Critical, concise, invocative. If you’ve ever read the opinion columns of The New York Times, The Washington Post, LA Times, Newsweek, or USA Today, you might have come across Ed Hall many times. Hall is the newly sworn in Vice President of the Association of American Editorial Cartoonists who recently took the time to answer some questions for me. Resident of Jacksonville, Florida, Hall received his B.D in Graphic Design and M.F.A in painting from the University of Florida and has received many awards including the Excellence in Journalism Award from the Florida Press Club. A picture says a thousand words and Hall does not waste a single one whenever his pen hits paper.

How did you start drawing and how do you find opportunities?
I have been drawing cartoons since I was a young child. My mom used to set me up on the kitchen floor with butcher paper (look it up) and markers and just let me go wild. I would usually start by caricaturing members of the family in compromising situations (i.e. Mom with curlers in her hair, talking on the phone). So now, in retrospect, I guess she kind of brought it on herself.
Anyway, finding opportunities in cartooning took me the preceding 50 years to figure out. All cartoonists find their own way, but I think developing a skill, critical thinking techniques and the ability to skewer a subject while at the same time educating people on what you’re trying to say is critical.

What do you think your work aims to say?
That is a pretty general question, but if I had to pick one thing I’m “trying to say” it would be “What does the reader see in this?” And “How is what I’m putting in front of you shaping your feelings about this?” Every cartoon is different, depending upon topic. The way you make marks stays relatively the same, but you have to adjust your thinking and approach to every event. You bring to the drawing board a lifetime of experiences and opinions, and each one contributes to your work differently on any given day.

What are your favorite topics to draw about?
I enjoy drawing about things that effect everyday people. Be it a city commission meeting or an impeachment hearing on Capitol Hill, the events that shape our lives are what intrigue me. Being a “local” cartoonist for the majority of my career, I have also seen firsthand the effect a well directed, hyper-local cartoon can have on both the community and local government. I usually get more feedback about cartoons that deal with regional subjects than those going after the president.

Your work during the Trump Administration was quite critical of his administration. How do you respond when people say you did not treat him and other republicans fairly?
I have always considered myself an equal opportunity offender, so those accusations don’t hold much water with me. If you look at the scope of my work, I have been just as critical of democratic presidents and members of Congress than I have been of President Trump. These are all men and women of power, elected by the citizens of the United States. They work for U.S., so as far as I’m concerned they are all fair game in the cartooning business.

As you step into the role of Vice President of the AAEC, how do you think editorials should focus on the Biden administration and what role do they play in bridging political gaps?
As stated, we should hold President Biden to the same standards as we did president Trump (and every previous and future president for that matter). The standards don’t change, just the man (or woman) changes. In terms of bridging political gaps, again, educating people through graphic commentary is key.

Are there many young cartoonists in America? Are you optimistic about the future of drawing?
I see a few young cartoonist coming up in the ranks, but not nearly enough. The ongoing joke in the AAEC is that we are not going to have enough young people to fill our shoes once we oldsters die off. One of my goals during my time in office will be to try to find new ways to get young people interested in political satire.
I have done several speeches at local college journalism departments about what we do, but most college students don’t even know this exists as a profession. That needs to change. Newspapers also need to start hiring. Without jobs for young people to go to, the profession will surely be compromised in the future.

In the face of critical voices in government and horrific events such as Charlie Hebdo, where do you think artists derive their courage to keep drawing?
For me, it’s like breathing. I have to do it. I believe that if you truly love something, you will find a way to do it regardless. They broke the hands of Ali Ferzat in Syria and that didn’t stop him, so a little criticism in America certainly won’t stop me. It’s the same in Paris. Charlie Hebdo was publishing the next week. They had to. Intimidation cannot (and will not) stop the reporting of the truth and news.

What would you tell a young Ed Hall back at the University of Florida while he was an undergrad?
Well, I was fortunate enough to have one graphic design professor who saw something in me, and said, “Go down to the Alligator (UF’s school newspaper) and submit a few cartoons.” I did that, and the rest was history. I guess I’d say “Go for it, and don’t look back!”

Is there any advice or anything you’d like to share?
Journalism is more important now than it has ever been. Support your local newspaper, buy a subscription either online or in hand. Write a letter to the editor and remember that your voice counts in your community.