Tag Archive: comics


Bruno Budrovic (illustration)Comics appeared officially in the United States in the second half  of the 19th century – not by chance  in  the age of onset and strong affirmation of the mass media: photography and film. The comics are an important cultural phenomenon and that was explained to us in the 1970s thanks to several theorists of visual communication. Special thanks goes to the very respected Dr Vera Horvat- Pintaric, as she made ​​of it an object of wider interest, singled it out of  “despised consumer goods” and introduced it to the Faculty as a subject of study (with posters, photography, film, television, commercials, video, thus normally “academic” science was not dealt with) .
( Part of the introduction of the exhibition about Comics created by the Croatian internationally famous artist/illustrator Bruno Budrovic and Josip Majic in the Miroslav Kraljevic Gallery, Zagreb, 1995.)

(Bruno Budrovic, Illustration, courtesy of the artist)

The Italian theorist Umberto Eco, one of the renowned scholars of mass media, including comics, analyses  the complexities of the mediain in his book “The Interpretation of Steve Canyon”, which can be recognized on the semantic (symbolic), ideological and anthropological level.Josip Majic, Camp (Courtesy of the artist)

The basic element of semantics of the comics is a conventional sign of “the bubble” that accompanies the standardization of a mood: if it ends with the sharp edge, leading to the person who talks, “the bubble” means “direct talk”, then if it ends in a series of bubbles, it indicates “the reflective discourse”, and finally if the “bubble” has serrated edge then it indicates excitement, fear, etc.

A graphic sign is also an important element, especially used in the sonorous service as an onomatopoeic extension resource of a language (eg. “zip” of a bullet, “gulp” of an astonishment), but it is often taken from English and put into other languages, losing direct contact with the meaning (“smack” or blow of a fist ).

These semantic elements constitute a particular grammar of cadre, referring to the impact of the film, especially the form of montage. However, the comic has the original montage: not achieving a steady flow with fixed frames as a movie, but it is achieved through ideal continuity of breaking the continuum of basic elements that the reader in imagination connects and sees as a continuum. Such elliptical process, from the standpoint of communication means programmatic removal of redundancy, hence allowing a high information capacity.

More:

PhD Vesna Srnic, “Comics”, 1995

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Curator of the Museum of Modern and Contemporary Art Rijeka Sabina Salomon introduces a famous international artist Mirko Ilic at The Museum of Contemporary Art Vojvodina, Novi Sad on 25th October – 14th November, 2011.

“The exhibition THE PEACE WORKS – Mirko Ilic – Retrospective: comics / illustration / design / multimedia 1975-2011 is an artistic event that will give the audience a chance to get acquainted with the previous works of this author. Mirko Ilic published his first works in 1973, and since then has been publishing comics and illustrations in magazines, such as Omladinski tjednik, Modra Lasta, Tina, Pitanja; he has become the art and comics editor of the students’ magazine Polet in 1976. He helped to organize an informal organization of the comic book creators Novi kvadrat (The New Square), that has been widely connected to the Novi val musical movement in Zagreb.

In 1986 he left Yugoslavia and went to New York “with $1,500 in the pocket and no idea what to do upon getting there.” He soon started publishing his illustrations in Time, The New York Times, Los Angeles Times, Wall Street Journal, and many other prominent and influential newspapers and magazines. In 1991, he became art director of Time International, and the following year he became art director of the op-eds in The New York Times. In 1993, Ilic became one of the co-founders of Oko & Mano Inc. graphic design studio, and in 1995 he founded Mirko Ilic Corp., a graphic design and 3-D computer graphics and motion picture title studio. In 1998, he created the title sequence for the romantic comedy You’ve Got Mail.”

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Source:

msuv.org

mirkoilic design

Superheroes

A young Croatian multimedia artist Ana Schaub (1983) is introducing herself in a Zagreb “Gallery of Events” in Culture center Pescenica by positioning the problem of media induced reality. Mass-media and contemporary technology define and designe our lives, our perception, thoughts and feelings, if we are not aware enough of it.  The artist criticizes that false grotesque world of trivialities, creating the same methodes that are valued in them: false heroes and their false powers……(from the catalogue, written by Ivana Gabrić).

After finishing Croatian Academy of fine Arts Zagreb (2007), she developed her skills at Indiana University of Pennsylvania, US. Ana Schaub is in a process of doing her postgraduate work on video at Academy of fine Arts in Slovenia.

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