This is a chapter in a significant new collection of essays which will be a key reference in the field of comics studies. The chapter came about through an invitation from the editors Jan Baetens, Hugo Frey and Stephen E. Tabachnick to explore the impact on Harvey Kurtzman, with a specific emphasis on the development of the graphic novel as a form. This is the first attempt to do so in an academic context. From the publisher's website: The Cambridge History of the Graphic Novel provides the complete history of the graphic novel from its origins in the nineteenth century to its rise and startling success in the twentieth and twenty-first century. It includes original discussion on the current state of the graphic novel and analyzes how American, European, Middle Eastern, and Japanese renditions have shaped the field. Thirty-five leading scholars and historians unpack both forgotten trajectories as well as the famous key episodes, and explain how comics transitioned from being marketed as children's entertainment. Essays address the masters of the form, including Art Spiegelman, Alan Moore, and Marjane Satrapi, and reflect on their publishing history as well as their social and political effects. This ambitious history offers an extensive, detailed and expansive scholarly account of the graphic novel, and will be a key resource for scholars and students.
In this article the essence and formation of the visual language of graphic design in Ukraine are determined. There are five main types of human activity, among them cognitive, transformative, communicative, value-oriented, artistic. The main definitions of "design" and "graphic design" are given. It has been discovered that design, behavior and communication, represented by a variety of cultural phenomena, have a complex hierarchical organization in which there are three levels: these are relic programs, the fragments of past design cultures that live in the modern world, exercising some influence on it; a series of behavioral programs, activities, communication, which provide a modern reproduction of a particular type of society; programs of design life, addressed to the future. They produce the design through the internal operation of iconic systems, the more dynamic the society is, the more value this level of designer creativity acquires. Found that today the following main types of design art are distinguished: industrial design, graphic design, architectural design, landscape design and phytodesign. The stage of formation of graphic design is shown. It is revealed that to date, it is obvious that the historical evolution of graphic design can not be presented as a linear process. It took place in conditions of social contradictions and conflicts, which, however, were not chaotic, but formed in the form of a general historical picture. The main stages of the development of graphic design are presented, among them: popular commercial art (posters, advertising, newspaper and magazine illustrations) end of the XIX – early twentieth century; fine arts of the early twentieth century; graphic design (the second half of the twentieth century); "Visual Communicator" "viscom" (beginning of the XXI century). A complex of factors is proposed, under the influence of which the present situation in the Ukrainian design in general and graphic is formed, in particular: the historical factor in many respects defined the ...
Per il numero monografico dedicato alle 'Tracce' della rivista Progetto Grafico, edita dall'AIAP, ho scritto un articolo sull'attività che Francesco Olivucci, artista forlivese, svolse come illustratore di vari stampati clandestini prodotti durante la Resistenza. Tra questi figurano molte incisioni realizzate per giornali e addirittura per rari 'prestiti di liberazione', una sorta di moneta speciale emessa dai comandi partigiani che, alla fine del conflitto, venne ufficialmente riconosciuta dallo Stato italiano. La ricerca è stata svolta principalmente presso l'Istituto storico della Resistenza e dell'Età Contemporanea di Forlì, che conserva non solo gli originali degli stampati, ma anche i cliché delle xilografie. L'argomento specifico, un po' come tutto il tema della stampa partigiana, è stato trattato in maniera locale, parziale, e quasi sempre solo da un punto di vista prettamente storico. Al contrario, credo che questo andrebbe indagato anche sotto l'aspetto della comunicazione visiva, generando una riflessione sul ruolo del grafico nella società contemporanea. Olivucci si dedicò alla rappresentazione di scene di guerra e di Resistenza, di volti dei caduti per la Liberazione e alla creazione di vere e proprie immagini di propaganda. Le sue illustrazioni sono state il primo passo, mosso in tempo reale, di un'iconografia partigiana ancora tutta da scoprire. ; For the special 'Traces' issue of the review Progetto Grafico, published by AIAP, I wrote an article on the activity of the artist Francesco Olivucci, who made some woodcuts for various illegal prints during the Italian Resistance. Among these are many illustrations realized for newspapers and even rares 'loans for liberation', a sort of special currency issued by partisans commands, that at the end of the conflict was officially recognized by the new Italian government. The research was principally carried out at Istituto storico della Resistenza e dell'Età Contemporanea di Forlì, which preserves not only the original prints, but also the cliches of woodcuts. The specific topic, as the whole theme of the partisan press, was treated in a local, partial, and almost always only from a historical standpoint. On the contrary, I think this subject needs to be addressed also in terms of visual communication, creating a reflection on the role of graphics in contemporary society. Olivucci represented the scenes of war and resistance and the faces of those who died for the liberation, creating real propaganda images. His illustrations have been the first step, moved in real-time, of partisan iconography all yet to be discovered.
Abstract The phenomenon of intersemiotic translation from literature (source-sign) to graphic illustration (target-sign) is well known and has been exhaustively analyzed. Jakobson (2000: 114) defines the phenomenon as "transmutation⁄ or interpretation of verbal signs by means of signs of nonverbal sign systems". This paper presents an intersemiotic translation of El libro de los Seres Imaginarios by Jorge Luis Borges, more specifically the chapter that describes a bestiary of Chinese fauna. Written in collaboration with Margarita Guerrero, El libro was first published in 1957 with the title Manual de Zoología Fantástica; later it was expanded and republished with the title El Libro de los Seres Imaginarios ("The Book of Imaginary Beings"). In this paper, we identify some formal aspects of the literary source-sign to be considered most relevant. Afterwards, we submit those aspects to graphic recreations directed by the construction of fantastic characters in the aesthetic domain of pixel art.
In 2018, Harper Lee's (1926-2016) Pulitzer Prize-winning novel To Kill a Mockingbird (1960) was adapted to a graphic novel by the English artist Fred Fordham. Heir to the Franco-Belgian bande-dessinée tradition, the artist shows panels filled with delicate and pastel-colored illustrations that move at a proper pace, focusing on the younger characters' perspective. The artist keeps important dialogues from Lee's novel, while also offering his view. Any revision of a classic represents a challenge, especially because of the possible comparisons to the original. At the same time, an adaptation can bring new light and freshness to stories that deserve to be revisited. Far from intending to compare the graphic novel with the original, this analysis aims to comment on some essential matters concerning the new version. What are the unique formal –visual and written– aspects that the graphic novel provides? What are the new experiences it offers to the reader? What is the artist's innovative approach and input? Why it is important to bring this story back during these times of reemergence of nationalist governments, xenophobic and antifeminist movements and policies? In a few words, what is the merit of this adaptation in this millennium? ; En el 2018, Matar a un Ruiseñor (1960), la novela de Harper Lee (1926-2016) ganadora del Pulitzer, fue adaptada a novela gráfica por el artista inglés Fred Fordham. Heredero de la tradición franco-belga de la bande-dessinée, nos muestra paneles llenos de ilustraciones delicadas pintadas en colores pasteles que avanzan a ritmo acertado, enfocándose en la perspectiva de los personajes más jóvenes. El artista conserva diálogos importantes de la novela original, ofreciendo además su propia visión. Cualquier adaptación de un clásico representa un desafío, especialmente debido a las posibles comparaciones con el original. Al mismo tiempo, una revisión puede aportar luz y novedad a historias que merecen una relectura. Lejos de pretender comparar la novela gráfica con la original, el presente análisis gira entorno a esta nueva versión con el fin de comentar sobre algunas cuestiones elementales. ¿Cuáles son los aspectos formales, visuales y textuales, que la novela gráfica presenta de manera original? ¿Cuáles son las experiencias nuevas que ofrece al lector? ¿Cuál es el enfoque innovador que el artista pretende aportar? ¿Por qué es importante que esta historia resurja en estos tiempos de reemergencia de gobiernos nacionalistas y movimientos y políticas xenofóbicas y antifeministas? En pocas palabras, ¿cuál es el mérito de la adaptación en este milenio? ; Em 2018, To Kill a Mockingbird (1960), o romance de Harper Lee (1926-2016) Vencedor do Pulitzer, foi adaptado para uma história em quadrinhos pelo artista inglês Fred Fordham. Herdeiro da tradição franco-belga da bande-dessinée, mostra-nos painéis repletos de ilustrações cores pastel delicadamente pintadas que avançam no ritmo certo, com foco no perspectiva dos personagens mais jovens. A artista preserva importantes diálogos do romance original, também oferecendo sua própria visão. Qualquer adaptação de um clássico representa um desafio, principalmente devido ao possível comparações com o original. Ao mesmo tempo, uma revisão pode trazer luz e novidade para histórias que merecem uma releitura. Longe de fingir comparar a história em quadrinhos com o original, esta análise gira em torno desta nova versão, a fim de comentar algumas questões elementares. Quais são os aspectos formais, visuais e textuais que o A história em quadrinhos se apresenta de forma original? Quais são as novas experiências que oferece ao leitor? Qual é a abordagem inovadora que o artista pretende trazer? Por que é importante que Essa história ressurge nestes tempos de ressurgimento de governos e movimentos nacionalistas e políticas xenófobas e antifeministas? Em suma, qual é o mérito da adaptação neste milênio?
This essay discusses the practices of journalistic illustration in nineteenth-century weekly illustrated magazines in London: magazines such as the Illustrated London News and the Graphic. It focuses on the way that Géricault's schema for representing shipwreck survivors in rafts and boats, mostly in the processes of rescue, was a resource for journalistic illustration in London. It concentrates on the period after 1880, ending with a discussion of the presence of 'The Raft' in reports of the Titanic's sinking. The essay considers some of the ways in which Géricault's schema may have been a resource in the mythopoetic response to the Titanic disaster. The essay discusses the persistence of hand-made illustrations in the period of the 'domestication' of the half-tone screen (from the 1890s onwards), which introduced the photographic image (as distinct from hand-drawn or wood-engraved images derived from photographs) into magazine illustration. In doing this it engages with the ways in which the coexistence of (half-tone accounts of) hand-made pictures and of (half-tone accounts of) photographs in the pages of magazines of the ILN genre destabilized the truth-effects of hand-made illustration and threw the relative lack of affective power of the reportorial photograph into relief. It also discusses the implications for journalistic illustration of the difference between the telegram-speed 'global-village-ization' of the news community in the last quarter of the nineteenth century and the 'snail-mail' speed of transoceanic communication of pictures, until after the end of the First World War. The essay aligns the picture-making logic of journalistic illustration with that of easel painting, to think about both these visual-culture-production milieux in terms of the manipulation of inherited visual resources, on the one hand in the praxis of picture-making, and on the other in pursuit of visible intertextualities so as to make 'publics' and to gratify contemporary interpretative communities. To do this the essay looks briefly at some possible sources for Géricault's pictorial solutions to his representational tasks, both narrative and political, and considers some occurrences of the 'Medusa' compositional schema and iconography in the middle decades of the nineteenth century, from the UK and elsewhere, in broadsheet imagery and in magazines and newspapers. It then identifies some of the ways in which journalistic illustrators of the end of the Titanic used Géricault's schema as a way at once of fabricating and of adding resonance to their supposedly reportorial pictures. The essay shows how 'authorship' of magazine illustration was collective and distributed, complicating the interpretation of visible intertextualities. This discussion of issues of interpretation will use the distinction between 'publics' and 'audiences', and consider the interpretative communities of reader-viewers of magazines of the ILN genre in the period c.1880 to c.1912 in relation to the interpretative and theoretical resources of the twenty-first-century art historian.
An urban village (kampong) is an important element in a city to support various activities of a city including commerce and government. Thus the urban village landscape planning is also important because can rehabilitate the urban village from their complex problem like density, public open space, environmental quality, and social problem. This is what underlies this research conducted in Kampung Pulo, East Jakarta. The aims of this study were to plan Kampung Pulo as a village in urban area with the concept of eco-compact city and to overcome various problems in the area. The research methods were literature study, observation, interview, and graphic illustration. Kampung Pulo was planned with eco-compact city model. The model described by land use with building compaction, access efficiency, and optimize the ecological value element.
У статті з'ясовано сутність і становлення візуальної мови графічного дизайну в Україні. Виокремлено п'ять основних типів людської діяльності, серед яких пізнавальна, перетворювальна, комунікативна, ціннісно-орієнтаційна, художня. Наведено основні дефініції понять "дизайн" та "графічний дизайн". Встановлено, що нині виділяють такі основні види дизайнерської творчості: індустріальний (промисловий) дизайн, графічний дизайн, дизайн архітектурного середовища, ландшафтний дизайн та фітодизайн. Зображена етапізація становлення графічного дизайну. ; In this article the essence and formation of the visual language of graphic design in Ukraine are determined. There are five main types of human activity, among them cognitive, transformative, communicative, value-oriented, artistic. The main definitions of "design" and "graphic design" are given. It has been discovered that design, behavior and communication, represented by a variety of cultural phenomena, have a complex hierarchical organization in which there are three levels: these are relic programs, the fragments of past design cultures that live in the modern world, exercising some influence on it; a series of behavioral programs, activities, communication, which provide a modern reproduction of a particular type of society; programs of design life, addressed to the future. They produce the design through the internal operation of iconic systems, the more dynamic the society is, the more value this level of designer creativity acquires. Found that today the following main types of design art are distinguished: industrial design, graphic design, architectural design, landscape design and phytodesign. The stage of formation of graphic design is shown. It is revealed that to date, it is obvious that the historical evolution of graphic design can not be presented as a linear process. It took place in conditions of social contradictions and conflicts, which, however, were not chaotic, but formed in the form of a general historical picture. The main stages of the development of graphic design are presented, among them: popular commercial art (posters, advertising, newspaper and magazine illustrations) end of the XIX – early twentieth century; fine arts of the early twentieth century; graphic design (the second half of the twentieth century); "Visual Communicator" "viscom" (beginning of the XXI century). A complex of factors is proposed, under the influence of which the present situation in the Ukrainian design in general and graphic is formed, in particular: the historical factor in many respects defined the first steps of the formation of the domestic design; a political factor manifests itself in insolvency and sometimes in the reluctance of the authorities to carry out large-scale economic transformations of social orientation; economic factor: the state's economy became a hostage to the realization of the interests of several financial and corporate groups, and this negatively manifests itself in indicators in many spheres of the economy; social factor: in a society with high social indicators, a well-functioning mechanism operates smoothly: demand defines a proposal. It is important that the "offer" is a high-quality, in all respects (and design), product of domestic origin; the globalization factor drives the domestic design to generate its own ideas that would be noticed not only to its consumer but also to the world; Educational factor: the pride of domestic design for today is the existing system of training graduate designers. The author of the article came to the conclusion that the combination of features of the modern stage of development of graphic design, expansion of creative and conceptual aspects of the given activity and the emergence of new socially significant social challenges necessitates the combination of experience of specialists on different trends of design, combining the design and artistic aspect of developing graphic models for solving technical and creative problems.
One of the strongest methods used in sending messages in advertisement is to apply a portrait in graphic design, especially when we are addressing a large crowd of ordinary people.Since any advertisement is done thoughtfully and with a certain goal in mind, the portrait can be considered as an element in advertising.The art of graphic is known as a means of communication and media for a long time and its strong capabilities and effectiveness are globally recognized on issues, namely social, cultural, political and economic, etc. The art of portrait can be used as a cultural symbol in advertising
In the post holocaust era- the discourse that has emerged around the terms 'space' and 'boundary' is porous and politically charged. The lived experience of belonging to a space and latching the identity of self with the ideological specificities and ethnic memories of that space, architects one's idea of home at the microcosmic level and nation-state at the macrocosmic level. Transnationalism is in transgression with the non-negotiable boundaries of a nation state, categorization of space in terms of cultural attachments, economic structure, religious orientation and ethnic identity. It is indeed difficult to belong to a transnational space, as it does not provide anchors to connect genetic memory to ethnic memory of a space. Consequently, the idea of home is forever missing or postponed. This crisis finds representation in the lived experiences of international refugees who are forced to adopt the transnational identity once uprooted from the space which no longer remains their nation or home. This paper explores the discourse of nationality and its negotiation with the forced diasporic identity that constructs the ontological structure of the self, from the perspective of the refugees. The text in context is Over Under Sideways Down by Karrie Fransman. The author has chosen the genre of graphic novel, as illustration is an adept medium of communication that complies with the territorial principles of transnational space being a universal signifier.
To study the effectiveness of map style and map complexity on street map-following performance, drivers utilized one of six informal street maps to drive to a destination in an unfamiliar location. Using a 2 X 3 factorial design, 78 undergraduates were randomly assigned to one of six map design conditions: two levels of style (written verbatim or graphic illustration) and three levels of complexity. The low-complexity map contained a direct route, including relational (left-right) directions. The medium-complexity map contained a direct route, relational directions, five adjacent streets, and major mileage estimates. The high-complexity map contained a direct route, relational directions, 16 adjacent streets, major mileage estimates, and seven landmarks. Map style significantly affected driving time, as written verbatim maps resulted in less total driving time than graphic maps. Subjects with higher cognitive abilities (as measured by the Wonderlic Personnel Inventory) took less time to reach the final destination than did those with lower cognitive abilities. Neither the effects for map complexity nor the style by complexity interaction were significant. Also, male and female performance did not significantly differ.
The furore that followed the publication of Salman Rushdie's The Satanic Verses has provided a graphic illustration of the conflicts that may still arise in societies characterized by diverse religious beliefs. This article examines how far the rules governing a plural society should require its members to defer to beliefs that they themselves do not share. In particular, it examines whether a principle of 'respect for beliefs' can provide adequate reason for limiting freedom of expression. A strong version of the principle, which would limit substantive criticism of beliefs, is found untenable. A weaker version of the principle, which would concern itself not with the matter but with the manner in which others' beliefs are treated, has greater plausibility and moral appeal. That also, however, proves too hazardous and indeterminate a basis for setting legal limits to freedom of expression.
The first decades of the twentieth century marked a significant change in Vietnamese social life, when the French colonists set foot in Vietnam, at the same time a new culture began to appear in parallel with the native culture. Phong Hoa aimed to be the first satirical culture and art weekly newspaper of Vietnam which had many humorous, caricatures, and sometimes silly illustrations, but full of implication following every event that happens in society. That was the unique feature that no newspaper in this period has had, starting the democratic spirit of opening and equality in the ideology, literature and press of the Vietnam Literary Revolution in the decades of early 20th century, which we can see still influences today. Phong Hoa had the participation of painters Nguyen Gia Tri, To Ngoc Van, Nguyen Cat Tuong (Lemur), Le Minh Duc, Tran Binh Loc . who were excellent painters trained from Indochina Fine Arts School. The content of this study refered to the graphic aspect in Phong Hoa, a premise for a style that could be named decades later - press graphic design. This was the art of using the language of illustrations, colors, words and other graphic elements to perform the function of visual communication. The research also assessed the aspects of art mode and language as issues of technology, aesthetic conception, visual style, motifs, colors. Focusing on analyzing properties and impacts of visual arts when applying to newspaper illustrations, and recognizing the important role of journalistic illustrator in the early twentieth century in general and Phong Hoa illustrator in particular.
The first decades of the twentieth century marked a significant change in Vietnamese social life, when the French colonists set foot in Vietnam, at the same time a new culture began to appear in parallel with the native culture. Phong Hoa aimed to be the first satirical culture and art weekly newspaper of Vietnam which had many humorous, caricatures, and sometimes silly illustrations, but full of implication following every event that happens in society. That was the unique feature that no newspaper in this period has had, starting the democratic spirit of opening and equality in the ideology, literature and press of the Vietnam Literary Revolution in the decades of early 20th century, which we can see still influences today. Phong Hoa had the participation of painters Nguyen Gia Tri, To Ngoc Van, Nguyen Cat Tuong (Lemur), Le Minh Duc, Tran Binh Loc . who were excellent painters trained from Indochina Fine Arts School. The content of this study refered to the graphic aspect in Phong Hoa, a premise for a style that could be named decades later - press graphic design. This was the art of using the language of illustrations, colors, words and other graphic elements to perform the function of visual communication. The research also assessed the aspects of art mode and language as issues of technology, aesthetic conception, visual style, motifs, colors. Focusing on analyzing properties and impacts of visual arts when applying to newspaper illustrations, and recognizing the important role of journalistic illustrator in the early twentieth century in general and Phong Hoa illustrator in particular.
