General Election Cartoons 2017

If you stayed up last night, here’s a reminder of the highlights of the night: my General Election Cartoons 2017. And if you didn’t, this is what you missed…

 

David Dimbleby cartoon, Laura Kuenssberg cartoon, Kirsty Wark cartoon, Priti Patel cartoon

General Election Cartoons: 11.30pm

General Election cartoons, Andrew Marr, Kenneth Clarke, Emily Thornberry, Liam Fox, Jeremy Vine

General Election Cartoons: 00.20am

General Election cartoon, Andrew Rawnsley cartoon, SNP losses in Scotland

General Election Cartoons: 1.10am

General Election cartoons, Amber Rudd cartoon, Tom Watson cartoon, Peter Hain cartoon

General Election Cartoons: 1.50am

General Election Cartoon, Nigel Farage cartoon,

General Election Cartoon: 2.25am

General Election cartoon, Jeremy Corbyn cartoon, Nick Clegg cartoon,  Justine Greening cartoon,

General Election Cartoons: 3am

General Election cartoons, Theresa May cartoons, "we need a period of stability"

General Election Cartoons: 3.20am

Election night: a visual record

Election night is a great subject for graphic recording and I always like to keep a visual record of  the big event. It’s an opportunity to refine caricatures of lots of politicians as well as presenting a challenge of how to represent all the statistics in a clear and friendly way. The following images take us from 11pm till 3.30am when tiredness got the better of me!

GE 2015 1.The night began with an exit poll that, contrary to previous polls, gave the Tories a clear majority. Alastair Campbell’s morose expression reflects this, though to be honest he’s not the smiliest of politicos.

GE 2015 2.Lord Ashdown made the boldest promise of the night – followed immediately by his terms and conditions. He would only eat a marzipan hat (marzipan being a good Lib Dem yellow, presumably). And if Ed Balls was nervous, he hid it well.
GE 2015 3.Boris Johnson wasn’t much in evidence, which was a pity, as he’s catnip for caricaturists. And the Mirror was first off the block to voice a Labour lament. You can tell it’s getting late by this point, as I’ve renamed Michael Fallon, the Defence Secretary, as Richard Hammond, the Top Gear presenter. Well, tanks, cars, all the same thing really isn’t it?
GE 2015 4.I don’t know the name of the Midlands correspondent, but he had the look of an American Eagle. Alan Johnson looked surprisingly cheerful, given the way the declarations were going at this stage. Maybe he was congratulating himself for not standing as Labour leader when Gordon Brown stood down.
GE 2015 5.Both Justine Greening and Sadiq Khan gave very personal thanks to their constituents. Nigel Farage was caught in more sarcastic mode, blaming the tabloids for making a tactical mistake in telling their readers that UKIP’s threat was to the Tories.
GE 2015 6.Lord Kinnock is famous for being eloquent at the drop of a hat, and he didn’t disappoint here. I couldn’t keep up! The constitutional historian Peter Hennessey had a slower delivery, and so receives a more finished picture.
GE 2015 7.The Scottish votes were coming in thick and fast at this stage, and polls that nobody thought possible became a reality. With massive swings to the SNP, the question was being asked if the other parties would retain ANY seats north of the border. Alec Salmond was visibly purring, while in the Lake District Tim Farron gave a somewhat over-optimistic spin to the unfolding Lib Dem wipeout.
GE 2015 8.Ah, the dear old Swingometer: no BBC election coverage is complete without it. The unicorn represents one of the rare Labour gains from the Conservatives. Most of the action in London was in terms of Lib Dem seats being taken by the two larger parties. Jim Murphy gave a dignified adieu, having led Labour to their worst Scottish performance ever.
GE 2015 9.I know, that’s a lousy caricature of Andrew Neil! This was the point where my bed beckoned. By now, it was all but inevitable that David Cameron would be Prime Minister with a large enough majority to dispense with the Liberal Democrats, and that Ed Miliband’s giant stone, carved with Labour pledges, would not be installed in the Downing Street garden.

The Last Supper: a caricaturist’s view

1024px-Última_Cena_-_Da_Vinci_5Recently I fulfilled a childhood ambition and saw The Last Supper in Milan. It didn’t disappoint.

Visiting it is an elaborate operation. You have to book a voucher a month in advance and are given an allocated time. You wait in a holding area with 29 other visitors before being summoned to a glass-walled ante-chamber. Once everyone is in the ante-chamber, the doors behind you close and the doors in front of you open. As you go into the climate-controlled refectory, turn right (don’t bother turning left: the mural on the opposite wall is rubbish), and there it is.

It’s one of the best known works of art ever created, but, a bit like meeting the Queen (sorry, did I drop a name?), seeing images of the thing is nothing like seeing the thing itself. For a start, it’s bigger than you’d expect (unlike the Queen): the figures are life size, and glow in the dim light of the room. Also, the perspective of the picture space is very clever, and works from wherever in the room you look at the picture. It’s impossible not to be drawn in. The other thing which no reproduction can prepare you for is how uncluttered the scene is. In a book, it looks crowded, but seen at life size each figure has space, and you feel involved in the drama of each saint. But don’t get too involved: you have 15 minutes before you’re ushered out and the next party comes in. That gives you one minute per disciple, one for Jesus, one to admire the still lives on the table and (if you insist) one for the ghastly crucifixion scene on the opposite wall.

Last-Supper

One of my recent Last Supper compositions – the company logo was added to the banner at the front.

The moment Leonardo chooses to depict in his masterpiece is basically a reaction shot. Jesus has just announced that one of the disciples will betray him, and what we are looking at is the immediate aftershock of this bombshell. Each disciple reacts differently. St. Bartholomew  jumps to his feet, St. Andrew raises his hands in horror, St. Peter is aggressive, St. John swoons, St. Philip  puts his hands on his heart and pleads with Jesus to believe that it’s not him. The only figure who recoils from Jesus is Judas, who pulls back, his fist clenched and face cast in shadows. As a study in group psychology, it’s incredibly powerful and if I took away only one thing from my visit, it was a respect for Leonardo as a great narrative artist.

I say ‘only one thing’, but in truth I’ve been stealing from The Last Supper for years. It’s hard not to. As a caricaturist, I’m often asked to draw or paint a group picture, often to be presented at a dinner to the guest of honour. The deadline is usually too short to come up with a composition of my own, so a bit of honest theft is the only answer. What other world famous group painting could I steal from? Las Meninas? I’d need to add a court dwarf, which seems a bit insensitive. Déjeuner sur l’herbe? Too many nudes. Guernica? Too many bombs. Van Gogh’s Potato Eaters? Frankly, anyone serving their guests boiled spuds probably can’t afford a caricaturist.

photo-4Which leaves me The Last Supper. It’s a simple composition to copy, though that coffered ceiling involves a bit of concentration. And the perspective is so emphatic, with the vanishing point directly behind the head of Jesus, that however busy the rest of the action, the spectator’s eye goes first to the guest of honour. The composition can even hold up with extra figures. In the version above, the client asked specifically for a Last Supper pastiche, but had 30 people for me to include. I changed the tapestries on the wall to group portraits, and the job was done.

There is a problem however, which is this: who occupies the place of Judas? My approach so far has been not to think about it and hope the client doesn’t either. Which makes me consider who my ideal client might be: probably someone who knows Leonardo’s masterpiece well enough to get the reference, but not so well that they are vexed by a colleague being associated with Christianity’s greatest villain.

Your Country Needs YOU: visualising World War One

It’s often difficult to demonstrate what I do. Often the material I work on is sensitive or confidential information, or it might simply be so specific to the meeting where it was recorded that it makes very little sense to an outsider. However, I was recently asked to draw a sequence of cartoons to illustrate the outbreak of the First World War for ‘Trench Stories’, an ambitious, original play, put on by the students of the Anstee Bridge Project, with the help of Bounce Theatre.

Explaining the causes of the First World War has spawned entire industries and is notoriously complex. However, visualising makes it simple. Here it is in five pictures:

Sarajevo

The heir to the Austrian throne is assassinated by a Serbian nationalist.

Serbia resists Austria

Austria demands reparations from Serbia; Serbia refuses.

Russia backs Serbia

Russia intervenes on behalf of Serbia.

Germany backs Austria

Germany intervenes on behalf of Austria.

France, Britain and Belgium involved

Germany pushes Belgium aside to attack France, who is allied with Russia. Britain, who has a treaty with Belgium threatens to counter-attack Germany.

So there you have it!


If you want to read a rather fuller version, Christopher Clark’s recent book The Sleepwalkers: How Europe Went to War in 1914 is excellent, but long!

I would like to think that I would be able to convey any message, however difficult, through a handful of simple pictures. However, there are some subjects that are so abstruse, so controversial and so fiendish that they defy even me. I refer of course, to the off-side rule.

From my cartoon strip ‘Coach Kevin’, originally published by Greenstar Media.

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100+ Management Models: with Trompenaars Hampden-Turner

One of the most enjoyable business relationships I’ve had over the years has been with the Trompenaars Hampden-Turner group. They are a formidably intelligent bunch of people and I’ve had a lot of mental gymnastics illustrating their concepts. In the video below, the themes of their latest book are introduced.


100+ Management Models gives an overview of the most important theories of management and is richly illustrated by yours truly. I’ve used the book myself as a handy reference for occasions when I’ve been illustrating group meetings and the facilitator name-checks De Bono’s Theory of Hats or Belbin’s Theory of the Plant! It’s a book that every business person should take with them when travelling, provided they’ve got a sturdy case on wheels…