Cartooning

En la actualidad, la experiencia teatral de los niños tiene lugar en buena medida a través de la pantalla televisiva. En el presente estudio se analizan las formas que adquiere el teatro en cinco series contemporáneas  de  dibujos  animados  dirigidas  al  público  infantil  en  distintos  segmentos  de  edad,  desde bebés a preadolescentes: Egg Birds, Peppa Pig, Calimero, Henry, el monstruo feliz y La princesa Sofía. Estas series ofrecen particularidades sobre la percepción del fenómeno teatral, y abarcan desde la identificación de elementos básicos del escenario hasta, en las series para niños de más edad, la im-portancia de la transformación y el cambio de identidad. El conjunto permite postular una aplicación didáctica sobre las competencias que adquieren los niños al respecto del espectáculo teatral

Currently, theatrical experience for children takes place largely by means of television screen. The present study analyzes the forms that theater acquires in five contemporary cartoon series aimed at  children  in  different  age  groups,  from  babies  to  preteens:  Egg  Birds, Peppa  Pig, Calimero, Henry Hugglemonster and Sofia the First. These series offer special features concerning the perception of theatre;  they  range  from  the  identification  of  basic  stage  elements  to  the  importance  of  transfor-mation and change of identity in the series for older children. Thus, this study allows to propose a didactic application on the skills that children can acquire.

This booklet is an introduction to my basic approach to drawing and cartooning the human figure based on workshops I have taught since 1993. "Stick figures" (the gesture or pose) and simple geometric solids like spheres, cubes, and cylinders are used to construct supple, fluid figures with simple but convincing contour outlines. The ability to draw the figure (or schematic mannequin) based on a "canon of proportions" from memory, supplemented by drawing the live model and studying photographs and anatomy resources, is invaluable to the artist, illustrator, cartoonist, animator, and comic book storyteller.

Cartoon is a drawing, representation or symbol that makes a satirical, witty or humorous point. Though different types of cartoons may vary greatly from each other, the one common factor is humor & all the types some how influences & affects society & people in it in different ways. It is a sensible & creative art form. Historically, different cartoons had huge influences on politics, social thoughts/messages, entertainment issues & psychology of children & young generation. In Bangladesh, cartoon is not considered so & cartoonists are not given the proper recognition, as they should be given. As a result, instead of having some very talented cartoonists, Bangladesh is falling behind in many ways regarding this art form. So, a cartoon museum dedicated to preserving & exhibiting all sorts of cartoons, starting from pre-historic time to editorial, social, political, economic cartoons & modern day animated toons is neede in Bangladesh. An institution for cartoon studies in Bangladesh. Creating cartoonists & animators, with basic courses, studio work including workshops. Innovative exhibitions to make the past and present of the art form, accessible to all for the purposes of education, research and enjoyment. This paper describes the process I have gone through to design a museum & institution for cartoons & comic arts suitable for Bangladesh.

From its creation The Simpsons proved different, but how the irreverence of a show can be enough for the American public to select this sitcom as it preferred primetime watching time? How the show confronts capital issues of our decadent society as race, gender, religion sex and first, family and marriage. It’s not all in the humor or the quality of color or maybe selecting aggressive topics like the environment of corruption. How the gender representation in topics like homosexuality in majority of male characters on the show affect the way the audience react to them. Multiple recog-nitions around the world, but also critics about their political agenda and controversy. This show create a momentum for success on television for shows oriented to social aspect and adult anima-tion, awakening also a wave of copycats around the world. The success of the sitcom resides in big part in how the show presents actual social topics that make them attractive for all. Now society is moving on, moral decay is all around and a family show, with a very dysfunctional family, agree, it’s getting behind. Are we seeing the last of them or the team have more surprises under their hat? Will see. That’s the reason of the few ideas put together in this paper.

In current criticism on comic books and graphic novels there is a recurrent use of the terms ‘comic’ or ‘comic book’ to refer both to the language employed by these texts and to the different subgenres that use this language. Comic strips, comic books and graphic novels share the common characteristic of employing the same iconical language. Nevertheless, they are different texts that should each be placed in their own context in order to understand their generic specificities. Their contextualisation will help avoid the confusion produced by the indiscriminate use of the term ‘comic’. This article aims to offer a proposal for the assessment and classification of the different types of texts that exist under the umbrella terms of ‘comics’ and ‘comic books’, with a view to placing them within what can be called the ‘iconical discourse community’.

Political Cartoons otherwise known as Editorial Cartoons are single panels of
graphics that are satire of political events. Apart from serving as a corrective
measure, they also serve as historical documents and are a ‘snapshot’ of the
political climate of a given period.
Over the years cartoons have shaped public opinions on societal issues that have
sometimes resulted in tragedies in the manner in which information is transmitted
to the public.
In 2005, over 300 people were killed in the Northern part of Nigeria during a
religious riot fuelled by a Danish Editorial Cartoon publication which satirized the
Islamic religious leader, Muhammed. Such occurrences show that cartoons are a
formidable force and could serve as mirrors of the society.
Cartoons have played a major role in the democratisation process in Nigeria
particularly during the military era. The Newspapers are awash with various
images depicting the ills in the society. The themes range from corruption,
political instability to electoral fraud.
This thesis examines the role played by editorial cartoons in the democratisation
process in Nigeria. It focuses on the military era between 1983 and 1999: this
period being the last phase of military incursion into Nigerian politics.
Thirty published editorials cartoons by three renowned cartoonists: Josy Ajiboye,
Adeboye Adegbenro and Akin Onipede are studied and analysed to establish their
roles in documenting what is regarded as the ‘Khaki’ years of oppression in
Nigeria.
The analysis carried out reveals that cartoons played vital

This petition argues that erotic comics are an important cultural record of the way in which diverse sexualities are understood and portrayed, and sexual fantasies explored. An Erotic Comics Anglophone Archive (ErotiCAA) will preserve these works for research by scholars in many different disciplines.

One of the biggest problems facing anyone researching pornography/erotica or comics, and therefore doubly so for anyone researching erotic/pornographic comics, is finding and gaining access to primary materials. So we have decided to have a go at establishing an archive in the UK to collect and catalogue English-language porn and erotic comics.

We intend to approach a number of libraries and research institutions to host and/or fund the archive. Persuading them to support us will be a lot easier if we an show that there is a need for this archive, so to help with that we’ve started this petition.

We’ve already got this kick-ass logo designed for us by Alison Lucy Stone and meetings set up with a couple of big libraries. Help us out by signing the petition? And if you’d like to be more involved, please tweet Dr Anna Madill @UKFujoshi or Dr Jude Roberts @tangendentalism - we’d love to hear from you!

A presente pesquisa tem como tema o potencial da ilustração jornalística nos jornais multiplataforma que incluem a versão mobile para o acesso por dispositivos móveis. A pesquisa busca compreender como o ambiente multiplataforma impacta a ilustração e que motivos levam essa ilustração a vir perdendo espaço entre as imagens jornalísticas, gerando dificuldades para sua inserção na versão dos jornais em smartphones. Para tanto, foram realizados uma revisão bibliográfica sobre o tema; entrevistas com 40 profissionais de jornais brasileiros (ilustradores e editores); além de um levantamento e análise documental de conteúdo jornalístico ilustrado para jornais digitais e impressos produzidos no período da pesquisa. A pesquisa buscou: identificar as funções da ilustração jornalística; compreender como o ilustrador se insere na rotina produtiva do jornalismo; refletir sobre aspectos do design, layout e composição na produção e apreciação da ilustração; identificar e compreender desafios técnicos presentes na produção e experiência da ilustração em smartphones (versões mobile); e compreender como o campo profissional percebe a ilustração e o ofício de ilustrador de jornais hoje. Foi considerada Ilustração jornalística toda imagem realizada por profissional Ilustrador para jornais diários, incluindo o Desenho de Humor – Caricatura, Charge, Cartum e História em quadrinhos – e todo desenho que visa ilustrar conteúdo opinativo no jornalismo, assim como a Ilustração para Infografia-Ilustrada. Imagens fotográficas e aquelas com função objetiva no jornalismo informativo, como os infográficos de dados, não foram contemplados.

This research is focused on the potential of news and editorial illustration on multiplatform newspapers that include a mobile version for smartphone access. The study aims at comprehending how the multiplatform news setting impacts illustration and for what reasons is illustration losing ground among other images on newspapers, making it difficult for its insertion on the mobile versions of them. Our study undertook a literature review on the subject and interviewed 40 brazilian professionals from the news industry (illustrators and art editors). Documental research and analysis of illustrated material published during the years of development was also included. The study strove to: identify the functions of newspaper illustrations; to understand how the illustrator fits into today's news routines; to reflect on elements of design, layout and composition in the production and appreciation of illustration; to identify and understand technical challenges for the experience of illustration on smartphones (mobile versions); and to understand how the field of work realizes newspaper illustration. and its craft today. Every image produced by a professional illustrator for daily news was considered news illustration, including cartooning – editorial cartoons, caricature and comics – and all drawing illustrating content in opinion journalism as well as information graphics that include illustration. Photographic images and those with an objetive role in information journalism, as well as graphics and data visualization, were not included.

This paper attempts to explain how cartoons have become a fast and easy-to-process way to present humorous
and yet highly vindicative messages which can be accessed by different people around the world. Therefore, they
are increasingly used as an effective means to vindicate significant social issues, such as women’s rights and the
claim for equal opportunities. As multimodal texts, they strategically combine different communicative ‘modes’,
namely, verbal and non-verbal clues, in order to convey cognitive effects intended to be captured by the
readers/viewers in order to grasp the whole meaning of the communicative act. More specifically, the present
paper focuses on a selection of cartoons dealing with the controversial issue of gender equality, which have been
extracted from newspaper digital editions, web platforms and publications appearing on-line during the period
2011-2014. Following the proposals put forward by Sperber and Wilson’s Relevance Theory, the analysis has
revealed that the corpus of selected cartoons relies heavily on non-linguistic elements, especially on extremely
meaningful visual metaphors, namely, the ‘cross’, the ‘key’, the ‘dart’, the ‘equals sign’ and the ‘scales’ images.
This analysis allows us to explore how, by means of these non-verbal clues, cartoonists endow their drawings
with a critical and vindicative message that is effectively and globally exposed to a wide international audience.

1. Probleme der Definition des ›Comic‹ | 2. Medialität des Comic | 3. Intersemiotizität und Multimodalität des Comic | 4. Narrativität des Comic | 5. Bildlichkeiten des Comic

In: IMAGE: Zeitschrift für interdisziplinäre Bildwissenschaft, 26, 2017, S.105-129 (Nachdruck von „Comic“ In: Glossar der Bildphilosophie, April 2016; http://www.gib.uni-tuebingen.de/netzwerk/glossar/index.php?title=Hauptseite).

“Hockey, for me, is the greatest game going. There’s just nothing comparable to the exhilarating feeling of breaking down the ice with the puck, heading in on the goal. You really have a chance to go. I’ve also played baseball, tennis, and golf, but there’s just nothing quite like ice hockey.” – Charles M. Schulz

Growing up in the 1920s and 1930s in Minnesota’s Twin Cities, Charles M. Schulz, and his neighborhood buddies would skate in the backyard each winter. His father Carl, a neighborhood barber, would flood the yard and it would freeze into a serviceable skating rink. They also skated and played hockey on area ponds and at parks.

This early exposure to casual and more organized competition brought Schulz enjoyment, a feeling he would go to great lengths to recapture through is life, playing hockey, even until his death in 2000.

This chapter examines the work of the Israeli cartoonist Ilana Zeffren who publishes a weekly column in the entertainment magazine Achbar Hair. Entitled Rishumon – or “little sketch” – it is autobiographically inspired, featuring Zeffren, her girlfriend and their two speaking cats, Rafi and Spageti.  My way into the work is led by the fact that Zeffren is an out lesbian  who takes the lesbian everyday as the starting point for exploring other issues such as, in her own words, “life in the city [Tel Aviv], current affairs, cat stuff and the process of making the column”.  I argue that Zeffren's work is both evidence of and a contribution to what I call the “graphic lesbian continuum”, a concept that describes how lesbian lines of orientation are drawn across space and time, and across cultural and linguistic boundaries.

Active from 1940 to 1948, PM was a progressive New York City daily tabloid newspaper committed to the politics of labor, social justice, and antifascism—and it prioritized the intelligent and critical deployment of pictures and their perception as paramount in these campaigns. With PM as its main focus, Artist as Reporter offers a substantial intervention in the literature on American journalism, photography, and modern art. The book considers the journalistic contributions to PM of such signal American modernists as the curator Holger Cahill, the abstract painter Ad Reinhardt, the photographers Weegee and Lisette Model, and the filmmaker, photographer, and editor Ralph Steiner. Each of its five chapters explores one dimension of the tabloid’s complex journalistic activation of modernism’s potential, showing how PM inserted into daily print journalism the most innovative critical thinking in the fields of painting, illustration, cartooning, and the lens-based arts. Artist as Reporter promises to revise our own understanding of midcentury American modernism and the nature of its relationship to the wider media and public culture.

We are investigating how animation can be applied to human computer interaction. In particular, we have applied techniques borrowed from cartoon animation to the visual appearance of objects that a user manipulates. Such animation effects can heighten the user's sense of engagement by giving the objects greater "substance", and it can convey more information about the nature and progress of the interaction. This paper describes two experiments that we have conducted to explore how effective these techniques are in the context of a direct manipulation drawing editor. Our results suggest that users like the "feel" of the animated interaction, and that the techniques offer promise as a way to augment interactive interfaces. Keywords: animation, cartooning, direct manipulation, graphical interfaces, drawing editors, InterViews 1 Introduction Along with other recent workers [1], we have been investigating how animation can benefit human computer interaction. Our ...

Niccolo Machiavelli (1469-1527) ist seit 500 Jahren ein Kopf, der Kontroversen garantiert. In der Rüpelphase der Renaissance bewies er sich als Diplomat und Politikmanager der Republik Florenz. Er war ein skeptischer Realist, ein leidenschaftlicher Patriot und der erste moderne Politikwissenschaftler. Sein Ziel: Politikberatung, die nie den handelnden Menschen als Adressaten aus den Augen verliert. Doch hinter zugespitzten Handlungsmaximen steht subtile Analyse. Leider wirkt Machiavelli heute oft altbacken. Dieser Sachcomic macht die harte Kost verdaulich. Der Comic-Machiavelli ruft Helden und Schurken der Geschichte auf die Bühne, um zeitlose Regeln vorzuführen. Das alles mit zeichnerischem Witz und boshaften Anachronismen  wie es Machiavelli selbst gemocht hätte. Er war nämlich ein Satiriker ersten Ranges. Ernst und Spott platzierte er nah beieinander. Und so macht es auch, als Tribut an den großen Denker, Machiavellis Machtfibel.

Since I first saw his cartoons about books and reading on the next-to-last page of the New York Times Book Review, Grant Snider has been one of my favorite cartoonists. His new book, The Art of Living: Reflections on Mindfulness and the Overexamined Life (Abrams Comic Arts, $19) is full of his delightful single-page multi-panel cartoons that can make a reader pay attention and wonder about their lives and goals.

New Orleanian cartoonist Bunny Matthews made a name for himself in the early 1980s with the creation of his two iconic characters, husband and wife Vic and Nat'ly Broussard, a satire duo who own and operate a bar and poor-boy emporium in the Ninth Ward. Their commentary on the local scene, on the city's cultural and social issues, served as the basis for much humor and controversy in the nineteen years they appeared in The Times-Picayune. This article explores Matthews' relation to Louisiana lore based on two extended interviews I recorded in October 2011, as well as other interviews Matthews' has given in the past. Additionally, this piece draws on his vast catalogue of cartoons, which disseminate a vernacular ideology only Matthews could convey, one, I believe, uniquely tied to Louisiana.

At the time of independence, most African
countries were poised to take charge of their
own affairs. However, postcolonial realities
characterized by political upheavals, coups
and counter-coups, civil wars, and economic
downturn, among other setbacks, created a
sense of ambivalence in terms of political and economic freedom.
In Nigeria, satirical expressions became the tool used against oppressive
regimes. In post-independence Nigeria, from the military
dictatorial era to the present civilian dispensations,1 sociopolitical
issues have been lampooned in different forms of expression such
as music, performance, cartoons, and memes. This was achieved largely by concealing the main subject
matter behind the “masks” of metaphoric imagery, which enabled
cartoonists to develop narratives that counter the dominant narratives,
often opposing governmental policies and practices.
In this article I explore the ways in which Etim Bassey Asukwo
employs visual elements as counter-narratives against dominant
governmental narratives on sociopolitical issues.By examining
his cartoons within the context of production and the choice of
imagery he employs, I argue that rather than simply expressing
societal happenings, these images provoke discourse on various
sociopolitical issues. As such, these cartoons are not just passive
reflections, but are also instruments of persuasion. Contemporary
cartoons share significant similarities with the precolonial tradition
of satire. Imagery in contemporary times are employed as a
“mask” for protection in order to reveal societal ills and to speak
truth to power. In rendering some of his works, Asukwo usually
masks his identity as “Basati”—a signature he coined to conceal his
true identity, when he does not sign his works as Asukwo EB, the
main signature he is known for.

This paper presents our solution to the 2013 MediaEval Visual Privacy Task. We apply cartoon-like effects to captured video such that identities of persons are protected while behavioural information and hence system intelligibility are maintained. We present our processing pipeline which includes additional protection steps such as re-colouring or additional blurring and discuss early evaluation results.

El propósito del presente trabajo es explicar cómo los humoristas gráficos emplean sus viñetas como una herramienta multimodal, i.e. tanto verbal como no verbal, para presentar retratos humorísticos a la vez que reivindicativos de la masculinidad y el machismo. Como textos multimodales, las viñetas seleccionadas combinan de forma estratégica las pistas verbales y no verbales con el fin de que los receptores capten dichos efectos cognitivos (humor y reivindicación). En concreto, este trabajo se centra en una selección de viñetas sobre relaciones de género, que abordan el controvertido tema del machismo, extraídas de ediciones digitales de periódicos, plataformas web y publicaciones on-line de distintos países, del período 2011-2014.
Siguiendo los postulados de la Teoría de la Relevancia de Sperber y Wilson (1986; 1995; 2004; etc.), se analizan los mensajes codificados por los dibujantes, las estrategias presentes en el proceso de codificación /descodificación, los efectos potenciales de los estímulos en los lectores y las implicaturas que estos infieren del input.
Las actitudes machistas predominantes en el corpus se han clasificado en unos patrones recurrentes que afectan tanto a la vida privada (el machista ‘por convicción’, el machista ‘por tradición’, el machista ‘por derecho’, el machista dependiente vs. el machista controlador) como a la vida pública (perpetuación de los roles, paso a la posteridad, desigualdad salarial, o acceso a los puestos de responsabilidad).
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This paper attempts to explain how cartoonists use their works as a multimodal, i.e. both verbal and non-verbal medium to present humorous and yet vindicative portrayals of masculinity and chauvinism. As multimodal texts, the proposed cartoons strategically combine verbal and non-verbal clues, in order to convey such cognitive effects (humour and vindication) intended to be rightly captured by the readers/viewers. More specifically, the present study focuses on a selection of ‘gender roles’ cartoons dealing with the controversial issue of male chauvinism, which have been drawn from newspaper digital editions, web platforms and publications appearing on-line during the period 2011-2014.
Following the theoretical principles put forward by Sperber and Wilson’s Relevance Theory (1986; 1995; 2004; etc.), this survey focuses on the intended messages encoded by the cartoonists, on the strategies involved in the encoding-decoding process, the potential effects of the stimuli on the readers, and the inferential implicatures they may derive from such input.
The predominant male chauvinist attitudes will lead to an overall classification, which includes certain recurring patterns in the private sphere (like convinced chauvinists, traditional chauvinists, chauvinists “in their own right”, dependent chauvinists vs. controlling chauvinists), or in the public sphere (perpetuation of gender roles, place in history, inequality of wages, or access to positions of responsibility).

... Article. Eudes le Volumeur au Musée du Louvre Les sous-sols du Révolu. Extraits du journal d'un expert, de Marc-Antoine Mathieu. Futuropolis / Musée du Louvre éditions, 60 p. Yan Hamel. Auteur : Yan Hamel. Titre : Eudes le Volumeur au Musée du Louvre. ...

Este artigo discute a dificuldade de inserção da ilustração e do desenho de humor no contexto produtivo multiplataforma de uma indústria jornalística em crise econômica. Primeiro, caracteriza-se a ligação da ilustração e do desenho de humor com o gênero do jornalismo opinativo, correlacionando o trabalho de ilustração com a virada conceitual que deu as bases para o jornalismo empresarial de massa, informativo. Em seguida, a partir de apontamentos de teóricos e vozes de profissionais do campo, são abordados três fatores que impactam a ilustração hoje: 1) A concentração da propriedade dos meios de comunicação por poucos grupos e redução de espaço para a pluralidade de opiniões; 2) A situação periférica da ilustração na rotina produtiva; 3) As programações e adaptações das imagens jornalísticas na produção multiplataforma. Por fim, propõe-se
uma reflexão sobre o impacto dessas transformações nas perspectivas de trabalho do ilustrador e cartunista nesta indústria.

As the United States moves closer to a minority-majority nation, the challenges for educators rise. One mounting challenge is the assessment of first-generation college students. Among educators (Montenegro and Jankowski 2017; Nelson Laird and BrckaLorenz 2017), there is talk of “culturally responsive assessment,” which aims for equity in assessment for marginalized student groups (Nelson Laird and BrckaLorenz 2017). This article provides an accounting of a culturally responsive approach for the assessment of first-generation students.

Visual privacy in video-based applications such as surveillance, assisted living or home monitoring is a highly active research topic. It is critical to protect the privacy of monitored people without severely limiting the utility of the system. We present a resource-aware cartooning privacy protection filter which converts raw images into abstracted frames where the privacy revealing details are removed.  Cartooning can be applied either to entire images or pre-selected sensitive regions of interest. We provide an adaptation mechanism to our cartooning technique where the operator can easily change the filter intensity.  The feasibility of this new approach is demonstrated by its deployment to real-world embedded smart cameras. We evaluate privacy protection and utility of cartooning with the PEViD data set and compare it with the two widely-used privacy filters: blurring and pixelation.