The Kyoto International Cartoon Special Exhibition features 300 cartoons from 127 cartoonists in 41 countries, including, from the UK, Martin Honeysett, John Jensen, Ken Pyne and Ross Thomson.

A detail from John Jensen’s drawing has also been used for the cover of the catalogue, above. The caption: “I’ve found our good luck charm. It’s not even cracked.”

The Bloghorn is made on behalf of the UK’s Professional Cartoonists’ Organisation

Tom Harris is an MP whose hobbies include astronomy, science, fiction, cinema, karaoke and tennis. He was a journalist before he became a politician. His activities, particularly his wide range of hobbies (how does he find the time?) suggests a broad interest in the world around him.

Fiction or, if you want to be up-market, literature deals in words, whilst the cinema deals in pictures and they both, at their best, deal in ideas. So do comics, which deal in all these things.

The history of comics is itself a wonderful journey through time and many talents (admittedly some of them terrible!) but modern comics and graphic novels are revelatory. Countries such as the UK, France, Germany, Belgium and Italy publish works showing the wide differences, and occasional resemblances, between each other. The United States and Japan share the comic experience but manga and its storylines is different from the storylines and violence found in Marvel Comics or in DC publications.

Many studies, either useful or just plain interesting, are to be found in those little story-telling boxes. The University of Dundee is offering a one-year Masters degree in comic studies: one year, not three. Probably too many students will try to enter what they see as an easy option, but someone perceptive and genuinely interested in the juxtaposition of words, pictures and ideas will not be wasting their time or ours – except, of course that of Tom Harris MP. After a hard nights karaoke, taking in a serious study of  ‘the relationship between international comics cultures’ would be just too tiring!

Bloghorn thanks  PCOer John Jensen for his thoughts and invites you to share yours in the comments below. If you are interested in the local reaction to the comments of Tom Harris and the issue you can read them at the Dundee Courier.

Spring has nearly sprung and so has the latest issue of Foghorn, the cartoon magazine of the Professional Cartoonists’ Organisation. In keeping with this issue’s musical theme, the magazine features an operatic cover by PCO’s Chichi Parish and is available to subscribers for the very merry annual price of £20 for six full colour issues.

What’s inside?

Noel Ford reminisces about his time as a guitarist in the Stormbreakers
Fellow guitarist Roger Penwill tells of  his love for the instrument
Tim Harries has a less than relaxing spa break
John Jensen gives us his musical memories
And you’ll find a full page of cartoons by the Surreal McCoy!

Plus…

…all the regular features - Buildings in the Fog, The Critic, The Foghorn Guide to…, The Potting Shed, Andy Davey‘s ‘Foggy’ strip and many more random acts of humour crammed in wherever we could find room.

You can read older issues of Foghorn online here, right up to our most recent issue.

Turkey recently staged its 27th Aydin Dogan International Cartoon Competition and a 255-page catalogue was released, beautifully printed throughout in colour, with text in Turkish and English.

There’s a long list of successful exhibitors – 44 countries are represented – and a much longer list of entrants who did not get past the judges.

There are 127 Turkish cartoonists and a random count reveals that Serbia is represented by 35 entrants, China by 53 and Iran by 122. Four UK cartoonists participated but only Ross Thomson has survived, to exhibit two drawings.

The three UK cartoonists, who did not make it are Houmayon Mahmoudi, Stephen Mumberson and Alexei Talimonov. Maybe they didn’t draw enough brick walls and prison bars, of which there were plenty.

The first-prize winner, by Turkish cartoonist Ahmet Ozturklevent, is pictured above.

There is an overall sense of stifling bureaucracy while the threat of violence, usually implicit, is a common theme. There are few, if any, English-style jokes. Even Ross Thomson succumbed to drawing a couple of tanks, but at least they are not avoiding daisies.

In the exhibition there are messages galore for mankind – which mankind will almost certainly ignore.

The quality of much of the draughtsmanship is undeniable. The contestants can think, they can draw and they can be very witty indeed, but English-style humour, they would claim, is not part of their job description.

International cartoon exhibitions should be encouraged and they will continue throughout the years. The symbolic stone walls, barbed wire and the dying doves will still be there, awaiting to be transmuted into the pure gold of a beautifully drawn idea.

Continental cartoonists are happy seeking and finding wit. British cartoonists treat wit with suspicion. Fortunately, not all cartoonists are limited to generalising, tut-tutting and philosophising about Life.

Political cartoonists, even though their symbolism is also limited, have an ever-changing world on which to draw. Topicality generates excitement, which is great.

Then there are the niche cartoonists: nerd speaking unto nerd, where words can be used, thus freeing up the ideas, and ideas are more specific. On the downside, many of the ideas, like some wines, would not travel well.

The problem is that broad themes can become boring. Topicality and the occasional use of words can sometimes produce more interesting ideas. Niche stuff, limited though it is, and usually not wanted by Fleet Street, is where the some of the best cartoons are found.

Small may not be beautiful but it is often very, very funny. What’s the problem?

What do you think about John Jensen’s article? Have your say in the comments below.

Cartoon competitions are a great tourist draw. In lands where overt or even covert censorship persists, an appearance is given that freedom of speech is encouraged. It isn’t.

The exhibitions are usually broad generalisations filled with visual euphemisms: there are countless brick walls, endless rolls of barbed wire, and doves of peace in need of a vet.

Words are not wanted here, so that the cartoons can speak to everyone. But not everyone appreciates the same visual language. UK cartoonists contribute to many of the exhibitions but their work is in a minority and is markedly refreshingly different to that from most European cartoonists.

Brits like humour, Europeans appreciate wit. Wit is serious stuff, humour is fun. They are two different worlds. Both worlds, the witty and the humorous, are limited by the subjects that are set: global warming, freedom of speech, pollution, sexual liberation, female emancipation, domesticity in today’s world … and on and on.

The cartoons are not only wordless, they are timeless – immediate topicality is not an option – and there must be nothing directly political. The ingenuity of the cartoonists is stretched to the limit and the limits are much the same as those felt by the surrealists: there is only so much symbolism to go around.

Eventually the terrain looks all too familiar. Beautiful draughtsmanship can’t hide threadbare ideas.

What do you think about what John is saying? Have your say in the comments below. The final part of John Jensen’s article will appear on Bloghorn soon.

I have just received through the post a beautifully printed catalogue of cartoons. It contains the results of the annual Turkish Aydin Dogan International Competition, with seven Brits vigorously waving the Union Jack, among them PCOer Ross Thomson who picked up a ‘Success Award’. Iran contributed 162 cartoonists.

The catalogue lists the judges and shows their work. It lists the competitors and shows their work, spread throughout 220 glossily printed pages. The quality of the draughtsmanship is, as always, varied but there is a mass of genuine talent there too.

Where once I would have been delighted by the catalogue, however, today the elation is just not there. Grumpy old man? Of course. Complaining about the new, fresh talents? Not at all. Draughtsmanship is not the problem. Ideas are.

Back to square one for just for a moment – don’t run away now, this is important. When Freud, way back when, revealed the workings of the unconscious mind there was a feeling that a new world of endless vistas had been opened up: sex, horror, fantasy, cans of worms (lots of those). Surrealism was born, but before long it died, because it became boring. There was only so much the unconscious mind can offer up. This seems to hold with some forms of cartooning.

If you are young and fresh to the game there is a thrill and great pleasure in discovering what’s going on in the rest of the cartoon world, of submitting your work to great international exhibitions.

But if you have followed the exhibitions for more than four or five decades, you realise that there are limits to the cartoon imagination too, particularly in international exhibitions.

What do you think about what John is saying? Please jump into the comments below. There will be more thinking about the end of ideas from Jensen on Bloghorn next week.

John Jensen rugby illustration © Punch Ltd

Admitting he was ‘genetically propelled to enjoy Emett’s work’ John showed what an accomplished technician Emett had been with drawings of trains and planes (he had worked as a draughtsman for the Air Ministry) as well as his elaborate filigree work for bizarre and outlandish machines which are also on show at the museum until November 1st.

A suitably surreal slideshow traced Emett’s career, including artists such as Saul Steinberg and Hokusai who influenced him. It also highlighted the many different mediums in which he drew, which ran from scraperboard to watercolour. During the Second World War Emett had provided cartoons for propaganda purposes including an acidly-drawn caricature of Hitler in uncharacteristically lurid colours and with a French tagline.

There will be another talk at the museum on Wednesday 23rd September when Emett’s daughter Claire will share anecdotes and memories of her father’s life. The talk is from 6.30pm – 7.30pm. Entrance is £5, Concessions £4 and Friends of the Museum £3.

The Cartoon Museum, at 35 Little Russell Street, Bloomsbury, is open Tuesday-Saturday 10.30am to 5.30pm and Sundays 12pm to 5.30pm.