for year, helping him "broaden his horizons". He then moved to London, working for different newspapers and even working in television animation. During his five years spent there, his caricatures were published in magazines like Mad, Lilliput and Punch. He then travelled to many countries, either working or conducting exhibitions. Return to Mumbai Miranda returned to India for good in the late 1980s and was offered back his old job with the Times of India in Mumbai, where he worked with noted cartoonist, R.K. Laxman. Thereafter, Miranda met artist Habiba Hydari. Habiba was part of Hyderabad based Hydari family and grand-daughter of Akbar Hydari. They got married and had two sons, Rahul and Rishad. Recognition and fame Miranda's big break came in 1974, when, at the invitation of the United States Information Services, he travelled to America, which enabled him to promote his art and interact with other cartoonists in the United States and also got a chance to work with Charles M. Schulz, the creator of Peanuts) and met Herblock, the editorial cartoonist of the Washington Post. He held solo exhibitions in over 22 countries, including the United States, Japan, Brazil, Australia, Singapore, France, Yugoslavia, and Portugal. Later years and death After retirement, Miranda lived in his ancestral home, at Loutolim, a village in Salcete, Goa, with his wife Habiba. Even after he retired, Miranda's work was seen regularly in Mumbai publications, and he was invited to travel to countries such as Mauritius and Spain, and draw their local cultures. On 11 December 2011, Miranda died of natural causes at his home in Loutolim. Mario's body was then taken to the Hindu Crematorium in Margão, where he was cremated by his younger son Rishaad according to Hindu rites as per his wishes. Indian cartoonist Graphi and fine artist, Vijay N Seth (Vins) paid tribute to Miranda, whom he considered as a mentor: Style According to Aaron Renier (who created the Google Doodle commemorating Miranda on his 90th birth anniversary in 2016), Miranda's most popular style of cartooning was "very flat with criss-crossing interactions". Renier went on to explain: Miranda's cartoons often indulged in sexist stereotypes, with the women being drawn as curvaceous and having bulging eyes. He would observe people everywhere (like eateries, taverns, weddings, the bus stop, the post office) and document their social life. However, he always stayed away from drawing political cartoons. Art critic Uma Nair