1) World Cartoon, especially when we are thinking on “subject with humor” have a stoppage.
Almost without any researches we are working on a very first idea that comes to our mind.
The result of this ends with similar cartoons. Do you think, we need to solve this problem? What can be done?

I believe that competition for cartoons with themes proposed to continue yes, but certainly,
when there is a specific theme, chances to be created similar cartoons are very small,
avoiding a headache for the jury. All competitions graphic humor should have a free category, parallel to the main theme and
the proposed tender with abstracts should be more valued.

2) According to us, one of the biggest responsible of frequently appearance of ”similar” cartoons is jurors of the contests.
 In particular the jurors who do not use the Internet as a medium votes for similar cartoons.
We have a suggestion to prevent similarities on cartoons:
Just to exhibit all submissions posted for contest in a digital gallery on the web site of the arrangers.
This can maintain a healthy result for the final cartoons. ”Don Quichotte” has already lunched this method for a while ago.
Do you have any different suggestions about this?

Firstly I believe that any juror should be someone, after all, quite ready for this role. Must have extensive experience with cartoons,
humor to chart as a whole, to give their vote to justice.
 The idea to create a digital gallery with all the work entered is worthwhile because it will detect possibly similar cartoons.
As a suggestion, could create within the group of judges of the competition, an area of “foreign participation”,
where a juror renowned, with extensive experience in the industry, from anywhere in the world, that is not part of the jury, but,
with your experience, note that the gallery of digital submissions,
there is a cartoon similar to a previous competition, and that has proven true to this similarity,
can contact the board responsible for competition and warn about the problem.

3) What is your opinion on ”Censorship in Cartoon?” Should a cartoon be restrictions on it?
 If yes, what is the borders of this?

The word “censorship” may seem very radical in certain situations,
but I am particularly against cartoons that hits a particular culture,
race, people or exploiting the sex appeal, the sex commonplace with ordinary designs, often pornographic,
because thousands of children, throughout the world are passionate about cartoons and
can grow with a distorted idea about these issues.

4) Also at recent periods we find more technically perfect cartoons, almost close to ”illustration” in definition and
it seems they concern more plastic art which replace the traditionally cartooning with simple lines.
It is a reality that there exists cartoonists/artists who produce on this track and who be very successful too.
Our concern is mostly on that the priority of humor -the gag or the idea if you wish- stays in background. As it is known,
the cartoon in definition is an expression with ”least and original” lines. Do you think so you too?

I fully agree. I am fan of different cartoonists / artists who use this style, but more interesting and
I admire the traditional cartoons, with features comical, funny, with huge noses, with lines bereft,
even in black and white, but, above all, make us smile and face the problems with a little joy,
but without losing its role, often critical and informative.

5) What kind of structures the cartoonists need to act in solidarity, organized as a whole against lawsuits?
We need your alternative suggestions in order to create more strong cartoon unity, shoulder to shoulder,
which will work internationally. Do you have any suggestions?

I believe we should provide opportunities and forums for humor, even if virtual,
so cartoonists from all over the world can discuss their problems, present their views,
make suggestions and, above all, get to know a little more,
creating bonds of friendship and cooperation.




1) Each artist life and society, trying to understand international reality, and political procedure.
Through the exchange of humor and hopes the proposal stops.
I find it normal that some cartoons semilaires .
the large number of artists interested in the subjects of the competitions.
what I propose is to encourage artists to grow and to inform.
Without encouraging plagiarism cartoon helps the artist’s preoccupation with the movements of people and society and
 the registration of all that is strange and Tarif, to carry through that society’s concerns and
preoccupations of the interactions of conflicting and diverse in the many contradictions Address social issues in ways contrary
to the others and  cynical excuse the rudeness of speech and expression and the crafts
of the strip and expose the hidden reality

2)  The times in which we glorify the image and used in all areas of work,
especially advertising, networking and communication.
The artist used the image to explain the new subjects, and the development of symbols and signs roots and
to preserve the visual heritage and to promote the traditional creators.

3)  Official does not accept Cartoons This is understandable, because it exposes the behavior and he is a direct.
I believe that the painter need a strong Arab cunning use his ideas in the passage, and
thus working on the development of this art and to ensure its survival. 
Cartoon is d the least risk, to expose the misconduct of officials and persons in the public
I think what the artist is happy in his life is the real progress of democracy in his country, it opens the door for criticism and
analysis of the achievements of the various officials and make welcome cartoons it is a lot of humor and joy in the hearts of everyone.
 There is the art of the standard Termumitr democracy.
Suggested that a special file to respond to harassment and censorship and strong participation by all, especially artist of word

4) I take it that all the visual arts and an important means of expression, especially the plastic ones,
because they are interested in photos: The most influential medium in the present era.
The art of cartoons offensive means as well as helping the artist to engage people and
community movements and the recording of all that is strange and
TARIF to carry through that concerns society and in the interactions of conflicting concerns
and contradictions in the varying.
Painting portrait cartoons, the most powerful tools at all. The Art of Cartoons Abstainer easy.
By means of simple tools and limited space to work, means of dissemination through traditional media,
writers or tv modern technological tools such as television and computer,
the artist to reach the most remote villages in the world.
If the attention it deserves cartoons relieved of many of the means of expression and
ther audio and visual chatter and Bray and use of this phrase.

5) In the society that does not accept the criticism of referees and officials for their actions,
it is difficult or impossible, to have recourse to the art of direct political cartoonists.
Some painters prefer charges comic expression and set of tapes, where characters are
recruited from the creativity, which are critical of some of the crises and shortcomings of the society .

Painting portrait cartoons, the most powerful tools at all. The Art of Cartoons Abstainer easy.
By means of simple tools and limited space to work, means of dissemination through traditional media,
writers or tv modern technological tools such as television and computer,
 the artist to reach the most remote villages in the world.
If the attention it deserves cartoon relieved of many of the means of expression and other audio and
visual chatter and Bray and use of this phrase.

Mohamed Alafia




1) Dünya karikatüründe, özellikle “espri-tema” konusunda bir týkanma söz konusu.
Konu üzerinde fazla araþtýrma yapmadan ilk akla gelen espriyi kaðýda döküyoruz. Bunun sonucunda da birbirinin
benzeri karikatürler türüyor. Sizce, bu sorunu çözmemiz için ne yapmalýyýz?
Cevap: Büyük miktarlarda üretip, büyük miktarlarda tüketme çaðýnda, sanatý da bu duruma uydurmaya çalýþmak;
tüketim odaklý düþünerek daha fazla veya daha farklý sanat eseri üretme mücadelesine giriþmek,
onu yozlaþtýrmaktan öteye geçemez.
Öyle ki sonuçta, farklý olma kaygýsýyla veya daha fazla üretme kaygýsýyla içi boþ sanat yapýtlarý ortaya çýkar.
Çünkü sanat, asýl gücünü, buna zýt baþka bir kaynaktan; özgürlükten alýr.
Bir eseri, diðer bir eserle kýyaslamak, benzerlik kaygýsýna, üretememe kaygýsýna düþmek veya
(eðer yarýþma için çiziliyorsa) yeterli olamamaktan, yarýþmayý düzenleyenin taleplerine yanýt verememekten korkmak
sanatçýyý özgürlükten alýkoyar.
Sanatçý bu tür þeyler için kaygýlandýðýnda, kendine ilham veren ruhu kaybeder.
Sonuçta, düþünülmeyen, akla gelmeyen, çizilebilecek hiçbir þey kalmamýþ olduðunu zanneder. 
Her birimiz benzer hayatlarý farklý yorumlayýþlar þeklinde yaþadýðýmýz gibi, sanat eserinde de önemli olan þey yorumdur.
Ayný olay hakkýnda farklý yorumlar yapýlabilir. Bir canlýyý, kendinden öncekine benziyor diye yok etmek nasýl etik deðilse,
bir sanat eserini de kendinden öncekine benziyor diye karalamak uygun deðildir.
Önemli olan, eserin gerçekten sanatsal bir öze sahip olup olmamasý ve kendinden öncekine yeni bir þeyler katýp katamadýðýdýr.
Sýrf bir yarýþma kazanmak veya takdir toplamak için, sanatsal deðeri düþük yorumlar (çizimler) yapýlmasý,
geçmiþteki eserleri, bunlara bir þey katmaksýzýn taklit etmekten öte gidilememesi elbette ki üzücüdür.
Ancak bu tip çalýþmalar zaten ilk bakýþta kendisini belli eden, cýlýz, kuru çalýþmalardýr.
Takdir yeteneði kuvvetli bir göz, zaten bu tip bir sanat taklidini eler.
Dolayýsýyla bu tür çizerler de kendiliðinden yok olmaya adaydýrlar.
 Burada asýl önemli olan þey; hakkýyla sanatýný icra etmek isteyen, bunun için yanýp tutuþan yetenekli sanatçýlarý
diðerleri arasýndan sýyýrýp ön plana çýkaracak mekanizmanýn teþkil edilebilmesidir.
Ýyi ile kötüyü birbirinden ayýrabilecek tarafsýz bir sistem yaratýlabilirse, ne espri-tema konusunda bir týkanmadan,
ne de benzerliklerden bahsetmeye gerek kalmaz.

2) Bizce “Benzer” karikatürlerin sýkça ortaya çýkmasýnýn en büyük sorumlularýndan biri de yarýþma jurileri.
Özellikle internet ortamýný kullanmayan karikatürcülerin oluþturduðu jurilerin belirlediði sonuçlarda “benzer” karikatürlere sýkça rastlýyoruz.
“Benzer” karikatürlerin önlenmesi için bizim bir önerimiz var.
Yarýþmayý düzenleyen kurumlarýn internet sitelerinde gelen karikatürler bir sanal galeride yarýþma süresince yayýnlanmalý.
Böylelikle finale kalan karikatürlerin ödüllendirilmesi daha saðlýklý olur. 
“Don Quichotte” yarýþmalarýnda da bu yöntemi uyguluyoruz zaten. Sizin farklý bir öneriniz var mý?
Cevap: Salt maddi kazanç arzusu, sanatýn ruhuna aykýrýdýr. Bunlar ayný yerde barýnamaz.
Bununla birlikte yarýþmalar, karikatür sanatýnýn yayýlmasý, daha çekici hale getirilebilmesi ve sanatçýlarýn
maddi sýkýntýlar içinde kaybolmasýnýn önlemesi bakýmýndan gerekli olabilmektedir. 
Sanatçýnýn asýl ödülü kendini gösterebilme imkaný yakalamasýdýr.
Çünkü sanat, sanatçý açýsýndan, týpký konuþmak gibi kendini anlatma iþidir.
Dolayýsýyla, her þeyden önce tüm eserlerin internet sitelerinde yayýnlanmasý, o eserlerin gün yüzüne çýkarýlýp,
olabildiðince çok insanýn beðenisine sunulmasý þarttýr.
Bu ayný zamanda jürinin sonradan yapacaðý seçimlerde de hakkaniyetli davranmasýný kýsmen de olsa temin eder.
Kýsacasý iyi ve kötü çizerlerin elenmesi gibi, iyi ve kötü jüri de bu yola elenecektir.
Çünkü haksýzlýða uðradýðýný düþünen çizerler o yarýþmayý, yarýþmayý
 düzenleyen kiþi veya kurumu, o yarýþmada yer alan jüriyi zamanla terk eder.
Burada önemli olan þey, jürinin deðiþkenliði ve çeþitliliðidir.
Týpký karikatürlerin internet sitelerinde sergilenmesi gibi, hangi jüri üyesinin hangi karikatürü seçtiði,
hangi karikatüre kaç puan verdiði isme göre bu sitelerde açýklanmalýdýr.  
Bu güne kadar yayýnlanmýþ, üretilmiþ karikatürlerin bulunduðu, tüm karikatüristlerin ve
jürinin eriþebileceði bir karikatür bankasýnýn yaratýlmasý da tüm bunlara ilave edilebilir.
3) “Çizgide Sansür” konusunda ne düþünüyorsunuz. Karikatürde bir kýsýtlama olmalý mý?
Olmalýysa bunun sýnýrý ne olmalý?
Cevap: Sansür, kaygýnýn ürünüdür. Kaygý ise sanat ile baðdaþmaz.
Hiçbir kýsýtlama olmasý gerektiðine inanmýyorum.
4) Yine son dönemlerde karikatürün salt çizgiyle anlatýmýnýn yerini, plastik kaygýnýn aðýr bastýðý “illüstrasyon”a yakýn bir tekniðin aldýðýný görüyoruz.
Bu doðrultuda üreten ve oldukça baþarýlý olan karikatürcülerin olduðu bir gerçek.
Ancak kaygýmýz, öncelikli olmasý gereken “espri”nin ikinci planda kalmasý.
Bilindiði gibi, karikatürün açýlýmý “az ve öz çizgiyle” ifade etmektir. Sizce de öyle mi?
Cevap: Karikatür sanatýný gerektiði gibi icra edenlerin daima sýyrýlýp hak ettiði yere ulaþacaðýna inanýyorum.
5) Dünya karikatürcülerinin örgütlü ve karikatüre karþý açýlan davalarda bir bütün halinde hareket edebilmesi için
ne gibi bir yapýlanmaya gereksinim vardýr?
Uluslar arasý platformda daha güçlü bir karikatürcü dayanýþmasý için önereceðiniz
alternatif düþüncelerinize ihtiyacýmýz var.
Yanýt: Bilgi çaðýnda, özellikle de sanat insanlarýnýn entelektüel olduðu varsayýmý göz önüne alýndýðýnda örgüt kurmak için
mekana, dersliklere, slogan atýlacak meydanlara ihtiyaç yoktur.
Bilgiyi yaymak ve herkesi bu bilgi akýþýnýn üyesi yapmak yeterlidir.
Olabildiðince çok insaný kapsamalýdýr.