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1
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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Nyyssönen, Miika. "Undkomic #2." Studies in Comics 13, no. 1 (November 1, 2022): 205–8. http://dx.doi.org/10.1386/stic_00078_1.
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In my black-and-white comic Undkomic 2, I combine the abstract elements of my art, different genres and ways of doing things. The transformation and repetition of the elements bring to the comic an atmosphere where the pictorial continuums intersect with each other. The division of traditional comics into squares is included in my comic as a background element and as an object of composition.
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Jaworski, Marcin. "Popular Author of Popular Art." Creativity. Theories – Research - Applications 3, no. 1 (June 1, 2016): 118–26. http://dx.doi.org/10.1515/ctra-2016-0009.
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AbstractThe article provides a report on research conducted on the creative activity of Jerzy Wróblewski, a Polish author of comics published in the book „Urodzony, żeby rysować”. Twórczość komiksowa Jerzego Wróblewskiego, “Born to Draw.” Jerzy Wróblewski’s Comic Art (Jaworski, 2015). It is the first study of this kind in Poland. From this point of view, it contains not only a body of knowledge in the form of a monograph of the comic writer’s artistic creativity, but it also includes a developed research model. The structure of this model, combining traditional monographic narrative with broad historical, political and social context, can be used in the analyses of artistic accomplishments of other authors of Polish comics. The presented study addresses the need for scientific explorations in this field, but also for raising the value of those parts of Polish modern culture which were marginalised as ‘worse’ for many years, first for political reasons, then for cultural ones. It appears that the time has come to examine critically the artistic creativity of important figures of Polish popular culture (in this case of comics) objectively and without ideological prejudice, and recognise them as full authors of Polish culture. Jerzy Wróblewski is among them and that is why the book is about him.
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-, Sutikno, and Eko Supriyanto. "THE MOTION COMIC JAKA BEREK." ARTISTIC : International Journal of Creation and Innovation 1, no. 2 (December 29, 2020): 34–55. http://dx.doi.org/10.33153/artistic.v1i2.3310.
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In the past, people watched a theater called Ludruk on the mobile stage and on television. However, currently Ludruk's art is almost out of date. From this phenomenon, the researchers formulated the problem, namely how the local story artworks of Sawonggaling content can be transformed into a motion comic animated film using a three-act structure. The method of making comic motion animation for the legend of Jaka Berek uses two approaches, namely the method of making animation and the method of making comics. Both of them are done in 3 stages, namely pre-production, production and post-production. The results of the making of this motion comic animation show that the effort to bring back the legendary story that has long been drowned requires some appropriate medias that is easily understood by the current generation. The making of motion comics originating from legendary stories must be based on research and literature studies in order to give the spirit to the artwork that will be produced.
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Sherwood, Rosie. "New Readings: The Comic as Artists’ Book." Art Libraries Journal 40, no. 1 (2015): 16–19. http://dx.doi.org/10.1017/s0307472200000067.
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Artists’ books consider every aspect of the book in the creation of meaning. How might reading the comic book through this context extend the possibilities of the art form? Can considering the whole book change the way creators and readers approach the comic? This article considers the space between book arts and comics, asking how they might fit together and considering the possible benefits of this expanded reading for the comic book as a form.
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Collver, Jordan, and Emma Weitkamp. "Alter egos: an exploration of the perspectives and identities of science comic creators." Journal of Science Communication 17, no. 01 (January 16, 2018): A01. http://dx.doi.org/10.22323/2.17010201.
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While academic interest in science comics has been growing in recent years, the creators of these materials remain understudied. This research aimed to explore the experiences and views of science comic creators through the lens of science communication. Qualitative, semi-structured interviews were conducted with 14 science comic creators. Interviewees felt that the visual, narrative, permanent, and approachable qualities of comics made them particularly adept at explaining science and bringing it to new audiences. Science comic creators often had complex identities, occupying an ambiguous territory between `science' and `art', but were otherwise unconcerned with strict definitions. They emphasised the importance of balance between entertaining and informing, striving to create an engaging visual narrative without overcrowding it with facts or compromising scientific accuracy. This balancing act, and how they negotiate it, sheds light on what it means to be a science communicator operating in the space between entertainment and information/education.
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Kolisnyk, O. V., L. V. Ocheretna, M. I. Yakovlev, O. V. Kolosnichenko, K. L. Pashkevich, and O. M. Kretova. "TENDENCIES AND ART TECHNIQUES IN CONTEMPORARY COMIC BOOK GRAPHIC DESIGN." Art and Design, no. 3 (November 13, 2020): 34–45. http://dx.doi.org/10.30857/2617-0272.2020.3.2.
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Purpose. Exploring of the distinctive features of modern comics, their artistic and compositional solutions, types, main trends in American, European and Asian culture. Definition of the original formation of modern Ukrainian comics. Methodology. The basis of the research methodology includes integrated use of historical and comparative methods, system analysis, synthesis, generalization. Results. Basing on the analysis of modern comic book content, the history of comics and its perception by the audience as a modern media text are revealed, characteristics of individual elements in comics are systematized. The specifics of the artistic and compositional system of modern comics, the nature of figurative and stylistic techniques, graphic features of American, European, Asian, Ukrainian comics are determined. Patterns which are inherent in comics as visual narratives of different socio-cultural parts of the world, as well as aspects that shape modern Ukrainian comics, are considered. Scientific novelty. Characteristics of comics as an object of graphic design are determined: features of artistic and compositional design solutions in different regions of the world are systematized; leading trends in the development of specific types of comics in the United States, Europe, Asia and Ukraine are revealed. Practical significance. Based on art analysis of comic book types and by identifying trends in their development within modern art the specifics of the further development of comics are determined and ideas for future creative projects are presented, features that have both artistic and commercial value are indicated.
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Vilches, Gerardo. "El cómic: ¿un arte secuencial?" Neuróptica, no. 1 (March 24, 2020): 203–17. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.201914328.
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Resumen: En 1993, Scott McCloud publicó su primer ensayo teórico sobre cómic y en forma de cómic: Entender el cómic: el arte invisible, cuyo éxito inmediato lo convirtió en una de las principales referencias en los estudios sobre cómic. En su obra, McCloud definía el cómic como un arte estrictamente secuencial, y planteaba una clasificación de las transiciones entre viñetas que partía de su concepto de clausura. Tras identificar ciertas limitaciones de sus teorías, se plantea una crítica de estos puntos mediante el análisis de obras y la revisión de bibliografía especializada, y se proponen alternativas de análisis más apropiadas para el cómic contemporáneo.
Abstract: In 1993, Scott McCloud published his first essay about comic in comic format: Understanding Comics: The Invisible Art, whose early success turned it to one of the main references in comic studies. In his work, McCloud defined comic as a strictly sequential art, and raised a classification of panels transitions that came from his concept of closure. After identifying certain limitations of his theories, a critique to these points through the analysis of some comics and the use of specialized bibliography is presented, and some more suitable alternatives for contemporary comics are proposed.
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Malik, Moazzam Ali, Muhammad Irfan, and Muhammad Umair Ayub. "Beyond the Stage: Exploring the Transmedial Adaptation of "to be or not to be" in Hamlet on Rooftop." Global Social Sciences Review VIII, no. II (June 30, 2023): 331–44. http://dx.doi.org/10.31703/gssr.2023(viii-ii).30.
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Comics blend linguistic resources and semiotic signs to represent different ideas. The rise of online platforms and the ease of digital distribution has made the production and consumption of comics a common phenomenon. In storytelling, their significance is acknowledged as an effective source of visual representation of sequential art. The present study underpins different techniques and strategies employed by Eisner for blending art and literary discourse to create an adapted comic version of "Hamlet"—named "Hamlet on a Rooftop". This comic is set in urban settings, in which Eisner highlights the themes of revenge, inner conflicts, family politics, etc. Focusing on the comical adaptation of Hamlet's famous soliloquy "to be, or not to be", the current study delineates how Eisner has used visual icons, facial expressions, colours, lettering, etc., to tell a visual narrative. The study also explores how the use of sequential visual style in "Hamlet on a Rooftop" gives the narrative flow to this comic. The study's findings enlist different techniques that work as a tool kit for comic writers to represent different ideas in an exciting fashion with the help of multimodal semiotic signs.
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Rantala, Oskari. "Kohti sarjakuvakerronnan teoriaa." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 4 (February 11, 2018): 92–94. http://dx.doi.org/10.30665/av.69314.
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Classon Frangos, Mike, and Anna Nordenstam. "Introduction." European Comic Art 15, no. 1 (March 1, 2022): 1–6. http://dx.doi.org/10.3167/eca.2022.150101.
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This special issue of European Comic Art presents articles on the diversity of contemporary feminist comics in the Nordic region. The Nordic countries have seen an explosion in feminist comics and graphic novels since the first decade of the twenty-first century. In Sweden, feminist comics have become commercial successes, winning prestigious prizes, and appearing in exhibitions, Instagram, and other social media. Recently, a new generation of artists has entered the scene with a renewed focus on queer and intersectional issues. This special issue directs attention to feminist comic art throughout the Nordic region—with representation from Denmark, Finland, Norway, and Sweden—by established creators as well as emerging voices. The history of feminist comics can be traced back to the social movements of the 1970s, but the energy and creativity of contemporary feminist comics is new, reflecting both international trends and conditions specific to the region and to each national context.
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Naudillon, Françoise, and Matt Reeck. "Popular Art Forms in the DRC." Journal of World Literature 6, no. 2 (June 22, 2021): 197–215. http://dx.doi.org/10.1163/24056480-00602005.
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Abstract Popular literary forms have experienced a remarkable vitality in the Democratic Republic of the Congo. While it is difficult to define popular literature, it is necessary to recognize within Francophone literature the existence of types of texts that escape the attention of both discursive and institutional practices of legitimization, texts that are consigned to the margins of the dominant literary canon. In fact, these texts transgress the conventions of these literary “sub-genres,” such as detective novels, dime novels, exoticist novels, novels of manners, as well as graphic novels or comics. The success of Zamenga Batukezanga (1933–2000), still the most widely read and recognized writer in the DRC, as well as the recent rise of comic book writer Jérémie Nsingi, the author of many fanzines and small-run comic strips, reflect how these genres reconstruct canons and illustrate the emergence of a popular social imaginary.
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Baile López, Eduard. "Una mostra de la traducció de còmics al català: el cas de <i>Maus. Relat d'un supervivent</i>." Zeitschrift für Katalanistik 25 (July 1, 2012): 105–28. http://dx.doi.org/10.46586/zfk.2012.105-128.
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Summary: Apart from some isolated examples, most comics published in Spain are usually done so in Spanish. However, because of the success of the graphic novel, a concept which has expanded the core readership beyond the usual fans, some of the most popular works have recently been published in Catalan, a fact which, as we have stated, is not very common in a comic publishing market almost exclusively limited to editions in Spanish. Accordingly, our aim is to take a look at the linguistic guidelines and models used to translate these cultural artifacts into our language. More specifically, we have chosen Maus by Art Spiegelman, since it is considered to be a key example of the expressive possibilities the comic medium may aspire to as a narrative tool. [Keywords: Translation; Catalan; Spiegelman [Art]; Maus; comic]
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Giyatmi, Giyatmi, Sihindun Arumi, and Ratih Wijayava. "Onomatopoeia Found in Tintin Comics." LET: Linguistics, Literature and English Teaching Journal 13, no. 1 (June 30, 2023): 105. http://dx.doi.org/10.18592/let.v13i1.9031.
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This research focuses on the use of onomatopoeia in the Tintin comic. This study aims at describing the types of onomatopoeia in Tintin comics. This is descriptive qualitative research. The data of this research are onomatopoeic forms found in Tintin comic. The data sources for this research are 3 Tintin comics, namely Tintin in the Tibet, Tintin and the Alph-Art, and Tintin and Picaros. To collect the data, the writers use documentation (Tintin comic) and content analysis. Data analysis in this study consists of three stages such as data reduction, data display, and conclusion. There are 51 data of onomatopoeia. The writers find there are 3 types of onomatopoeia; phonomime onomatopoeia (29), phenomime onomatopoeia (12), and psychomime onomatopoeia (10).
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Derkachova, Olga, Oksana Tytun, and Solomiya Ushnevych. "EDUCATIONAL AND CULTURAL POTENTIAL OF INCLUSIVE COMICS." Mountain School of Ukrainian Carpaty, no. 26 (April 26, 2022): 16–22. http://dx.doi.org/10.15330/msuc.2022.26.16-22.
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The article deals with the research on comics' educational and cultural potential, particularly inclusive comic books, and their influence on inclusive culture formation. Inclusive graphic stories have long been part of the readership abroad. Gradually, this tradition is becoming popular in the Ukrainian cultural space. The chronology of the implementation of inclusive education in Ukraine is established, a brief overview of the regulatory framework is given. There is more and more inclusive literature on the Ukrainian book market: it is both translations and works of domestic writers, it is literature for the youngest, teenagers, adults, and it is fiction and nonfiction. In 2019 the first inclusive comic book "Friends 2.0" appeared. It was published with the support of the Ukrainian Cultural Foundation within the framework of the Inclusive Art program. The comic book "Friends 2.0" is an illustrative material for the analysis. The given research identifies the features of inclusive literature and clarifies its role in forming a tolerant society. The main evolutionary steps of comics are conveyed (Egyptian drawings in the burial chambers, "Ocelot's Claw", The Bayeux Tapestry, William Hogarth’s caricatures, stories in drawings by Rodolphe Töpffer, "Max und Moritz" by Wilhelm Busch, "The Yellow kid" by Richard Outcault and others). The basic terms and concepts of comic book culture are explained, taking into account the specifics of their translation. The history of Ukrainian comics is written daily, undergoes great changes, forms the main slogans and ideas in which it operates and develops. Currently, Ukrainian comics are established as a separate literary and art genre. Inclusive "Friends 2.0". comics are five stories based on real events. Every story is a story of struggle and victory. These are the first inclusive stories in the Ukrainian cultural space. They proclaim that everyone in the world is important, that disability is not a sentence, the importance of adaptation and inclusion, faith and dreams that come true. The article highlights the structural and semantic components of the stories in the comic book "Friends 2.0", analyzes the role of the motto in the content of the stories of this book, the background of panels, characters, and more. The analysis of inclusive comic strips as achievements of comic book culture and as examples of graphic texts in which the inclusive component dominates is offered. It helps to identify a special type of superhero in "Friends 2.0". The educational potential of such comics and their influence on the context of inclusive culture are identified.
Keywords: inclusive literature, inclusive comics, comic book, diegesis, narrative, encapsulation, motto, superhero.
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Leshem, Bar. "Visualizing Superman: Artistic Strategizing in Early Representations of the Archetypal Man in Comic Books." Arts 10, no. 3 (August 31, 2021): 62. http://dx.doi.org/10.3390/arts10030062.
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In 1933, Jerry Siegel and Joe Shuster, two Jewish teenagers from Ohio, fashioned an ideal personality called Superman and a narrative of his marvelous deeds. Little did they suspect that several years after conceptualizing the figure and their many vain attempts to sell the story to various comic book publishers, their creation would give rise to the iconic genre of comic book superheroes. There is no doubt that the Superman character and the accompanying narrative led to Siegel and Shuster, the writer and artist, respectively, becoming famous. However, was it only the appealing character and compelling narrative that accounted for the story’s enormous popularity, which turned its creators into such a celebrated pair, or did the visual design play a major part in that phenomenal success? Recent years have seen a burgeoning interest in the comic book medium in several disciplines, including history, philosophy, and literature. However, little has been written about its visual aspect, and comic book art has not yet been accorded much recognition among art historians. Since the integration of storyline and art is what allow the comic book medium to be unique and interesting, I contend that there should be a focus on the art as well as on the narrative of works in comic books. In the present study, I explore the significance of the visual image in the prototype of the Superman figure that Siegel and Schuster sold to DC Comics and its first appearance in the series American Comic Books. I argue that although the popularity of Superman’s first appearance was due to the conceptual ideals that the character embodied, the visual design of the ideal man was also an essential factor in its success. Accordingly, through a discussion of the first published Superman storyline, I emphasize the artistic-visual value of the figure of this protagonist in particular and the comic book medium in general.
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Belov, Dmytro. "Research of Comics in Modern Humanities." Ukrainian Journal on Library and Information Science, no. 8 (December 20, 2021): 27–50. http://dx.doi.org/10.31866/2616-7654.8.2021.247583.
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The growing popularity of comics in Ukraine and worldwide increases scientific attention to this type of information product. The article is devoted to generalising the leading tendencies in the Comics Study and researching comics in modern humanities. Based on the study devoted to comics professional publications, profile resources of world comics research centres and the current state of understanding the phenomenon of comics magazines and Internet resources, application of review-analytical, historical-chronological, dialectical, socio-communication, and content analysis methods has been detected that the syncretic nature of comics made them a research subject in various sciences and programme subject areas: literary studies, linguistics, cultural study, art history, history, political science, and others. Leading research centres of Comics Study are the International Comic Art Forum, the British Consortium of Comic Researchers, the Comics Research Hub of the University of the Arts, the Canadian Society for the Study of Comics, the Society for Comics Researchers (USA). The educational direction of Comics Studies has been represented by bachelor’s, master’s, and doctoral (doctor of philosophy) educational programs in higher education institutions of different countries: the University of Florida, University of Toronto, University of California Santa Cruz, University of Portland, West University, University Dundee, Teesside University, Lancaster University (UK), Kyoto Seika University (Japan). The growth of scientific knowledge in Comics Study, on the one hand, and on the other hand - the predominance of interdisciplinary approach in the studies necessitated the establishment of special scientific journals dedicated to comics, such as the Journal of Graphic Novels and Comics, Studies in Comics, European Comic Art. In Ukraine, the study of comics at the dissertation level took place in the dimension of pedagogy and philology. However, some scientific research on comics is available in journalism, press studies, publishing, political science, literature, journalism, and social communications. It has been found that as a multifunctional and unique information product and object of library activity, comics have not yet become the subject of study for bibliologists and librarians. The prospects of separating the corresponding research direction in bibliology and library science are substantiated.
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Anderson, Austin. "Blackening the Frame: Kerry James Marshall's Rythm Mastr." Popular Culture Review 34, no. 2 (December 2023): 3–42. http://dx.doi.org/10.1002/j.2831-865x.2023.tb00797.x.
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ABSTRACTThis essay argues Marshall is “blackening the frame” with his African‐centric comic series Rythm Mastr. The series is a corrective to the overwhelming whiteness of canonical comics and the silencing and erasure of Black people in American popular culture and fine art. Through the incorporation of Yoruba figures within the superhero genre, Marshall explores Black history and reframes American popular culture towards an African‐oriented future as part of a broader insurgence among Black comic creators.
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Szyłak, Jerzy. "Komiks jako profanowanie mitu." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 35, no. 44 (December 4, 2023): 11–21. http://dx.doi.org/10.14746/i.2023.35.44.1.
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Traditionally, literary works are considered to be displaced myths. Comic book researchers would like to treat the objects of their analysis in the same way. Comics, however, are counted as mass culture, and are therefore treated differently. A work of art can open a human being to the transcendent. On the other hand, a comic imposes a kind of distance on the reader and is rather a story about how someone experiences the sacred, a voice in the discussion about the nature of religious experiences. Comics’ specificity, on the other hand, is conducive to creating stories which are mocking and critical of other types of messages. This does not mean, however, that there are no comic artists who try to offer the reader the possibility of contact with the transcendent.
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Leung, May May, Melanie C. Green, Jianwen Cai, Ann Gaba, Deborah Tate, and Alice Ammerman. "Fight for Your Right to Fruit: Development of a Manga Comic Promoting Fruit Consumption in Youth." Open Nutrition Journal 9, no. 1 (February 27, 2015): 82–90. http://dx.doi.org/10.2174/1876396001509010082.
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Innovative interventions addressing childhood obesity are needed to capture the attention of youth living in a multi-media environment. The purpose of this paper is to describe the qualitative study that was conducted to inform the development of an appealing manga comic (Japanese comic art) to promote fruit consumption in youth and the process of creating the comic. Seven focus groups and two interviews (N=28) were conducted with middle-school students to better understand such topics as enjoyable components of manga comics and important health concepts. Two researchers independently analyzed each transcript using ATLAS.ti. Inductive and deductive processes were used to identify codes (ideas emerging from text); similar codes were grouped into themes. Most frequently mentioned themes related to enjoyable components of manga comics were detailed graphics and artistic style of text used to convey sound effects. The majority said eating fruits and vegetables was the most important nutrition behavior for proper health. When asked about story ideas for a manga comic to encourage youth to be healthy, many responded with ideas involving comic characters who would consume fruit, then gain beneficial attributes. Others suggested highlighting more practical benefits, such as increased focus and energy. These findings informed the development of a 30-page manga comic promoting fruit consumption, with the aim of developing an appealing storyline and relatable characters for youth. Manga comics may be able to create an entertaining learning environment that has potential to promote positive dietary behaviors in youth.
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Woo, Benjamin, Brian Johnson, Bart Beaty, and Miranda Campbell. "Theorizing comic cons." Journal of Fandom Studies 8, no. 1 (March 1, 2020): 9–31. http://dx.doi.org/10.1386/jfs_00007_1.
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When comics fandom emerged as a distinct media-oriented community in the 1960s, one of the things it brought with it from science-fiction fandoms was the convention. Buoyed by the synergistic relationship between Hollywood and the San Diego Comic-Con and the growing prominence of ‘geek’ culture, comic conventions, comic art festivals and related media fandom events across North America have enjoyed enhanced prestige, attention and attendance over the last fifteen to twenty years. But what kind of event are these ‘con events’? This article builds on a cultural mapping survey of convention organizers. The survey’s goal was to suggest something of the scope and diversity of the contemporary sector. Behind this variation, we define the con event as an organizational and cultural form that is (1) oriented to media, (2) audience-facing and (3) concerned with circulation.
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Dernovšek, Davorin. "The Divine Sandman." ELOPE: English Language Overseas Perspectives and Enquiries 8, no. 2 (October 10, 2011): 45–62. http://dx.doi.org/10.4312/elope.8.2.45-62.
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The article discusses the intricacies of Neil Gaiman’s comics work The Sandman through the lens of reception; particularly it examines how Dante Alighieri’s masterpiece The Divine Comedy echoes through this epic comic. It not only tries to bring together (or rather deconstruct) these two profound works of art from diverse eras of human expression, it also discusses how two different modes of artistic expression – comics and poetry – converge on a metalevel. It furthermore treats the general nature of comics; denoting both their connection with literature and art in general, though in this respect also stressing the need for a separate study of the comics medium, and not as merely a genre of either literature or art.
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Nowińska-Antoniewicz, Natalia. "Breakup of Yugoslavia Portrayed by Serbian Alternative Comics Scene - The Case of Aleksandar Zograf." Kultura Popularna 60, no. 2 (January 31, 2020): 16–25. http://dx.doi.org/10.5604/01.3001.0013.7333.
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The article presents phenomenon of emergence of Serbian alternative comics scene during the period of breakup of Yugoslavia. The analysis is focused on anthology of works “Regards from Serbia” by Aleksandar Zograf who is considered the founder of the new direction in comic art. The works drawn over the nineties were portraying everyday life in Yugoslavia during its breakup. This period has been considered a strong taboo since and is not being willingly taken up by scientist from former-Yugoslavia what makes it difficult to gain knowledge that would meet scientific standards. Zograf’s comics were being published both in his country and abroad, what made them source of knowledge on situation in the Balkans of the world. In the article comic art is also being treated as anthropological evidence that enables understanding of foreign culture and processes related to attempts of rejection of the old ideological, moral, and axiological order.
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Lladó Pol, Francisca. "El còmic a Mallorca durant els anys vuitanta. Un mitjà de renovació cultural." Zeitschrift für Katalanistik 25 (July 1, 2012): 171–200. http://dx.doi.org/10.46586/zfk.2012.171-200.
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Summary: The comic of the 1980s in Mallorca presents some peculiarities which are a consequence of the period following Franco's death. The first, rather primitive examples of this new type of comic appeared around 1976, mostly in the form of socalled fanzines, which were directly related to the renewal of the visual arts, not only in the media, but especially those of the avantgarde. As early as 1983, the first magazines appeared that were distributed by commercial infrastructure and that aimed to renew conservative Majorcan society. This development eventually caused the comic to acquire characteristics, which gradually led this form of art towards postmodernism. The present article analyzes the role of comics as a medium of cultural renewal, arguing that the comics produced in the island be understood as an element of transcendence towards new forms of creation. [Keywords: Fanzine; Postmodernism; marginal culture; visual arts]
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Lent, John A. "Cartoons and comic art." Communication Booknotes Quarterly 29, no. 2 (March 1998): 102–4. http://dx.doi.org/10.1080/10948009809361566.
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Djayanti, Kris D., and Christian Aditya. "Visual Art in Motion Comic Sirup Manis Sofia." ULTIMART Jurnal Komunikasi Visual 9, no. 2 (March 22, 2018): 61–65. http://dx.doi.org/10.31937/ultimart.v9i2.752.
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Helping each other is one of moral values that are important to introduce to children because humans are social creatures. To convey this message, required a media that suite children to attract their interest, which is motion comic. To make motion comic become more attractive, the visual style that used is modernist cartoon style that popular in animation and illustrations of the 1950s.
Keywords: helping, motion comic, modernist
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Das, Amit Kumar, and Arjun Kumar Singh. "Comics: An Alternative Medium for Education and Social Progress." ECS Transactions 107, no. 1 (April 24, 2022): 8847–54. http://dx.doi.org/10.1149/10701.8847ecst.
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The emergence of alternative media doesn't mean that it is there to compete with the mainstream press. This is not at all about quantity, but about quality and participation, about active citizenship, awareness, different perspectives, and most importantly, about the democratization of media. To get space in newspapers the marginalized community used the medium of comics to raise their voice. These alternative media will go hand in hand with the mainstream media to remind them of the issues involved and the silent masses, and so we need to take comics seriously. This paper will examine the role of comic to break the boundaries of literacy and language and use of comic art for increasing literacy and awareness and to raise the social issue in rural India.
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Topham, Kate, Julian Chambliss, Justin Wigard, and Nicole Huff. "The Marmaduke Problem." KULA: Knowledge Creation, Dissemination, and Preservation Studies 6, no. 3 (July 27, 2022): 1–8. http://dx.doi.org/10.18357/kula.225.
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Michigan State University (MSU) is home to one of the largest library comics collections in North America, holding over three hundred thousand print comic book titles and artifacts. Inspired by the interdisciplinary opportunity offered by digital humanities practice, a research collaborative linked to the MSU Library Digital Scholarship Lab (DSL) developed a Collections as Data project focused on the Comic Art Collection. This team extracted and cleaned over forty-five thousand MARC records describing comics published in Canada, Mexico, and the United States. The dataset is openly available through a GitLab repository, where the team has shared data visualizations so that scholars and members of the public can explore and interrogate this unique collection. In order to bridge digital humanities with the popular culture legacy ofthe institution, the MSU comics community turned to bibliographic metadata as a new way to leverage the collection for scholarly analysis. In October 2020, the Department of English Graphic Possibilities Research Workshop gathered a group of scholars, librarians, Wikidatians, and enthusiasts for a virtual Wikidata edit-a-thon. This project report will present this event as a case study to discuss how linked open metadata may be used to create knowledge and how community knowledge can, in turn, enrich metadata. We explore not only how our participants utilized the open-access tool Mix’n’match to connect the Comic Art Collection dataset to Wikidata and increase awareness of lesser-known authors and regional publishers missing from OCLC and Library of Congress databases, but how the knowledge of this community in turn revealed issues of authority control.
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Beko, Lidija, and Dragoslava Mićović. "Strip i geoforenzika u nastavi engleskog jezika po CLIL metodi - stavovi studenata." Inovacije u nastavi 35, no. 1 (2022): 144–56. http://dx.doi.org/10.5937/inovacije2201144b.
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This paper has discussed the concept of integrating comic strips and geoforensics into CLIL English classes at university level and its potential and relevance to modern-day university education. Our assumption is that comic strips can greatly help to embrace geoforensics as an emerging interdisciplinary art that offers a whole new and previously unthought-of perspective to young geological engineers. As modern teaching is more demanding than that which relies entirely on the traditional pedagogical system, language teachers today, especially CLIL teachers, need to include as many different sources as possible in organizing teaching process. Motivation is, among other advantages, the reason why we think it is advisable to occasionally include comics in the learning process. At the end of this study, we conclude that the comic strips, despite their advantages, are not sufficiently analysed and represented in teaching. The research suggests that students recognize both linguistic, scientific, and aesthetic values of a comic strip, but are not sufficiently familiar with the possibility of including ethical aspects or logical reasoning in this new media of teaching. Raising the teacher's awareness of the need for introducing comics at all teaching levels of university study is yet to be analysed, and requires careful planning in order to be successfully achieved.
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Beko, Lidija, and Dragoslava Mićović. "Strip i geoforenzika u nastavi engleskog jezika po CLIL metodi - stavovi studenata." Inovacije u nastavi 35, no. 1 (2022): 144–56. http://dx.doi.org/10.5937/inovacije2201144b.
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This paper has discussed the concept of integrating comic strips and geoforensics into CLIL English classes at university level and its potential and relevance to modern-day university education. Our assumption is that comic strips can greatly help to embrace geoforensics as an emerging interdisciplinary art that offers a whole new and previously unthought-of perspective to young geological engineers. As modern teaching is more demanding than that which relies entirely on the traditional pedagogical system, language teachers today, especially CLIL teachers, need to include as many different sources as possible in organizing teaching process. Motivation is, among other advantages, the reason why we think it is advisable to occasionally include comics in the learning process. At the end of this study, we conclude that the comic strips, despite their advantages, are not sufficiently analysed and represented in teaching. The research suggests that students recognize both linguistic, scientific, and aesthetic values of a comic strip, but are not sufficiently familiar with the possibility of including ethical aspects or logical reasoning in this new media of teaching. Raising the teacher's awareness of the need for introducing comics at all teaching levels of university study is yet to be analysed, and requires careful planning in order to be successfully achieved.
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Blin-Rolland, Armelle, Guillaume Lecomte, and Marc Ripley. "Introduction." European Comic Art 10, no. 1 (March 1, 2017): 1–8. http://dx.doi.org/10.3167/eca.2017.100102.
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This introduction to this special issue of European Comic Art on ‘Comics and Adaptation’ provides a brief overview of the field of adaptation studies, with a particular focus on its considerable developments and expansion since the late 1990s, as it has moved beyond a comparative novel-to-film approach to centre instead around questions of intertextuality and hypertextuality. This special issue aims to contribute to this field and to the growing body of works on comics and adaptation. The authors explore questions of transnational circulation of visual, narrative and generic motifs (Boillat); heteronormalisation and phallogocentrism (Krauthaker and Connolly); authenticity of drawn events (Lecomte); identity in a stateless minoritised culture (Blin-Rolland); ‘high’ and popular culture (Blank); reverence in comic adaptations of the literary canon (de Rooy); and documentary and parody (Ripley).
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EVALLYO, VIOLETTA D. "All-Russian Scientific Conference From “Spectacle Plays” to Film Comedies: The History of Homo Ridens." Art and Science of Television 18, no. 2 (2022): 217–32. http://dx.doi.org/10.30628/1994-9529-2022-18.2-217-232.
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The article reviews the reports presented at the All-Russian Scientific Conference From “spectacle plays”1 to film comedies: The history of Homo Ridens, which was organized by the State Institute for Art Studies and the GITR Film and Television School on June 2–3, 2022. The event focused on comprehension of the historical development of laughter culture, introduction of trusted research concepts, disclosure of new facts and archival materials, and revealing the relationship between the comic, its intensity and semantics in postmodernist aesthetics. The following key areas were proposed: fundamental problems of aesthetics, cultural studies, and art criticism; genre and stylistic varieties of comedy; circulation of laughter culture in film, television and other screen arts and in the Internet environment; transformations of representation of comic, laughter, and humor in the historical context; provocation, deconstruction, and citation in comics. The reports were divided into two groups: “Komos & ode: The laughter culture of Europe” and “Deconstruction—meaning—reality.” The results of the conference showed the polyvalence of comic existence, the absence of unified ways of achieving aesthetic flawlessness of the genre, and its formcontaining aspects.
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Hatfield, Charles. "Comic Art, Children's Literature, and the New Comic Studies." Lion and the Unicorn 30, no. 3 (2006): 360–82. http://dx.doi.org/10.1353/uni.2006.0031.
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Sayılgan, Özge. "Exploring Interactivity in Digital Comics." Interactive Film & Media Journal 3, no. 1 (June 6, 2023): 97–105. http://dx.doi.org/10.32920/ifmj.v3i1.1687.
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The digital revolution has reconditioned our media landscape, instigating hybridity in traditional forms and reshaping the nature of storytelling through enhanced interactivity. This paper scrutinizes the transformative interplay of digital technologies and comic books, engendering new media narrative forms such as interactive comics and redefining conventional sequential storytelling. As a reflection of this evolution, comic books, long recognized as sequential art, have broadened their narrative scope by integrating elements of motion, interactivity, and game-like attributes. This research explores four distinct types of digital comics: Meanwhile: An Interactive Comic Book (Zarfhome Software, 2018), Framed (Noodlecake Studios, 2014), Florence (Mountains Studio, 2018), and Our Plague Year (Burton, 2022). By adopting Sheldon’s categories of interactivity and Lebowitz and Klug's interactive story spectrum, we analyze these stories' levels of interactivity and linearity. The findings indicate that the complexity, diversity, and multitude of reader agency do not necessarily render a story interactive in terms of content. While these digital comics vary significantly in design, most still adhere to a traditional linear narrative framework despite the diversity and many interactive elements. Only “Meanwhile: An Interactive Comic Book” deviates from linearity, manifesting non-linear, web-like narrative structures and branching story paths. This analysis unravels the nuanced hybridization of digital media and comic books, illuminating how digital technologies reshape and augment our narrative practices. The digital revolution has not only brought about a new storytelling habitat but also expanded our understanding of co-authorship, thus pushing the boundaries of sequential storytelling in an ever-evolving digital culture. It also highlights the importance of recognizing the differences between interacting with the medium and interacting with the story itself. Consequently, this research contributes to the understanding of the intricate relationship between digital technologies, interactivity, and sequential storytelling, paving the way for further exploration in the field of digital comics.
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Lent, John A. "The Uphill Climb of Thai Cartooning." Asian Journal of Social Science 25, no. 1 (1997): 93–109. http://dx.doi.org/10.1163/030382497x00068.
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AbstractThis article is a synthesis of data the author gathered through interviews, observation, textual analysis and secondary literature searches, most of which were conducted in August 1993. Comic art in Thailand is treated from macro and micro perspectives, beginning with a brief history of, and contemporary insights about, the politics and economics of cartooning. Because political cartoonists have figured prominently in the country's often turbulent times, they are discussed in sections that highlight their professional concerns and their relationship with the government. The background and current status of the comic book industry is also presented, ending with a case study of the largest comics publisher in Thailand, Bun Lour Sarn.
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Sanyal, Debarghya. "The sound of silence: Blank spaces, fading narratives and fragile frames in comics." Studies in Comics 10, no. 2 (November 1, 2019): 215–33. http://dx.doi.org/10.1386/stic_00003_1.
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Abstract How does one translate silence onto a silent medium? Printed comic books and graphic novels are generally a non-auditory art form. This has caused them to be traditionally perceived as ‘silent’. This also means that comics artists have come up with some of the most innovative ways of translating sound to a primarily visual medium ‐ bold letters, onomatopoeic words, fading images, etc. Nonetheless, these innovations have often in fact failed to address silence. As an art form where both the blank space and the printed word acquire their own unique visual signification, is comics rather a stubbornly un-silent medium? If so, then how does one depict silence in an un-silent medium? My article addresses these questions by first examining the works of Scott McCloud, Thierry Groensteen and Barbara Postema and their study of sound in comics. I then build on these theoretical frameworks to problematize the conventional correlation of visual signifiers with sound and silence, primarily examining the use of blank space or the lack of words as a default signifier of silence. Ultimately, I will argue that comic books provide a unique transmedial approach to re-analyse our conventional ideas for visual representations of sound.
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Marshall, Bill. "European Comic Art and Quebec." European Comic Art 5, no. 1 (July 1, 2012): 4–8. http://dx.doi.org/10.3167/eca.2012.050102.
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The welcome attention paid to Quebec in this issue of European Comic Art immediately points to a cluster of intellectual questions concerning identity, territory and academic discipline(s). What need was there for grouping a corpus, and analysis of it, according to this category, and what meanings are implied in that selection? And what problems are evoked by the adjective ‘European’? These are familiar questions to all those Quebec specialists working in French (‘and Francophone’) Studies, as well as, in my case, Film Studies. On the one hand, Quebec culture in all its forms of expression possesses a relevance and richness, due to historical and spatial factors I shall outline below, but is largely off the radar of the disciplines and sub-disciplines it could enrich. This is no more true than in French Studies, where it is difficult, but also necessary, topical (witness the continuing debate, five years after the manifesto, around littérature-monde) and urgent, to challenge the hierarchy implied in the centre and periphery generated by ‘(and) Francophone’. The challenge is to place Quebec in an endlessly comparative relationship with other French-speaking cultures, with other Atlantic spaces, in order to break down the barriers implied in an often ghettoised ‘specialisation’. Here bande dessinée scholarship has an interesting advantage, in that, despite the phenomenal cultural weight of the art form within metropolitan French life, a decidedly non-metropolitan space, namely Belgium, offers a central position. The opportunity is there to emphasise lateral connections that bypass as well as include metropolitan France, hence the work here on Tintin in Quebec. To an extent, bande-dessinée-monde, to coin a phrase, is already a reality.
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Lent, John A. "Comic Art, Democratisation and Conscientisation." Media Asia 36, no. 3 (September 30, 2009): 123–31. http://dx.doi.org/10.1080/23776277.2009.12224386.
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Peña ¨Méndez, Miguel. "Pop art y Comic books." Papeles de Cultura Contemporánea Hum736, no. 26 (July 17, 2024): 105–16. http://dx.doi.org/10.30827/pcc.26.2023.31295.
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Rinehart, Robert E., and Jayne Caudwell. "Sport–war cartoon art." Media, War & Conflict 11, no. 2 (March 1, 2017): 223–43. http://dx.doi.org/10.1177/1750635217696435.
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In this article, We explore the extent to which political cartoons and comic strips – as mediated public and political visual art, the ‘ninth art’ according to Groensteen’s The System of Comics (2007[1999] – subvert/confirm institutional values of so-called Western democracies during times of war. Our concern, as sociologists of sport, is with the ways dominant sporting sensibilities are (re)presented in cartoon art, and how sport itself is conflated with patriotic ideologies of war as a vehicle for propaganda. In particular, We interrogate how competitive-sporting ideals are aligned with war and conflict, and mobilized by cartoons during periods of Western-asserted conflict. We are intrigued by how some cartoon illustrations have the visual power to misplace, simplify and essentialize – via sporting analogy – the intense and complex emotions surrounding war. The aim of the article is to examine how the visual within popular culture is used to dis-connect and dis-engage a public with the realities of war and human conflict.
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Sylvia Ramadhani, Sri Mustika Aulia, Eva Betty Simanjuntak, Septian Prawijaya, and Lidia Simanihuruk. "Pengembangan Media E-Comic untuk Meningkatkan Hasil Belajar Siswa Kelas III SD Negeri 066650 Medan Tahun Ajaran 2023/2024." Mimbar Kampus: Jurnal Pendidikan dan Agama Islam 23, no. 2 (June 27, 2024): 1094–106. http://dx.doi.org/10.47467/mk.v23i2.3398.
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This research uses the ADDIE development model to develop Canva-based e-comics on dance art materials for grade III students at SD Negeri 066650 Medan in the even semester of the 2024/2025 academic year. This research involved 30 class III students as subjects, 3 expert validations, and 1 teacher with the aim of testing the feasibility of e-comic media in dance art subjects in the independent curriculum. Validation by material experts, media experts, and question experts showed that this e-comic scored high, material experts gave a score of 47 out of 50 (91.1%), media experts gave it a score of 62 out of 65 (94%), and question experts gave it a score of 26 out of 30 (86.65%). Teachers also gave high scores for practicality tests (97%), with all aspects such as appearance, material, and language getting 'very decent' and 'valid' categories. The evaluation results showed a significant improvement in student learning outcomes as seen from the comparison of student pretest and post scores, with the validity and reliability of the questions tested using the SPSS version 26 application. This study recommends using Canva-based e-comic as an effective and interesting learning medium in supporting interactive and creative learning in elementary schools.