For over two decades, Ramachandra Babu has been transforming the essence of individuals into bold, playful, and thought-provoking caricatures. From politicians to global icons like Roger Federer, his art captures the inner spirit and personality behind familiar faces. In this candid interview, Babu shares his journey from an unexpected start in the newspaper industry to becoming a master of caricature, offering insights into his creative process, challenges, and aspirations for the future.Recently, he published a book on his caricature’s Geography of Faces
Ramachandra Babu in conversation with T.K. Sajeev of newspaperdesign.in
• What inspired you to become a caricature artist?
Assuming I was compelled to accept the challenge by the circumstances, it was not an intentional choice. The newspaper where I was employed in the year 2000 made the decision to launch a political magazine. Instead of using images, the editorial board opted to use caricatures. They have requested that the creative team generate concepts and drawings. After having my sketches reviewed and authorized, I formally began creating caricatures.
• How do you choose the individuals you caricature? Is it based on current events, personal interest, or audience demand?
As mentioned earlier, the decisions were always dictated by the events. Not to mention the editorial choices. It was hard for me to find things that I liked. Editorial decisions sometimes eliminate options that I really wanted to use.
• Which caricature of a famous individual are you most proud of, and why?
For my part, I’m pleased with the majority of my caricatures because I’ve given each of them my undivided attention. If I had to pick just one, Roger Federer is probably my top choice. That caricature led to an incredible opportunity: seeing Federer in person, giving him a copy, and receiving another autographed by him.
• Do you prefer drawing politicians, celebrities, or other public figures? What’s the appeal of each?
Politicians, of all others, are the most apt targets for exaggeration. They used to believe in reincarnation for this reason. Like chameleons, they seem to be able to adapt to any situation you throw at them. Those celebrities, or other public figures, however, have their own little world, not much fun to do with them.
• How do you balance exaggeration and recognition in your caricatures?
This question holds significant importance regarding caricature. Exaggeration and resemblance are a terrible combination. Attaining this is the goal of all who engage in the craft of caricature. It is accomplished through the countless hours devoted to practice, at least in my experience.
• Can you walk us through your creative process when drawing a well-known individual?
It is quite straightforward. I always think. However, when it comes to explaining it, it is not easy.
In my experience, I make an effort to understand the personality of the subject I am about to exaggerate. When you gather sufficient information about them, the depiction becomes more straightforward. I always believe we each have an inner self (the true us) concealed within. Once you understand that part, the drawing becomes much easier.
Sketching Barack Obama
• How do you decide which features to exaggerate for each person?
The physique of each person is distinct. In my opinion, this is what defines individuality among people. Every person’s personality will have its own distinct trait. The difficulty lies in both comprehending and magnifying it. This singularity set Donald Trump apart from Barack Obama.
• What tools and techniques do you use in your work? Are you more inclined toward traditional mediums or digital art?
Personally, I have a strong affinity for traditional mediums; however, when engaged in newspaper work, time becomes a critical factor, necessitating the use of digital mediums to maintain both quality and efficiency. Moreover, the digital medium is considerably more forgiving when it comes to making mistakes.
• How do you keep your style unique and distinguishable from other caricature artists?
The style evolves through years of engagement with the medium. In due course, you will need to discover a method that aligns with your convenience and schedule. That ultimately becomes your distinctive style.
• Do you use live references, photographs, or videos to capture the essence of your subjects?
Indeed, the references are a fundamental aspect of caricature. I utilize all available options. Having multiple references will ensure that the final product is of the highest quality.
• What are the biggest challenges you face when caricaturing famous individuals?
Even though it appears easy at first glance, several of the looks are really quite difficult to achieve. But as soon as you start drawing, it becomes difficult to control. It never lets you represent the uniqueness of the inner spirit or trace its path.
• Have you ever received feedback from someone you’ve caricatured? If so, what was their reaction?
Indeed, I recall receiving correspondence from a reader of South African origin who expressed dissatisfaction with my portrayal of Mandela’s features. Although I approached the subject with the utmost respect for Mandela, the reader felt that I was mocking him. Our design director clarified our intentions and the essence of caricature as an art form in an editorial letter
Kobe Bryant
• How do you handle the risk of offending someone with a caricature?
You can never completely avoid this risk. There was a gentleman who oversaw a section of our newspaper, and he once asked me to create his caricature. I told him it might not turn out well for us, but he insisted nonetheless. I can still vividly recall his reaction when I handed him the completed drawing. Ever since then, he has avoided communicating with me.
• What do you find more difficult: drawing a caricature of someone with distinctive features or someone with more generic looks?
Distinct characteristics always work well for caricature. A caricaturist’s biggest nightmare is encountering individuals with a bland appearance
•What are your future goals as a caricature artist?
These days, I’ve been thinking about expanding my audience to include more Indian faces. To be honest, I have no idea when or how it will happen, but it’s something I am seriously considering.
• And finally, tell us about your book Geography of Faces.
Geography of Faces is a deeply personal exploration of the journeys taken by its characters and the landscapes that shaped their lives. Inspired by moments like encountering a sacred site on an Indigenous land in Canada, where the connection between people, community, and the Earth resonated profoundly, the book delves into themes of identity and belonging.
As a portrait painter, I’ve always been drawn to uncovering the emotions and stories that connect us as humans. This book reflects my journey of navigating uncharted terrain, influenced by my childhood in Kerala during the politically and culturally vibrant 1970s and 80s. The film society movement and exposure to global cinema profoundly shaped my visual storytelling, driving me to embrace the uncertainties of becoming an artist.
Every project in this collection feels like a piece of my soul, capturing cherished moments and the intimate connections that fuel creativity.
Click the link to purchase the book Geography of Faces
