20 Most Underrated Cartoonists From Around the World

20 Most Underrated Cartoonists: Comics history is filled with visionary artists whose names aren’t as universally known as their creations. These underrated cartoonists – spanning newspaper comic strips, avant-garde graphic novels, and hard-hitting political cartoons – have made unique contributions to the medium. They pushed artistic boundaries, pioneered new genres, and influenced generations of creators, all while often flying under the mainstream radar. Below, we highlight 20 such cartoonists from around the world, exploring their distinctive styles, notable works, and why they deserve greater recognition.

Comic Strip Trailblazers

George Herriman (United States)

George Herriman was the creator of Krazy Kat, a surreal and poetic newspaper strip that ran from 1913 to 1944. Herriman’s imaginative storytelling and innovative artwork were so exceptional that many later critics consider Krazy Kat “the finest strip ever produced”.¹ His comics broke the mold with shifting backgrounds, playful language, and a love triangle between a cat, a mouse, and a dog that subverted conventions. During his time, Krazy Kat was more influential than popular – it puzzled many average readers but was adored by intellectuals and artists.² Herriman’s work, championed by the likes of William Randolph Hearst and later praised by art luminaries, laid the groundwork for comic strips as an art form. His legacy lives on in the way modern cartoonists embrace absurd humor and personal expression, even if Herriman himself remains less famous than characters he inspired.

Barbara Shermund (United States)

One of the New Yorker’s earliest women cartoonists, Barbara Shermund drew hundreds of witty, flapper-era cartoons from the 1920s through the 1940s. Her illustrations for The New Yorker and Esquire featured stylish, independent women with a sharp, sassy sense of humor.³ Shermund’s work was refreshingly astute about modern life and gender norms of her era, yet history nearly forgot her. As one retrospective noted, Shermund “would barely be remembered” decades later – she left behind little archival material, and even comic historians often misidentified her as “Helen Shermund”.⁴ Only recently has her contribution been rediscovered and celebrated. Shermund’s cartoons now stand as important early examples of a woman’s voice in mainstream cartooning, and their belated recognition underscores how pioneering female humorists like her deserve a brighter spotlight in comics history.

Jackie Ormes (United States)

Jackie Ormes broke barriers as the first Black female cartoonist to have a nationally published comic strip.⁵ Working in African-American newspapers in the 1930s–1950s, she created stylish, politically conscious characters who defied the era’s stereotypes. Her adventure comic Torchy Brown (debuting in 1937) followed a young Black woman’s journey north during the Great Migration, while her later panel Patty-Jo ’n’ Ginger used the conversations of two sisters to comment on racism, sexism, and post-war life.⁶ Ormes gave form to the social concerns of Black Americans at a time when Black voices were largely excluded from mainstream comics.⁷ She even introduced the first Black doll based on a comic character (the Patty-Jo doll in 1947). Despite her trailblazing work, Ormes was long overlooked in comic histories. Today she is rightly celebrated as a groundbreaking artist who used the comic format to entertain, inspire, and subtly challenge the injustices of her time.

Claire Bretécher (France)

In 1970s France, Claire Bretécher made waves with her caustic satirical cartoons about society, feminism, and everyday bourgeois life. Through serials like Les Frustrés (“The Frustrated Ones”) and later Agrippine, Bretécher skewered the pretensions of the educated middle class with wicked humor and keen insight.⁸⁹ Her work was so spot-on as social commentary that famed philosopher Roland Barthes dubbed Bretécher “his country’s best sociologist” in 1976.¹⁰ She was one of the few prominent female bande dessinée (comic) artists of her era, and her no-nonsense, expressive drawing style and frank treatment of issues like women’s liberation were ahead of their time. While she’s revered in France – even considered a “national treasure” for her wit and artistry¹¹ – Bretécher remains less known internationally. Her influence, however, is evident in the generation of European graphic novelists who blend social observation with humor, following the trail that Bretécher blazed.

Quino (Argentina)

Joaquín Salvador Lavado, better known as Quino, is beloved in the Spanish-speaking world as the creator of Mafalda, a comic strip about an irreverent 6-year-old girl who questions everything. From 1964 to 1973, Mafalda ran in Argentine newspapers and became “emblematic” of Argentina’s middle class, using the innocent but incisive perspective of a child to critique society.¹² Through Mafalda’s witty observations, Quino managed to address heavy topics – feminism, dictatorships, the Vietnam War, consumer culture – with disarming humor.¹³ The strip was translated into 30+ languages and resonated across Latin America and Europe for its universal themes and lighthearted touch.¹⁴ Despite Mafalda’s international cult status (often compared to Peanuts in impact), Quino never became a household name in the English-speaking market. He went on to create countless single-panel cartoons satirizing human nature. Quino’s gentle yet pointed style has influenced cartoonists worldwide, proving that comics can be both deeply philosophical and charmingly accessible.

R. K. Laxman (India)

For over five decades, R. K. Laxman distilled the everyday life of India into a single recurring image: “The Common Man.” Laxman’s pocket cartoon You Said It, which ran in The Times of India from 1951 onward, featured a silent, bespectacled common man observing the absurdities of politicians and society around him.¹⁵¹⁶ Through this everyman character, Laxman delivered wise and witty commentary on Indian democracy – from corruption and red tape to social change – without uttering a word in the cartoons. The Common Man stands as “a witness to the making of democracy” in India,¹⁷ reflecting the hopes and frustrations of ordinary people. Laxman’s satirical art was gentle enough to bypass censorship yet sharp enough to make millions of readers chuckle in recognition. In India, he became a revered figure (honored with national awards and even a statue of the Common Man in Pune), but globally his name is less recognized. Laxman’s work deserves more international notice as a masterclass in using humor and a simple cartoon figure to speak truth to power.

Richard Thompson (United States)

Richard Thompson was a cartoonist’s cartoonist – adored by peers, though not a household name to the public. His comic strip Cul de Sac (syndicated 2007–2012) followed 4-year-old Alice Otterloop and her suburban D.C. family with warmth, whimsy, and razor-sharp wit. Thompson’s lively line work and charming characters drew critical acclaim; he was “widely considered one of the greatest comic-strip creators… of his generation”.¹⁸ In 2011, Thompson won the National Cartoonists Society’s Reuben Award for Outstanding Cartoonist. Legends like Bill Watterson (of Calvin and Hobbes) praised Cul de Sac’s originality and heart. Unfortunately, Thompson had to end the strip after just a few years due to Parkinson’s disease, which also led to his untimely death in 2016. The short run means many casual readers missed out on it. Those who know his work, however, celebrate its brilliance – Thompson’s ability to find humor in the mundane and depict children’s imaginative view of the world remains influential. He deserves to be remembered alongside the greats of comic art, as his peers certainly remember him.

Posy Simmonds (United Kingdom)

Posy Simmonds has long been crafting sophisticated comics that blend literary satire with everyday humor, yet she’s often underappreciated outside of Britain and France. She first gained fame with her weekly strips in The Guardian in the 1970s, gently skewering the foibles of middle-class English life. Simmonds is best known for later graphic novels like Gemma Bovery (1999) and Tamara Drewe (2005), modern takes on classic literature (Flaubert’s Madame Bovary and Hardy’s Far from the Madding Crowd, respectively) presented as serial comics.¹⁹ In these works, her deft caricatures and witty narration explore contemporary relationships, hypocrisy, and the role of women, all with understated comedy. Simmonds’ visual style is genteel yet incisive, often mixing chunks of text with sequential art – a hybrid approach that predates today’s graphic memoir trend. While her work has been translated and even adapted to film, Simmonds is sometimes overlooked in discussions of comic innovators. In truth, her approach to “drawing literature” has expanded what graphic novels can do,²⁰ and she’s inspired creators who aim for a more literary, character-driven form of comics storytelling.

Graphic Novel and Alternative Comics Innovators

Hugo Pratt (Italy)

Hugo Pratt is celebrated in Europe as the creator of Corto Maltese, an adventure comic series following a roguish sea captain through historical events and exotic locales. Pratt’s work combined strong storytelling with extensive historical research,²¹ elevating the adventure genre into something literary and sophisticated. Debuting in 1967, Corto Maltese was rich with global culture – from World War I-era intrigue to myths of the Pacific – all rendered in Pratt’s cinematic black-and-white art. He pioneered a moody, atmospheric style of comics that felt akin to reading a classic novel or watching a film. While Pratt received accolades such as an Eisner Hall of Fame induction and an Angoulême Grand Prix for his contributions,²² he isn’t as widely known in the English-speaking world, where his work was slow to be translated. Nonetheless, many comic artists cite Pratt as an influence for his mature narratives and internationalist spirit. His blending of fact and fiction in graphic form opened the door for the modern graphic novel as a medium for serious storytelling.

Yoshihiro Tatsumi (Japan)

In the late 1950s, manga artist Yoshihiro Tatsumi set out to create comics that weren’t just for kids – and in doing so, he arguably invented the Japanese graphic novel. Tatsumi coined the term gekiga (“dramatic pictures”) in 1957 to describe the more cinematic, adult-oriented style of manga he wanted to make.²³ He published gritty short stories and novel-length manga that explored the lives of disillusioned salarymen, criminals, and outcasts in postwar Japan. This mature content – focusing on melancholy, moral ambiguity, and social commentary – broadened the possibilities of the medium and predated the graphic novel movement in the West by decades.²⁴ For years, Tatsumi’s work was known only in niche circles (even within Japan, superheroic and youth manga overshadowed his moody tales). It wasn’t until the 2000s, when Drawn & Quarterly began releasing collections like The Push Man and Other Stories, that international audiences discovered him. His 2008 autobiographical epic A Drifting Life cemented Tatsumi’s reputation as “one of the comics medium’s most important artists”.²⁵ Today, he is revered as the godfather of alternative manga – an innovator who proved comics could be serious literature.

Shigeru Mizuki (Japan)

Shigeru Mizuki was a master storyteller who bridged two extremes: the whimsical world of Japanese folklore and the harsh realities of war. He is most famous in Japan for popularizing yōkai (spirits/monsters from folklore) in his manga – especially GeGeGe no Kitarō, about a one-eyed boy who befriends yokai and defends humans from evil creatures. Mizuki’s love of yokai revitalized interest in these traditional tales at a time when such folklore was fading; in fact, his versions of many yokai became the definitive ones people know today.²⁶ As one commentator noted, Mizuki’s influence on Japanese pop culture is so ubiquitous that “anyone who plays Pokémon or watches Naruto” is touched by ideas that trace back to him.²⁷ At the same time, Mizuki – a WWII veteran who lost an arm – created powerful anti-war comics, including an autobiographical war memoir Onward Towards Our Noble Deaths. His ability to go from charming mythological stories to unflinching historical commentary was unique. Outside of Japan, Mizuki was underrecognized for decades, but recent translations of his yokai encyclopedias and the award-winning series Showa: A History of Japan have earned him international acclaim. He stands as an artist who profoundly influenced how Japan (and the world) imagines its ghosts, goblins, and even its history.

Lynda Barry (United States)

Lynda Barry has spent her career showing that comics can be deeply personal, profoundly quirky, and even therapeutic. Emerging from the American underground/alternative comics scene in the late 1970s, Barry became known for her loosely drawn, emotionally resonant strip Ernie Pook’s Comeek, which chronicled the inner life of oddball adolescents and struggling families. Her storytelling, often narrated by her fictional alter ego Marlys, was funny, heartbreaking, and unmistakably authentic. Barry’s later graphic novels and illustrated essays – like One! Hundred! Demons! (2002) and What It Is (2008) – blend collage, handwritten text, and doodles in a style that invites readers into the creative process. She’s been called “a wellspring of inspiration for others”,²⁸²⁹ not only for her comics but also for her work as a teacher encouraging everyday people to draw and write. In 2019, Barry received a prestigious MacArthur “Genius” grant for her contributions to cartooning and education. Despite this recognition, she isn’t as widely famous as some peers, perhaps because her work defies the usual categories. Yet to those in the know, Lynda Barry is a creative force – her “unique style and approachable books” have won awards like the 2009 Eisner for What It Is,³⁰ and her explorations of memory and imagination have expanded the possibilities of the graphic novel form.

Jason (John Arne Sæterøy) (Norway)

Under the simple pen name “Jason,” Norwegian cartoonist John Arne Sæterøy has crafted a body of work that is quietly revered in indie comics circles. Jason’s hallmark is his minimalist anthropomorphic style: he draws characters as animal-headed or blank-faced beings, often in trench coats or vintage attire, moving through stories with deadpan humor and profound melancholy. Almost all his comics – whether a surreal crime caper like I Killed Adolf Hitler or a tender coming-of-age tale like Hey, Wait… – are told with sparse dialogue, clean lines, and impeccable pacing. He developed this distinctive style in the 1990s, inspired by European artists like Lewis Trondheim and the animated films of Buster Keaton’s era.³¹ By the 2000s, Jason’s graphic novels were being published internationally; several have won Eisner Awards for their originality.³² In Scandinavia, he’s regarded as “one of [the] most prominent artists of alternative comics”,³³ and his books have been translated into numerous languages. While Jason’s work doesn’t seek the spotlight – much like the taciturn figures he draws – it has earned a devoted following. His comics exemplify the power of subtle storytelling, making a deep emotional impact with seemingly simple cartoon imagery.

Seth (Gregory Gallant) (Canada)

Canadian cartoonist Seth is a champion of nostalgia and the forgotten corners of comics history, weaving those elements into his own beautifully crafted graphic novels. He is best known for Palookaville – his long-running comic book series (since 1991) – and the graphic novel It’s a Good Life, If You Don’t Weaken (1996), a semi-fictional memoir about searching for the work of an obscure New Yorker cartoonist. Seth’s artwork is instantly recognizable: he draws in a classic cartooning style influenced by 1930s New Yorker artists, with fluid brush lines and a muted blue-gray tone that evokes old newsprint.³⁴ His stories are highly nostalgic for early-to-mid-20th-century Canadian life and show a deep knowledge of the history of comics and cartooning.³⁵ In fact, Seth often curates and designs books about past cartoonists, essentially functioning as both artist and archivist. While he’s well-known among graphic novel enthusiasts (earning multiple Eisner and Harvey Awards), Seth hasn’t sought mainstream fame. Instead, he’s quietly influenced the medium by proving that comics can be meditative art – reflective, elegiac narratives that cherish small moments and bygone eras. Many contemporary graphic novelists who explore memory and place in their work owe a debt to the path Seth pioneered.

Stan Sakai (Japan/United States)

For over 35 years, Stan Sakai has been writing and drawing the epic saga of Usagi Yojimbo, yet this master storyteller remains relatively underappreciated outside of comic fandom. Usagi Yojimbo follows Miyamoto Usagi, a samurai rabbit roaming a feudal Japan populated by anthropomorphic animals. That premise might sound whimsical, but Sakai infuses the series with authentic Edo-period history, Bushido philosophy, and nuanced characters. The result is an engrossing long-form comic that’s equal parts action, folklore, and heartfelt drama. Sakai’s clear, expressive art style (inspired by both Japanese woodcuts and Western cartoons) and his impeccable storytelling have earned him numerous industry awards, including multiple Eisner Awards. Fellow cartoonists often cite Sakai’s craftsmanship and consistency with admiration. Yet, because Usagi Yojimbo was long an independent black-and-white comic and Sakai tends to avoid the limelight, he’s sometimes called an “underrated” genius. His influence can be seen in how later creators blend genres and serialize expansive tales. With an upcoming Netflix animated adaptation, Sakai may finally get wider public recognition. But for those who’ve followed Usagi’s journey since 1984, Stan Sakai has long been acknowledged as a quiet legend of comic art, who deserves to stand alongside much more famous comic creators.

Political Cartoonists and Satirists

Naji al-Ali (Palestine)

In the Arab world, Naji al-Ali is virtually synonymous with political cartooning. A Palestinian refugee who became a bold truth-teller through art, al-Ali drew over 40,000 cartoons in his career, lambasting corruption, injustice, and occupation in the Middle East.³⁶ His most famous creation is Handala – a barefoot 10-year-old refugee boy who appears in each cartoon, always seen from behind. Handala, representing the “ordinary” Palestinian, became a powerful symbol of resistance and steadfastness.³⁷ Al-Ali’s cartoons, published in newspapers across the Arab world in the 1970s and 80s, spared no one: he sharply critiqued Israeli policies, Arab dictators, and PLO officials alike for failing the Palestinian people.³⁸ This fearless stance made him “one of the best-known cartoonists in the Arab world, celebrated as the greatest Palestinian cartoon artist”³⁹ – but it also made him many enemies. In 1987, Naji al-Ali was assassinated in London in a still-unsolved case, silencing one of the region’s bravest artistic voices. Globally, he remains under-recognized, but within the Middle East his legacy endures: Handala is still drawn by artists and graffitiists as an icon of the Palestinian struggle, and al-Ali’s uncompromising cartoons continue to speak truth decades later.

Ali Ferzat (Syria)

Ali Ferzat is a Syrian political cartoonist whose pen has proven mightier than the sword – so much so that it provoked a brutal response from a repressive regime. Known for his caricatures without captions (letting images speak for themselves), Ferzat has satirized dictators and bureaucrats across the Arab world, including Syria’s Assad government. He published in Syrian papers and ran his own satirical magazine al-Domari until it was shut down by authorities. By 2011, as the Arab Spring spread, Ferzat’s drawings became even more pointed in criticizing authoritarianism and corruption. His impact was profound: he had over 15,000 cartoons published in Arab and international newspapers, using art to challenge political authority and inspire dialogue.⁴⁰ That year, Ferzat was attacked by masked men believed to be Syrian security forces – they beat him and deliberately broke both his hands as a warning.⁴¹ In true defiance, Ferzat recovered and continued drawing, more determined than ever. He was internationally lauded for his courage, receiving the Sakharov Prize for Freedom of Thought in 2011 and even being named one of Time’s 100 most influential people in 2012.⁴² While perhaps not a household name outside activist circles, Ali Ferzat’s story embodies the power of cartooning in the face of oppression, and his inked satire – fearless and poignant – has inspired dissident artists around the globe.

Gado (Godfrey Mwampembwa) (Tanzania/Kenya)

Godfrey Mwampembwa, pen-named Gado, is East Africa’s most prominent political cartoonist, revered for his incisive and fearless commentary. Originally from Tanzania and based in Kenya, Gado became famous through his daily cartoons in Nairobi’s Daily Nation newspaper, where for decades he lampooned corruption, tribal politics, and leaders like Kenyan presidents Moi and Kibaki. His style is richly detailed and often allegorical, packing layers of meaning into a single panel. Colleagues have called Gado “the most important cartoonist of Africa”,⁴³ and he’s been described as “the most influential political cartoonist in East and Central Africa”.⁴⁴ His work has not only appeared in local media but also been syndicated internationally, bringing African perspectives to global audiences. Gado’s fearless approach hasn’t been without pushback – he was fired from The Daily Nation in 2016, reportedly due to political pressure, after drawing a cartoon that offended the Tanzanian president.⁴⁵ Nevertheless, he continues to publish in other outlets and online. Gado’s influence extends beyond print: he co-created “The XYZ Show,” a popular Kenyan TV program using puppets for political satire. Winner of multiple awards (including a Prince Claus Award in 2007⁴⁶ and Cartooning for Peace prize), Gado has carved out a space for satire in countries where criticism can be dangerous. His legacy is one of speaking truth to power with wit, ensuring that laughter and outrage combine to hold leaders accountable.

Rius (Eduardo del Río) (Mexico)

Eduardo del Río, better known as Rius, was a Mexican cartoonist who used humor as a tool for social critique and popular education. Prolific and outspoken, Rius was the mastermind behind comic series like Los Supermachos (1965–1968) and Los Agachados (1968–1981), which satirized village life and the downtrodden urban poor in Mexico.⁴⁷ These comics delivered pointed commentary on the country’s political system – lampooning corruption, U.S. influence, and the hypocrisy of authorities – all through relatable characters and witty colloquial dialogue. Beyond newspaper strips, Rius also authored dozens of comic-format books on complex subjects such as religion (Manual del Perfecto Ateo, “Handbook of the Perfect Atheist”), economics, and revolutionary history (Marx for Beginners and Che for Beginners were part of his influential “for Beginners” series). Through these works, he essentially turned comics into accessible textbooks for the masses. A committed leftist, Rius had a clear agenda: he wanted to awaken critical thinking. His blend of humor and politics was an “odd combination” that nevertheless shaped national consciousness in Mexico.⁴⁸ While English-speaking audiences might not recognize his name, in Latin America Rius is acknowledged as a pioneer of socially conscious comics. Later generations of Latin American graphic novelists and satirists draw inspiration from Rius’s legacy – a testament to how this underrated cartoonist used simple drawings to make complicated ideas engaging for millions.

20 Most Underrated Cartoonists From Around the World

Each of these twenty cartoonists has left an indelible mark on the art of comics and cartooning. Their styles range from the gentle and whimsical to the fierce and uncompromising, yet all share a willingness to do something different and daring with the medium. By examining their lives and work, we gain a richer, more diverse picture of what comics can achieve – whether it’s a single-panel cartoon that topples idols, a serialized strip that captures a culture’s soul, or a graphic novel that redefines art and literature. These creators may be “underrated” in name recognition, but their influence is deeply embedded in the cartoons and comics we enjoy today. It’s time they each get a bit more of the spotlight they deserve, not only as artists and storytellers, but as quiet revolutionaries in the history of cartooning.

Footnotes

1. George Herriman | Krazy Kat, Comic Strip, Newspaper Cartoonist | Britannica ↩︎
2. Week 3 – MES 160 | World History of Animation | OER Course Hub ↩︎
3. One of the New Yorker’s First Women Cartoonists Gets an Overdue Revival ↩︎
4. One of the New Yorker’s First Women Cartoonists Gets an Overdue Revival ↩︎
5. The Groundbreaking Work of Jackie Ormes – JSTOR Daily ↩︎
6. The Groundbreaking Work of Jackie Ormes – JSTOR Daily ↩︎
7. The Groundbreaking Work of Jackie Ormes – JSTOR Daily ↩︎
8. Madame Audacity: The Art of Claire Bretécher – The Comics Journal ↩︎
9. Madame Audacity: The Art of Claire Bretécher – The Comics Journal ↩︎
10. Madame Audacity: The Art of Claire Bretécher – The Comics Journal ↩︎
11. Madame Audacity: The Art of Claire Bretécher – The Comics Journal ↩︎
12. Mafalda was a revolutionary | Latin America Bureau ↩︎
13. Mafalda was a revolutionary | Latin America Bureau ↩︎
14. Mafalda was a revolutionary | Latin America Bureau ↩︎
15. R. K. Laxman – Wikipedia ↩︎
16. R. K. Laxman – Wikipedia ↩︎
17. R. K. Laxman – Wikipedia ↩︎
18. Cul de Sac comic author dead ↩︎
19. Posy Simmonds – Lambiek Comiclopedia ↩︎
20. Posy Simmonds: Drawing Literature – Speakeasy News ↩︎
21. Hugo Pratt – Wikipedia ↩︎
22. Hugo Pratt – Wikipedia) ↩︎
23. Tatsumi Yoshihiro, 1935-2015 – The Comics Journal ↩︎
24. Tatsumi Yoshihiro, 1935-2015 – The Comics Journal ↩︎
25. Tatsumi Yoshihiro, 1935-2015 – The Comics Journal ↩︎
26. Shigeru Mizuki, the legendary manga creator and ‘Yokai Professor,’ finally gets his due | SYFY WIRE | SYFY WIRE ↩︎
27. Shigeru Mizuki, the legendary manga creator and ‘Yokai Professor,’ finally gets his due | SYFY WIRE | SYFY WIRE ↩︎
28. Lynda Barry, a creative force of nature with the Art Department … ↩︎
29. Lynda Barry’s Infectious Genius | The Nation ↩︎
30. Lynda Barry, a creative force of nature with the Art Department … ↩︎
31. Jason (John Arne Saeteröy) – Lambiek Comiclopedia ↩︎
32. Jason (John Arne Saeteröy) – Lambiek Comiclopedia ↩︎
33. Jason (John Arne Saeteröy) – Lambiek Comiclopedia ↩︎
34. Seth (cartoonist) – Wikipedia ↩︎
35. Seth (cartoonist) – Wikipedia ↩︎
36. Naji al-Ali – Wikipedia ↩︎
37. Naji al-Ali – Wikipedia ↩︎
38. Naji al-Ali – Wikipedia ↩︎
39. Naji al-Ali – Wikipedia ↩︎
40. Ali Ferzat | Prince Claus Fund ↩︎
41. Ali Ferzat | Prince Claus Fund ↩︎
42. Ali Ferzat | Prince Claus Fund ↩︎
43. Sacked cartoonist Gado finds new stage – What Design Can Do ↩︎
44. Sacked cartoonist Gado finds new stage – What Design Can Do ↩︎
45. Sacked cartoonist Gado finds new stage – What Design Can Do ↩︎
46. Sacked cartoonist Gado finds new stage – What Design Can Do ↩︎
47. Rius (Eduardo Del Río) – Lambiek Comiclopedia ↩︎
48. Cartoons on Castro: A look into Mexican Political Artist, Rius ↩︎