Cartoons often evolve from real situations or emotions. I want to show you how a recent drawing happened.

The other day,  I came home to find my husband, Michael Maslin, glued to the television set, sitting on the edge of the sofa close to the screen.  We are both riveted (and not in a good way) by the news that is emerging at a fast clip out of Washington as of late.

The next day, another news story broke about the Trump administration, and  I decided to draw a cartoon about this because I could feel it was something our country was grappling with in various ways on many levels. There was drama happening on an hourly basis.  I thought of Michael and I drew this:

When I drew it, I didn’t have a clear idea of what I was going to do with it. Looking at my sketch above,  I thought I should simplify it. And make the person a woman, because, well, why not. I try to make my protagonists female when I can. In this instance, gender had no meaning.

I looked at the hair that I drew and thought:  it should go straight up!   I drew this:

I thought:  I can make it a two paneled cartoon with these two images. But then wait!  I remembered that I now know how to animate!  So I will just animate it!  I opened my animation app and drew this video. Then….

 

 

 

… I sent it to The New York Times to see if they wanted to run it, mentioning that I could also do it as a gif. They said yes,  they wanted to publish it with Nicholas Kristof’s column, which was about to be published.  After an hour of fine tuning about where my signature or credit line should go, I made a gif and it ran with Mr. Kristof’s column, “What Did Trump Know, And When Did He Know It?” 

It was an honor to have my gif on the front page of the New York Times with Mr. Kristof’s Op-Ed piece,  in commentary about an historic time in our country’s history.  Bottom line was: this gif represents exactly how I feel right now. It seems to represent others’ feelings.  And for an editorial cartoonist,  that’s often the best place to find ideas: in your heart.