Given her profession, Megan Herbert gave the ideal response to being named the 2024 Political Cartoonist of the Year.
"I did demand a recount," she admitted. "The imposter syndrome is real!"
"But apart from being overwhelmed, I'm also incredibly grateful for this honour … and also to have this incredible platform in the newspapers, to say things that feel important to me. I don't take that for granted.
"And if this award means that some of my ideas are connecting with people, then I'm happy about that, because that's what I try to do with my work."
A selection of Ms Herbert's work is also featured in Behind the Lines 2024: No Guts, No Glory, which officially opened today at the Museum of Australian Democracy (MoAD) at Old Parliament House.
'Lost in Translation' by Megan Herbert, published in Nine Papers in June. (Supplied: Museum of Australian Democracy)
Ms Herbert cheerfully admits that she has only been making political cartoons for a relatively short time, with her cartoons published for the first time in the past few years.
"I think it's probably the third year that my work's been in the show but they don't let you know that there's any sort of shortlist!"
Ms Herbert said receiving the award prompted her to think "about what is a good political cartoon, because it's not really easy to define … It takes so many different forms, and it's not one thing."
'Not Kid's Stuff' by Fiona Katauskas, published in The Guardian in July. (Supplied: Museum of Australian Democracy)
Behind the Lines has become a popular annual retrospective of a year's key political issues and current affairs.
"People come in here in their many thousands," said Barrie Cassidy, chair of the board of Old Parliament House.
"There are not too many exhibitions that are freshened up every year and have gone on for as long as this one has, and that's because of the quality of the work that has turned up every year from the cartoonists as they take on the politicians."
'Climate Action' by Cathy Wilcox, published in Nine Papers after climate protesters were arrested in Melbourne and Newcastle earlier this year. (Supplied: Museum of Australian Democracy)
Exhibition curator Matt Jones said this year's MoAD display featured satirical interpretations of hot topics from 40 emerging and established artists, with the sporting theme "a good metaphor for how you should approach life and politics".
"If you really put yourself out there and you try very hard, then you know perhaps you can win," he explained.
Mr Jones also noted other "crossovers", like politicians' use of sporting catch phrases.
"They like to refer to being part of the team, and if you win an election, then you're first past the post," he said.
"And politics can be very competitive; it can be very cut and thrust."
'High Prices' by Glen Le Lièvre, published in the Australian Financial Review in January. (Supplied: Museum of Australian Democracy)
Housing affordability, climate change, war in the Middle East, and cost-of-living pressures are recurrent themes in the works.
Prime Minister Anthony Albanese, Foreign Affairs Minister Penny Wong, and Opposition Leader Peter Dutton also make regular appearances.
'Childless Cat Lady' by Nordacious, published on Instagram in August after popstar Taylor Swift was called a childless cat lady after endorsing Kamala Harris for US President. (Supplied: Museum of Australian Democracy)
In a US election year, some of that country's defining political and pop culture moments also feature — like Nordacious' 'Childless Cat Lady'.
The portrait of Taylor Swift references the pop star's endorsement of Democratic presidential candidate Kamala Harris.
Ms Herbert said rather than "taking aim at politicians", she "[tries] to empathise with whoever's affected by the policies that I'm cartooning around".
"I'll focus on what is the end result of a policy, and what does it really mean for somebody who's a single mum with two kids, or who's struggling, or somebody who's trying to get through the immigration system here, and it's a nightmare,'' she said.
Ms Herbert's 'Lost in Translation' features a retro super-computer, which has "translated" scientific data into party policies.
"Whatever the issue is, I try to look at it from the point of view of the person affected. Quite frequently, I cartoon around climate change because to me, that's … going to affect every single part of our lives very soon … but otherwise it's just stories that resonate with me.
"You try to find the humour, but it doesn't always come out that way. Sometimes it's more about empathy."
'When Politicians Ruled the Earth' by Glen Le Lièvre, published on Patreon in June. (Supplied: Mus)
Mr Jones said political cartooning was more than just an insight into the year that was nearly at an end.
"They're a very important part of the free press that we have in Australia," he said.
Ms Herbert admitted it "can be a bit scary, sending a cartoon off and saying something, taking a stand and putting your opinion out there".
"You can be attacked for your work, and you do have to have a strong opinion,'' she said.
"You don't have lukewarm cartoons. They don't stand the middle ground; they say something. So, you have to be brave to do it.
"But certainly the people up there making the policies every day are also doing that. So I try not to go too hard on them!"
'Russian Democracy Sausages' by Mark Knight, published in the Herald Sun in March after Russian President Vladimir Putin secured another six years in power.