If you can learn to convey what you express in the first rough sketch, you're really saying what you need to say in that.

If you can learn to convey what you express in the first rough sketch, you're really saying what you need to say in that.

I do a lot of pivoting. There was one cover I did of Donald Trump, after he won Iowa, it seemed like it was over for him at the beginning of the primary process. I was given the go-ahead on it right away. I drew it and he won the next primary, and suddenly, the cover didn't make any sense. And then, after the Democratic National Convention, it seemed like he was finished, Hillary Clinton seemed to be gaining strength, so the cover ran then. So it seemed like you can come up with an idea and it can be rendered useless two days later and then all of a sudden it's relevant again.

I felt it was more fun to knock people down than to build them up. I seemed to get a better reaction from my peers and from my friends when I was mocking stuff - which isn't necessarily anything to be too proud of.

I like to make myself laugh. When I'm just sitting with a sketchbook and trying to make myself laugh or trying to come up with ideas, I try not to worry about aim right away. I'm just sort of shooting in all directions.

If you're asking me what I love, it's that point where I'm just scribbling and trying to make myself laugh and trying to outrage myself. Getting in that frame of mind where the more you laugh the more you laugh - I think that's what I'm attempting to do.

I'm, like, not overly into labels. I've been referred to that way, but I tend to think of political cartoonists as constantly at it, producing more work than I do. I do, what, six or eight covers a year, maybe, and a bunch of illustrations as well, but how many do you create a year? I'm in awe of that, and I think the term implies being at it every day or at least weekly.