LUCY BURDETTE: John and I are very proud of one of our relatives who draws editorial cartoons in his spare time. It's been to watch him evolve and I thought you'd be interested in his advice about cartooning!
DC Cartoonist: Cartooning, at its best, is the art of saying a lot with very little. The most powerful editorial cartoons don’t just make us laugh—they make us think. They simplify complex issues, expose absurdities, and strike at the heart of a topic with a single, unforgettable image. But how do you actually create a good cartoon? Here’s what I’ve learned over the years, through trial, error, and a lot of drawing (and redrawing).
You don’t need formal art training to be a cartoonist. In fact, some of the funniest cartoons come from crude, simple drawings—sometimes the lack of polish is part of the charm. Like anything else, your drawing skills will improve with practice. So don’t let perfectionism stop you. Just start. It’s okay if you suck at first.
The hardest part of cartooning isn’t the art—it’s coming up with good ideas.
A lot of people get into cartooning because they’ve had one great idea they want to draw. But keeping up a cartooning habit takes more than a single flash of inspiration. The key is developing a cartoonist’s mindset: train your brain to look for humor in everyday life. When something makes you laugh, ask yourself, Could this be a cartoon? I keep a running list of ideas in my phone’s Notes app. Capture the concept first—drawing comes later.
If an idea makes you laugh, chances are someone else will find it funny too. Personally, I find the most effective cartoons shine a light on hypocrisy—especially when it comes from people in power. That’s where cartooning does its most important work: holding up a mirror to society, with a smirk.
Next, know what kind of cartoon you’re creating. There are two main types of editorial cartoons: gag cartoons and political cartoons.
Gag cartoons are timeless, self-contained jokes that don’t rely on current events. They’re silly, absurd, or clever—and they can still be funny years after being drawn. Political cartoons, on the other hand, are satirical takes on the news. They have a shorter shelf life and require you to stay on top of current events. If you're tackling politics or pop culture, you need to be a relentless consumer of the news. Timeliness is everything.
Before putting pen to paper, start with a concept—and think visually. What message are you trying to convey? Can it be distilled into a single strong image or a short series of panels? If not, it might not be right for a cartoon. People often pitch me great stories that just don’t translate into a visual gag. Cartoons are snapshots—not novels.
In a single-panel cartoon, you typically have three tools to communicate: the image, a caption, and dialogue. A lot can be said with a picture—and sometimes no words are needed at all.
When you do use words, keep them short and sharp. Economy of language is everything. Trim the fat. Cut any word that doesn’t absolutely need to be there. A concise, well-constructed joke will always hit harder than a bloated one. Double entendres can be great, but clarity should always win.
Know your audience. That obscure reference might make you laugh—but will anyone else get it? A cartoon is a conversation. Your message needs to land. At the same time, know your own artistic limits. If you’ve got a killer joke that requires drawing a detailed airplane cabin but you can’t quite pull it off, it might be worth simplifying—or shelving the idea for now.
Now it’s time to draw. There are countless online classes and tutorials that can help you improve your technique. Don’t be surprised if it takes several attempts to get your image right. Give yourself time and don’t be afraid to start over. While I respect traditionalists who work on paper, tablets and digital tools can be a cartoonist’s best friend. Apps like Procreate help correct mistakes, smooth out lines, and polish your work—without doing the creative heavy lifting for you. Think of them as enhancers, not replacements.
More recently, some people have started using artificial intelligence to generate images that resemble hand-drawn cartoons. That’s fine if that’s your thing—but if you’re relying on A.I., don’t call yourself a cartoonist.
Just like in writing, cartooning takes revision. It can be a solitary pursuit, but it doesn’t have to be. Share drafts with someone you trust before publishing. I often post rough versions on Reddit—there’s nothing like anonymous feedback to tell you what’s working (and what isn’t). You won’t know if something’s funny until you put it out into the world. Take the feedback seriously. It can help you polish a cartoon—or, just as often, convince you to toss it entirely.
Don’t let originality stress you out. Someone else might have already drawn a version of your punchline—and that’s okay. It happens to all of us. What matters isn’t always being the first—it’s how you execute the idea in your own voice and style.
Drawing a good cartoon isn’t about being the funniest person in the room or the most talented artist. It’s about combining a sharp idea with a clear, effective visual. It takes practice, humility, and the willingness to let go of weak jokes and chase better ones. But when you land a great cartoon, it’s magic.
And remember: everyone needs an editor—even cartoonists.
@DCcartoonist edits the Marginalia Magazine and cartoons under the pen name Heywood Reynolds. Follow him on Instagram.
