Caricature has usually been thought of as negative art. Distortion can be negative, but I look for humor and positive aspects. I try to find the personality of the character. Beyond the face, I attempt to capture the movement and attitude of the body, and in some in­stances the way that character dresses. Sometime my assignment will dictate the liberties that I can take with a personality. My approach can range from a realistic, detailed portrayal to simplified, humorous distortion. In doing a caricature, it is possible to arrange the
features and overall shape of the head in two or three totally different ways, and yet capture the personality in each drawing.

I was very fortunate growing up. My par­ents were behind me in anything I wanted to do. Their first concern was my happiness, and I was always encouraged to develop my tal­ents. When I was very young, a teacher ad­vised my mother that I had a talent fordraw-ing and said that I should be encouraged to fulfill my potential.
I remember, at age seven, in grade school, myself and another boy were the only artistsin the class. Our project was to do a Thanksgiving Day mural around the room. The other boy could only draw faces going in one direction so he had to start at one end in order to meet me halfway. I had to begin at the other end and work backwards since I could draw in either direction.

It has always been my ambition to be versatile and not be dependent on one person or one company. I wanted to spread my abilities among many different areas and not be dependent on one group. So much of my comic book art was a marvelous learning experience, that I was able to become versatile. The remarkable aspect of the comics was that as an artist, you could do action — regardless of the genre. It was almost like being a movie director in discovering how to tell a story, how to keep the interest of the reader's eye through close-ups and long shots and dramatic lighting. I learned a lot from using all of those different techniques.

Nick Maglin was one of the screeners at Mad, and I laid out my work for him, and the looked it over. He brought my work into Bill Gaines's office. Nick came out of the office and asked me to come in and meet Bill Gaines and Al Feldstein, who were the publisher and editor of Mad. It was during the Yankee-Dodgers World Series, the Subway Series of 1956. Bill Gaines was a Dodgers fan, and he and Al Feldstein were listening to the game on radio. Gaines said, 'If the Dodgers win this game, you're hired.' I've been working for Mad ever since.

I always felt that a large part of the success of Mad back in the early days was that someone could read this magazine three or four times and still see something new. It was a labor of love for me, and I was learning a lot from it. Of course, I was always a big fan of the movies. I admired the actors and actresses of the forties and fifties because they each had a personality. Each one was different, and they were all great. Their look was different, their body language was pronounced, and they were fullfledged actors and actresses. Their uniqueness made them easier to satirize. I normally find it more difficult to draw very pretty people, women with no distinguishable features and handsome men who are cut out of the Arrow shirt mold. You need a personal characteristic to latch onto. That means either a high forehead, protruding ears or some other distinctive quality. You try to capture the spirit of a personality as well. There's also a body language inherent, and I think it's important to capture each detail to draw an accurate caricature.

The reason I chose both of the 'Oddfather' stories is that I was intrigued by Mario Puzo's book. I was most interested in the segments that took place in the early 1900's. I think I created some of my best art on those two stories.

In my early days, Mad was a showcase for my work. Mad has been successful for thirty-five years, and influenced the writers of television monologues, nightclub acts and advertising, and so many other areas of entertainment. To sustain a magazine for that long with no outside advertising is a testament to its staying power. What's also interesting is that Mad can communicate our culture through translation. It's been all over the world, England, Germany, Israel and the Scandinavian countries. Each individual country does their own translation, worldwide.

Above all, Mad allowed me the artistic freedom to develop and grow. Al Feldstein gave me that opportunity first, and I'm still experiencing that freedom and encouragement under Nick Meglin and John Ficcara, who have since taken over the editorial department. I love what I do for Mad, as it , gives me an opportunity to think and do sight situations panel by panel. That's why, thirty years later I still enjoy working for Mad.

The JFK Coloring Book became a huge success. It sold for two dollars a copy, mainly to adults. Bookstores everywhere had copies of The JFK Coloring Book opened to different pages in their display windows. It was unbelievable as it had been so difficult to get a publisher interested in the book originally. It was such a thrill to walk down the street and see what we had created being openly promoted.

I keep an extensive file of personality photographs, because very often I need extra photos of those same people later on for another assignment. If I didn't build up a file for myself, I'd be at a terrible disadvantage. When I have to do a caricature, I have to really know what the person looks like, front and sideways. You can look at someone from the front, and you will never draw them accurately in profile based on what you see. If you have the side view, in addition to the front, then you can caricature the person correctly.

When I began my art career, I had no idea that I would cross cultural boundaries. To know I was of help in one person's life is the greatest reward that I can receive as an artist.

In regard to my work, it never ceases to amaze me that I am recognized and appreciated. I'm very competitive, but not with anyone else but myself. When I'm working, I feel many emotions. Every time I sit down to start a new assignment, that's when the adrenalin begins flowing. I'm always trying to complete a piece of art that makes me happy.