented writers. A deliberately simplistic, anti-craft group of cartoonists (comparable to Film's 'dogma' group) including James Kochalka and Tom Hart, create some of the most funny, genuine and enjoyable comics today. In our own backyard, Dylan Horrocks and Adam Jamieson are easily as talented as most of this countries published novelists, while Wellington's Karl Wills and Martin Molloy are ten times funnier than anything New Zealand television produces and (especially Molloy's Season to Taste) twenty times as intellectually challenging.
- Toby Morris Ten New Zealand Comics you should read;
Strips; The grandfather of local comics, this anthology was dominant throughout the 70's and early 80's. Take a trip down to the National Library- get these out and check out the art of Joe Wylie and Barry Linton.
Choice Guy; Coming out of the brilliant Hamilton-based 'Oats' Comics group, this rare gem is simply one of the funniest things you'll ever read: the bogan family "The Guys", superb cut
'n' paste layouts and loose, shambolic drawing Anything you can get your hands on by Oats is worth a look.
Season To Taste; Martin Molloy' s work is among the most exciting and innovative in the country. He constantly challenges the comic form while maintaining many various (and equally outstanding) drawing styles, and is genuinely funny. Look out for #3 very soon!
Comic Book Factory Funnies; Karl Wills lastest work can be described as classic 30's style newspaper strips with a sick modern twist. Consistently dark, offensive and uncomfortably funny, Wills has claim to a unique visual style, as well as a sense of humour like no other. If only he'd draw more often.
Wishbone; Adam Jamieson is without a doubt one of the countries most talented storytellers. Its hard to pick just one book that stands out (he's extremely prolific: at one stage he produced a bi-weekly book!), but Wishbone is both poetic and humourous, warm and gentle. His drawing here is outstanding- don't know another comic that's so undoubtedly New Zealand (Believe me- that's a big claim)
See-saw; Adam Jamieson again, but here alongside the outstanding Timothy Kidd and Sophie Macmillan. As a trio, the See-saw team produced some fascinating work: always poetic, lyrical and never forgetting a gentle sense of humour, the comics exude warmth and charm.
Hicksville; Dylan Horrocks magnum opus, this book (published by Canada's now-defunct Black Eye Books) is quite simply the greatest New Zealand Comic. I'll fight anyone who says otherwise. Intelligent, funny, complex yet accessible, Hicksville contains a huge variety of story telling, and drawing techniques (comics within comics, sometimes within comics, for example) and so many strong characters. Must read.
Family of Sex; I choose Family of Sex over its 80's anthology partner-in-crime Razor mainly for all the brilliant early Roger Langridge strips, and the influence of editor Cornelius Stone, if only as a co-ordinator and organiser rather than a cartoonist, on New Zealand comics is too strong to ignore. You really have to read one of his comics to see what I mean.
The Endless Plain; Young Aucklander Tim Molloy (no relation to Martin) has produced newer work (I got his zombie-piece The Death of Autumn this morning) but I recommend his dream comic Plain for its elegant drawing style and fun story. Its innovative format (half A4 vertically) is indicative of Tim Molloy' s strength: he is a thinker who I'm sure will try many different things in years to come.
Disgraceland; Similar to above, but the strengths of Disgraceland's James Merritt (another talented young Aucklander- a compadre of Tim's, I believe) lie in his writing: Disgraceland #2 features some of the best dialogue in New Zealand comics history. A follow-up is VERY eagerly anticipated.
Oh, and chicken is champ is worth a look too.
(All but Disgraceland are in our nz comix library)
CAN'T FIND JACOB? TRY YOUR LOCAL COMIC SHOP
Toby Morris has published his latest comic "CAN'T FIND JACOB" , a collection of strips from SALIENT, It concerns a nice young chap who mysteriously starts to lose body parts, they just go 'ping' and they're gone. He gets in trouble with the local filth, they think he is up to no good and the medical profession think he's snipping bits off himself, so he goes on a quest to find out who's responsible . There are some wonderful guest appearances from the likes of Michael Caine, Joe Fraser and Pacman. Pacman just about steals the whole show with a wonderfully poignant cameo performance. I asked Toby a few questions about the story...
Me ... I would have liked to find out more about how the villain got Jacob's bits and pieces. Was it only Jacob? Or were their more people wandering about with bits disappearing?
Toby: I didn't really think about this too much... I assumed that it was only Jacob at that time, but that we had previously been doing to others, one at a time, before.
Is it a true legend or did you make it up?
I really wanted to use the parts-dissappearing plot device (The original
idea was simply to present a character that literally disintegrated rather than developed), so I made the legend up.
What was the point of taking his bellybutton, you wouldn't get much of a feed off that, or is it more of a psychic energy thing? Which would explain why fingers, bellybuttons and eyes were preferred, over the more meatier parts.
I think it was supposed to be an energy type thing, but really it was just an excuse for Jacob lose things- I did things like the belly-button when I didn't want to change his appearance at that time I tried to pace that out.
Did the taxi driver pull through?
Yeah, of course- he had a Heart Of Gold(tm)
How exactly did the villain die 'in custody' at the end? Seems a bit suspicious.
Yes... rather convenient...
Is John Benet (who did a glowing testimonial on the last page) a real person or another alias?
Real, for once... its my friend -he really spells his name Bennett- he wanted to 'snazz it up' a little. Someone pointed out later that Jon-Benet is the name of that little model-girl that got murdered- so unfortunately its a little bit bad taste.
...the truth is (really) that I was mainly concentrating on developing inking, pacing and design/layout skills, so the actual script got a little neglected- and to me that's really obvious. (that has taught me important lessons though- you have to learn from your mistakes)
REVIEWS
CAN'T FIND JACOB Toby Morris A riveting read. A great story (despite Toby's misgivings) in an old fashioned newspaper cartoon strip style that rivals Dick Tracy for odd characters and cracking pace. Some of the elements in the story could have been explored more and it has a slightly too quick wrap up, the story could comfortably have gone on for another 10 to 20 strips, but they always say you should leave 'em wanting more. Beautiful three colour cover, A5 but with six trend setting, groundbreaking fold out A4 pages! Available from all good Comic Shops or direct from Toby at P.O.Box 11200 Wellington, for a paltry $3.50.
PURE EVIL #5 Australian production. With a name like Pure Evil, you now it's going to be a hard ride.
Great oxymoron. The contents, like any compilation is a mixed bag, with some very arty hard to understand stories and some very graphic and all too understandable ones. The gothic Black Light Angels is a rich, beautifully drawn, if somewhat pornographic strip. I quite enjoyed the Jack Nicholson one, reminds me of Choice Guy. Jared Lane's two strips have his usual accomplished brush work and are slightly disturbing, especially the second one. Peppered throughout are some classic Karl Wills single panels and strips. The cover is an unusual cut and paste, each with different photo fragment strips stuck to them. Comics Compulsion keep them behind the counter due to the 'adult' nature of some of the stories. So you'll have to ask for it.
SEASON TO TASTE #2 by Martin Molloy. Martin is a comix FACTORY! After his three Gehanna comix, he's up to #3 with STT already. He must be the cutting edge in New Zealand comix. He introduces some great new characters here. Jetpack Jack (who is drawn differently in each strip), Adventure Girl with her sidekick Monkeyboy and Tommy Trouble- you guessed it, he has trouble written all over him. Also in STT#3 is a reprint of the excruciatingly funny superhero satire, Bloodface. Bloodface would be better with some grey tones like the other strips. But it's still a great original send up of a genre that has been satirised many times before. Once more Martin is challenging the boundaries but in a controlled polished way. Now all he needs is a glossy magazine to buy his strips. You can write to Martin at P.O.Box 11200 Wellington for a free copy of his Adventure Girl & Monkey Boy Comic!
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RETRO REVIEW
BLADEMASTER, A Mouse Roarith by Matthew Forsyth
A classic of New Zealand comix, A4 , black and white with a 250 gsm marbled toned cover and glossy white inside pages. It's a David and Goliath story in an undefined old/other world setting that sparkles with original humour and bright clear drawing. The eyebrows are often a bit too fierce throughout ( \ / ), it makes for a lack of variety in the facial expressions. There is a great theme and meaning shift in the latter part of the story, raising it above standard hero adventure fare. Very enjoyable read, and a visual treat. Well worth the $3.50 cover price. It's in our NZCC library, or try contacting Matt Forsyth directly at BONE TANIWHA GRAPHICS 3/8 Waipuna Rd. Auckland, New Zealand. I don't think there will be any in the comic shops as I'm sure they have been all SNAPPED UP.
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WEB COMIX
The web is proving popular as a place to publish your comics, no munny in it, but easier and cheaper than photocopying (no pesky staples)
Andrew Kepple is one such Kiwi pioneer....
"Andrew's mission on Earth is to see his artwork displayed in as many places as possible -- posters, websites, advertisements, t-shirts, magazines, film, tattoos, editions of Funtime Comics, cars, stage productions, even mini-golf scorecards. His preferred form of payment for his artwork at this stage is publicity" (from the NZ Comix Register at www.homepages.ihug.co.nz/~Sdarrens/reqbasic.html#W
His latest offering is a three page adventure of
his favourite character, Post-Ironic Pig. In Andrew's own words, "this one deals with terrorists, airline hazards, technology, Aussies, Olympics, governments, culture shock, disabilities, irony, double standards, drugs, Steady Eddie, fitness, self-referentialism and death. Andrew's comix grace the 'pages' of Yahoo's Geocities, where they are available to the world's online community. The URL is on the front page.
NGA TUPUNA/ANCESTORS
Our Millennium Project is nearly finished, the cover is printed. Just needs to be checked by the Maori family for acceptability. The exhibition was held as promised last month, (which is why this newsletter is late) with about 45 originals on the walls. There were a few cock ups with the exhibition, the first and main one being that we haven't published the magazine yet. The whole point of the exhibition was to promote the finished product and allow people to compare the printed works to the originals. Then there was show weekend. People outside of Canterbury probably don't know that one weekend a year Christchurch shuts down and goes to look at a bunch of bored farm animals, and go to the races. The Linwood Community Arts Centre was not open on that Saturday, and a few people complained bitterly that they had gone but it was shut. Ohh, I also cocked up the dates in the press release. There were some positive comments in the visitors book, which I took a note of, but seem to have mislaid...
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IDEAS MAN seeks ARTIST
to collaborate on work
Genre; Sick Humour{oh yes}
Call Paul at home on 3588-324
or e.mail [email protected].
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WORLDWIDE 'BE TOBACCO FREE' CARTOON CONTEST
REGULATIONS
The contest is open to all Cartoonists
Theme: ANTI-SMOKING/TOBACCO
Entries: unlimited. The works must be original and accompanied by the
author's entry-form and biography
Deadline: April 14, 2001
Prizes: Grand Prize + 2.500 US$ or GSX watercraft
The works will not be returned
The works should be sent to:
DRUG FREE! RACING
591 Prelude Street NW
32907 PALM BAY - FLORIDA
USA
For further information, complete regulations and entry-form:
http://www.worldsfastestclown.com/ ........................ ..........................................................
INTERNATIONAL CARTOON FESTIVAL
PK:364 YENISEHIR
06443 ANKARA
TURKEY
The 7th International Ankara Cartoon Festival will be held on May 4-8, 2001
. The primary objective of the Festival is to contribute to the world cartoon culture and make it possible for cartoonists from different countries to get acquainted with one another. This year's main theme is "Cartoon and Politics". Under this title, the relationship between politics and cartoon, the benefits, effects and the view point of politics on cartoon will be discussed at the symposium which will also take place during the Festival. We are expecting especially your articles and cartoons on your own opinions related to the topic. The deadline is March 1, 2001. As was done before, the Festival catalogue will be sent to the participants. We will be glad if you inform your fellow cartoonists or writers interested in the subject about the Festival. In this year's festival, we will host exhibitions by individual artists or groups of cartoonists from different countries.