A picture is worth a thousand words.

It's a well-worn phrase, of course, but there's special resonance when applied to editorial cartoons,

a centuries-old tradition that's evolving as the media landscape itself does.

Senior arts correspondent Jeffrey Brown takes a closer look for our series, Art in Action,

exploring the intersection of art and democracy

and our ongoing canvas coverage.

And I'll go back, you know, and figure out which lines need, you know, more definition or

strength.

It's art in the service of strong political opinion, backed by hours of research.

It's funny, often using caricature, but with serious intent.

Anne Talness has been creating editorial cartoons for decades.

A self-described liberal, she's a Pulitzer Prize winner in 2001, a finalist in 2022.

An editorial cartoon, even if the art is strong, if it doesn't have a strong point of view,

then it fails. Of course, if your art's good, that's even better, because then that will

grab the reader faster.

Michael Ramirez, who calls himself a constitutional conservative, is a two-time Pulitzer Prize winner, another long-time leading practitioner of this craft.

When people look at the editorial page, it's probably one of the primary things that they look at.

And therefore, it has a sort of measure of influence.

In a Super Bowl ad, you've got about five seconds to capture their attention, another five seconds to make the sale.

The only difference is, instead of selling a commodity or a product, I'm selling an idea.

But these days, who's buying? Who's even seeing the work?

According to the Herblock Foundation, named after the legendary Washington Post cartoonists

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