Comics Workbook

An online magazine for comics makers

Posted in los Cómics, NewsTagged Andrea Galazina, Brian Sanchez, Catherine Meurisse, Elisa McCausland, Feria Rara, Irene Costa Mendia, Jazmin Varela, Kate Evans, Nacha Vollenweider, vanesa r. del rey

Juan Fernández

Posted on August 23, 2017August 29, 2017

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03/08/2018

Sally IngrahamMarch 7, 2018NewsSally here with Regine L. Sawyer, the “Black Pulp” exhibition, new work from Derick Jones, and more! ————————————————————————————————— Here’s a good article about the recent BAM Black Comix Expo, which features mini-interviews with a number of creators, among them Regine L. Sawyer (pictured above). She got into comics through X-Men. “It’s a series that had so many women—and particularly women of color—with characters like Storm or Psylocke or Jubilee. Storm just jumped out to me because she was so regal and strong and beautiful. She will forever be my favorite character because of those aspects of how she carried herself. I knew, This is for me. I have to create comics. I created my first series, The Rippers, when I was about 17 years old. I created it because there were books that I was seeing where I really didn’t like how women were portrayed. So I created a character named Rhiannon O’Cair who’s an intergalactic bounty hunter that’s accused of a crime she doesn’t remember committing. Do you feel like your identity, gender, or ethnicity made it difficult to break into the comics community? As a woman of color, starting out I wasn’t really considering who I was in that sense. I just felt that I was a writer—I had written comics and prose my whole life—and I just felt like I had something to give. So when I came into the community, and it became a “thing” that I was a woman and that I was black—it’s not that I wasn’t prepared for it, but I just felt like, “Oh man, are you serious?” I just really wanted people to read my books and not worry about what I looked like. When I realized that that was an issue a few years later, that’s when I founded Women in Comics and said, “OK, well if you’re going to look at me, you’re going to listen to me, too.” I had a lot to say about who I am and what is important to me. It’s so important that us as women of color have a say about how we’re portrayed in the media. So, now you can’t shut me up. Advertisement Do you feel excited about being in a fair that’s celebrating black creators? I feel very fortunate to be a part of this movement. I’ve been going to shows and doing this for about 12 years, so I’m just very happy to see so many people that are here at this particular show who are out supporting not only us, but getting excited for Black Panther. To see this turn out is really really amazing, and again, I’m so happy to be a part of the movement.“ Read the rest of the article HERE. ————————————————————————————————— There is an essay about the exhibition “Black Pulp” at the African American Museum in Philadelphia (through April 29the 2018) on Whyy. The exhibition showcases various forms of mass media, but there are a lot of comics involved, which is timely, considering the incredible success of Marvel’s The Black Panther film. One of the curators, Mark Gibson, remarked on what is interesting about that story in the context of more historic representation in comics and “pulp”. “It was significant for Gibson to see people like himself represented in comic books. “I’m 38, and thinking about what comics meant to me, I would analyze the black characters to see if they are believable,” he said. “That wasn’t the same as with white characters.” Gibson was impressed with the identity of the character. “He’s a black king from a country that has never been conquered by colonialism.” Previously, comics with black main characters or by African-American artists were often restricted to a Negro audience. “Torchy in Heartbeats” is a serial about the romantic and work life of a beautiful young Negro woman in the 50s. “All-Negro Comics” (1948) was an anthology comic book that included “Dew Dillies,” about baby Negro angels. In 1965, Dell published “Lobo,” a collector’s book about a black cowboy fugitive.” Read more about the “Black Pulp” exhibition HERE. ————————————————————————————————— New work by Derick Jones above – you can keep up with what he’s been drawing and thinking lately HERE. ————————————————————————————————— Vice offers a look at Jackie Ormes – read it HERE. And then read Nancy Goldstein’s Jackie Ormes: The First African-American Woman Cartoonist, which the article draws from, for the full story. HERE is a review of Incognegro: Renaissance #2 by Mat Johnson – look for this new series on the shelf at your comic book shops. The Knox News has an article about Oliver (“Ollie”) Wendel Harrington, one of the first black political cartoonists – HERE. Samir Barrett drew the character Static every single day in February – see the drawings HERE. Read about his project HERE. Ramon Esono Ebale, a cartoonist from Equatorial Guinea who was jailed 5 months ago while visiting his home country to renew his passport, has had all charges against him dropped – but he’s still in jail. Whit Taylor writes and Chris Kindred draws this comic for The Nib about how the Tuskegee Experiment made African-Americans distrust the medical system – HERE. ————————————————————————————————— Vision Box – 3-8-2018 – by Cameron Arthur ————————————————————————————————— Joanie and Jordie – 3-8-2018 – by Caleb Orecchio Share this page: [...]

05/03/2018

Comics WorkbookMay 3, 2018NewsSam Ombiri on Daniel Clowes’ Eightball No. 20: The Further Adventures of David Boring! —————————————————————————————————————————— Sam Ombiri here: More often than not, I sense some dishonesty when people talk about their work – as opposed to when their work does the talking. When I say “people’s work doing the talking” I’m not commenting on the overall quality, necessarily, but on how much the creator believes in the power of the form with which they are engaging. If they have to talk so much about what they’ve done with their work, do we really need the work at that point? Is it anything less than a prop for a prepared monologue? I couldn’t get a specific statement out of issue #20 of Eightball: The Further Adventures of David Boring – and this was for the better. It was all about characters being pushed in certain directions, and through engaging fully with the characters the story really goes places. The comic doesn’t need to convince me of the reality the story is taking place in – the story is so engrossing and captivating. There are turns that seemingly come out of nowhere, but fit in. Are these characters really just “characters”? They seem like humans to me. I’m going to risk navel gazing for a moment and I hope I won’t come off as Νάρκισσος falling in love with his own reflection, talking about what I’m about to talk about…but when confronted by a name like Dan Clowes, these days I’m skeptical of my reaction to it, because my reaction might be based on a large number of other people’s reaction to it. I feel like I run the risk of attempting to replicate variations of that collective reaction towards his wonderful work. I guess in some ways that can show that I’m not really one to think for myself, but I read comics to feel first and think later, and I personally think it’s good to gauge my reaction. I question whether my reaction is sincere, however, under these circumstances. I could just be having a sincere attempt without lucidity, which is the last thing I want to have! Luckily, this didn’t happen when I read David Boring. All that happened was I was hit by the story with an unforgiving gravity. David Boring didn’t seem to be pandering to a sensibility – it felt like it was doing its own thing, which happened to catch on. There’s a whole thing of, “No, duh,” with me saying this, but I was really struck with it. This issue of Eightball, like all issues of Eightball, feels like it exists in spite of a trend – and not at the service of a trend. The first time I read something by Clowes, I think I was 13-ish or 14. I could feel a bowling ball form in my gut and sink – there was so much gravity in the work, and I wondered, “Who is this, who has so much contempt for his characters?” Whenever I read Clowes work now, I really feel there’s something special about how we’re following the characters that we follow. When I opened the comic it’s so sudden, and for some reason or another I was really taken with that. At a certain point in the story I’m told, “You’ve placed yourself above another individual based on your own morality or whatever, so that it is only you who decide who should be dehumanized while pretending it’s at the service of humanity.” Manfred, possibly the most despicable character, is accused, but the accusation that’s made of him isn’t dehumanizing – still his actions seem foreign and distant, but not unhuman. The story between David and Pamela; the story between Manfred and Iris; the story of David and his father, told through David reading a comic that his father drew, David trying to savor every panel, not reading more than a panel a night, not knowing what he’s looking for – we’re suddenly presented with all these things that are equally compelling. I was suddenly presented with the issue, and then just as suddenly I am so involved in these people’s lives. This was the realization for me – that when Clowes is remembered and canonized the way he is, it isn’t done as a favor to him. It’s done as a favor to his readers. Clowes’ work cares about your understanding of what it is and what’s going on, even if what’s going on is supposed be a form of estrangement. From panel to panel, there’s plenty to read into. Clowes is putting things on display that are very straightforward. It doesn’t feel like dishonest work – even when it’s optimistic or pessimistic about humanity and the way that it can be. – Sam Ombiri Share this page: [...]

04/03/2018

Aaron CockleApril 2, 2018NewsAaron here today with Keren Katz; Mounira Al Solh; Yvan Alagbé; DRT; SOIMOCCA; Generative Adversarial Networks ————————————————————————————————— Keren Katz on The Academic Hour The 213th meeting of the NY Comics & Picture-story Symposium will be held on Tuesday, April 3, 2018 at 7pm at Parsons School of Design, Kellen Auditorium (Room N101, off the lobby), Sheila C. Johnson Design Center. 66 Fifth Avenue. Free and open to the public. Keren will talk about the process of using dance, performance, props and costumes to generate the events that have inspired this book as well as her upcoming projects. She will demonstrate the techniques and references used to compose her pages and will also display a collection of contemporary Israeli Graphic Novels for viewing. Keren Katz is a Tel Aviv based illustrator, comics artist and the non fictitious half of The Katz Sisters Duo. She graduated Bezalel Academy in Jerusalem, and received an MFA from The School of Visual Arts in NYC. She has contributed stories to anthologies published by Retrofit/Big Planet Comics, Locust Moon Comics, Smoke Signal, The Brooklyn Rail, Ink Brick Rough House Comics and more, as well as self publishing mini-comics all year round. She practices performative, interactive and collaborative storytelling marathons in odd locations, and is part of The Humdrum Comics Collective and Pathos Mathos Company. Her Ignatz nominated debut graphic novel is titled The Academic Hour (Secret Acres, 2017). https://www.instagram.com/thekatzsisters/ ————————————————————————————————— Mounira Al Solh: I strongly believe in our right to be frivolous At Art Institute Chicago through April 29, 2018. While the drawings map geographies of departure, arrival, and nonarrival through storytelling, the embroideries serve as testaments to more collective histories. Weaving together the accounts that connect and divide families, friends, and other relations across the spaces and temporalities of migration, these portraits made on fabric culminate in the Sperveri, a so-called bed-tent that memorializes recent events in the Middle East and Europe within a larger history of Islamic culture. ————————————————————————————————— Shea Hennum at AV Club on Yvan Alagbé’s Yellow Negroes And Other Imaginary Creatures: The story is told elliptically, with Alagbé shifting perspective, setting, and time period without warning or explicit notation. Dialogue and exposition are collapsed into one rhetorical space, and all the text is set off from the images. The effect is a distancing, and the eye is able to focus on and fall in love with Alagbé’s images, rich black smears of ink converging and diverging from one another in passionate plays of sex, sorrow, and salvation. But while there are no white figures in the story, there are allusions to white characters, demonstrating the inescapable gravitational well that is whiteness. “Dyaa” serves as the most aesthetically pure distillation of Alagbé’s ethos, because he makes literal what was merely figurative in “Yellow Negroes”: the idea that blackness is constituted by whiteness and vice versa—infinitely complicating the questions he introduced in that first vignette, “Love.” ————————————————————————————————— Was it your intent for this book to have an air of mystery around it? RJ Casey Interviews D.R.T. The terms dodecahedrons and oblongs are used prominently in this comic and your backgrounds, even your endpapers, feature three-dimensional shapes. What is your interest in geometry? I find geometric shapes aesthetically pleasing. Also, the mathematical meaning that is inherent to geometry is equally as pleasing to me. Math is responsible for the way our universe works, from quantum mechanics to something as simple as 2+2=4. It is a universal truth that if you have two things, and add them to two other things, you will have four things. Why is that so? And why does math work so well in our universe? In the universe that Qoberious takes place in, math has the same roll and these geometric shapes symbolize that. Every time I write a scene with the Keepers, I spend days researching different mathematical concepts and when I’m all done, I think this isn’t funny, and why am I trying to prove? I end up cutting it out. ————————————————————————————————— Society of Illustrators Museum of Cartoon and Comic Art Arts Festival The MoCCA Arts Festival is a 2-day multimedia event, Manhattan’s largest independent comics, cartoon and animation festival, drawing over 7,000 attendees each year. With 400 exhibiting artists displaying their work, award-winning honorees speaking about their careers and artistic processes and other featured artists conducting workshops, lectures and film screenings, our Festival mission accelerates the advancement of the Society’s broader mission to serve as Manhattan’s singular cultural institution promoting all genres of illustration through exhibitions, programs and art education. The 2018 MoCCA Arts Festival will take place April 7-8th, 2018 at Metropolitan West in New York City with programming mere steps away at Ink48 (653 11th Ave). Here are a couple panels of note: 3:30 pm / HELVETICA ROOM The International Scene: Max de Radiguès and Anna Haifisch Every comics culture — no matter how vast only presents and perceives a fragmentary view of global comics culture, a rich field of diverse human expression that is interconnected in some ways, and disconnected in others. International festivals and publishers can be sites for global exchange, and individual artists who travel and work outside of their home countries help develop ties between comics cultures. Max de Radiguès’s graphic novel about his time at the Center for Cartoon Studies was part of the Official Selection at the Festival International de la Bande Dessinée in Angoulême in 2012, and his second English-language translation is forthcoming from Conundrum Press. He is additionally the co-publisher of the Belgian publishing house Employ du moi. Anna Haifisch is internationally known for her comics series, The Artist, and has published widely in many languages. Her book Von Spatz was recently published by Drawn and Quarterly. They will discuss their work and the international comics scene with Bill Kartalopoulos. 2:00 pm / HELVETICA ROOM Somatic Comics: Drawing the Body Comics frequently render the body — in ways both realistic and abstract — and are typically indeces of the body, made by the hands of artists who labor at desks and tablets. Kriota Willberg’s work covers all aspects of this spectrum: her new book Draw Stronger offers medically-grounded self-care instruction for cartoonists engaged in the repetitive labor of comics-making, and her larger body of work includes drawing and needlework based on anatomical and other medical imagery. She will be joined in a discussion about comics, health, and images of the body by Kate Lacour (Vivisectionary) and Lauren Weinstein (Normel Person, “Carriers”), whose work has engaged and expressed ideas about anatomy and pathology in diverse and fascinating ways. Moderated by Marsha Hurst (Columbia University, Narrative Medicine). ————————————————————————————————— “The way that it paints faces makes me uncomfortable. It always paints them as like, purple and yellow globs — that isn’t in the training set so I’m actually still not sure why it does that” AI researcher Robbie Barrat decided to see what would happen when he fed a Generative Adversarial Network (GAN) thousands of nude portraits from a dataset and then trained it to create its own bizarre artworks. Generative adversarial networks are defined as a class of artificial intelligence algorithms used in unsupervised machine learning, which uses two different neural networks, one called the “generator” and one the “discriminator.” “The generator tries to come up with paintings that fool the discriminator, and the discriminator tries to learn how to tell the difference between real paintings from the dataset and fake paintings the generator feeds it,” Barrat told me. “They both get better and better at their jobs over time, so the longer the GAN is trained, the more realistic the outputs will be.” Some additional GAN info can be found here. To understand GANs, you should know how generative algorithms work, and for that, contrasting them with discriminative algorithms is instructive. Discriminative algorithms try to classify input data; that is, given the features of a data instance, they predict a label or category to which that data belongs. ————————————————————————————————— Joanie and Jordie – 3-3-2018 – by Caleb Orecchio Share this page: [...]

10/06/2017

Sally IngrahamOctober 5, 2017NewsSally here with original artwork by some rad ladies, a bit more about CXC 2017, and other comics news. ————————————————————————————————— To pick up where I left off last week…at the Billy Ireland Cartoon Library & Museum, in Columbus, OH, or thereabouts… In the midst of the CXC excitement last Friday afternoon, I found time to poke around in the Reading Room at the BICLM, and although my eyes strayed to huge Prince Valiant originals and Noel Sickles paintings, and I was distracted by the comments of Mimi Pond and Chris Ware and Derf Backderf as they circled the room simultaneously…I was able to zero in on some fantastic pages by several of the female cartoonists I write about here all the time (see the Mary Fleener page above). I believe many of the pages that I got to enjoy were from a recent donation, part of a 113-piece collection given to the BICLM this past summer by Scott Jonas. Above is one of Aline Kominsky-Crumb‘s earliest comics. Below are pages by Dori Seda, and Lynda Barry. Here’s the lovely Mimi Pond looking at pages in the Reading Room: This is easily my favorite thing about Cartoon Crossroads Columbus – you have the chance to hang out with your peers and your heroes as you all share together the experience of looking at artwork by the cartoonists who came before us. Everyone exclaims. Everyone cries. It’s wonderful. Then too you can learn from each other and share the things of your heart/hands. I attended Leslie Stein‘s watercolor demo and appreciated getting to see her process and listen to her stories. So did Signe Wilkinson, the Pulitzer-prize winning editorial cartoonist, and afterward in her turn Signe shared her experiences in the trenches and a whole other world of cartooning. And then when my own number was called, on Saturday afternoon when our Comics Workbook-featured workshop leader Connor Willumsen was needed for a panel, I stood up and led a workshop on comics-making. Making comics in isolation still has its place, but increasingly it seems that if we want to keep this community thriving, it’s got to really embrace its punk side. Share and share alike. Growth, education, everyone lending a hand in order to keep these plates spinning. Cartoon Crossroads Columbus feels like a show that is constantly striving to embrace that spirit. For more on the show please see Caleb’s beautifully exuberant Monday morning post, HERE, and Adam Griffiths’ detailed and thoughtful notes on his own experience, HERE. ————————————————————————————————— I have to touch on Connor Willumsen’s Comics Workbook-hosted workshops at CXC, as that is where I spent much of my time on Sat./Sun. of the show. Connor had workshops almost every hour during the show those two days, and he was able to translate his thoughts on shoebox vs. “forensic” comics-making to audiences made up of all adults, as well as a lively group of kids during one workshop. Here’s a “forensic”-style comic by Zoey (which really is how most kids make comics): I will be cutting together a highlights reel of Connor’s workshop, so keep an eye out. Many thanks to Tom Spurgeon and the other CXC organizers for providing us with the space to bring this transformative take on comics-making to Columbus, OH. Back again next year for more! For the record, you can get a really unique package of Connor Willumsen books and zines right now from Comics Workbook – full details on the official “Anti-Gone Bundle” can be found HERE. ————————————————————————————————— News of Note from Elsewhere This is cool (but also annoying in its way) – Marvel canceled The Black Panther series recently, but now Paste Magazine announces that Marvel has hired the incredible Nnedi Okorafor to write a new Black Panther series (for digital publication on Marvel and ComiXoligy) – full details HERE. The Comics Journal has an interview with the unstoppable Tillie Walden – try to catch up with her, HERE. Also, this came out while I was at CXC, so if you too missed it be sure to check out the interview with Sophie Foster-Dimino conducted by Annie Mok on tcj.com. Check out Leela Corman‘s latest comic on The Nib – It Only Masquerades as Entertainment. Laurel Lynn Leake writes about Ariel Ries‘ webcomic Witchy, using the comic to comment on ideas of power and uselessness. Pretty interesting – read it HERE. Hit your translation button to read this German review of Ulli Lust‘s new book (compared favorably to work by Chester Brown and Jason Lutes, although Ulli isn’t sure she agrees with the Lutes comparison!) – HERE. ————————————————————————————————— Suzy and Cecil – 10-6-2017 – by Sally Ingraham Share this page: [...]

05/17/2018

Comics WorkbookMay 16, 2018NewsSam Ombiri on Gabrielle Bell’s “Cody”! ———————————————————————————— Sam Ombiri here: Sometimes I think about “Cody”– a story by Gabrielle Bell that appears in Kramers Ergot 8 – and about how much it does with so little. I guess I could question what does it matter that it does? After all, “doing so much with so little” can seem to be the mission of comics, if comics were to have a mission. Maybe I’m complimenting Gabrielle Bell’s success on that mission. The fact that Bell did so much with so little is not more important than what was actually done. I’m just really struck with this amazing story, and I’m trying to find ways to express how much I sensed the success of “Cody” in utilizing the comics form (not to rob the genuine intentions of comic and what it’s aiming to do). Well, that’s a lie. Truth be told, the very first time I read the comic, because it didn’t tell me how to feel and the drama wasn’t calling so much attention to itself, I kind of just skipped over all that was happening. I read through elements in the story, not really engaging with said elements. Like, for example, a friendship dissolving between Audrey’s dad and Cody, because nobody is paying any mind to it. Not even Cody, who is being so mistreated. While Audrey’s dad can be blamed for leaving Cody behind to be arrested, it isn’t for reasons that aren’t hard to guess, displayed by how Cody treats Audrey. At the same time, the way everything ended unfairly on his end, it’s easy to see why he doesn’t feel like he owes anyone anything. The way Gabrielle drew Cody being arrested conveys to me his realization that nobody truly cares about him. I wonder if Gabrielle gave him a dog to be less lonely? Anyway, Audrey’s dad is confronted with having to take responsibility for the man he used to be, not to mention the torment he has clearly been subjecting his wife to, and possibly at one point considers escaping it all, maybe with Cody?Would all this drama then be more effective if I was told what to feel? The way the comic is drawn feels so surreal, because it’s presented like nothing’s changed from the work that I’ve typically read from Gabrielle Bell. It’s hard to describe the feeling; it’s like if someone had told me that Ali: Fear Eats the Soul was directed by Douglas Sirk. It’s even crazier, because it’s Gabrielle Bell doing a comic that is so unlike her typical work – which is mostly autobiographical – but there’s no loud announcement that there’s a major shift. It’s so quietly done that it’s almost suspicious. I mean, for sure Gabrielle Bell’s regular work is not so unlike “Cody”, but the other purely fictional work I’ve read from her has been Cecil and Jordan in New York. This feels wholly unexpected for me. I mean in her autobio work she’s so good at portraying events or lack thereof in her life – it makes sense that her fiction would be this ridiculously good. The beginning is just as terrifying as the ending of the strip that comes before it in Kramers 8. I’m not talking about Leon Sadler’s thankfully comforting page, in between this unsettling horror, but the one before it in the story Kevin Huizenga had covered. There is something horrifying about Gabrielle Bell starting her story with a car crash, one whose only purpose is to remind our narrator of Cody, someone she once knew. It’s like, people have died and for no reason other than the minuscule purpose of making the main character briefly think about a guy named Cody. This isn’t a thing that I have to think long and hard about – I immediately feel it when I read the image and the words, but when I think about it some more it’s even more frightening. This is because the first panel is on the field in the past (most likely – nothing in the rest of the strip suggests otherwise) where the story takes place, so the setting is introduced already. Then a car crash “introduces” Cody, and one that’s not by any means loud – the way it’s drawn is especially ambivalent. The main character, Audrey, is looking at it, but her face is away from us. This oddly reminds me of Carlos Gonzalez’s comics. The way he draws his stories – while his stories and the way they’re drawn are incredibly grounded, whatever it may be that you’re being presented with, you’re not being told, at least by the drawings, what to be horrified with or what to find strange and what not. It’s like something Anders Nielsen said in an Inkstuds interview, that “sometimes in comics it’s best not to show things. So even a character’s expression – if a character is having an emotional response or little revelation or something, it’s almost always better to have their heads turned away from the camera. And I think of violence happening off-screen is sort of like the same thing. It’s more visceral, and it happens in the readers head instead.” It’s not a totally similar feeling that I get when I read “Cody”, but I just don’t know, I’m really troubled when I read the beginning. Just something about how the words that lead us to this incident are so casual – “Mostly I don’t think about it, but sometimes something will remind me of Cody.” It’s so casually and ambivalently spoken. I mean, on the list of horrifying images in comics this isn’t at the top of the list, and yet this is incredibly tragic and horrifying. I think it’s that such little care is given…it vaguely reminds me of the rhythm that Terrence Malick’s Badlands had – it speaks to the abrupt nature of life. Another comparison that came to mind was Chantal Akerman’s Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles. I refer to how the drama is muted and every detail is there for a reason. The drama is there if you engage with it, and there are these points in the story where it viceraly hits. “Cody”, like all the comics in Kramers 8, really knew how to hit in this specific way that’s so flabbergasting and disorienting, and at times, as shown by Bell’s “Cody”, incredibly compelling. – Sam Ombiri Get a copy of Kramers Ergot 8 HERE and check out Gabrielle Bell’s “Cody”. ———————————————————————————— Joanie and Jordie – 5-17-2018 – by Caleb Orecchio Share this page: [...]

08/23/2017

Posted on August 23, 2017August 29, 2017 by Juan Fernández

Empezamos el día con “Notas al pie” de Nacha Vollenweider; Elisa McCausland sobre la politica de Kate Evans y Catherine Meurisse; Vanesa R. Del Rey; Brian Sanchez; Andrea Galazina; Guerra de Soda de Jazmin Varela; FERIA RARA; y los tebeos de Cómics Workbook!

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Pablo Turnes escribe sobre Notas al pie de Nacha Vollenweider en Revista Kamandi.

Nacha Vollenweider nació en 1983 en Río Cuarto, Córdoba, el último año de la dictadura militar que hizo de uno de sus tíos (Ignacio Manuel “El Corcho” Cisneros, militante montonero) uno de los 30.000 detenidos-desaparecidos, marca indeleble del país. Nacha (Ignacia) comparte nombre con aquel otro presente en su ausencia, cuyo rostro – entre otros – se multiplica en la casa de la abuela, una Madre de Plaza de Mayo, la Vasca. La autora carga con esa herencia familiar, que es expuesta como introducción a Notas al pie de forma sintética y didáctica, pero por sobre todo sincera, sin sobre explicaciones ni efectismos. Es una declaración identitaria y, por lo tanto, también política.

Un salto nos traslada a Alemania – Hamburgo, más específicamente – donde Vollenweider reside desde hace algunos años junto a su pareja Carina (Chini), con quien se va a casar. El diálogo entre las dos, en lo que sería el “presente” del relato, siempre se produce arriba del tren. A partir de esos intercambios surgen recuerdos, reflexiones, vidas que se cruzan, se acercan y se alejan – y se extinguen – como las vías férreas. A la idea del movimiento y el traslado se le une la de lo rizomático: todo gira mientras va haciendo su propio camino en múltiples direcciones a la vez.

Léanlo todo AQUI.

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Judaísmo

+ Robots Gigantes

+ Angustias adolescentes

= El robot gigante del rabino – Una nueva historieta de Brian Janchez

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Andrea Galaxina necesita tus fanzines:

¡Hola!

He empezado a colaborar con la Biblioteca de Mujeres de Madrid llevando el departamento de fanzines. De momento no contamos con una grandísimo número de fanzines en los fondos de la Biblioteca ¡pero eso tiene que cambiar! Por eso hago un llamamiento desde aquí para que te animes a donar tus fanzines y que estos formen parte de la gran iniciativa que es la Biblioteca de Mujeres.

Aquí os dejo toda la información sobre por qué y cómo donar tus fanzines. Por supuesto estoy a vuestra disposición para solucionar cualquier duda que podáis tener, tan solo tenéis que escribirme un email a bombasparadesayunar(a)gmail.com y os contestaré encantada.

Puedes saber más sobre la Biblioteca de Mujeres consultando estos enlaces.

Catálogo e información general:
http://www.mujerpalabra.net/bibliotecademujeres/index.htm
Artículo sobre la BdM:
http://ctxt.es/es/20170524/Culturas/12929/biblioteca-mujeres-fondo-libros-ctxt.htm

¡Difunde y Comparte este flyer a todas las autoras de fanzines que conozcas!
[Puedes descargarte el flyer aquí: https://goo.gl/ukvBRB]

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Este fin de semana en Chile:FERIA RARA – 26 – 27 de agosto – la FERIA RARA en el maravilloso lugar de Axolote Matta, Santa Rosa 955, Santiago.

Bandas – Editoriales – Sellos – Ilustradores y más

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Los cómics y las noticias que me han llamado la atención esta semana:

¿Qué hace que un cómic sea político? Elisa McCausland explora la propuestas recientementes de Kate Evans con La Rosa Roja y Catherine Meurisse con La Levedad.
Sol Díaz Castillo y Marcela Trujillo tienen una nueva edicion de La Polola Podcast! Las chicas conversan con Sofía Flores y Catalina Cartagena, dos amigas dibujantes que han recorrido su carrera juntas, desde la música, las escuelas de arte, química, ilustración, la publicación de sus historias, fanzines y mucho más. Nos mostrarán sus ideas, secretos y animales guías.
BEYOND REDLANDS: THE COMIC ART OF VANESA R. DEL REY – Over in the UK, Vanesa R. Del Rey will have my original pages and sketchbooks on display at Orbital Comics for a September exhibition. Brits, this is for you to drool at and be inspired by!
Anteayer empezó la venta anticipada de “Guerra de soda”, el primer libro de Jazmin Varela que va a publicar la editorial Maten Al Mensajero.
- “Persecuciones en bici, divorcios, veranos con los abuelos, piojos. En “Guerra de soda”, Jazmín Varela es una niña tramposa y sensible que atraviesa como puede los pequeños espantos de la infancia. Construida a sí misma en el terreno mutante del fanzine, logra un retrato áspero y festivo sin engolosinarse en la clausura total de lo autobiográfico y estirando lo anecdótico a sus costados más reveladores. Para Jazmín, la niñez es un lugar más problemático que idílico donde los cambios, la negligencia de los adultos, el dolor y la incomodidad conviven naturalmente con los cumpleaños, los recreos y las piletas. Batallas que cuando se es niño parecen gigantes e igual de significativas, como llegar al club con la malla equivocada o acostumbrarse a una nueva configuración familiar. ¿A quién le importan? Si el día puede terminar comiendo un helado con doble cono y bañado en lluvia de rocklets.”
  
  Andrea Guzmán, periodista cultural y amiga de las comiquitas.
Vino Joven: “Justin Green y el surgimiento del cómic autobiográfico”, un artículo de Irene Costa Mendia en CuCo 1.

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Suzy and Cecil – 8-23-2017 – by Sally Ingraham

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Joanie and Jordie – 8-23-2017 – by Caleb Orecchio

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Comics Workbook

An online magazine for comics makers

Juan Fernández

Posted on August 23, 2017August 29, 2017

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03/21/2016

Juan FernándezMarch 21, 2016NewsClowes vs. Nadel, Kurt Ankeny with tool talk, Eleanor Davis on the road, Rob Kirby with comics reviews and a look at Stephanie Kubo’s -Turbulence-. ————————————————————————————————— Daniel Clowes and Dan Nadel in Conversation Today we bring you a great conversation between Daniel Clowes and Dan Nadel from the Clowes spotlight from 2010’s Alternative Press Expo(APE). Of interest since it dovetails Clowes’ 2016 tour for the release of Patience. This video gives a lot of insight indirectly to Patience. Filmed by Chris Anthony Diaz, you can watch the conversation here. Comic book match ups, Burne Hogarth yelling, EC Horror comics, the disappointment in comics history, public vs. private characters, and life in the letters columns, it’s all there. For more on Clowes, do check out Todd Hignite’s recent interview over at the Comics Journal. And if you like what read there, dig deeper, or simply revisit the 1992 Clowes interview conducted by Gary Groth and Peter Bagge. ————————————————————————————————— Black Callous Interviews Deep process and technique interviews with comics makers by Kurt Ankeny will soon be gracing this here website. This is the kind of tool talk the craft junky is sure to get kick out of. For a nice preview of the kind of conversations you can expect, have a look at Kurt’s recent post about watercolor comics. Read it here. My technique for comics is quite simple. I lay-in flat shapes of color to define the objects in each panel. Then I draw lines over those shapes where I need to clarify (using the liquid watercolors in a dip pen). If I do it the other way (which, I admit, is less nerve-wracking) the washes of watercolor will tend to bleed any lines which either are a little too thick and therefore have a bit too much pigment on the surface, or that aren’t completely dry. Waiting a day or two before doing the washes ALMOST eliminates this problem, but not fully. I like crisp lines, so I do it the other way… Stay tuned for more Black Callous updates. ————————————————————————————————— On the Road Eleanor Davis has been documenting her recent bike tour via tweets and diary comics (shared on twitter). Interesting sutff. If you’re keen on learning more about the kind of loose, comics “journaling” you can do while travelling, be sure to give Davis’ work a look. It’s a gracefully flowing diary. A great way of honing in on notable thoughts from the day. Wednesday pic.twitter.com/6TMeOxz4QE — Eleanor Davis (@squinkyelo) March 18, 2016 Thursday pic.twitter.com/IvNzCQQg4D — Eleanor Davis (@squinkyelo) March 20, 2016 ————————————————————————————————— Review Round Up Rob Kirby has put together a solid bunch of capsule reviews of some recent North American small press releases. Frontier #11: “BDSM” by Eleanor Davis Olive & Old Fat Men Turn Me On by Mama Lips Men’s Feelings vol. 2 by Ted May Excerpts by Carrie McNinch The Social Discipline Reader by Ian Sundahl Read Kirby’s full round up here. ————————————————————————————————— Turbulence – Stephanie Kubo Stephanie Kubo has set up a site for some forthcoming outer space comics. The first comic in the series is a little ditty titled Turbulence. Check it out for some vertical scroll goodness. Forms blend and swirl, as gravity tugs the narrative along full circle. You can read Turbulence here. over and out, Juan Fernandez Share this page: [...]

01/31/2018

Juan FernándezJanuary 31, 2018los Cómics / NewsJuan empieza el día con un PSA y con Bombas Para Desayunar! ————————————————————————————————— Friendly PSA to Santoro School Students past,present, and future: Ever get that feeling when you’re trying to write plot and explore narrative, but your brain only provides you with out-of-sequence snippets built on vague ideas and an endless number of potential outcomes that develop and branch out unnaturally over an unspecified timespan? This is how our brains work. Recent findings in neuroscience confirm this notion. (Baldassano, Chen, Zadbood, Pillow, Hasson & Norman – Zacks, Speer, Swallow, and Maley) When we work on narrative art we’re reverse engineering much of our brain’s natural event and detail segmentation. Straight up, it’s hard work to create work that reads like it’s own reality. This is why we at the Santoro School use index cards. We crystallize thought through action onto index cards, and then can, theoretically, stand outside of time in the editing process to make narratives come together. So remember, do your warm ups, then jump into your index cards and let the thoughts flow. Don’t be precious, just keep the thoughts, feelings, images and words flowing. Jot that “noise” down. When you pull away from that flow, rest assured you’ll be able to rearrange them into coherent sequences for readers or viewers to parse. -JF ————————————————————————————————— Los cómics y las noticias que me han llamado la atención esta semana: ~ In English and en Español ~ Sol Díaz Castillo y Marcela Trujillo tienen una nueva edicion de La Polola Podcast! Las chicas conversan con Panchulei (Francisca Cárcamo) dibujante, escritora, editora de Pánico Ediciones y dueña de la librería del mismo nombre. Hablaron acerca de la injusta diferencia en la cantidad de hombres versus la cantidad de mujeres invitadas a festivales, conversaron acerca del mundo de la historieta, los festivales, las mejoras que pueden construir y los espacios que aún faltan por explorar. Aquí hay fanzines de Bombas para Desayunar para leer de gratis – Bombas para Desayunar es una microeditorial de fanzines que nació en 2009 en Oviedo de mano de Andrea Galaxina. Después ha estado unos años afincada en Muriedas (Cantabria) y en Bergen (Noruega) y en la actualidad tiene sede en Madrid. Te invito a leer: ‘Dolores Sánchez’, el segundo capítulo del comic biográfico sobre Emilia Pardo Umaña (1907-1961), primera periodista colombiana. una historia de @canelaflorez y @altais Crítica de Sadboi de Berliac a cargo de Álvaro Arbonés en CuCo 9. ————————————————————————————————— Convocatorias + Deadlines: ¡¡Convocatoria abierta del I Concurso Nacional de Cómic Biblioteca Insular de Gran Canaria!! 3 premios y 9 accésits con una dotación de entre 3.000 y 400 euros y la publicación de las obras ganadoras en un volumen conjunto editado por Astiberri. Bases. Deadline Reminder: submissions for Ink Brick no. 9 are due Monday, Feb 19, 2018! Do yourself a favor and submit your comics-poetry, won’t you? Call for Chapter Contributions: Comics Beyond the Page in Latin America. ————————————————————————————————— Collected from the thousands of pages of material that Frank has left scattered all over the digital landscape, these 4 PDF collections contain Frank’s best writing on comics and comics making from the past decade. Theory and process, reviews and discoveries, journeys both physical and spiritual. Check out the “Best of Frank Santoro” PDF collections, available HERE! ————————————————————————————————— Suzy and Cecil – 1-31-2018 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 1-31-2018 – by Caleb Orecchio Share this page: [...]

02/09/2017

Sally IngrahamFebruary 8, 2017NewsSam Ombiri and Sally Ingraham bring the Thursday news – Sam riffs on books within books and title cards, and Sally shares news from John Jennings, Chris Ware (on George Herriman), Fantom Comics in D.C., Darrin Bell, and Ronald Wimberly and his new book. ————————————————————————————————— Sam Ombiri here: I was reading Infomaniacs and at the same time I was reading The League of Divine Wind by a certain Tsunanori Yamao – they both addressed this one issue I feel all the time; it’s a really simple concept that’s often tackled. (To Be Or)Not to be still yapping about my petty frustration with what I was yapping about last week…but…it amazes me how a book by an imaginary author commands more respect than a real human being’s work. [Editor’s Note: In Runaway Horses by Yukio Mishima, a character is given a copy of the pamphlet The League of Divine Wind and part of the rest of the story involves him reading it…] I think since The League of Divine Wind is a book within a book, the actual author can give his own book rave reviews in the narrative. (The author being who he is, I’m very, very sure he didn’t care about his reception whatsoever, or at least that’s what I’m guessing.) That might be a good solution to someone who keeps having bad reception. I think Matt Thurber said something like, “World building is a good solution for your frustration of getting lost all the time.“ I was watching Simpsons Season 3 I think. There’s one episode where Homer saves the town from a meltdown – that was just amazing. It was broken down into what felt like seasons, or chapters of emotions running through Homer, but without giving this so much attention that it was nauseating. Like an example of that more recently would be in Moonlight – the way it’s chapters were broken down. It kind of felt like something that I couldn’t quite get with. I felt as I was watching it – and this was confirmed by an article I was reading (I think it was an interview) – that it was an attempt to be Claire Dennis. It was while watching those title cards which broke down the chapters that I felt a little agitated – as his [Moonlight‘s director, Barry Jenkins] solution to what Claire Dennis accomplished was with the cheapest, most easy means possible. It felt a bit dishonest, and of course it more than likely wasn’t – and to some effect it worked – but there’s something nagging at me, telling me that there is too little being accomplished in the way Barry Jenkins is biting Claire Dennis. Claire Dennis bites too of course, but it always feels earned. At least with what I’ve seen. The way Barry bit felt exploitative and a tad immature. It just felt that way. I’m not speaking of the whole movie, just the parts of the movie where the title cards of the chapter were forced in. I remember in an essay about Sundays y Cybele it said something like, “Some feel the music in the movie is pretentious.” The writer of the essay came off as if he was in on it, and smart, and so down to earth that he could admit something – something that didn’t affect his enjoyment of the movie. Which is fine. The thought didn’t even cross my mind when watching Sundays y Cybele. While the aforementioned part of the essay bothered me, I feel it’s a bit of a similar thing going on here with those title cards, except it wasn’t a scenario where it didn’t effect my enjoyment. The music wasn’t what I despised, it was something else. It was the title cards and the music with the title cards. There were parts that were real impressive, but…I don’t know. As an aside. I’m not a good writer by any means. By any means! Criterion has to do something about their essays, though, seriously. I’m not speaking about the one that came with Sundays y Cybele, and I’ve only read a few, (and it’s a pretty weird generalization to make, as the essays come from all over) but I’m real surprised at how bad they can be. There are some really good ones. (Like this one on Tarkovsky and Solaris by Akira Kurosawa.) Anyway, it was really impressive the way the Simpsons did this thing they did. It starts off with Homer saying if they look up idiot in the dictionary my picture will be there, and then this picture comes to his head of him in the dictionary with the word idiot written there, and then it’s used the rest of the episode in this impressive way. – Sam Ombiri Sam Ombiri – 2-9-2017 ————————————————————————————————— Sally here: Eight years after the publication of Black Comix – an anthology edited by Professor John Jennings and Dr. Damian Duffy that collected art and essays celebrating the African American independent comics community – we are excited to announce that Black Comix Returns will be hitting bookshelves soon! The original publication featured “over 50 contributors, including Dawud Anyabwile, Eric Battle, Kenji Marshall, Afua Richardson, Larry Stroman, Rob Stull, Lance Tooks, and many, many more.” It sold out with remarkable speed. The comics industry changed a bit over the last eight years, and many new creators have arrived on the scene, so instead of simply reprinting the book John and Damian are creating a whole new anthology. Check out the Kickstarter campaign HERE. They made their first goal in a few days, and with almost a month left they have some big dreams and stretch goals to reach. They have over 100 artists and writers involved – including Kyle Baker, Keith Knight, Ronald Wimberly, Whit Taylor, Ben Passmore, Chris Visions, Tanna Tucker, and Ashley A. Woods – the book is guaranteed to be incredible! Back the project and look forward to the book. Take a moment to get to know Professor John Jennings while you’re at it – he has been called “the soul of black comix” and is the co-founder/organizer of The Schomburg Center’s Black Comic Book Festival in Harlem, the co-founder and organizer of the MLK NorCal’s Black Comix Arts Festival in San Francisco and also SOL-CON: The Brown and Black Comix Expo at the Ohio State University. He earned an Eisner award for the collection The Blacker the Ink: Constructions of Black Identity in Comics and Sequential Art, which he co-edited. He is an artist and writer as well as an editor/scholar/educator – look for his most recent book, Blue Hand Mojo: Hard Times Road coming out in March 2017. ————————————————————————————————— We linked last week to the incredible piece on Krazy Kat that Chris Ware wrote for The New York Review of Books – but it deserves a second look. Adapted from an essay which will appear in the catalog of an exhibition on George Herriman at the Museo Nacional Centro de Arte Reina Sofía, in Madrid, Spain (opening in October 2017), the piece is Chris Ware’s love letter to Krazy Kat and the strip’s mysterious author, George Herriman. Chris Ware theorizes that although Herriman successfully passed as white all his life, he voiced his true identity through his strip in not-so-subtle ways. The details that Ware delves into – Krazy’s banjo, for example (seen above) – are fascinating, and he writes beautifully about what might have gone through Herriman’s head as he drew the strip. “Lately, I’ve been wondering if Herriman knew that one day his secret-in-plain-sight would be uncovered, that America would change, adapt and grow up enough as a people to understand Krazy Kat in all of its psychological and poetic depth. I’m not sure if we’ve yet reached that point, but what myself and other cartoonists already knew—that the strip was already the greatest ever drawn—is now magnified, multiplied and maximized. Krazy Kat is not just one of the greatest comic strips, it’s one of the strangest, most inventive, emotional, and personal works of art of the twentieth century. In their admiration for Herriman, Philip Guston, Willem de Kooning, and Jack Kerouac sensed something in his line and voice that was endemically American, deeply felt. Herriman should now take his rightful place as one of the most original African-American voices of the early twentieth century, contemporary with, if not predating, Richard Wright and Zora Neale Hurston as one of the first writers to understand the racial animus of America and to try to fix the essence of black consciousness on paper. That Herriman made it come alive, sing, dance and suffer in an art form barely fifty years old is all the more astonishing. For decades, we’ve all been reading and laughing and, most of all, feeling for Krazy Kat, who passed right under our eyes as a living drawing on a page. But what we were really feeling came straight from the heart. It was the very soul of George Herriman himself.“ Read the rest of the piece – To Walk in Beauty – HERE. ————————————————————————————————— Fantom Comics in Washington, D.C., is hosting a rad event on February 15th 2017. Ronald Wimberly will be there signing Prince of Cats and Black History In Their Own Words, and there will also be a roundtable discussion with Ron, Chris Visions, Shannon Wright, and Chris Kindred. If you’re in the District be sure to check this out! Event details are HERE. ————————————————————————————————— Darrin Bell is an award-winning cartoonist whose work “navigates issues such as civil rights, pop culture, family, science fiction, scriptural wisdom and nihilist philosophy while often casting subjects in roles that are traditionally denied them. According to Darrin, “There’s nothing more fundamentally all-American than a square peg that insists on filling a round hole.” “ He has a daily comic strip called Canderville – check it out HERE – and is also the creator of Rudy Park – follow it HERE. ————————————————————————————————— Wired lists Ronald Wimberly’s Black History In It’s Own Words among their 5 Comics You Absolutely Must Pick Up This Month. The Comics Alliance is helping folks sort through The Best Comics Ever (This Week) – a.k.a. their recommendations on which comics to read as they come out – and their list also include’s Ronald Wimberly’s Black History In It’s Own Words this week, among others. ————————————————————————————————— Announcing the Spring Semester of thee Santoro Correspondence Course for Comic Book Makers! The course starts March 7th 2017. Apply by February 26th to get 100 bux off! The course is 8 weeks long – payment plans are available. Application guidelines: – 3 figure drawings done on blank 3 x 5 index cards – 3 landscape drawings done on blank 3 x 5 index cards – 3 still life drawings done on blank 3 x 5 cards – draw in a contour line style –think Matisse – no under-drawing – draw directly in ink – just send me small jpgs of images – dont post to your blog pls – send specific url links to any comics work you have done. If you haven’t done comics before that is not a problem. Email santoroschoolATgmail to apply! More details HERE. ————————————————————————————————— 2-9-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 2-9-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 2-9-2017 – by Caleb Orecchio ————————————————————————————————— Cozytown – 2-9-2017 – by Juan Fernandez Share this page: [...]

Residency Report: Caleb Orecchio July 2016

Comics WorkbookJuly 31, 2016Residency Reports / School UpdatesCaleb Orecchio and Frank Santoro in conversation in the backyard of the Rowhouse Residency, Pittsburgh, PA – July 2016 Video: Michael Pisano – Editing: Sally Ingraham Share this page: [...]

06/13/2017

Aaron CockleJune 12, 2017NewsAaron Cockle here today with The ClairFree System; Pope Hats; Blind Spot and Black Paper; The Republic of Samsung; Printer Steganography ————————————————————————————————— ‘Here, she explains the inspiration behind her images and what she hopes readers to take from her work.’ Sally linked to this piece this past Friday, Claire Landsbaum asked Jillian Tamaki to dissect some of the panels from her story ‘The ClairFree System’, which is included in Tamaki’s new book, Boundless. Tamaki talks about incorporating found objects into the art-making process: This is another sculpture from the Art Gallery of Ontario, but the original artwork was just the child — I created the rest. A lot of this story is about reframing context: taking a classical sculpture or a photograph, which is a specific instant in time, and stripping it of its information to make it universal, which is what I did here. The image itself is about someone’s hopes and dreams for their child — about everyone’s idea of a great parent, which is that they can give their kid everything they want. I’ve heard people say that a new child is a pure, unsullied human being who hasn’t ever made a bad decision — that they’re without sin. I find that extremely hopeful. I don’t have children, but I would imagine the desire to prolong that state is an emotion every parent feels. ————————————————————————————————— ‘I keep returning to this notion: that the best feeling in the world is working really hard at creating something with no guarantee of a positive outcome.’ Ethan Rilly talks about his process for making Pope Hats #5, over at the AdHouse Books blog: Enough people have asked me whether I’m a lawyer that it might be useful to answer here: No, and I never was. Never stepped foot in a law firm. This story might be autobiographical in all the regular faintly embarrassing ways but the lawyer stuff is a good distance outside of me. I did research and interviews. ————————————————————————————————— ‘I pray to Tarkovsky, Marker, and Hitchcock.’ Teju Cole will be exhibiting work June 15-August 11 at Stephen Kasher Gallery in NYC, photos and text from his new book, Blind Spot, as well as an installation piece, Black Paper. The exhibition features over 30 color photographs from the series Blind Spot, each accompanied by Cole’s lyrical and evocative prose. Viewed together, these works form a multimedia diary of years of near-constant travel. In these photographs, we see what Cole has seen, from a park in Berlin to a mountain range in Switzerland, a church exterior in Lagos to a parking lot in Brooklyn; and we are drawn into the texts—which function as voiceovers—with which Cole complicates his already enigmatic images. At stake here is the question of vision, an exploration Cole began following a temporary spell of blindness in 2011, and which he presents here in a photographic sequence of novelistic intensity. The exhibition also presents Black Paper, a visceral photographic response to Cole’s experiences following the election of November 2016. This continuously evolving, large-scale work explores buried feelings, haunted space, and all that can be seen through darkness. ————————————————————————————————— “ABOUT MY WORK AND MYSELF AND ALL THE REST I USED TO SAY:/,” “I HAVE NOTHING TO SAY AND I’M SAYING IT:.” As a continuation of its online Net Art Anthology exhibition, Rhizome features and discusses Young-Hae Chang Heavy Industries’s piece, Samsung. The piece Samsung addresses the complex nature of the corporation—its existence not only as an economic entity but also as an emotional phantom, reaching its incorporeal fingers into relationships, daydreams, and fantasies. The text of Samsung, demonstrating many of the formal qualities of poetry, is interspersed with conversational breaks that establish intimacy with the viewer. The tone becomes conspiratorial as the narrator asks, “CAN/I CONFIDE/IN YOU?” There is no option to decline. The viewer is rendered complicit in the narrator’s confession of their adoration of Samsung. ————————————————————————————————— ‘The printouts contained invisible dot patterns added by the printer to identify the worker who sent the print job’ I posted about Video Steganography, the imbedding of hidden information within electronic files, a few weeks back. Recently, the Boingboing blog posted a piece about one of the ways the National Security Agency was able to determine the source of leaked information about potential hacking involving the Russians in the 2016 U.S. presidential election, by examining the hidden dot patterns that are used with color printers. There’s been much speculation on exactly how NSA leaker Reality Winner was exposed after giving The Intercept documents that showed the extent to which the security agency suspects Russian meddling (previously) in last year’s general election. On one hand, the filing against her talks of the “creases” seen in the scans The Intercept posted, tipping them off to it being a workplace printout from an insider–an insinuation of casual sloppiness on the reporters’ part. On the other hand, it seemed clear Winner did everything at a work computer anyway and was surely doomed once the story came out and internal investigations began. ————————————————————————————————— A Cosmic Journey – 6-13-2017 – by Cameron Arthur ————————————————————————————————— Suzy and Cecil – 6-13-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 6-13-2017 – by Caleb Orecchio Share this page: [...]

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