Martin Rowson and Ella Baron are two of the leading Guardian contributors to the U.K.’s agitated political cartoon sector. They just recently collaborated on a creative challenge that showcased both of their signature artistic styles. Both artists were tasked with drawing on the same subject—Donald Trump and the current state of global turmoil—on the same day, providing an intriguing comparison of their approaches.
Martin Rowson has been a mainstay at the Guardian for decades, his vigorous style and artistic craftsmanship capturing the tender barbarity of our times. Ella Baron has made her mark since joining the publication in 2022, bringing a modern digital flair to her work. The challenge revealed not only their varied backgrounds but their divergent tools and approaches as well.
Rowson uses watercolours to make his cartoons and the laborious process involved acts perfectly in tune with his “old school” musicality. He often starts by listening to the 7am news bulletins, looking for ideas and inspiration for his craft. Within a mere 20 minutes, he aims to generate a clear image that captures the essence of the day’s events. His cartoons leap off the page in much bigger than life size. This size permits you to shine a light on complex details that would otherwise be missed in a quick scan.
Baron, for her part, uses a Wacom Cintiq tablet and pen to produce her digital artwork. Rowson doesn’t try to understand her work process, approaching it almost like a mystery. Baron has been raised in an environment where he’s had ubiquitous access to digital technology. She feels a deep connection and inspiration in Rowson’s work. She further imagines as her predecessors the deep English line of political satirists, including James Gillray and William Hogarth. Her methodology artistically bridges the gap between culture, community, and creativity by blending today’s technology with yesterday’s influences for an impactful and engaging experience.
Though each artist spent about six hours creating their cartoons, their approaches were wildly different. Rowson’s approach to traditional media as a go-to strategy is the opposite end of the spectrum from Baron’s digital savvy. Rowson’s formal training in digital imaging is non-existent, and he’s got the photoshop skills of a goat. Through it all, his artistic genius has drawn the admiration and devotion of a rabid fan-base.
The challenge not only demonstrated their individual talents but underscored the evolution of political cartooning in the digital age. As audiences increasingly consume media online, artists like Baron represent a shift towards modernity and accessibility. To say that Rowson is wedded to tradition would be an understatement. This devotion to detail celebrates the very tradition and craftsmanship that is the basis of political satire.
In their recent works on Trump and global upheaval, both Rowson and Baron provided sharp commentary through their respective lenses. In her artwork, Rowson invokes a longing for the civility of a lost age in political debate. By contrast, Baron’s cartoons capture the frenetic and overwhelming nature of modern life.
The contrasting approaches of these two cartoonists prompt a bigger conversation about where political art is headed. Can traditional methods coexist with digital practices? How do these different strategic approaches impact the way the public sees policy change? Both Rowson and Baron, in their own ways, shed light on the answers to these questions through their art.