will be buoyed rutherford at acorn 30 a.m. eastern. taunus tuesday for the entire washington journal program beginning at 7:00 a.m. eastern on c-span. ♪ announcer: this week on "q&a," washington post pulitzer prize-winning cartoonist ann telnaes. she talks about her work and how it has changed since the rise of social media sites. like twitter and facebook. brian: ann telnaes, how do you describe the work you do? ann: how do i described the work i do? i hope it is challenging. i hope it makes people think. you know, it is an editorial cartoon.

there is a big difference between an editorial cartooning and a regular one. it is meant to be visual commentary. so i think people sometimes do not know that. i have a lot of people tell me or ask me, why aren't you more fair? that is not what an editorial cartoon is. it is like a column. columnists have a point of view. we just don't with images. brian: when did you develop your point of view? ann: my early 20's. i was not interested in politics until later on. so, that is pretty much when i started doing cartoons that reflected my point of view on issues. brian: how would you describe your point of view? ann: i am liberal.

people confuse us sometimes. people say, oh you are just a democrat. i am not a democrat. i am actually a registered democrat. -- i'm a registered independent. some are more liberal, some are more conservative. we will attack anyone. i have done plenty of cartoons about democrats behaving badly. brian: -- what were the circumstances? one of the things that pops out on your birth certificate as you were born in sweden. fake news.s some i was born in sweden. my mother in german. my father was working for ibm at the time. we just happened to be in sweden. everyone assumes i am swedish but i am actually norwegian. a norwegiant as

citizen. my parents became american citizens when i was a young teenager. brian: went to do first come to the united states to live? ann: when i was a baby. but we went back to sweden. we have lived mostly in the united states, mostly on the east coast. brian: where did you get your schooling? do you have a college education? to do this? ann: to do editorial cartooning, you know you don't go to school for that. i actually did not start out as an editorial cartoonist. i went to college for a couple of years and i decided to go to an art school. i found a school that teaches character animation. i started out my career as a character animator. i went to california institute of the arts. i actually worked in the business for a few years and then i changed over to the imaginary him division that walt

disney company. the company part of that does the rides and all the fun things when you go to disneyland. that is how i started. i had no intention to become an editorial cartoonist but i felt, there were a couple of situations that happened, i felt i wanted to become one. brian: what were the situations? ann: i was working for the disney company and i had my television on and was doing a freelance project at night and the television was on as background noise. this was 1989 and the tiananmen square massacre happened. i remember being so -- i was so upset about it at the time that even though i had a show i had to finish i just decided to stop and just create my own editorial cartoon. i did not intend to try to get it published or anything like that. i just felt the need to do one. i knew about editorial

cartooning, but only from an art standpoint because i admired people with artistic ability. like a draftsperson. so that got my interest. that somehow made me want to read the news. i started watching c-span then in 1989 and i just became more interested in social issues. what finally propelled me to become an editorial cartoonist was in 1991, the anita hill-clarence thomas case. as a young woman who worked and had dealt with sexual harassment and had seen it or stand, you know, i was frankly appalled at all the senators both chronic and republican. you know, they'll had the attitude that they did not believe are in they did not believe sexual harassment still existed because they had passed

laws. it did.ew very well that it still existed. so i put together a portfolio in i just sent it out. i had no idea what i was doing. absolutely none. brian: who did you send it to? ann: i found a list of newspapers, a directory, and sends it to every newspaper in the country. i was living in long beach. brian: when was the first moment you knew you were going to get a chance to do that kind of work? ann: i was still working for disney. up in glendale. i quit in 1992 and moved here. just thinking -- i think a friend suggested i go to washington. so i did. i became nationally syndicated in 1995. i have never been on staff at a newspaper, i have always been freelance but syndicated.

so i started freelancing and i just gathered newspaper clients. brian: we have some video of you working at your board. where do you normally work? ann: i work in my apartment. [laughter] ann: at my kitchen counter. brian: how long have you done that? ann: the last 10 years. yeah. [laughter] brian: this is a video we have found. let's watch you doing your work. [video clip] i draw by hand. i draw on paper and scan into whatever program i am using. i need to place it correctly where he hits it on the square peg. you want the audience, the reader to understand quickly what you are doing. just using motion

because an editorial cartoon regardless if it is print, regardless if it is animated, has to have a point of view. ♪ clip] deo ann: that was my kitchen. brian: did you learn the animation at disney? ann: at california institute of the arts i learned the traditional way. flipping. this was before using computers and flash. which was what i was using there. i did print for a very long time. in 2007 i decided i wanted to animate them. and, you know, i had a general knowledge. not done it for several years but i came back. it was sort of like writing a bicycle. at that point i was doing flash. now i am doing animated gifs. it is still the same. i'm still doing it on paper.

but you can animate, obviously, on a computer which a lot of people do. -- it isfortable but possible but i'm more comfortable with the paper. brian: this is one that involves china, russia and the u.n. 10 seconds. [video clip] ann: that is not a gif. you cannot do sound with gifs. but i still approach it the same way. it is very simple. then: let's get this on table. very important fact. gifs stand for graphic imaging format. ann: i grew up with jif the peanut butter.

it "gif."unce with the g. brian: who watches one of those? ann: there's a couple of reasons i switched over to them. they are fast. you can do them on loops. it is much easier and faster for me. when i was doing movie files, you have to go into a video system. brian: what do you call those again? ann: the ones with sound are done in flash. they are movie files. brian: what was that? i am going to run it again in a second.

what was that we just saw. ann: i do not remember the year, but there was a u.n. resolution against syria that china and russia would not agree to, so i took the very old visual metaphor of see no evil, speak no evil, say no evil and i just changed it to the gunshot at the end where he is actually shooting. aside shooting one of his own people. -- assad shooting one of his own people. brian: let's watch it again. clip] ip -- video ] unshot that: how did you get gunshot in there? ann: oh i just found it online. brian: let's watch again. ann: sound affect help a lot.

brian: let's look at animation on virginia requiring ultrasounds for abortion. explain that. ann: very simple. i look at it as if the state is requiring you to have an know, it ishat you basically putting their hands on your body so that is my visual metaphor. you know, to just see a handprint on various parts of a woman body tells you she has been violated and that is my point. brian: in how long did it take you to do that? ann: when you asked that question it is a difficult is because it is not the -- wench a coupleea, you know, hours depending upon how complicated. it is always about getting the idea, you know? because you are always getting ideas. you are always sketching little ideas. i could've been thinking about that for days, i don't know. or i could've come up with it that warning.

brian: when do you get your best ideas? ann: i am a morning person. usually when i get up and have had my cup of coffee. take my dog for a walk. after a walk is usually pretty good. towards the end of the day my brain tends to mush. brian: do you draw during the day? ann: i do. most cartoonists are night people but i am the other way around. brian: information about mass shootings. the nra responsibility. what bright to do this one? do you remember? ann: which one is is his? i did a lot on me nra. brian: let me ask you why then, why so much on the nra? ann: it is one of the issues i am interested in. i think the nra is crazy. i'm not against someone's right to own a gun but it should be regulated. i think they are dangerous, you know?

the nra crazy? ann: there is no leeway for them. they see any kind of regulation as taking away the right to own a gun. although i think they are all about money. i think it is all about money. then issues have always been something for me. one of the issues i have done a lot of cartoons on. brian: what about the millions of people who pay money to the nra to represent them? what do you think they are about? ann: i know a lot of people who are nra members. so some of them do not have a problem with regulation. i think some of them are rethinking their membership. you will see with most issues, we go after people of a lot of power in institutions.

the nra has a lot of power. i am not talking people who i don't think should own a gun, i'm talking about the nra and the policies they have. as you will see with any other issue that i address, you do not attack individual people. brian: let's watch the one we have of the nra. [video clip] [gunshots] brian: let's start that again. i don't know of the mike went. ann: this is right after the sandy hook massacre. of course the thing that happened first was we could not get any legislation passed. they all went in and started lobbying. you did not see many representatives talking about it. it went nowhere.

you have a group of children being massacred and you cannot even start having a conversation about it. ownerswhat to expect gun to do? what kind of regulation would you want? how often have you tried to bring that about with your cartoons? ann: in my cartoons i do not try specifically to push things. i mean, i just tried to show people perhaps i'll absurd it did -- it is that you are not even considering it. obviously, i was born overseas. my parents were european. you know, the gun laws are a lot different overseas. out bye numbers bear it how many murders we have your bike runs. and not just murders, self-inflicted as well. so for me i just want to bring up the question in my work. i am not here to give you solutions but i do want to bring up the question.

brian: the next one is perpetual war on terror. -- are looking ann: i've done so many cartoons, i can't even remember what i did yesterday. brian: by the way, people watching will say if they like what they are here come i want to see her work. where do they go? ann: they go to the washington post online. only online. i've been with the post now since 2008. i am basically online. occasionally they will print one but it is usually online. ram: what do they expect from you? certain amount i have to do a week. we have an agreement. i have editors to review what i am going to do before it is posted. i pretty much they let me comment on what i want to comment on. brian: how many of those are the moving kind, the flash kind or the gifts?

ann: this is the beauty of where i am now. i started out just during animation because that is what we negotiate. they wanted a certain matter week. they really liked it. we did a trial. i did a couple years and then said, with how things are changing so quickly you know what i would really like to do is have a blog because then i had the option of doing either gif, i can still do a still trying. i can do the live sketches. i have even written a couple things. it gives me the flexibility to do whatever medium fits the different idea. brian: so over the years, what are the couple that of gotten the biggest response from the audience and what kind of response do get on the internet? ann: the biggest response i received was when i did about, birkini issue?

it was in france. i completely covered swimsuits for about muslim women and in france they have laws against covering yourself in certain areas so it was ridiculous. there were some awful photos of a woman on the beach you at covered herself and the police were making her address basically. so i did -- making her undress basically. one western, one in a muslim cost and with a woman in the middle and one is pulling up the burqa and the other one was putting it back on and when the worker was being put off using the keeney and the woman was just standing there having no say in it. this was on social media. i think it received over one million views on the washington post facebook page.

what i loved about it is i received positive reviews from both women who chose to cover themselves and those who did not. because all they were seeing in the cartoon was, we will make our own decision what we want to wear. which was exactly the point i was trying to make. we had so much conversation with this but it did not seem women had a big role in it. brian: let's watch this one on terror. [begin video clip] [treadmill noise] ann: ok. so, i was in washington during 9/11. i saw it first. i mean, i lived in the city so i experienced it.

i think every single time we have a terror issue or a possible one, it seems like there is always an overreaction .nlike other countries i think specifically of when i went to a cartoon festival in israel, which is, they always have threats of terrorism there but people do not live their lives according to it. i mean, you gone to a restaurant, you are very well aware of security but people laugh and they have a good time. in this country i see people being paralyzed right and i do think the politicians have a lot, you know, a lot of responsibility about that because of how they talk about it. so that was the point i was trying to make in that cartoon. and you know, we give up things. thinking we can gain security and i do not think that is true.

brian: how longer these usually? -- the are no more than brian that was 18 seconds. ann: 15 seconds. that is out works. brian: i ask you how long you can to do that but how long would it 18-second one take which mark would that be have a date? ann: yes. the animations take longer because you are doing the same thing you do in print, research, ideas, drums, but animation you have to do separate drawings. and figuredng out out. when you are using the sound effects ship together those, late the tracks. when i was doing only animation, that was taking a very long day. i would say 14 hours probably end.beginning to brian called the next when i have to say is something i did not see until we had asked you to come talk to us about what you do. and you will see why i am smiling about this. but let's watch this one.

] ideo clip >> you worry there's too much money and politics. >> you know, i really don't. i forget what the figures are but i think we spend less on our presidential campaigns each year. when there is a presidential election and -- then the country spends on cosmetics. [laughter] asked what about, people are worried that the corporations now can buy -- >> i think if you believe that you want to go back to monarchy. effects] ann: do you like a white through you? a weird experience to you. i remember justice scalia sitting here saying that and you dropped an apple and orange on his head. why?

ann: because i thought he was comparing apples and oranges. there is a much going on there and i enjoyed it all stop the whole thing about him talking about that issue when and then the fact that he is completely against cameras in the courtroom, he was completely against it and here he is on camera. and i said well, you know, this is a great opportunity for cartoons. brian: how often do you see that in american politics? people are hypocritical? a lot. that is what editorial cartoonists look for i suppose. brian: what is a daylight? when do you start watching, reading, where do you go for your material? ann: might day starts early because i am an early person. i get up, turn the radio on. the interneteck

which is great. i checked the overseas news first. i go to the bbc, the guardian and see what they are talking about because they have been up for six hours. then i got to the washington post and others. as a freelancer, it has really getged for me because i can research, i can read anything online. when you have your newspaper at the front door and that is basically what you are reading. anymore.et a newspaper i get everything online. so you know, i will look at a few things. i am a big twitter person. i will look at that. then it will just start doing tiny little sketches in my sketchbook. i will jot down things that catch my eye and then, you know, if i probably a little bit before lunch i will decide on something in it. it depends. i could be taking about something the night before and go, you know exactly what i want to do the morning and i get up and do it.

it will be ready to be posted by 10:00. brian: take that last sketch with justice scalia, how many poses do you do? ann: that was a long one. that was more involved. brian: 40 seconds. ann: really? i was probably eight record. laughter] ann: that probably to be 14 hours, i bet. i had to do your mouth, his mouth, there was a lot of drawings in that. probably over 20. yeah. it took me a while. but it was a good piece. i mean, the audio was a good piece. [laughter] brian: interesting. you are the president of the editorial cartoonist association. ann: be a aec, yes. brian: how did you become president? ann: i lost.

no, we are a small organization. without trying to say fine and this was my gear juicer. it is like herding cats. brian: how many are in the association? ann: i think there are 154 regular members. 200 and something includes retired, overseas students, we are small. it has changed, too, and we used up about 200 members that work full-time on paper, now it is about 55. you know, we're basically all freelancers now. every president has something they want to pursue that year and then of course news gets any way. i thought i would be resident when we would have a woman president and that opens up other issues and stead. instead we have president trump and i have been going around trying to find out what to do if one of my members gets sued or worse. so that is pretty much what i've been doing all year.

of a convention that takes a lot of time to plan. live on coming up in november. brian: what would you expect some of your members to be sued? this administration obviously does not understand what a free press does. i'm concerned my members, especially because they are cartoonists, we deal in images, they create a lot of controversy sometimes and we have always had members they get some kind of legal action against them. it doesn't necessarily go to court but someone will threaten them with legal action because of an image that used, copyright issues. i am just concerned now with this administration, with this heidence obvious -- obviously does not understand what the first amendment is all about. at one point something is going to get it.

so that is what i have been doing. word: i will use your "jif" instead of "gif." here is senator mcconnell on health care. you can talk about it as we look at on the screen. what am i looking at? ann: i love this. i guess this was before trump became resident. one of the many times they were trying to you know, get rid of obamacare. and, you know, i am just saying that they are pulling the rug out from under everybody that has now health care coverage. but i could use that again now. i hear they're going to try get again. [laughter] is a gif like this available on an archive on "the washington post"?

ann: i think if you did a search online it would be somewhere. brian: this is a gif depicting dylan roof. he killed nine african-american central stunt, south carolina. ann: i know which one is his. i think this is one where animation works so well for an editorial cartoon. one of when it to say is, he is not any different. when he did was not any different than what basis does. so, i just had him flip over and turn in to him. i mean, you could do it as a still but i think the motion and to it. gif about the a republican platform on women's issues. isom this was during the campaign. ann: yes, it was. that was early on when i believe announced.ust

they were worried that he was going to be bad for them in terms of women voters and i thought, really? you are worried now? considering how far back they have had an anti-woman platform with reproductive rights, equal pay? brian: speaking of president gift, has he not been a for cartoonists? ann: yeah, i get that a lot. eight left. let's put it this way, we do not have to look for anything to do but now it is an issue of trying to decide what you want to comment on. know, we are like anyone else. this is our country. we are worried about where does going. tom not looking for anything comment on. this summer has been amazing.

summer is usually a time when cartoonists are looking for things to do because congress is out of session. people are on vacation. you are doing cartoons about reading list on the beach. not this summer. there has been no let up at all. brian: do you have any sense of which cartoonists in history have had the biggest impact? editorial cartoonists. ann: depending on the time in history. herb locke.ously, be he was around so long and did so many wonderful pieces. mauldin. i think he was at the st. louis paper. he did some very hard-hitting cartoons about civil rights. they did not want him to do that because he came fresh out of world war ii with john willie, district. he did not want to do that.

he wanted to comment on civil rights. he did some very hard-hitting things. elephant has done some wonderful works. -- oliphante has done some very hard-hitting things. wonderful work. the sexual abuse scandal in the catholic church, very hard-hitting. he got a lot of pushback on those and never let up. when do you have the most impact? what is going on in the country? right now, for us, especially cartoonists, there is the whole issue about what this presidency is doing to the constitution and what that means, and how he views free press. i mean, we deal -- cartoonistss with overseas that are having issues. and as you know, in turkey, that president does not have much of a sense of humor either end he likes to jail people in criticizing, including a

cartoonist who is right now on trial. i never thought this country would ever have a resident that seems to think along those same lines. you know, that the presses not there to question him. the presses there to give them validation. i would've never drift that. -- i would never have dreamt -- i would never have dreamt that. brian: here is a gif about governor scott walker from wisconsin. what are we seeing? ann: scott walker considers building a wall along the canadian border. that is a bunch of americans jumping over the wall. americans looking for universal health care, since we do not have it. and the canadians do. i thought this is a good image to do. brian: did any of the canadian papers or websites run this? ann: i don't know.

brian: do you have any sense of how many of your cartoons are used every day when you do them? ann: i don't know. with social media, you do not know how many cartoons are run every day. with social media, i do not know. brian: what is your sense about the static cartoon in the paper versus the motion once that you do now? you are one of the first to do them. from an impact statement standpoint. ann: i think static cartoons and be very powerful. i mean, i have done the most of my career. the animation, like i said, i think certain ideas work better with animation. now with the internet, we can do that. we could not do that in the newspaper before. it is another avenue. it is also a way -- we also want to attract younger members. they are used to being online. they are used to using different mediums.

so i think it is another way to show them they can also be an editorial cartoonist but not in the traditional sense. . just landed exciting it is another way to express an idea. brian: you said 55 active members now doing editorial cartoons for newspapers. step.n yes. brian: how many of the editorial cartoonists are conservative? ann: we have some. we do not have a a lot. brian: i know ramirez has been here. he did the show. indianapolishe paper. one with the georgia paper. we do not have a lot but we do have some. i'm: why do think that is the case? ann: i've been asked that many times. i think honestly it is because cartoonists by their nature are irreverent. and, that does not really fit in with the conservative persona.

you know, we tend to push. we tend to create friction. it is just -- i think that is merely the reason but i do not know. i do not know. brian: here is one last gif. a saudi official heading up the u.n. human rights council. in:-- -- ann: oh. assume that is a head. ann: it is a head. it is rolling. i think the rolling shocks people. it is commenting on the ridiculousness of having a country like saudi arabia on a human rights council. i have done another on that issue. brian: what do you think of the

united states paying 22% of the u.n. bill and getting something like this on it? ben: what do i think? i think the united nations is important. i do not have a problem with that. i am not criticizing that. i am criticizing what the u.n. is doing. the u.n. is political, just like anything else. so -- bren: what would they have somebody from saudi arabia on the human rights council? ann: you should be asking someone from the u.n. that, not a cartoonist. [laughter] brian: here is a television news report that involves you. ann: oh! brian: december 24, 2014. here is a news report that involves you.

>> donald trump is angry over a political cartoon featuring his daughters. >> the washington post ran this cartoon depicting cruises to two daughters as monkeys. >> the grinch who lost her a -- emails. i will use my own cameras, no one will be the wiser. brian: how much trouble did you get in for that? ann: a lot. i had four days of continuous emails, tweets, people getting messages to me. probably the nicest word they used. "cunt" was another one.

one guy wanted to hit me in the head with a baseball bat. another guy said i should be raped to death. it started an avalanche. i have to say, thank you for showing the part of the video where his daughter read from the script. that was an issue. we are very used to getting criticized. they tell us we are stupid, and idiot. we get that through letters, emails. but this was interesting because social media definitely was the reason why this took off the way it did. i do not work in the office, i work at home. that probably also contributed to it. it happened very fast. i remember when i set the cartoon in for the editor to upload. because they publish it. and, as soon as it was published, i watched my twitter feed. it was rolling like a slot machine. it was rolling, i you know. emailed him and i said, you better look at this because something is happening. i came to find out that what had

happened was supporters of the ted cruz campaign got a hold of it and they ran with it. and, immediately, the post pulled it down which and social media does not matter because it is already out there. somebody has done a screen grab. and, i talked to my editor about it and my editor is fred hiatt at the what you he has a policy of not doing anything about children. -- editorialnists cartoonists do, as well. we do not go after children. they do not have any say in who wear they are. but this one grabbed my attention because i was working on something else. video youthe parity showed up ted cruz reading to his children christmas stories that had been doctored as criticisms against hillary clinton and i thought, i was

just listening to it halfway and all of a sudden i heard his daughter read halfway and i thought that's different. he actually has his daughter reading from a political script. i thought, i can comment on that. my cartoon was not attacking the children. my curtain was attacking senator cruz for using his children. the visual image i chose to use was an organ grinder which is a pretty old one. not many people know what an organ grinder as i've come to find out that when it got online and the social media train took off, that is when everything started happening. so, anyway, like i said, it was four days of continuous abuse. it took me two days to go through everything because i was looking for threats because i had to obviously tell the post about. very unique situation. i see it happening now.

we just had something with a worker from politico. the same thing. he did a cartoon criticizing doing a cartoon on the flood in houston and he was criticizing the conservatives saying we do not need government and our lives but of course somebody online took it and i think it was someone from buzzfeed, a journalist no less, talking about that he was criticizing all of the survivors of the hurricane. that is not what he was saying at all. if you get someone in social narrative,ng forth a it is hard to stop it when reposting,t re-tweeting. that is one of the things editorial cartoonists have to deal with now that they did not have to deal with before. social media. brian: fair game? cartoonists? for game now that you get kickback all the time. people of and sitting out there for years watching the cartoon's.

they go after you. ann: you know what? i am a free speech absolutist. you can comment any name in the book you want but once you start threatening me that is different. that is not free speech. brian: the back to the language that you got when people came after you on the internet. what is that tell you? i am a woman, obviously this is something completely different. i mean, my mail colleagues do not get that. i'm not the only woman online u.s. pursue that. .e have had gamer gate where people in gaming online get abuse. we had this to women's sports journalists who did a video called "more than me." it is a i-openinge and -- video. they have the two women sit across from men. just someone from the set to read the emails these women have gotten and they are exactly like

the ones i got. misogynistic, violent, sexually violent. that is something completely different than what i received before social media came into play. brian: you mentioned before in our chat that you were sexually harassed years ago when you're in california. can you give us any of the details on that and what impact that had on you? ann: was a long time ago as i do not want to go into detail but in terms of, you know, sexually harassment has lots of different forms and gender discrimination and work. i was very young in my career and, you know, was sexually harassed and i almost did not get a job because of this person. thankfully i did get the job but you know, you see it being a young woman in business. it is hard to speak out against it. that is something i have always found is interesting speak in with people especially when i was younger. everybody is always confused about why i need to fill --

anita hill did not come forward. want to do is you be known as a troublemaker. if they knew i was a problem already, why would not be getting a job. of course it is different now. i am a nice old woman now. i will stand up to anyone who says anything because i have a career. i have the chops now. brian: do you have a family? ann: my mother is still alive, and i have a dog. a very big dog. brian: no children? ann: note children. -- ann: no children. brian: let's look at your still cartoons. you can make some comments. we will start with this one i'm sure you have seen before. ann: this one was in reaction to the charlottesville protests and violence. brian: in the center, it says many sides.

ken: that is what president trump said. brian: next up -- ann: i used the metaphor here no evil, see no evil, speak no evil. senator mcconnell, speaker ryan. i have done plenty of work on those two. because i think they are just -- the fact that they do not seem to acknowledge what our president does is amazing to me. brian: here is one about the antiabortion vote. ann: yes. this is vice president pence. and, i don't remember who did the interview, but he was interviewed and he said something like he never goes to any washington dinners without -- wife just because brian: he doesn't go out to dinner without a sweat. ann: he doesn't go anywhere. he is not at his dinner with any of the woman of his wife is not with them and i thought, ok. this is a gift.

i thought, really? you do not have any problem voting about a woman's personal reproductive choices which is probably the most personal, intimate thing a woman can deal with. it you will not go to dinner with a woman fully cloven is at -- -- fully close the it fully dressed as at the same table? i have done this subject many times criticizing the media. as in his we start having any kind of military action or war or even especially the iraq war, all of a sudden it is ratings. show, television, they make it seem almost romantic. and it is war. violence. killing. the fbi.re's one on ann: james comey is a matter of fact. during the presidential campaign when he gave that press

conference about hillary clinton investigation and immediately i thought, well. that was so wrong. brian: at the bottom it says if you have any information concerning this person, call one 800 fbi. when you draw a person, do you want them to look -- i mean, what is your attitude about how closely they have to look like themselves? ann: net was a good point you make, that comey, that was my first attempt at him. i probably should have labeled him. i don't know if everybody knew that was the fbi director. that was my first james comey. brian: here is hillary clinton. ann: this was sketching during debates. this was a quote she gave when they questioned her about the money she was making for speeches. brian: how much impact do you think that made on her not winning, that she was making money on speeches? ann: yes, i think it had an impact. it appeared that she was elitist.

i think it is a little hypocritical, because a lot of politicians take money for speeches. brian: who is the next person in this cartoon, we will see it in one second? ann: that is newt gingrich and callista when she was named as vatican.sador to the if you will notice, that is the vatican colors right there. brian: he is holding -- jester's rattle. ambassador to the vatican.

this one was a response to the football player, the one who knelt during the anthem. everyone is criticizing him. and i thought, the thinker. brian: what was your personal reaction? this one is complicated, we start on the left. the justice says, i am not going to answer, you answer. this is the supreme court justice sotomayor. i'm not going to answer, and. read you are the chief justice. then elena kagan says, somebody needs to answered. they go on and then there is just as goalie update for right a camera.bet it is ann: they just recently enacted it where they put all the cases online. a year ago andit this is obviously prior to justice scalia of passing away but i just thought this was so funny. not the fact they will allow cameras.

i love joined the supreme court. brian: in your opinion, what is the reason why they will not allow cameras in the courtroom? ann: i don't know. i think it is ridiculous. i mean, they claim it is because they do not want it to become a circus-type atmosphere. you know, i can kind of understand the reasoning for that but you know, we have cameras in congress. you know, we get to watch that. of course there is playing to the cameras. but i find it very ever critical when every single justice will go on camera to sell a book. so i do not understand what the difference is. i think i must should be in the courtroom. it is not easy to get in there to watch. when there is an important case there is always a big long line outside. i would love to get in there and draw. brian: right now the library of congress they have a big exhibit

with cartoonist. the sketch artists. like howard brody and many, many others. as a matter fact i looked at it the other day and most of them are women that actually sketch. it you can get in there? ann: i guess if i stood in line i could try but it is hard to in a present past to get there. brian: of somebody was watching and says, would love to do it she is done, and you go back to how you started, when you started what do you put your finger on as how you got to be successful? what did you do? ann: i tell anyone who says they want to become an editorial cartoonist that you have to have a passion for this. you have to want to get up every single morning and read a bunch of news and you have to be interested in it. not everyone is. there are a lot of greater tunas -- cartoonist's up there who do not do editorial work. you have to go because it is

relentless. you are doing it everyday. that is the main thing. you have to have a passion for it. you have to have an interest in. even when you go on occasion you have to be interested in it. prime but there must've been something that happened. ann: as i tell anyone starting out, it is a combination of working really hard. you have to practice what you do. so when that opportunity comes up, when outlook comes to you, you are ready for it. i just worked. i just loved it. i mean, i was still working for disney at the time and i was getting up at 3:00 in the myning and working on editorial cartoons. yanukovych mike dardis when i was in enough i can actually do that. [laughter] brian: let's go back to some more urgent. i believe this is president obama. ann: you found an old one.

is it supposed to move? i think you have a screenshot. brian: you have money behind him. on the left, a piggy bank. ann: that is a screenshot from animation. i do not remember. he was talking about money and politics. brian: let's go to the next one. would you like to explain it? ann: i am trying to remember -- i don't know is specifically which gone incident this was about by in this country we do not seem to have a problem with violence. you know, we see it all the time on television. movies. everywhere. but anything about sex, that is censored. brian: the next one does i'm sure trigger a memory. hebdo remember this.

that morning i had the news on. that was six hours or eight hours behind france. i heard it. and i remember i was kind of walking round, did i hear correctly? five cartoonists were killed? we are a very small group even internationally. we know a lot of each other. reading,rse i was listening to the television, contacting colleagues, finding out what had happened. ben finally when i realized the enormity of it, i had seen one ofthe photographs of the cartoonists, the editor. there is a famous photograph of him standing in defiance after their offices were bombed for printing the mohammed cartoons. and, he is holding -- i think he is just doing a list. he is a sure like that on.

you know, when tragedy like that strikes, any kind of tragedy, as a cartoonist it is hard to do cartoons right away 20 find out exactly what happened. you're kind of doing an emotional cartoon. that is what that was about. brian: with a couple more to do. this one is from 2014. ann: yes. it was the whole "i can't toathe" -- you are asking me remember all of these things. brian: the fellow killed up in new york who said "i can't breathe." thought a lot -- ann: i thought, a lot of americans cannot see what he is going through. brian: we have a couple more. here are cardinals. on the left, he says, oh no one altar boy. on the right, there is another one. they are drinking wine and

toasting. your comment about this language were did you get any feedback? ann: that was a wild back before social media it would probably be worse today. it was the sexual abuse cases in the church. i did so many cartoons about that. that one i just thought, drinking wine, standing around, talking about what your limited is drinking. that is when you use one thing, you tweak it a little bit. and you say, just one altar boy is my limit. brian: what is the future of cartooning? ann: i do not know. but i think it is good. with the internet, we have a lot of opportunities. i think we're in the very beginning stages. it is hard to make money like anyone else online. but in terms of the medium, we have 70 different ways of art expressing ourselves now. i think it is important. i am hoping more young people

will get interested in it. brian: as we told you earlier, and was born in stockholm, sweden, she is an american citizen. she lives in weshing 10, and ec she works in her kitchen. are you distributed through the post or others? ann: i'm not indicated now. i gave up my print syndication. i am exclusive to the post right now. brian: thank you. ann: thank you. ♪ [captioning performed by the national captioning institute, which is responsible for its caption content and accuracy. visit ncicap.org] announcer: to give us your comments about this program, visit us at q&a.org. our programs are also available as c-span podcast. ♪

>> if you enjoyed this week's q&a interview here are some other programs you might like. molly crabapple law on her joins of the israeli-palestinian conflict. editorial cartoonist michael ramirez talking about his career and his book "give me liberty or give me a obamacare." and our interview with justice in town and scully on his book "reading law." you can watch these any or search our entire video library at c-span.org. announcer: season is washington journal, live every day with news and policy issues that impact you.

up monday morning, the weekend in washington with washington post congressional reporter in clinical reporter annie karni. lending the children's health .nsurance program he sure to watch c-span's washington journal. live monday morning at 8:00 a.m.. joining discussion. , the senate finance committee holds a hearing on the latest republican health care plan to repeal the affordable care act. lead sponsors senators lindsey graham and bill cassidy are testify. to live coverage starts at 2:00 p.m. eastern on c-span two. ♪

announcer: now, former managersial campaign join us for our cyber security project they hope can serve as to first response system foreign governments interfering in election. this discussion is one hour and 25 minutes.