At first, my strip wasn't very political. But after the 2000 election and then 9/11, the news was so intense that it felt weird to not talk about it. That's when my comic started taking a more political turn. I wish I could do more cultural strips just commenting on everyday life, like facial hair and clothing. But nowadays, with everything so apocalyptic, I feel like I'm being frivolous when I do observational humor, although I still try to slip it in now and then. Politics for me is not so much about individual political figures. It is about these larger cultural phenomena. I feel conflicted about using Trump in cartoons. At first, I didn't even want to draw him. I don't want to normalize him. But then I developed this Trump caricature that people really seem to like... But I think he's more of a symptom of a larger process. I don't want to isolate him as the problem because he's just the tip of the iceberg.

I’m doing a lot of worrying about humanity destroying itself these days. I think it is an important role of a political cartoonist. I think sometimes it’s probably more acute than others. It’s something that’s hard to deal with sometimes. Right now I find that these aren’t really funny times. There are ludicrous characters and you can make fun of Trump and these ridiculous nominees, but at the same time I don’t want to normalize him. I find myself not even wanting to draw him. I mean, I do and I will, but I don’t want to treat him like any other President. I’ve been struggling with that. How to be humorous at a time when things are just very serious. I guess what I wind up doing is somewhat darker humor, darker cartoons, and more informative cartoons that say, this is what’s happening, can you believe it? With the Bush administration things were terrible and there were definitely some dark times, but I felt like you could make fun of Bush for being a buffoon and the implications just weren’t quite as grave. It’s a different time now.

The thing I like most about political cartooning is the relevance of the work to the real world. And if you do this long enough you get to look back and see yourself in historical context, sometimes on the right side and sometimes on the wrong. But I’m proud of the work I was doing in the runup that bamboozled us into the Iraq War and that horrible chapter where Cheney and Bush drove the country into the ditch, the one we’re still in.

There’s too much pessimism about the future for political cartooning. I think the future’s very bright. You see more and more sites like Politico that aggressively deploy cartoons on the homepage. I think the media is becoming increasingly visual… and increasingly made to match our shrinking attention spans. The business model for cartooning is going through a rough transition now, but in the long run the thing we cartoonists do—-deliver simple-minded political messages in short easily digestible bites—-is the direction the media in general is heading. We’re living in a media landscape that seems to get more infantile and politically simple-minded all the time—-look at the huge popularity of Glenn Beck…and I saw someplace recently that Jon Stewart is now the most trusted man in America. The clowns seem to be taking over the circus. This may be bad for governance, but it can only be good news for cartoonists. The interesting part will be what the platforms are going to be, cell phones, iPads, the iChip in my forehead, whatever it is, I’m sure the combination of visual metaphor and incisive humor you find in good cartoons will adapt and evolve and really thrive in the future.

I had an early love affair with cartoon line drawing. I remember playing Monopoly with my siblings, but I would insist that I got to take all the Chance and Community Chest cards, turn them over, and then redraw the little rich guy. I made them play with my pictures face-up. I liked copying stuff like that. And then I fell in love with political cartoons. We always had newspapers around the house, as people did back then. When I was a late teenager and realized I could be drafted into the Vietnam War, I started to pay attention to politics. And the cartoons of the famous Herblock [Herbert Block], who was at the Washington Post for like 50 years, really grabbed me. At the time, I wanted to be a professional golfer, but I was not good enough to be an amateur golfer. So cartooning looked like something that could use my skill set of sarcasm and humor and bitterness and anger and frustration and mockery — all those attributes that people like so much in a person.

I, for one, think good political cartoons retain their value for decades. You can learn a lot from those old "Doonesbury" books. I might add that we cartoonists who lambasted the Bush administration from the beginning have been proven more accurate than most of the highly-paid gasbags you see on television. Historians and television producers, please take note.

My early cartoons were about Palestine, Palestinian refugees in the Middle East. More political than funny because it was difficult for me to draw something funny. I always go towards tragedy and darkness because I draw what I’m feeling. I’m trying to explain about myself and my people.

I work with the TV on, lots of news, and as the 2016 campaign got more ridiculous I got more angry. I started venting my frustrations at all these eroding norms by drawing cartoons of Trump and then posting them online for friends. The responses were very positive and almost seemed like group therapy for those who shared them. People got a laugh out of it; they felt better, even. After the shock of the election I just kept going, and then suddenly it was January and my sister and I were at the Women's March in Washington D.C. holding signs made from one of my cartoons. The positive feedback was coming every few yards and I made a decision right there to make this a project-I would draw these cartoons until this guy was out of office because there's no way I can't not do it. When someone in the future asks me what I did during all this craziness I'd have this to show them. I did this.

I kept on reading, observing and reflecting on China’s political and social problems. Then in that year I suddenly felt a strong need to express my ideas. Comics is what I am good at, so I began to create political comics.

I know it's my job to find humor in the gradual destruction of America as we know it, but I sometimes reach a point where I am so repulsed by the Bushies, and so exasperated by the Democrats, that I can hardly stand to draw cartoons about them. So I drew a cartoon about being sick of politics. Yes, even we cartoonists get discouraged.

A question I have often asked is, "What would an inoffensive political cartoon look like?" What would a respectful cartoon look like? The form requires disrespect and so if we are going to have in the world things like cartoons and satire, we just have to accept it as part of the price of freedom.

I work in political/editorial cartoon but also in children’s book illustration. They are 2 different genres, but I like changing from time to time what kind of topics I’m working on. According to my mood I will spend more time in one or another genre.I like to denounce with my cartoons, but sometimes it is also good to put some poetry in this complicated world and the children illustrations help me to focus in something more positive.

I’ve been drawing since childhood but I studied economics instead of art, I was really interested in political news and geopolitics. My favourite topic is political drawing/cartoon. It is a perfect way to combine my 2 passions: my interest for the news and my drawing skills.

I’m an idealist and an optimist: all my political work is aimed at helping usher in a better world. I believe that political cartooning should be almost a form of activism, not just idle commentary for the sake of commentary.