You should always determine first what you want to say. It's a bad situation for a cartoonist to think of his pictures first...A cartoonist should get out of bed mad and stay mad. The cartoonist's function is essentially a negative one, and the cartoon that advocates something usually says nothing.

When a cartoonist attempts to be ‘fair and balanced’ and ‘understand all sides,’ they have failed. Too many avoid that altogether and instead become comedians. They take any topic and cast about and ask themselves: “What’s funny in this?” I despise that attitude. Sure, satirical humor is an important element, but not the only element. A good cartoonist need not be funny to be effective. Many of my best cartoons are not funny.

the essential thing for a cartoonist is information. The more information you have “laid down” in your head, the more options you will have to create cartoons that are not trite or repetitive, and the better your ideas will be. This also presupposes a work ethic that requires you to rediscover yourself every day, and allows you to avoid “easy” solutions.

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.

I had more flow as a designer. I could just drop down into the zone and stay there for hours. With cartooning, I'm constantly coming up for air, procrastinating, looking for reasons not to be doing it. I spend all day granting myself special dispensation, with 'creative process' as my cover story. Carpenters and deli countermen can't do that, so I think they may feel better about themselves at the end of the day.

In the first place, lawyers better remember they are human beings, and a human being who hasn't his periods of doubts and distresses and disappointments must be a cabbage, not a human being. That is number one.

The best way, of course, to understand the animator is to see that he parallels the actor. He has the same responsibility a fine actor has. [...] Even the people who write about animation just don't seem to understand that when you have a drawing, you don't have a character. [...] "This is the first Bugs Bunny" has no meaning. It's how Bugs came to stand and move and act, and what his feelings were, and his thoughts, and what kind of personality he was. That developed over a period of time. And you need fine animators to do that.

A cartoonist is someone who has to draw the same thing day after day without repeating himself.

Drawing is simply another way of seeing, which we don’t really do as adults,” says cartoonist Chris Ware. We’re all going around in a “cloud of remembrance and anxiety,” he says, and the act of drawing helps us live in the moment and concentrate on what’s really in front of us.

Editorial cartoonists are idealists, of another world. Political, social and moral injustices are perceived as monstrosities [requiring the cartoonist to] sweep aside all the complexities and go to the basic issue; to take suspicions, coincidences and past events and record them larger than life.

I don't know a lot of cartoonists who laugh a lot. I think when we hear a joke we just get still like a dog who smells an animal. It becomes about isolating the part that's funny and unexpected and thinking more about that. You get spiraled into the nuances of what makes something funny and who thinks it's funny.

(I'm drawn to) all the issues that concern Egyptian citizen. I deal a lot with women's issues, gender rights, but I think I focus a lot of my work on Egyptian citizens and, because I think any reform should start with the Egyptian citizen, trying to get them to participate in this process. The purpose of editorial cartooning is to awaken people. Some media outlets, whether in the United States or Egypt, distort the facts. And normally the media is controlled either by government, by investors, by the people who have the money. So cartoons, they should look into issues and make it clear whether it is black or white, or whether there is a grey area. People can look and distinguish between sincere and honest cartoonists and from other kinds that are not. Even an historian can be under pressure and to fake the writing of history. But cartoonists, we have the freedom to say what we want.

When I was a lawyer, I quickly came to realize I was more comfortable sitting on the floor, creating sculptures than I was sitting in a boardroom, negotiating contracts. My own personal conflicts and fears, coupled with a deep desire for overall happiness, paved the way to becoming a full-time, working artist.

As an actor, you're sort of the court-appointed lawyer for the character. And that's what used to draw me to scripts – something in a woman that I wanted to defend, something that I recognized or wanted to understand, something that turned my head.