Relevant bibliographies by topics / Comic, The, in art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Comic, The, in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Comic, The, in art"

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Hertrampf, Marina Ortrud M. "Katalanischer Comic und <i>movida barcelonesa: La noche de siempre</i> von Montesol und Ramón de España." Zeitschrift für Katalanistik 25 (July 1, 2012): 153–70. http://dx.doi.org/10.46586/zfk.2012.153-170.

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Summary: The essay presents the particular importance of Catalonia for the Spanish comic scene. Special attention is paid to the Catalan comic of the 1980s. Since the beginnings of the Ninth Art in Spain, Catalonia has been the editorial and artistic center for comics. During the years between the transition and democracy, the comic became a central means of expression of the movida movement in Catalonia. Barcelona became the creative center of Catalan comic production. A prominent representative of the movida barcelonesa comic is the artist Montesol. Based on the analysis of the album La noche de siempre (1981), the contribution shows the specific features of Catalan comics of the transición and illustrates how Montesol and Ramón de España create an almost documentary and at the same time self-ironic and satirical chronicle of the social and artistic practices of the movida in Barcelona. [Keywords: Adult comic; Catalonia; counterculture / subculture; Spanish transition to democracy; Movida (barcelonesa); underground comix; ligne claire; línia xunga / línea chunga]
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Lent, John A. "Comics and Comic Art." Communication Booknotes 22, no. 5 (September 1991): 108–11. http://dx.doi.org/10.1080/10948009109488004.

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Pratama, Muhammad Dhimas, and Warli Haryana. "PENCIPTAAN KOMIK DENGAN GAYA PIXEL ART." Desain Komunikasi Visual Manajemen Desain dan Periklanan (Demandia) 8, no. 2 (September 29, 2023): 247. http://dx.doi.org/10.25124/demandia.v8i2.4866.

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This study aims to create comics with a pixel art visual style by describing the elements and techniques used, to make pixel art style comics, especially in the form of digital comic strips, it requires knowledge of the techniques of making comics and the elements contained in pixel art itself. The method used is a descriptive qualitative approach with a creation methodology used in the making of this article, the creation method in question makes a work product the focus of research by going through three stages, namely (1) Exploration, (2) Improvisation and (3) Formation. The results showed that the technique of making comics used was to determine the story, determine the format, create characters, compose pictures and stories and determine the storyline. While the pixel art techniques or elements implemented are straight lines, dithering, jaggy style or not using anti-aliasing, and inline. Produce six panels with vertical positions measuring 260x150 pixels by paying attention to three visual elements (illustration, typography and color). This writing is expected to contribute ideas in enriching the results of studies on pixel artstyle and can popularize pixel art style as another part of art, especially as comic art. Keywords: comic, digital, pixel art
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Guynes, Sean A. "Four-Color Sound: A Peircean Semiotics of Comic Book Onomatopoeia." Public Journal of Semiotics 6, no. 1 (December 23, 2014): 58–72. http://dx.doi.org/10.37693/pjos.2014.6.11916.

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Onomatopoeia are the representation or imitation in language of sounds from the natural world. They occur in the phonic modality of speech, the written modality, and a third modality combining word and image. The latter is a common device in the sequential art of comic strips and comic books, and is particular to the American tradition of comics. Onomatopoeia diversify the experience of sequential art and have unique signifying properties. Though there have been significant attempts to provide a structural analysis of the comics medium, these have often ignored onomatopoeia’s uses in the comics medium. This study utilizes the concept of an American Visual Language (Cohn, 2013) within a Peircean framework to offer theories of the individual (onomatopeme) and structural uses of word/image onomatopoeic expressions in mainstream American comic books.
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Bramantha, Octavianus. "ANALISA DESAIN KARAKTER PADA KOMIK “NUSA FIVE”." Narada : Jurnal Desain dan Seni 7, no. 1 (April 2, 2020): 75. http://dx.doi.org/10.22441/narada.2020.v7.i1.006.

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In the development of the digital world today, comics have become one of the most rapidly developing works of art, because the increasingly depleted problem of comic artists in publishing their work, many new comic artists have sprung up abroad and in the country. It is "Nusa Five" which is the latest work from Sweta Kartika. The comic that combines the theme of enriching the Japanese superhero team with the cultural elements of the archipelago becomes a fresh style in the world of Indonesian comics. In this research, the author aims to analyze the character design found in the "Nusa Five" comic.
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Aryandika, Made, I. Wayan Gulendra, and I. Wayan Mudana. "Exploration Of The Rajapala Story As Inspiration In The Creation Of Digital Comic Art." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 1 (April 19, 2022): 19–31. http://dx.doi.org/10.59997/citakara.v2i1.1539.

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Rajapala's story is a symbol of the love and escaptic marriage between man and angel. The message that can be gleaned from this story or literary work is "do not seek pleasure by means of bulus wit or akompli nature like I King pala against the angel Ken Sulasih". Therefore the author became inspired to do the writing and embodiment entitled "Exploration Rajapala Story As Inspiration In The Creation Of Digital Comic Painting". Afterwards by examining the message and meaning of Rajapala's story, the author was inspired to create a storyline with the embodiment style of the author that they re-authored rajapala story based on the theoretical approach of the book "Making Comics", Scott McCloud. Not to forget also the author uses elements of digital comic painting so that in the creation effort can run well. Therefore, the creation of digital comics writers use the method of creation of digital comic painting works, namely exploration, experimentation, and formation so that digital comic art can be created. The creation of rajapala digital comics is an attempt to explore of Rajapala's story.
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Maldonado, Jennifer Caroccio. "Mixtec Pictography and Immigrant Labor Resistance in the Comic Undocumented: A Worker’s Fight." New Americanist 2, no. 1 (May 2023): 35–55. http://dx.doi.org/10.3366/tna.2023.0004.

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The comic Undocumented: A Worker’s Fight (2018) by Duncan Tonatiuh (pronounced toh-nah-tee-YOU) depicts the fictional narrative of Juan, a Mixtec immigrant from Mexico. My article examines the use of Mixteco in the comic to make apparent how Indigenous Latinx workers in the United States are often left out of the larger narrative of immigration policy and reform. I argue that comics studies scholarship should include more Mesoamerican and Latin American art, history, and writing so that there is no question of image-texts in contemporary western comics as having their own distinct writing system. A Worker’s Fight’s Mixtec style art and lack of borders forces readers to consider an anti-colonial reading practice. Tonatiuh accomplishes this feat by shifting events in the narrative from a linear sequentiality (cause and effect) to make apparent the simultaneous issues of labor and immigration. The temporality and materiality of the comic in Tonatiuh’s rejection of drawn borders is thus also a rejection of the legitimacy of national borders. A Worker’s Fight is a spectacular comic as well as a valuable teaching tool. The feeling of intimacy in Juan’s personal story is significant. The graphic narrative places comics and sequential art in a longer writing tradition that has always included images.
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Limb, Peter. "Building African Comic Art/Bandes Dessinées Collections in Libraries." African Research & Documentation 128 (2015): 46–58. http://dx.doi.org/10.1017/s0305862x00023517.

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Librarians have tended, for various reasons, to neglect comic art and yet it is one of the fastest growing (sub-) genres in Africa today. With the rapid adoption of online media by African artists to present their drawings it is now easier to track down these artists, often hunted remorselessly by politicians keen to censor their ironic barbs. One reason for neglect by libraries has been the difficulty of acquiring comic art from Africa or even from the North about Africa given that ‘comics’ are often outside the normal trade spheres, and with that in mind this article seeks to offer practical suggestions for those wishing to build their collections in this area. I first sketch the background to comic art and libraries, then discuss the ‘art of collecting', particularly from Africa, and finally raise questions of digital art.
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Ismail@Kamal, Julina, and Md Salleh Yaapar. "The Hermeneutic of the Malay Comic: Unveiling the Symbolism of Love in Selendang Siti Rugayah." Wacana Seni Journal of Arts Discourse 19 (December 31, 2020): 1–12. http://dx.doi.org/10.21315/ws2020.19.1.

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A comic is a form of sequential art that incorporates the integrated textual and visual aspects to reveal the desired meaning. It involves storytelling techniques with narrative elements as found in conventional literary works. Nowadays, comic art is flourishing in Malaysia with the advent of abundant comics from various old and new local authors. The uniqueness of Rejabhad, who was widely known as the King of Malaysian Cartoon, allows the researcher to analyse his comic works in the aspects of textual and visual designs. Prior studies have only discussed the outer layer of Malay comics. In fact, Malay comics especially Rejabhad’s works need to be examined more deeply to unravel their outer and inner layers of meaning. It is essential to fully understand the overall meaning of the work as well as to appreciate the author’s identity. This study focuses on one of Rejabhad’s particular comic work entitled Selendang Siti Rugayah (1997). The study uses a spiritual hermeneutic reading or exegesis (takwil) method is applied to obtain the inner or spiritual meaning of Selendang Siti Rugayah comic work. The results of this study allow the public to understand the inner meaning of the comic work and to appreciate the identity or personality of the author in his or her comic works. This study which based on the spiritual hermeneutic reading is very significant. It is a new exploration that may change the views on the creativity and wisdom of a Malay comic artist, Rejabhad, who had been appreciated and understood only based on the outer layer of reading.
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Et.al, Mohd Ekram AlHafis bin Hashim. "Applying Fuzzy Delphi Method (FDM) to obtaining the Expert Consensus in Aesthetic Experience (AX) and User Experience (UX) Elements in Augmented Reality Comic (AR Comic)." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 11, 2021): 802–7. http://dx.doi.org/10.17762/turcomat.v12i3.787.

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This paper discusses the application of Fuzzy Delphi Method (FDM) to obtain the expert consensus inAesthetic Experience (AX) and User Experience (UX) elements for Augmented Reality Comic (AR Comic). Theoretically, AR and comics are two distinctive fields that represent the technology and art. The former is Human Computer Interaction (HCI) for AR and the later is an art form for comic. Consequently, the UX elements are commonly used by scholars to measure AR, while the AX elements are used for evaluate comics. The purpose of this study is to formulate a new elements in AR comic.Thus,both AX and UX elements are subsequently being merged and the consensus from expertsfrom both fields are required. The FDM was selected in this study based on the ability of this method to obtain the constructs and the elements objectively with suggestion and reflection from the selected experts. Expected results from expert consensus are the combination of both elements as a new framework of AR comic.
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Dissertations / Theses on the topic "Comic, The, in art"

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Ernstsen, Martin. ""Kodok's run" : a comic story loop." Thesis, Konstfack, Grafisk Design & Illustration, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-30.

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Sina, Véronique. "Comic." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72982.

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Mit dem Begriff Comic wird eine kontingente und veränderbare künstlerisch-mediale Form bezeichnet, in der u. a. die Kombination von Bild und Text sowie eine sequentielle Bildfolge als zentrale formal-ästhetische Charakteristika gelten können. Die Kategorie Gender besitzt in Comics eine grundlegende strukturierende Funktion, die sich sowohl in der Produktion und Rezeption als auch in den Inhalten von und der wissenschaftlichen Auseinandersetzung mit Comics niederschlägt.
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Kelly, Anthony. "Functions of the comic in seventeenth-century Dutch art." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1446440/.

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This thesis examines how comic images are used in Dutch Golden Age art. No comprehensive study of this subject exists, in spite of the fact that comic themes and tropes are widely used by Dutch artists, as part of a culture which enjoyed but also valued humour for its rhetorical, instructional and therapeutic utility. Referring to recent scholarly interest in the field of comic culture, and using an interdisciplinary approach combined with iconographic analysis, comic elements in the images are examined in the context of wider comic culture including comedy, farce, rogue literature and joke books, and in relation to the tastes and the ideology of the burgher class, as well as to contemporary notions of wit or geestigheid in art. These investigations are related to major theories of the comic. Particular areas examined are the comic representation of peasants, merry companies, stereotypical characters and situations, and the archetypal relationship of the trickster and the dupe which was the essence of farce. This reveals the strength of traditional tropes and stereotypes involving folly, deception and concealment, modernised to provide a pictorial 'comedy of manners' for the burgher class, who also purchased comic images evoking differentiation and social exclusion. One conclusion is that comic themes in Dutch art should be considered within the long sixteenth century. Another is the value of the application to paintings of a social and anthropological theory of the comic as expression of symbolic social structure, experienced through behaviour codes, which sees it as always significant, being a means of communication within a group or culture, and never value-free even when no didacticism is apparent. This can help to illuminate important art-historical debates such as those involving the relationship between amusement and instruction, meaning and ambiguity, and questions of reception and spectatorship.
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Gay, Stephanye Anne. "ShieldCross an exploration of sequential art ; an honors project /." [Jefferson City, Tenn. : Carson-Newman College], 2009. http://library.cn.edu/HonorsPDFs_2009/Gay_Stephanye_Anne.pdf.

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Hernandez, Dahnya Nicole. "Funny Pages: Comic Strips and the American Family, 1930-1960." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/pitzer_theses/60.

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This thesis examines a selection of American newspaper comic strips from approximately 1930 to 1960. At the height of their runs, many strips appeared in upwards of a thousand newspapers in the United States alone, and syndicates crafted and adjusted the content of these strips according to their image of the average American. This work discusses the pop cultural significance of these strips as well as the traditional American values revealed through each of them. Three strips in particular are the focal point for this thesis: Blondie, created by Chic Young in 1930, Little Orphan Annie created by Harold Gray in 1924, and Li’l Abner created by Al Capp in 1934. The first chapter, focusing on the relationship between Blondie and Dagwood Bumstead, will discuss how power within the family hierarchy is predicated on moral character, as well as how the recurring theme of punishment develops through Dagwood’s personal failures. The second chapter will look at the idea of cultural regularity in Little Orphan Annie through an examination of Daddy Warbucks. It will also deal with themes of leadership and legacy as communicated by the relationship between Annie and Warbucks. The third and final chapter will discuss how the satirical strip Li’l Abner responded to Blondie and Little Orphan Annie in terms of its rejection of traditional family hierarchy, specifically relating to male-female relationships. Ultimately, this thesis seeks to illustrate how a selection of comic strips expressed certain moral values, and the way in which they placed the characters at the mercy of following those values.
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Connerty, Michael. "Secret identity : reassessing Jack B. Yeats as a comic strip artist." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13452/.

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The focus of this research is the critically neglected comic strip work produced by the Irish painter Jack B. Yeats for a number of British publications between c. 1893 and 1917. The thesis seeks to identify and analyse the corpus of his previously unexamined work, positioning it in relation to contemporaneous media, entertainment and popular culture, as well as to the early development of the British comic. This thesis seeks to establish the key role that Yeats played in the early development of the form, during a key phase in its evolution. The claims that the thesis makes for Yeats as an important comic strip artist are based on extensive archival research, focused on comics such as Comic Cuts, The Big Budget and The Halfpenny Comic published in London by Alfred Harmsworth, Arthur Pearson and George Newnes respectively. He went through a number of identifiable phases in terms of his graphic style, producing a very substantial volume of work over the course of his career, largely in the form of series of strips featuring recurring characters, a number of which became very popular with the reading public. Yeats has almost exclusively been discussed in terms of his fame as a fine artist, despite the fact that his comics work was widely disseminated during his lifetime. Given that the work was once well known, as part of a novel and widely circulated mass medium, it is necessary to interrogate the absence of this material from art-historical accounts of his work and reassess Yeats as a comic strip artist. In Ireland there has been a tendency to articulate Yeats in terms of national identity, and thus avoid recognition of his engagement with, and contribution to, British popular culture. Issues regarding the mutual exclusivity of the ‘high’ and ‘low’ cultural registers in which he operated has likewise resulted in the valorization of a particular area of his creative activity and the exclusion of the material acknowledged, discussed, and celebrated here. The repositioning of Yeats in relation to comic strip art has profound implications for the study of twentieth century Irish art generally, and for Yeats connoisseurship specifically, and proposes significant challenges to both, as well as making a contribution to British comics history.
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Östergren, Herman. "From Art to Comic - Visa hur en Comic Book som använder konsten för att få fram sin värld." Thesis, Blekinge Tekniska Högskola, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-18857.

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Jag har studerat transmedia, dess innebörd och vad som utmärker den. Fokuserat på den delen som heter World Building Story och tagit fram några exempel på World Building Franchises. Genom att undersöka olika transmedia franchises och hur deras värld är uppbyggt. Med denna kunskap har jag skapat en egen värld i en World Building Story. Den är baserad från konstnären Simon Stålenhags retrofuturistiskt konst. Världen ska visas i en form av Comic Book och vara designad av Critical Design där läsaren får möjligheten att tolka budskapet. Det som jag har kommit fram till i undersökningen är hur man skapar en berättelse.
I have study transmedia and see what transmedia does. I have focus on element in transmedia call World Building story. What is warbling story is something I have studied and watch some World Building franchise say how they are different from each other. Three different World Building a franchise to see  how to build our world. With it knowledge I will create my Own World Building Story. The world the i certion  is inspired by Simon Stålhagen Retrofuturistisk art. The way I show this world with Comic Book. My Comic Book is design from Critical Design that are a small police messages. Me study is to show that transmedia be found over the world and get young people to be in the same be interested in Retrofuturistiskt art. Also is a good way to me to learn how to tell a story and create a world with this studying.
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Brown, Kella. "Comic art and humor in the workplace| An exploratory study?ZZzzzz." Thesis, Pepperdine University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3683221.

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This study is a qualitative, exploratory examination of the phenomena of humor in the workplace. The purpose is to derive a better understanding of how real people enact humor in the workplace by examining the humor depicted by and through fictional characters in comic art. The body of work of cartoonist, Scott Adams, was the primary source of data. The study relies on what the imaginary characters of Dilbert find absurd, funny, and ridiculous about an imaginary workplace, the employee-employer relationship, the content of the characters' jobs, or in the social relationships of fictional characters. It involves analyzing specific cultural artifacts, comic strips, as representations of human action.

Utilizing qualitative media analytical techniques, the study explores ethnographic materials (comic strips). A random sample from the universe of Dilbert strips was developed and theoretical sampling was used to discern the identities and personality traits of the main characters. Emergent groupings and themes were developed by repeatedly interacting with the data, reflection, extensive note taking and exploring patterns. The research question is answered from within a framework of comic art of the workplace using descriptive language that is informed by theories of humor.

The idea of presence in mediated communication is discussed and the significant themes of ridicule and disparagement theory are explicated. Key findings include the assertion that, in some cases comic plausibly serves as a proxy for reality as well as the implication that ridicule but plays a significant but inadequately understood role in social development. The researcher proposes that humor may be understood as mythopoeic language.

Recommendations for directions in future research include management and organizational studies of humor and communities of practice, learning and development, sensemaking and organizational culture. Further investigation into the relationship between ridicule and bullying could be fruitful. Qualitative media analysis has the potential to produce enormous gains in knowledge creation.

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Rickman, Lance. "Cinema and sequential art : early narrative film and the comic aesthetic." Thesis, University of Essex, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502210.

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Acres, Harley Blue. "Gender bending and comic books as art issues of appropriation, gender, and sexuality in Japanese art /." Birmingham, Ala. : University of Alabama at Birmingham, 2007. http://www.mhsl.uab.edu/dt/2007m/acres.pdf.

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Books on the topic "Comic, The, in art"

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Marc, Bell, and Swimmers Group, eds. Art comic. Toronto, Ontario]: Swimmers Group, 2014.

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Marcovitz, Hal. Comic book art. San Diego, CA: ReferencePoint Press, Inc., 2016.

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Sotheby's (Firm). MADsterpieces: Original comic art from the Mad archives ; Comic books and comic art. New York: Sotheby's, 1998.

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Robinson, Fred Miller. Comic moments. Athens: University of Georgia Press, 1992.

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Sotheby's (Firm). Science fiction art, books and related memorabilia ; Comic books and comic art. New York: Sotheby's, 1995.

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Boulboullé, Guido. KABOOM!: Comic in der Kunst = KABOOM! : comics in art. Heidelberg: Kehrer, 2013.

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Eisner, Will. Comics & sequential art. Tamarac, Fla: Poorhouse Press, 1985.

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Eisner, Will. Comics & sequential art. Tamarac, FL: Poorhouse Press, 2004.

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Eisner, Will. Comics & sequential art. Tamarac, Fla: Poorhouse Press, 1998.

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Heritage Auction Galleries (Dallas, Tex.). and Heritage Auction Galleries (Dallas, Tex.), eds. Heritage comics & comic art auction: May 10-12, 2018, Chicago. Dallas, Texas: Heritage Auction Galleries, 2018.

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Book chapters on the topic "Comic, The, in art"

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Lever, Katherine. "Aristophanes, Comic Poet." In The Art of Greek Comedy, 135–59. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003273165-6.

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Lever, Katherine. "Aristophanes, Comic Dramatist." In The Art of Greek Comedy, 110–34. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003273165-5.

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Johnson, Cathy G. "Comic Art Ed: Making Comics Is for Everyone!" In Teaching with Comics, 87–109. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05194-4_5.

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"The Renewed Focus On Comics As Art After 1970." In Comic Art in Museums, edited by Kim A. Munson, 113–19. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0011.

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This is a brief interstitial introduction by art historian Kim A. Munson describing the rediscovery of original comic art following the Pop Art movement and influential publications of the late 1960’s. A wave of large survey shows were organized that took on a more formal appearance and established a loose canon of comic artists. The National Cartoonist Society’s Cavalcade of Comics toured the US. Well reviewed shows of the early 70s included The Art of the Comic Strip (U of Maryland, 1971), The Comics as an Art Form (U of Nevada Las Vegas), and 75 Years of the Comics (New York Cultural Center). Many shows included underground comix. Comics speciality museums opened and flourished, such as the Museum of Comic Art (Rye Brook, NY, 1975), The Cartoon Art Museum (San Francisco, 1987), and the ToonSeum (Pittsburgh, 2007). Images: The Muller Comics Collection, 1976, Cartoon Art Museum, 2016.
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Kitchen, Denis. "Comic Art in Museums: An Overview." In Comic Art in Museums, 14–22. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0003.

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This 2017 essay by cartoonist, publisher, and curator Denis Kitchen touches on many of the business and practical aspects of comic art exhibitions, as well as providing us with a first-person view of the rapid evolution of comics from early strips to today’s diverse range of award-winning graphic novels. He discusses the importance of exhibit catalogs, particularly Masters of American Comics, the increasing valuation of comic art drawings, importance of collectors, Al Capp (Li’l Abner), R. Crumb, Harvey Kurtzman, Will Eisner, underground comix, having the “eye,” and the importance of narrative. Images: Will Eisner (P’Gel), catalog covers Underground Classics and Masters of American Comics
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"Expanding Views of Comic Art: Topics and Display." In Comic Art in Museums, edited by Kim A. Munson, 167–69. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0017.

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This is a brief interstitial introduction by art historian Kim A. Munson explaining how the period of rediscovery and large survey shows of comic art were followed by specialized shows exploring comics by a multitude of topics that were previously ignored or taboo, including shows of work by feminist comic artists, by alternative comic artists, by African American comic artists, erotic comics, and experimental shows of ‘gallery comics.’ The Western style of exhibiting comic art replicated internationally to Manga Museums in Japan and to the Cartoon Museum in the United Arab Emirates.
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Deitcher, David. "Comic Connoisseurs." In Comic Art in Museums, 215–19. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0025.

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This chapter includes a 1984 article by art historian David Deitcher criticizing The Comic Art Show (Whitney, 1983) and the show catalog edited by John Carlin and Sheena Wagstaff. Deitcher explains: “A recent exhibition devoted to the complex, often antagonistic relation between comic strips and modern art submitted the comics to a paradigm of excellence derived from a fine art tradition, thereby reinforcing rather than reducing the familiar distinction between high and popular culture.”
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Gaines, M. C. "Narrative Illustration: The Story of the Comics." In Comic Art in Museums, 88–97. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0008.

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This chapter contains a 1942 article written by publisher M.C. Gaines about the exhibit The Comic Strip: Its Ancient and Honorable Lineage and Present Significance, organized for the American Institute of Graphic Arts (AIGA) by Jessie Gillespie Willing, which first opened at the National Arts Club, NY. It was the first known touring exhibit to show comics in art historical context with ancestors like Japanese scrolls, Mayan Panels, and cave paintings alongside contemporary comic strips and comic books. This may have been the first exhibit to include a wide selection of comic books including More Fun, Superman, and Wonder Woman #1. Gaines opines on the educational importance of comics in reply to the decency movements that were attempting to censor comics in this era. Images: Caniff exhibit 1946, Fred Cooper cartoon 1942.
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"Masters of High and Low: Exhibitions in Dialogue." In Comic Art in Museums, edited by Kim A. Munson, 211–14. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0024.

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This is a brief interstitial introduction by art historian Kim A. Munson explaining the importance of and interaction between two blockbuster exhibitions featuring comics, High and Low: Modern Art, Popular Culture (MoMA, 1990) and Masters of American Comics (Hammer & Museum of Contemporary Art, Los Angeles, 2005). This chapter discusses The Comic Art Show (Whitney, 1983), Jonah Kinigstein’s satirical cartoons about the NY art world, and the critical and public dialogue surrounding both High and Low and Masters, which has shaped many of the comics exhibitions that followed. This chapter tracks the team of comics advocates that organized The Comic Art Show (John Carlin, Art Spiegelman, Brian Walker, and Ann Philbin), their reactions to High and Low and the production of Masters of American Comics in response.
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Munson, Kim A. "Introduction." In Comic Art in Museums, 3–10. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0001.

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This introduction to the book Comic Art in Museums by art historian Kim A. Munson explores the history, controversies, and trends that have shaped comic art exhibitions, important publications, and key museums, galleries, and collecting institutions. Munson explains how the six sections of the book map out the history of influential shows of original comic art from newly rediscovered shows of the 1930’s to contemporary blockbusters like High and Low: Modern Art, Popular Culture and Masters of American Comics, as well as the critical dialogue surrounding these exhibitions. This introduction also contains a brief discussion on shows of fine art influenced by comics, such as Splat, Boom, Pow! The Influence of Comics on Contemporary Art. Includes exhibition photos: Marvel (Seattle), Krazy Kat (Madrid), Rube Goldberg (San Francisco), Mangasia (Nantes).
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Conference papers on the topic "Comic, The, in art"

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Bae, Joonhyung. "Thief of Truth: VR comics about the relationship between AI and humans." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-42-full-bae-thief-of-truth.

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Thief of Truth is a first-person perspective Virtual Reality (VR) comic that explores the relationship between humans and artificial intelligence (AI). The work tells the story of a mind-uploaded human being reborn as a new subject while interacting with an AI that is looking for the meaning of life. In order to experiment with the expandability of VR comics, the work was produced by focusing on three problems. First, the comic is designed using the viewing control effect of VR. Second, through VR controller-based interaction, the player's immersion in the work is increased. Third, a method for increasing accessibility to VR comics was devised. This work aims to present an example of an experimental attempt in VR Comics.
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Egorova, S. D., A. Lock, and M. G. Nechaev. "COMICS DEVELOPMENT FACTORS IN RUSSIA FOR THE INTERNATIONAL MARKET." In TWEET-FENTS. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2020. http://dx.doi.org/10.37909/978-5-89170-266-0-2020-1011.

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The comic combines the features of such art forms as literature and fine art. They have long been present in the media and, as a rule, are now being worked on in large editions. In America, Japan and Europe, the comics industry is no less developed than the cinema and television industry, literature and video games. In Russia, comics as a genre arestill in their infancy.
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Jain, Eakta, Yaser Sheikh, and Jessica Hodgins. "Inferring artistic intention in comic art through viewer gaze." In the ACM Symposium. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2338676.2338688.

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Zhuykova, E. "COMICS AND LITERATURE: THE HISTORY OF FRIENDSHIP." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3761.rus_lit_20-21/353-358.

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The reputation of comics in Russia was seriously spoiled in the 90s, when they were viewed as a purely entertaining and mass form. But in fact, in the modern world, the graphic novel is becoming a completely serious genre: great artists are creating comics, scripts for them are written by Ph.D's, and they often touch on complex topics. Moreover, comics have a long history of relationship with literature (for example, in the 30s of the 20th century, during the first wave of emigration, Russian literary comics were valued throughout the world). And in the last decade, this line of interaction has only intensified: many graphic adaptations of classic literary works, comic book biographies of writers and poets are appearing, and descriptions of comic books are increasingly appearing in modern literature. The article will be devoted to the history of various forms of interaction between literature and comics.
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Khetarpal, Khimya, and Eakta Jain. "A preliminary benchmark of four saliency algorithms on comic art." In 2016 IEEE International Conference on Multimedia & Expo Workshops (ICMEW). IEEE, 2016. http://dx.doi.org/10.1109/icmew.2016.7574728.

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Jabbar, Erwin Abd, and Anuar Hassan. "Malaysian Comic Book Art Style Classifying Visual Traits and Identity." In International Conference of Innovation in Media and Visual Design (IMDES 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201202.081.

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Damando Santos, Fabrícia, Eduarda Lucas Leal, Letícia Vieira Guimarães, and Sara Rúbia Monteiro Abre. "Elétroino: Um relato de experiência no desenvolvimento de histórias em quadrinhos para o ensino de eletrônica na educação básica." In Computer on the Beach. Itajaí: Universidade do Vale do Itajaí, 2024. http://dx.doi.org/10.14210/cotb.v15.p252-257.

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ABSTRACTIn recent years, the number of teaching materials developed and applied in the educational area has increased significantly, mainly due to the support that these materials have given to the teaching and learning process. This article presents teaching material developed in the form of comic books (comics), with 03 (three) volumes, which contain innovative electronics concepts. In the exact area, female participation has been decreasing over the years and, currently, several actions to increase female representation in the computing area have been promoted. Therefore, the Project Include gurias is developed as comica, to be worked on in the classroom with women, who are present in the final years of elementary school, seeking to present electronics in a more playful and creative way.
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Botes, Maria Wilhelmina, and Arianna Rossi. "Visualisation Techniques for Consent: Finding Common Ground in Comic Art with Indigenous Populations." In 2021 IEEE European Symposium on Security and Privacy Workshops (EuroS&PW). IEEE, 2021. http://dx.doi.org/10.1109/eurospw54576.2021.00037.

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Кульшан, Екатерина Дмитриевна, and Елена Владимировна Нарбут. "COMICS CULTURE: HISTORICAL OVERVIEW." In Сборник избранных статей по материалам научных конференций ГНИИ «Нацразвитие» (Санкт-Петербург, Май 2021). Crossref, 2021. http://dx.doi.org/10.37539/may316.2021.60.70.008.

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В статье рассматривается развитие комикс-культуры как нового вида искусства, затрагивается история его появления, жанровые особенности и внутреннее устройство. Таким образом, авторы статьи представляют читателям многовековую культуру развития комиксов, изучению которой сейчас уделяется значительное внимание. The article deals with the development of comic culture as a new art form, history of its appearance, genre subject and inner wiring. Authors of the article present to readers the centuries-old culture of comic development.
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Ren, Tianjun. "The Benign Comic: Understanding Bottom’s Growth and Appeal in a Midsummer Night’s Dream." In 2022 International Conference on Comprehensive Art and Cultural Communication (CACC 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220502.044.

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Reports on the topic "Comic, The, in art"

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Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, January 2019. http://dx.doi.org/10.22501/kmd-ar.31524.

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What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.
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Pollock, Wilson. Pivot the Future Makers: Building our People and Places. Edited by Musheer O. Kamau, Sasha Baxter, and Golda Kezia Lee Bruce. Inter-American Development Bank, April 2021. http://dx.doi.org/10.18235/0003188.

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Pivot is a movement of radical ideas for the Caribbean of the future. In 2020, the IDB and its partners (Caribbean Climate Smart-Accelerator (CCSA), Destination Experience (DE), and Singularity University) launched The Pivot Movement and asked the people of the Caribbean to think of big ideas to transform the region. A small group came together at The Pivot Event to design 9 moonshots for electric vehicles, digital transformation and tourism. Pivot: The Future Makers is a comic book produced by the Pivot partners and illustrated by Caribbean artists. In it, the 9 moonshots have been developed into fictional stories as a simple and powerful means of conveying possible, probable futures, to help us visualize the Caribbean in 2040.
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, November 2022. http://dx.doi.org/10.20933/100001273.

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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.
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Bennett, David P., and Albert Stebbins. ARC MINUTE GRAVITATIONAL LENSES AND COSMIC STRINGS. Office of Scientific and Technical Information (OSTI), June 1986. http://dx.doi.org/10.2172/1448034.

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Mamp, Michael. "I'm a Stand-up Comic in a Dress:" Charles Pierce. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-328.

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Hoogendoorn, Kathryn. Lab’s original mission inspires entire genre of comic books, characters. Office of Scientific and Technical Information (OSTI), October 2021. http://dx.doi.org/10.2172/1828682.

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สิงห์จู, ธัญวรัตม์. การพัฒนาสื่อการเรียนรู้รูปแบบการ์ตูนดิจิทัลเพื่อส่งเสริมสมรรถนะการเป็นพลเมืองที่เข้มแข็งสำหรับนักเรียนชั้นประถมศึกษา : รายงานการวิจัย. คณะครุศาสตร์ จุฬาลงกรณ์มหาวิทยาลัย, 2023. http://dx.doi.org/10.58837/chula.res.2023.5.

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ความเป็นพลเมือง (citizenship) -- แนวทางการจัดการเรียนการสอนเพื่อส่งเสริมความเป็นพลเมือง -- แนวคิดทฤษฎีคอนสตรัคติวิสต์ (Constructivist theory) และการสะท้อนคิด (reflective thinking) -- การ์ตูนดิจิทัลเพื่อการศึกษา (digital comic education) -- การสำรวจประสบการณ์ผู้ใช้สื่อการเรียนรู้รูปแบบการ์ตูนดิจิทัลเพื่อส่งเสริมสมรรถนะการเป็นพลเมืองที่เข้มแข็ง -- การออกแบบสื่อการเรียนรู้รูปแบบการ์ตูนดิจิทัลเพื่อส่งเสริมสมรรถนะการเป็นพลเมืองที่เข็มแข็ง -- การทดลองใช้สื่อการเรียนรู้รูปแบบการ์ตูนดิจิทัลเพื่อส่งเสริมสมรรถนะการเป้นพลเมืองที่เข้มแข็ง -- ผลการวิเคราะห์ประสบการณ์ของนักเรียน (ผู้ใช้) ในการเรียน เรื่อง หน้าที่พลเมืองผ่านการดูการ์ตูน -- การออกแบบและพัฒนาสื่อการเรียนรู้รูปแบบการ์ตูนดิจิทัลที่ส่งเสริมสมรรถนะการเป็นพลเมืองที่เข็มแข็ง -- ผลเปรียบเทียบผลสัมฤทธิ์ทางการเรียนเกี่ยวกับสมรรถนะการเป็นพลเมืองที่เข็มแข็ง ก่อนและหลังการใช้สื่อการเรียนรู้รูปแบบการ์ตูนดิจิทัล
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Pluquailec, Jill. Comic strip findings: autistic young people's and families' experiences of education during Covid-19. Sheffield Hallam University, 2021. http://dx.doi.org/10.7190/shu-artefact-21002.

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This comic strip represents 3 of the findings from a Sheffield Hallam University research project with autistic young people and their families. There is also a full project report and a digital collection of autistic young people's artworks.
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Olivier Nsengimana, Olivier Nsengimana. A conservation comic book: Involving Rwandan children in saving endangered Grey Crowned Cranes. Experiment, September 2014. http://dx.doi.org/10.18258/3557.

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Hwang, Chanmi. Engineering Art Nouveau. Ames: Iowa State University, Digital Repository, September 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1124.

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