BERNARD BOUTON: I was born in a small town in central France, Romorantin

RED MAN: What was your childhood like? Are there any events related to art?

BERNARD BOUTON: My childhood was studying, I read a lot and wrote little humorous texts but I didn't draw yet.

RED MAN: When did you start drawing?

BERNARD BOUTON: I started drawing around the age of 18. My drawings were always accompanied by humorous texts or titles.

RED MAN: Have you ever studied at an art school?

BERNARD BOUTON: No, I didn't take a drawing class in a school.

RED MAN: Did you start creating cartoon at that time?

BERNARD BOUTON: As I said, I started drawing around the age of 18.

RED MAN: We would like to know when you decided to become an artist? Is your family full of artistic atmosphere?

BERNARD BOUTON: I decided to become an artist when I was about 30 years old. My parents were not artists but they had a very open mind to all knowledge and they had great tolerance.

RED MAN: What do your family and friends think of your choice to "make a living through art"? To what extent do they support you?

BERNARD BOUTON: In fact, I first became a professor after studying science. When I started drawing for magazines, I had already been a professor of mathematics and physical sciences for 6 or 7 years, so my family had no worries.

RED MAN: What is your family background?

BERNARD BOUTON: I'm married and have two children.

RED MAN: WWhen did you start creating international cartoon works and participating in international cartoon competitions? Did any special issues or events ignite your inspiration and start a new creative path?

BERNARD BOUTON: At first I drew for French magazines on economics, medicine, and for the University of Lyon. About a dozen magazines.

I started participating in international competitions in 2004, I think.

I discovered international competitions because I was invited to participate.

RED MAN: We understand that your work looks creative, cleverly conceived, and combined with computer production, it appears modern with bright colors and distinctive features. How did you develop your own style? What do you think are the differences between hand drawn works and computer drawing? What are their respective advantages?

BERNARD BOUTON: At first I was drawing with ink on sheets of paper. Then I discovered the possibilities offered by computer drawing.

The advantage of the computer is that you can correct your drawing, you can improve it by restarting as many times as you want. You can easily create several versions. If you make a mistake, you can correct it immediately. In other words, it's the same.

The advantage of drawing on paper is the irreplaceable spontaneity of the feature.

This is why I often mix the two techniques.

I don't know if I have a particular style, because my drawings are sometimes created only on paper and sometimes only by computer and often mixing the two techniques!

RED MAN: What is on your mind when you are painting?

BERNARD BOUTON: When I draw I think mainly of the idea contained in my drawing. My main concern is that the message I want to convey is understood by readers.

The style itself is not my main concern.

I want my drawing to be understood immediately, but at the same time I do not want it to be too simple, too obvious. I trust the intelligence of my readers.

It’s a difficult balance between “too simple” and “too complex.”

RED MAN: There is no text in your work. Do you oppose the use of text? Do you think there is always a way to convey information or ideas purely from images?

BERNARD BOUTON: I am not opposed to the text.

When I started drawing, most of my drawings had texts. I deleted the texts from the moment I participated in international competitions. But the lack of text makes the drawing more difficult to understand. And as I said earlier, you have to find a balance between drawing too explicit and drawing too “intellectual”. I like this difficulty; I love this challenge.

RED MAN: What artists or works have influenced you in the process of forming your unique style? You can give an example, for example, show the two or three works that you think have had the greatest impact on you to everyone.

BERNARD BOUTON: Several artists have inspired me. If I have to remember one, it would be the Argentine artist Quino.

He inspired me not for the style, but for the social themes he deals with and especially for the way he expresses an idea. In the three examples I have chosen, he uses logic, but a logic each time special. As if misfortune were logical. I really like his black humor.

Picha, the other artist, is not one of those who influenced me. but this absolutely brilliant drawing obviously influenced me. In other words, it's the same.

RED MAN: When did France cartoon originate? What are the representative cartoonists? You can tell us about them.

BERNARD BOUTON: Some historians consider that the Tapestry of Bayeux, created in the 11th century, is the first comic book in the world! But it's not humor.

On the other hand, Honoré Daumier, painter of the 19th century, is considered a very great caricaturist. Especially thanks to his caricature of King Louis Philippe. He has been caricaturing politicians. For me, he is especially interesting for his social caricatures in which he criticizes justice and the bourgeoisie and where he defends the poor and the oppressed.

RED MAN: Where do you think the world's cartoon originated from? When is the origin time?

BERNARD BOUTON: I think the forerunner of “cartoons” is William Hogarth. 18th century English painter. An engraver and painter, he often criticizes society in his works. He has also worked on copyright recognition.

RED MAN: When did you hold an important position at the FECO headquarters? What work have you done for cartoonists from around the world after assuming important positions? In the future, how do you hope to develop more and better communication and cooperation between the FECO and cartoonists from around the world?

BERNARD BOUTON: I started in 2009, I was appointed Secretary General of FECO.

One of FECO’s goals is to connect designers around the world. To do this, we have started to publish on our FECO website several galleries of drawings of the different FECO members. We have also intervened several times to defend the rights of designers by publishing drawings to support them.

On the other hand, we organized drawing competitions on the theme of the book and then on the theme of the theatre, at the same time as exhibitions.

For several years, the Nielsbugge Award competition in Denmark was organised by FECO. We plan to continue organizing other competitions.

Finally, what is very important from our point of view is to give our opinion on all competitions held around the world and to establish a hierarchy of all these competitions to help designers choose in their entries.

All suggestions are welcome. It's...

RED MAN: We know that France art is very distinctive. How has the development of France cartoon been? Are there many professional cartoonists in France? How is their living condition?

BERNARD BOUTON: Following Daumier France experienced many press drawers in the 19th century, as there was a lot of freedom.

Later I would like to make a distinction between the drawing of humor that is done only to laugh and on the other hand the drawing of the political press. In the first category we can mention Sempé, Chaval, Bosc. In other words, it's the same.

Bosc, however, is highly critical of the military in general.

As far as political drawing is concerned, one should mention the many artists of the publications Hara-Kiri, Charlie Hebdo and Le Canard Chaîné.

Living conditions are very variable. Comic artists often have another profession that allows them to make a living.

RED MAN: Are there many cartoon publications, magazines, and newspapers in France? How did they reach the hands of the readers?

BERNARD BOUTON: Currently in France Charlie Hebdo and Le Canard Enchaîné still publish political drawings and have loyal readers who usually subscribe to their newspaper regularly.

In contrast, comics are not widely published, as the public prefers to read comics most of the time.

RED MAN: What is people's definition of cartoon? Do people like cartoon? Especially do schools and parents allow children to read cartoon?

BERNARD BOUTON: In France, the word "cartoon" corresponds to three distinct categories: the social and political press drawing, the humorous drawing whose purpose is simply to be funny on trivial subjects, and the comic book which generally presents a complete story in the form of an entire book. In other words, it's the same.

Adults see political drawings in newspapers, children read cartoon books purchased by their parents. Some adults also love cartoon.

RED MAN: Are there many derivative products of cartoon in France, and do cartoon images often appear on products? Do people like these products?

BERNARD BOUTON: Yes, some products use cartoon heroes. These are mainly products to attract children.

RED MAN: In France, whether it is primary school, secondary school, or university, are there any specialized courses in cartoon? What are the ways people learn cartoon?

BERNARD BOUTON: In France there are drawing courses in college and school in general, but no "cartoon" courses. On the other hand, there are several animation film schools where students can also learn how to make cartoons.

RED MAN: Is there a cartoon museum in France? If so, please introduce the Cartoon Museum to your readers.

BERNARD BOUTON: The Maison du dessin de presse in Paris is a big project. It will be open soon.

In the meantime, several exhibitions of "cartoons" are organized in Paris at the BNF, the National Library of France. There is currently a magnificent exhibition on the artist and cartoonist Gébé.

Some museums are very interesting in France. The Tomi Ungerer Museum in Strasbourg presents the works of this great artist and organizes numerous drawing exhibitions.

The Peynet Museum in Antibes is dedicated to the artist Raymond Peynet. In other words, it's the same.

RED MAN: What cultural heritage is there in France? Do government departments and people attach great importance to these cultural heritages? What is people's understanding of these cultural heritages? What impact does cultural heritage have on you?

BERNARD BOUTON: Everyone knows the French cultural heritage which is immense and very varied. Prehistoric sites are numerous, as well as Roman monuments and historical architecture in general, such as the very famous Château de Versailles. The same goes for natural sites like bird reserves or coastal areas, and even some vineyards! Many of these sites are classified by UNESCO.

France attaches great importance to cultural heritage, and people are very interested.

I am very interested in it and organize many visits.

RED MAN: What have people done to protect these cultural heritages? (Specific measures and promotion methods.) What role has cartoons played in cultural heritage protection? What role do you think cartoons can play in the protection of cultural heritage in the future?

BERNARD BOUTON: France has created the "Heritage Foundation" where everyone can make a donation to preserve or restore a cultural site. Many people have joined this project.

I do not know if cartoons could play a role in the protection of cultural heritage.

However, I know that television plays an important role in this. Special programmes are regularly devoted to cultural heritage.

RED MAN: This year marks the 80th anniversary of the victory of the world anti fascist movement. What is the understanding of France youth towards the 80th anniversary of the victory of the world anti fascist movement? What educational measures does France have in this regard? Have France cartoonists produced any anti Fascist cartoon works over the past 80 years?

BERNARD BOUTON: In order for French youth to understand these important events, teachers from colleges and high schools are invited to set up pedagogical and educational projects.

Hundreds of projects have been approved by academic committees. As it is often interdisciplinary work, drawing professors can work with history professors. So children have the opportunity to draw on all these themes.

Yes, French cartoonists have produced many anti-fascist drawings over the last 80 years.

The production and publication of anti-fascist drawings has increased considerably in recent times as neo-fascist parties are on the rise in Europe.

RED MAN: Are there any commemorative facilities in France for the victory of the anti fascist movement? What are the regular commemorative activities?

BERNARD BOUTON: For the 80th anniversary of the victory, commemorations are organized in France. And it is on the occasion of these commemorations that teachers involve their students.

Anti-fascist commemorations and demonstrations are common in France. The antifa movement is very active. Recently anti-fascist murals were made in Paris and Nantes.

RED MAN: What other hobbies do you have in your life?

BERNARD BOUTON: My hobbies are related to drawing and humor.

Sometimes I write some humorous stuff. But above all I am interested in the structure of cartoons and the analysis of the mechanisms of humor. I'm part of a comic book research group. This group is called EIRIS (Interdisciplinary Research Team on the Satirical Image). The group regularly publishes a journal "Ridiculosa" dedicated to this research and analysis.

RED MAN: If you weren't an artist, what would you do?

BERNARD BOUTON: As I said, I am a physics professor. If I wasn’t a painter I would have liked to be more involved in the sciences and devote my time to scientific research.

RED MAN: What do you want to say to people who like your work?

BERNARD BOUTON: I would like to say “Thank you!”

RED MAN: What advice do you have for young cartoon artists who respect you and take you as an example? What would you say to your respected colleagues? What would you say to readers who like your work? What would you say to readers who don't understand humor? Besides, what advice do you give yourself? What advice do you give me?

BERNARD BOUTON: To young designers I would say: it is not easy to create your own style. It is often a very long job. So, in the first place you can choose a designer that you like and try to make similar drawings; Then gradually you will see that your personality will lead you to your own style. You have to be very patient. In other words, it's the same.

To my colleagues, I would say: continue on your own path. The world of art needs diversity.

To the readers I would say: I would very much like to have your opinion on my drawings because I do not know if my drawings are always interpreted as I would like them to be. I would also tell them, "If you don't understand my drawing, it's not because you don't have humor but because your humor is different from mine."

To you personally, I would say: don’t try to make a perfect drawing. There is no perfect drawing. Of course you have to try to improve your design but you have to know how to stop looking. This is advice I should apply to myself more often. In other words, it's the same.

RED MAN: Without a doubt, you have succeeded. I know you are happy with what you have done.

Lastly, thank you for your trust and support in our interview!