I think I agree with your suggestion, not only is the comics (B.D.) culture stronger in France than anywhere beside Japan, France is also the third largest producer of animation in general, after Japan and the U.S., the other largest nations for comics.

From an outsider’s point of view, the British comic culture, though it has produced some real stars, seems more limited.

I didn’t know about the applicant/selection ratio for Gobelins; that does help explain the extraordinary level of talent displayed by the graduating class.

There is a large culture of aspiring comic book artists here in the U.S., and an increasing number of schools and programs in support of comics and related arts.

There is also a distinct crossover between comics and movie/animation/television storyboard artists as well as concept and production artist for the film and gaming industries.

Do you think that the facility that the French demonstrate with drawing is in part due to the rich culture of comic book (B.D.) production and consumption in their country, and that gives rise to a sort of climate of respect for drawing (and the desire to emulate) among French Art students?

I can’t help comparing them to our own British animation students, most of whom seem to have tried to avoid drawing if possible, and use 3D software to hide their lack of drafting skills. The culture of drawing is nowhere near so strong as it is in France. As an illustration, there are 25 places available every year at the Gobelins Animation course, and more than 600, yes – six hundred – students apply for those places in an arduous 3 day selection process.

Would you say that the legacy of comic book production instils the same cultural urge to draw, there in the USA?

There are some amazing draughtsmen and women in the US, so from which well do they draw their water?
Too many questions, I know. :)