In a fascinating artistic face-off, two prominent cartoonists were tasked with interpreting the same challenging theme: 'Trump and a world in turmoil'. Working to an identical deadline, their creative processes were documented by Guardian photographer David Levene, who visited their respective studios to capture the essence of their work.
Martin Rowson: The Traditionalist in South-East London
Based at his home in south-east London, Martin Rowson embraces a deeply traditional approach to cartooning. He describes his craft in almost primal terms, stating, 'In the same way humans have for at least 67,800 years, I make marks with something runny on a flattish surface.' This connection to historical artistry underscores his method.
Rowson operates with a remarkable immediacy, typical of the fast-paced world of political commentary. 'I never think about the cartoon until the day I'm filing,' he reveals, highlighting that Guardian political cartoons are conceived, drawn, and published within a single, intense day. His process is tactile and physical.
'My ludditism lies in my love of the tactility of the pencils, pens and brushes I use caressing and snagging on the paper,' Rowson explains. From a blank sheet to a finished piece, his work demands around six hours of focused effort, resulting in art that is inherently messy, much like the politics it depicts.
Ella Baron: The Digital Innovator in East London
In contrast, Ella Baron works from her studio in east London using modern digital tools. She draws with a Wacom Cintiq tablet and stylus, a method that offers precision but presents its own challenges. 'You don't make smudges when you draw on a screen, but you do make mistakes,' Baron notes, arguing that this digital cleanliness doesn't detract from the necessary chaos of political cartooning. 'Politics is messy and political cartoons should be too.'
Her digital workspace allows for an incredible level of detail and revision. 'I can zoom in on individual lines and tweak them to such an extent that if you were working on paper you'd have made a hole in it and the desk below,' she says. This technological advantage enables meticulous refinement, though the core subject remains provocatively human.
Baron's focus is sharply on the figure of Donald Trump. 'I'm interested in the ways in which the image Trump presents of himself slips,' she shares. 'It's a way to undermine his ego.' This psychological insight drives her artistic interpretation, aiming to expose the vulnerabilities behind the public persona.
A Study in Contrasts and Commonalities
This unique project, documented on Saturday 24 January 2026, showcases not just two cartoons but two fundamentally different philosophies of art. Rowson's analogue, instinctive process clashes yet complements Baron's digital, precise methodology. Both, however, are united by the urgent task of commenting on a figure and an era defined by disruption and uncertainty.
Their work serves as a powerful reminder of political cartooning's vital role in satire and critique. Through ink on paper or pixels on a screen, these artists engage with the complexities of global politics, offering visual commentary that is both timely and timeless.
