Biennial of Illustrations Bratislava Biennale der Illustrationen Bratislava Bienal de Ilustraciones Bratislava Бьеннале иллюстраций Братислава Biennale d'illustrations Bratislava

ZBORNÍK Medzinárodné sympózium BIB 2011

MISCELLANY International Symposium BIB 2011

23. Bienále ilustrácií Bratislava, Slovensko • Ministerstvo kultúry Slovenskej republiky • BIBIANA, medzinárodný dom umenia pre deti 23rd Biennial of Illustrations Bratislava, Slovakia • Ministry of Culture of the Slovak Republic • BIBIANA, International House of Art for Children 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava BIB 2011 Symposium International World ofNew Media The Illustrationsinthe 23. Bienále ilustrácií Bratislava

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Miscellany Theme: Theme: Media of New World in the The Illustrations Editor: Anoškinová Viera Mgr. by: Published republic Slovak Bratislava, 41, 815 39 BIBIANA, International House of Art Children, Panská for from English to Slovak: Translation Lucia Spatz Photography Mária Baloghová language revision: Slovak Žáryová Tatiana PhDr. English translations of their contributions for themselves are responsible The authors design: Graphic Fröhlich Jakub Printed: Printing House DÓŠA Realization: o. s r. Commercium, spol. ISBN 978-80-89154-34-0 International Symposium BIB 2011 Symposium International Bratislava of Illustrations Biennial International International Symposium BIB 2011 82 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava Notes Concerning ComputerIllustration inBIB Notes Concerning the“Traditional”of Realm Beyondthe Illustration. Andrej Švec (Slovak republic) Reflections ontheNew Media Stefen) Larsen(Denmark Picture BooksandIllustrations in New Media Yun-Deok Kwon (SouthKorea) Croatian Illustration inthe World ofNew Media Koraljka Jurčec-Kos (Croatia) Our MindisGreaterthanthe World Renáta Fučíková (Czech republic) Illustration ofChildren’s Picture-books the in Language Cinematographic of uses The Fanuel HanánDíaz(Venezuela) The Illustration andNew Media Janine Despinette(France) The Illustration inthe World ofNew Media ) (Denmark Kirsten Bystrup Foreword Viera Anoškinová (Slovak republic ) Contents

121 118 115 109 103 95 93 85 83 Some Remarks onPolishSome Remarks Illustration Contemporary a Devious Tool? New Media in Book Illustration - a Great Solution or Anita Wincencjusz Patyna (Poland) Croatian Illustration intheNew Media Manuela Vladič Maštruko (Croatia) versusNew Illustration Media,DigitalArt Michal Tokár (Slovak republic ) Toward the World ofNew Media Sahar Tarhandeh (Iran) 150 143 134 128 23. Bienále ilustrácií Bratislava

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Illustration Illustration in the New Media is the topic of this year‘s International Symposium, as well as of the Biennial of Illustration The Bratislava. concept does not necessa- rily only mean that ever more illustrators are using di- gital technologies in their artwork. The topic can also be so perceived as to include children and adults alike media and surrounded new media by in general, inclu- frequently has that television as such technologies ding replaced reading books, the Internet used not only to search for information but also as a new way of com- with municating friends be near who or or may very far Electronic books with met. people even never we have are getting ever more common, printed replace traditional books. e-books may and in theory, the New technologies make our lives more enjoyable and easier but at the same time they may overly consume our time; let us just realize how many hours spend we “surfing” can on the net and be not passing Those awareby. hours of time could be spent doing things with our dear ones or children, for example, readings certainly at- illustration quality with book good A books. tracts the attention of children and sometimes guides them to art. Artists – illustrators may use in their possibilities works that modern the technologies But offer. every new including illustration, a purely bears digital the one, im- print of its author who has to design the illustration in her or his imagination first and then transfer it no toTechnology, computer. matter the how sophisticated it may be, cannot produce a work of art without human fantasy and Let creative imagination. us allow the new media be a part of our but lives let us make these me- than control us. dia serve us rather jury member jury co-ordinator of (Slovakia) postgraduate postgraduate study at Academia Viera Anoškinová Anoškinová Viera curator of exhibitions both in Slovakia and both curator of abroad in exhibitions Slovakia gallery director; the gallery focused first of all on Coordinator of InternationalCoordinator 2011 Symposium BIB She studied at Commenius University Philosophical in Bratislava, Faculty, Department Visual Arts. Later a of Theory on at The Most Beautiful Book in Rose, Ľudovít Slovakia Fulla Prize Tripple and a competition, an International BIB Symposium since 2007. She has been working with BIBIANA, International Arts House for Children, BIB of Department since 2009. She is the head of BIB Secretariat since 2010. Istropolitana in Bratislava. a Since 2001 graphic art works she and book illustrations. She worked was as a a is She articles. of number wrote she and Foreword Viera Anoškinová Viera Anoškinová 84 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava pical issue. to- highly this about thoughts their share to ling wil- here, are who all to thanks express me Let symposium. our of topic the grasping of ways various and opinions experiences, of exchange I think we all are going to have a very interesting Viera Anoškinová BIB 2011 International Symposiumparticipiants BIB 2011International 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 85 What does Tula the Tula What does Owl say? Snowy Baby Introduction When we are talking of the illustration and the world of new media, we often refer to the mediating of picture books and illustrated books that the new media offers, DenmarkIn apps. the and e-books the are recent most we have only very few picture books books and as e-books illustrated and apps at the moment, rapidly. and developing and area is still very new the another to theme year’s this address to like therefore I’d aspect of the new media, namely the use of the new media in the illustrator’s working process. In this con- media as the computer. I see the new text I have interviewed two Danish illustrators to see how they use the computer in their working process and to in computer importancethe the of of impression an get the design The process. two illustrators are Charlotte Pardi and I’d like Lilian to Brøgger. mention that Char- lotte The is Hans Pardi nominated Christianfor Ander- Brøgger Lilian that and IBBY, Danish the by Award sen received the Ministry of Culture’s Prize for Illustration Young The of Sorrows this springher to illustrations for the with BIB this at represented both are They Werther. works about. I’m going to talk (Denmark) Kirsten Bystrup Bystrup Kirsten She is a librarianLiterature The Centre Children’s with in Book Copenhagen. illustrations have been her area her from angles of entire various life – focus as a - libra and teacher. editor rian, reviewer, Kirsten Bystrup Bystrup Kirsten Media of New World in the The Illustration 86 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava partly by the fact that the author had written the story story the written had author the that fact the by partly author the inspired was that she technique of choice approved.her In board story a made Pardi Charlotte had anideaofthepictures asIndianinkdrawings. Charlotte Pardi as the illustrator of the text as the author suggested who house publishing the of editor the was it and first, came text the traditionally years.Quite 2-3 age the at children small for told story simple quite A TEH, TIH-TIH, TOH-TOH. A snowy owl says TUH-TUH. gradually learns, she that the snowy bear owl does not polar say the TAH-TAH, and fox TEH- snow snow the the hare, meets she as But makes. owl snowy a nd sou- what know not does who owl snowy baby the of story does the TulaWhat say?is Owl SnowyBaby the What does Tula theBaby Snowy Owlsay? process ofthetwoworking illustrators. the on examples you show to like I’d following the In peals tothem? favouritehavingap- a as specially thing that technique based personal more a it is Or forgroupbook? get the author? story? The editor? the The it tar- Is The them? influence does What choice? their make they do How pictures intheabove mentioned books. the making for technique given the why chosen have on they questions asked primarily I interviews my In on thepossible influenceofthecomputer. pictorial language. In this way I hoped to get information the two illustrators had made in choosing their respective would be interesting getting to know the considerations and this I why I chose them on the first hand. I thought it These two books have very different pictorial languages Kirsten Bystrup

on shadows andlight. putting and sky the painting by landscape the form to effect. She had the white paper and used painting acryl way withthenegative shehad towork andthepositive She then decided to use the paper as snow, and in this ce consistsofonlythesnow andthesky. You might say that the scene where the story takes pla- place inalandscapethatissofullofsnow. takes byfact story the the that partly and Greenland in 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 87 notice that the contours of the snow hare are made in spon- same the achieve To strokes. uninterrupted quick taneity in the colouring she made a step by step - wor king process. First step was an Indian ink of drawing the lines, black can see in this working-picture as you Next step was to colour Charlottethe sky. Pardi knew that the easiest to way get a spontaneous result is ha- ving the possibility of making the colouring rather non- do To chalant. this you need to have more trials than the one an expensive sheet of expensive watercolour nervous being work not does simply It you. offers paper is This trial. first the in wish you result the getting about why she included the copying machine to take several more make could she way this In paper. good on copies attempts with the colouring and at last choose the one Using the white paper both “colour” the as and snow as white made good sense as all the animals in the story are white. Kirsten Bystrup Kirsten - expres spontaneous a make to wanted Pardi Charlotte - of the mate feeling sion in the pictures and to create a rial, namely the strokes of the brush and the quality of the colour. In- spontaneous and quick make to accustomed is She dian ink drawings as a newspaper will You illustrator. When the story ends the day is over and the last pictu- When the story is over ends the day re in the book shows the mother owl and the baby owl flying in the sky. Please remark how Charlotte Pardi uses the positive/negative effect opposite to the pictu- res in the rest of the book. Here we can see against the white moon. the in black painted owls two She also set up some limitations She to made herself. black and blue and white, use only would She dogma: a the on focus set primarily to yellow of bit little a just and bill of the owls, to underline the point The of the story. acryl the blue painting and the paper, white colour was coloured chalk. the yellow 88 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava chose for thebook. one,she the than look sophisticated more a has it that and wet on wet painted watercolour, like more looks colour blue the that notice use.Please to not chose di Par - Charlotte that trials the of one see can you Here vivid furlike shapethanablack linewould beable toform. brush strokes and the blue colour gives the animals a more Pleaseremarkthat thiswayshapingof animalsthe with texturead andtheright ofthecolour. doublespre the on - colour flow the of animals,right the she liked best – the one with the right expression of the pictures inthebook. other the to better corresponds/talks picture This sh. - bru dry a with painted is it as strokesthe brush, the of see can you structure, rough more a has picture This Kirsten Bystrup (The Sorrows of Young Werther) on shewants. achieveexpressito order pictorial - in the computer the story The Sorrows of Young Werther. But she also uses neus andvividexpression inherpicturestotheclassic sponta- the on concerned very also is Brøgger Lilian The Sorrows of Young Werther ous andvividexpression fromthepicture. changing things endlessly will take away the spontane- ter in principle offers. She is afraid that the possibility of compu- the that time infinite feelingsforthe these with herself familiarize to able be not will She pictorically. them transmit to persons the of feelings the inside must be She impulse. immediate the on work to her for important so is it because no, was answer Her puter? I asked her if she could do the same by using the com- either plannedorforced. not is that expression spontaneous achievea to order in hand the and arm the movementsphysicalof the to brain the from vision pictorial the transmit to and of her front in paper the hands, the her have in materials to drawing Pardi Charlotte to essential been has It Den unge lidelser Werthers 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 89 You You will notice that main in place the character takes While the text country, and contemporary. the scene are Brøgger Lilian in a city. place modern takes the pictures Co- story1980ies the the locating in of idea author’s liked to a Danish poet, Michale Strunge. penhagen, referring Please notice the structure in the grey background colour and in the graffitti the tags. Lilian Brøgger here combines and backgrounds graffiti tags she has either found on the net of or drawing her with togehter computer photographed the into scanned herself and then Werther made in Indian ink, using pen and brush. Michael Strunge wrote commit- he poems, As punks. and of generation he the of soul was the ways in many being of position a holds he 27, of age the in suicide ted the book, and yes, it is the Werther from the classic sto- classic the from Werther the is it yes, and book, the rewritten a in here 1774, in published first Goethe, by ry and a bit shorter edition than the original It one. is the wellknown story of weltschmertz and unhappiness as Werther falls in love with a young woman, Lotte, who does not return He his cannot feelings. get over it and than committing suicide. finds not other solution Lilian Brøgger told me that it that me told Brøgger Lilian had not at all been easy to And find the right character. I could see for myself how many trials she had made when we were turning pa- toge- ges in her sketchbook ther. This is the finalWerther in Kirsten Bystrup Bystrup Kirsten And here you can see how the character develops - this - develops character the how see can you here And Werther. for is the final sketch I am going to show you a few sketches from her - sket When chbook. she develops the persons and the set- some The slide shows works in hand. tings she always of the first sketchesfor the main character, the young Werther. Lilian Brøgger has sketched on post-its and them into the sketchbook. later on she has put 90 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava at thehairdresser’s. liketext Werther’svisit the of reading pictorial own her creates she that Brøgger Lilian for characteristic is It has taken ofneonsignsinCopenhagen. The background in this picture are photos Lilian Brøgger language. pictorial own her in story the interprets and recreates both text in and pictures. way Just rewritten/recreated as the author Lilian a Brøgger in literature world books the essential of most the of some to readers young the present to is literatureintention The school. in in teaching for specialized are that house publishing a by edited people, young for made specially literature The Sorrows of Young Werther is from a series of world city”. visions intheneonlightofpostmodern Strungepunkblackisa romantic whobathes symbolistic nish Encyclopedia he is presented in this way: “the young dead” of that generation. In the National Da- Kirsten Bystrup “Michael “Michael Werther’s longingfor Lotte. underline to text the to telling pictorial a adds Brøgger any visit of Werther at the hairdresser. In this way Lilian include not does text picture.The this with think sting intere- another notice will you text the read you When the sign: Hairdresser(inDanish: above. frisør) and left the at sign hairdresser’s traditional a the of with part window, the through Werther at looking shop It is almost as she is standing outside the hairdresser’s forbook.picture the the making angle another form on situati- the at looks and eye her moved has Brøgger Lilian book: the in picture the and sketch the between differencegreat the is immidiately notice will you thing - and here you can see the final picture in the book. One Here you canseethesketch fromthesketchbook - eyeglasses. his in lenses red the remark Please Lotte.meet to way almost flying on his is Werther where nues in this picture A telling that conti-

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23rd Biennial of Illustrations Bratislava 91 “A picture book is text, illustrations, graffitti on the wall to the left is a photo which has been has which photo a is left the to wall the on graffitti - perspe the create to computer the in twisted and bent The lines His are shadow slanting and crooked. ctive. is also made in the computer, it is the silhouette that The asphalt has has been been projected twisted up. and speed. it creates spaciousness and in this way Lilian Brøgger that tells, the use of the computer in the finishing of the picture isfor essential her working pro- - ex pictorial the reach to computer the needs She cess. her. of the book has given pression that the reading pictures these make to you for possible be it Wouldn’t her. asked I computer? the of use the without hand, in able not was but to, tried has She no. was answer Her to reach the pictorialof the that expression youth she to make. wanted The final Thisbook is is why afor unit Lilian Brøgger. she has organized the sequence of the text and the pictures This herself. she has done manually as the context between text and pictures are so closely lin- The ked. final organization of the book she made to- designer. gether with a graphic The fact that the novel is the a organization as you can see letter in this picture as novel an reflects in pictures of unit a represents book the how of example young for novel this way this In respects. all in text and people in many ways comes up to the a definition picture of book, and I’d like to quote Barbara when Bader she says: total design”. Kirsten Bystrup Bystrup Kirsten This picture is primarily made in the computer. The only The computer. the in made primarily is picture This thing made in hand is the silhouette of The Werther. In this way Lilian Brøgger adds an independent - picto rial telling that at the same time underline the text and its telling. continues of look are at at this once aware When picture you you endless an towards walks He feels. Werther despair the black tunnel and the shadow underlines his despairin- Please gly notice mood. the graffiti on thewall, saying: no hope. This picture shows his mood after the visit red not at are They Lotte’s. happened. has what show lenses The any longer, they are yellow, and they reveal the love triangle. 92 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava It isanopenquestion. the computer alltheirlives. with familiar been have who illustrators younger still with get would you answer what is question The old, years Pardiwhile Charlotte istheyounger, 40years old. 60 generation, elder the is Brøgger Lilian way other the is it round. illustrators two these of Talking the manual process? ration prefer the computer while the older one keeps to Is itaquestionofgeneration? Does theyounger gene- expressionneeds ittogainthepictorial shewishes. one other the while all, at it use not does them of One cess. pro- working their in computer the using of approach wehaveAs twoillustratorshavethese seen differenta Conclusion Kirsten Bystrup rallel alsointhefuture. pa- stay will working of waystwo the that is guess My the manual process. working everwill it replace think not do butI pictures of making the in possibilities other and new offers computer The andhandwillsurvive.ments ofthearm physicalbrainthe the to from vision move pictorial transmittingthe - and you of front in paper the and colour the brush, the pencil, the ink, Indian havinghands,the the in materials the with working that however think I 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 93 provokes provokes overlaps and telescoping of MULTIMEDIA FIELDS. is The less CYBERSPACE and less virtual and per- mits the development of which are borrowed from animated inter-active televisual filmed expressions pictures or from theatricals. It is also possible books to picture re- to designers to ask publishers that mark potentiali- that exploitation plastic or graphic new a in own imagination. ty reflect their The actual trend is a graphic style and an illustration directed often power attraction fleeting a of consisting reading to nearer is that reading of relation a towards phenome- the But BOOK. a reading than magazine a non of fashion which has a more and more speed in tempo is not at the same time an epiphemenon of the constitution of basic collections for a publishing Publishers search house. to win the of loyalty poten- tial readers during several years, trying to cover the reading experiences. of ages and various maximum Now, it seems normal that reading of apprenticeship PICTURES and SOUNDS WORDS. teaching at the same title as the writing is integrated in the In universities, of teachers development the in interest the that of perceived have comparative literature unbalancing an become not does Multimedia Internet risk for literary and perceived as artistic a real aid culture of positive discovery but in necessary the could relationship be with in the world. far or somewhere nearby different ourselves, people than them, For The the children are stories-lovers. always most important is to understand the creators langua- ge that writes or draws for The them. contemporary (France) Janine Despinette Janine She is a reviewer of young people’s literature and many many and literature people’s young of reviewer a is She of her reviews on print materials for children and - you th were published in and French international journals. - gra and literary for juries various of member a was She and abroad. phical work in France competitions The persons that frequently visit manifestations and other national or international seminaries, just like we several since remarked, probably most have should do, an infinitenumberyears, offor READING propositions material, light screen aids, plastic, children on different au- for cd-roms often and pictures moving or fixed with support.diovisual Like me, people know that a systematic editorial analysis production of usually leads to an perplexity interrogative rather then an answerable affirmation and is faced with problems of visual communication that Janine Despinette Janine Media and New The Illustration 94 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava additional questions. ourselves ask to text, a like then more us initiate even pictures us these receive readers, a the we, And ofvisualdramatic art. RES asascenario PICTU- MIRROR in himself by anticipated been have himself, pictures,tor-illustratorthe imagery of perhaps, crea- or writer was text.Who the of metaphor a mes beco- more, even or appears, suddenly pictures The idea- own our of association. support a consequently become which and create they that pictures and words the to sense a give graphic-illustrations or painting poetries, music, stories of creators programmers, to Differently port.. It is also often printer).a object of icono-textual the experience-sup - and publisher the object(by industrial an and photoengraver), the photographer, the maker, del illustrator or the painter artist), a craft object (by the mo- as object an (byartistic the writer, the poet, the graphic perceived is book picture the us, of all for that guess I tes) andtheirsmodelmakers. (graphisknowledgebytheirs usage - to due production their of look the change publishersscreen. The TV on or paper on demonstration this make magazines The now aregonefromexperimental stagetoprototypes. Net the on Books line on interactive on or logicals on Hypertextes that clear is it and genre literarytodays a work illustrators and (graphistes). The author dreams up to equal writing revivalin of work a havemade writers pigor bcue h mt lnug cn give can language meta the because springboard Janine Despinette

yesterday by illustrators creators. like today messages, symbolic and semiotic in sality univer - contemporary of message the circulate can we country,to another,to country continent from one from PICTURES circulate THEIR to measure the take we If unknown language. ce, the picture is naturally more comprehensive that an picture might be the better way, because as an eviden- tanding of each other and our different CULTURES the unders- better a of reflection the support to want we If andestheticsensitivity for newthe artistic generations. of development possible of springboard a time, same The illustration of a text represents to the readers, at the ten words. tion that makes us READ pictures as much - as the writ commits himself crea- in a wayartist artistic of modern space.The much as takes and itself text the as rative fantasies,nar- and as colors becomes their picture the By digging into the stronghold of books, their drawings, TURAL). der a way of affective and sensitive appropriation (CUL- rea- the opens and reading of problems di- the mension, esthetic its by induces use, short of perhaps and content literary of thin time, first at book, picture The (co-lecture) know this sincealongtime. young and children. the use regularly that educators Those small by concretly and intuitively understood be For the psychologists, this narrative picture can already 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 95 First of all I would like to thank Viera Anoskinova for the for Anoskinova Viera to of thank like all I First would to participate kind invitation Symposium. in this interesting I a recently published have book on that picture-books years few a did I that research extensive an summarizes ago at the Internationale JugendBibliothek in Germany. In it, I have some developed about considerations the picture-book being a genre that is still being construc- ted, basically due to the fact that it’s different sions - expres show that it is constantly that growing, an active exchange with other cultural discourses that exist toge- ther in the world complex that has been denominated, by many theoreticians, as “Iconosphere”, the world of occurring. is continually images, Because of the time limit, I will concentrate my presen- tation on the relationship that exists between I intend to show language. picture- books and cinematographic way the has influenced language cinematographic how and the seman- images are presented in picture-books, tic they possibilities arouse in Even the though reader. this research is still incipient in terms of the theory of reception, I am going to refer to picture-books, current the of some some in present visual tionalisms conven- especially those having to do with camera shots and angles. of The is grammar cinema upon a structured language of result a as only not naturally, learn boys and girls that be- but media, audiovisual with interaction constant their permeated have conventionalisms these of many cause recurrent and unavoidable the as such discourses, other advertising are exposed. to which we The issue I want to develop goes beyond the simple He studied literature and spe- and literature studied He cialized in applied science and artTV - at the Universi in served has He Caracas. of ty as the coordinator of the De- partment of Books for Chil- (Venezuela) Fanuel Hanán Díaz Hanán Fanuel Fanuel Hanán Díaz Fanuel in Language of Cinematographic The uses Picture-books of Children’s the Illustration dren and Youth and as an a editor speci- Parapara, for Youth dren and alized children’s literature journal. He participated in a program for Venezuelan reading promotion and was a jury member of national and international competitions con- and presentations gave He literature. children’s for abroad. and Venezuela in courses and seminars ducted in Jugendbibliothek International the at fellow a was He techni- illustration and print studied he where Germany books. ques in historical children’s He wrote instructional several books children’s as well as a theoretical book and was given several In the theoretical his area work. for he cooperated with awards international journals on education and children’s lite- rature and coordinated the publication of inde- several pendent issues of instructional children’s books houses. publishing several edited books for and 96 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava a of loadsemantic the aboutquestions the case,any In on thecontext inwhichitisseen. pends on how the recipient experiences the image, and de- interpretation their meaning, dominant a have may presented)wayaretheythe (and images Although the ofacomplex system ofwordsas part andmeanings. eve to interpret the semantic load that these codes have howwith do theyto raisemore I has achi- question The That would signifyanunderestimationoftheirwit. when they see them in the books they read and observe. question of children’s ability to acknowledge these uses essential to acknowledge certain clues that havebeen that cluesacknowledge certainto essential mea- many ningsthat thecinematographic the message proposes, of itis understanding achieve to order In entirely surrendertotheexperience. to us permits that skepticism” of “Suspension of pact a way,momentarilycanweandthisdisarmsus establish womb.maternala theIn toback us suspensetakes of ted to a return to childhood, because that dark space full connec- is movies with fascination this of interpretation fiction that a movie suggests. In fact, the psychoanalytic to make a pact of credibility and theater becomemovie absorbeddark a inin thesitting of experience magic the Understanding cinematographic language goes beyond The systemofshotsandangles. this lecture. thetheoryofreception that donotwholly concernusin assumes them, must be answered by deeper studies of worldsignsof thataretheon page and how thereader

visual conventionalism, its possibilities of widening the Fanuel HanánDíaz sodes suchasbattles. epi- epic landscape and sceneries for ideal it It’scharacteristicsmake manner.global a in it ve percei- and geography setting’s the up size to locationspectator the the permitting recognize to used is It distance. huge a thatpresentssceneShot thefrom Long Extreme The of shots, themostcommonly usedarethefollowing: From this technical point of view there are different types and thesetting. elements that are found inside the frame, the characters maintained.is momenttheincludesone This covers in camerathethat space of portion themoviewhere a of narrativeunit smallest the is, that is, shot a what ning explai- by begin to have we this understand to order In angles. lities:talkingweare aboutshootingthe systemtheand possibi- many of load semantic especial an carry used, Twotechnical aspects, connected tohow thecamera is which we allhave beenexposed to. ofthatvisualeducationto aspart added toourmemory Betz: The Medium Shot 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 97 The Invention of Hugo Ca- . References References signs. indications, thinking about though even the thoughts aren’t said out In terms loud. narrative this shot can be in associated, some to ways, the and omniscient narrator, has great as a psychological approach. value a upon attention focuses The Extreme Close-up Shot, the to transmit to order in potentiated be can and detail, a spectators and emphasize feeling, amplify it, like the in that which in the or a irony also, smile, look of terror, as known is termsliterary shown this a way (a the photograph, key, time marked importantan specu- have table) a on letter a clock, a on value. lative I would like to show you a very short trailer of a recent- ly published graphic novel, bret… As see, the you may of choice shots used here assure visual this with to play possibilities the and richness the

directly shows the character in order order in character the shows directly presents presents a closer view of the setting Fanuel Hanán Díaz Hanán Fanuel The Long Shot The figures are where morethe visi- characters will act. to spectator the allowing shortened, is distance and ble, inside. or outside it be setting, the of view clearer a have of the position the establishing for factor It is a deciding setting, something like the beginning of a story: “Once upon a time…” Shot Medium The to offer us clues about his/her the personality, way he/ she dresses, his/her physical aspect and some - charac esta- to manages it locations, to referred When traits. ter the about type details the blish of decoration, paintings is in that room… the furniture the on walls, the hanging strength. descriptive This shot has great The Close-up Shot imposes a very short distance. It It reveals the face, psychological aspects that have gone might unnoticed in another kind of shot, like the expression of the mouth, the way the eyes look that and show expressions facial what the out, is character The Close-up Shot 98 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava position init’s axiswithregardtothesetting. vertical of “angle”incinema depends precisely onthe camera’s According to this outline that angles. I will the show concerns you, theThis picture-books.concept many in with dealt is language visual that way the on impactfound pro- a had has language cinematographic how dences evi - that aspect another about talk to like now would I entire life enclosedinasmallspace…” closely,the seen things tiny the world:new a movies, Balsz affirms: one of the greatest findings without precedents, as Bela for the movie industry itself, the close-up shot represents images, charged with the broad meaning possibilities. to approaches Even includes that presentation of form this isopinion, my picture-books, in togiven have vies mo- that contributions greatest the of one case, any In They give moreintimacytoascene… They thecharacter closer… bring They canmake fear grow… They emphasize feelings… wise, couldhave goneunnoticed. The close-ups amplify imperceptible aspects that, other- level.emotional or metaphorical a in solved is distance thistimesamenearness, theremoteness but atcal or physi- a establishes presented are shots the way The fill-ups aredistended by theuseoflongshots. as servethat story the sequencesof these-ups, while clo- abrupt by reinforced are tension greater of ments mo- novel the book.Throughout the and spectator the betweendifferentdistances create to order in element Fanuel HanánDíaz “The camera discovered, in times of silent ject over theviewer. ob- this of dominance the strengthens angle that unusual this from presence, nant domi - and awesome the an on takes image, airplane this In looks like itwas beingfilmedfromthefloor… And now we will look through the opposite angle, it often indigenous Venezuelan ethnicgroup. an by told myth Flood the of scene this in like sees… he what over power and control viewer the gives that Let us see the perspective from the zenith point of view, 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 99 Dutch angle In In this picture we moment the at see Right ball. the to the heading are stepsisters scene where Cinderella’s when they are going towards the palace, while Cinde- rella watches them from the attic with a broken heart. part take doesn’t of Cinderella the she action, is only a witness. and sad mute On the other hand, the low angle shot establishes an interesting point of view from which the figures seem powerful. taller and more longer, advantage Taking of all this load of meanings, Innoce- centi uses this angle to describe the scene where Cin- moment, that At slipper. the on tries successfully derella a protagonist turns into she a as character, “grows” she this distortion Therefore, more important. and becomes - back the in while longer be to appears figure the where ridiculed, and smaller be to seem stepsisters the ground is emphatic. lea- to want don’t I possibilities, of range wide this Within which angle, oblique or angle, Dutch called so the out ve of a displacement proposes it because one a curious is Fanuel Hanán Díaz Hanán Fanuel With the frontal perspective, or head-on, the scenes are are scenes the head-on, or perspective, frontal the With as seen reproduced from the height of the protagonist, child, a concerns it if way, watches…this who one the of the world can be as perceived we see it in these two images of a with head-on a perspective, slight upward inclination, that reinforces the separation affective and mother the of both of character hateful and repulsive the of version Browne’s Anthony in represented archetypes Hansel and Gretel. Some of the uses of different angles are employed in order to project an axis of domination, to mar- establish ginal and ironic and values, also to present interesting distortions of the real world. above, from downwards looks that shot, angle high The introduces a subjective what view, is known as the wit- ness narrator. 100 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava ce ofphotograms… is told using a system of still-shots like if it was a sequen- Snowman by Raymond Brigg. The story, without words, seemed to me when I first saw that wonderful book The codes of coexistence this interesting how mo- recall I this ment At picture-books. many of presentation sual vi- the in language cinematographic the to belong that elementsincorporationof thegraphic novel, orthe like forms hybrid to out branches day,it every and stronger ispicture-books and moviesbetweenrelationship The Movies and Picture-books: Conclusion details, like inthecaseofworm’s eye view. andshortermorealimitedOr one, but withmore acute the bird’s eye view. in assumed that as viewsecure andomniscient ming, overwhel- a us offer can assumed.This been has that designcanworldthefromnarrativetheof pointviewofwe projection the in gain also they but events, its and unexpectedferanonlynot reality artificial angle of and of- that perspectives also are there uses, these Beside impression thatitcausesismorelively andprofound”. the and realitygains objectpictured theway tion.This exceedsaccepta - that or interest an observation simple makesthespectator interest himself more actively, with artist theangle, surprising andunusual an fromduced states: Feldman Simon As of preoccupation. and tension. An unbalance that at least unsteadinesscausesvertigo, an effectof sense a achieve to broken is reference to the background. The stability of the horizon the horizon in a way that the figures appear misplaced in Fanuel HanánDíaz We a ojc i repro- is object an “When his bookGorilla. fordrawsBrowneAnthony that scene the at look Now the positionofcharacters aroundthetable… tileddetailswall,thewall,thehangingtheofat look on jacketcharactersthatdressed,payattentionthe areto a classic of movie, video King Kong. short veryIn this first a scene, you look at how show to like now would I be able life. toenlightenhisboring child, and his acute capacity to create a fantasy that will coexistlonely a suffocatingof other,worldtheeach stories parallelto two where picture-book other this Or stories, asisinthecaseofbookslike thisone. tions have solu- been cleveradopted to comics, establish new and ways picture-books of telling movies, to ing belong- languages of coexistence this Perhapsthrough

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23rd Biennial of Illustrations Bratislava 101 DIAZ, Fanuel Hanán. (2007). Leer y mirar el libro álbum: ¿un género el Leer libro y álbum: mirar (2007). Hanán. DIAZ, Fanuel Norma. en construcción? Bogotá: FELDMAN, Simón (1995). Gedisa. Madrid: La movimiento. estructuras. Las 1. composición cine. del Psicología y de Estética (1998). Jean. la MITRY, imagen en Siglo XXI Editores. Madrid: looking. of Practices (2005). CARTWRIGHT Lisa y Marita STURKEN, Press. University Osfor York: New culture. An introduction to visual MartinYork: Illustrating New (2004). Children´s Books. SALISBURY, Series. Barron´s Educational SHULEVITZ, Uri. (1997). Writing with pictures. Publications. Watson-Guptill How York: to New Childrens Books. illustrate write and BIBLIOGRAPHY Fanuel Hanán Díaz Hanán Fanuel Don’t you think it’s amazing the way that communicating communicating that way the amazing it’s think you Don’t and cinema of icon an between established are vessels to order in scene same that re-elaborates that image an dimension? a new the reading give discover To these parallels and the richness of the lo- exist must surely as they languages, both ans between in other media, through my make me research, predict will that place, take will adaptations and fusions new that of elements of a of correspondence existence the allow a language in to movement a longer lasting, but static language. between vessels communicating the identify to able be To intertex- the recognize to and picture-books, and movies still may the plot images, with many that weaves tuality the how about question the Nevertheless fascinating. be re- he/she how and adaptations, these considers reader covers them and recharges them with new meanings, still has to be answered. in the a trend exists there that it be can said that I think way in which some picture-books are conceived, and that we will see interesting proposals of the - coexisten ce of that both alive, languages, that remain will will be faith of defiant pact andthe restless. way, this in Maybe, of a movie in darkness the shine only doesn’t that spell pages of a book. also in the but theater, 102 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava List. Honour IBBY the of member a is and Republic Czech the in RibbonsseveralGolden includingawards tional - interna and domestic won She stamps. postage of as and European and history of the Bible in pictures as well countries. She is the author of three books about Czech Republic,Slovakia, France, Germany, Czech Taiwanthe in andother publications 30 than more illustrated She Graphics. Applied and Illustration of Studio its and gue She graduated from the University of Industrial Art in Pra- Our MindisGreaterthanthe World Renáta Fučíková Renáta Fučíková (Czech Republic) data and information primarily in the field of science. of field the in primarily information ofprecise and data amounts excessive with flooded are dren Chil- schools. in education emotional of absence the Cent- of namely time,haveforEurope,aware some ral of been people the we, that seen be can thing One of children’s books. authors for inspirational highly and useful very always friends.and school-mates his butalso son Watching is friendships.and lationships haveI mywatchedjust not have– mother development,watchedhis progress, re- ofschool),I–justlikechildren andtheworld any other other of world (the world wide the entered and circle After my son untightened his ties with his closest family a teenager. of mother the as textand and illustrations of author an fact,of drawmatter will a I my from own experience as message of illustration,modern rather than its form. As the about thoughts my are share perceptions.to like would I illustration What their in techniques novative in- engage to courage their appreciate and work their admire and respect I do. I than technologies modern more use who bycolleagues work the assess cannot I tional painting and drawing techniques. For that reason rathera am I conservative terms, illustrator. tradiuse I - technical In readers. on impact its or graphics terized compu- using in authors by applied procedures technolo- gical analyse to seek not does presentation My of booksandtheirillustrations. role and look the change would it when time of matter a just was it and people’sactivities of areas all in sent changed in recent years. Technological progress is pre- has world our which at speed the overPeoplewonder 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 103

“You “You “I saw it with my own , eyes” “I heard about The it”. statement “Everyone “Everyone finds harmony pleasant. He used to say: It is very sad to see those things happening in Czech schools, in the country of birth sopher of and the teacher famous Jan Amos philo- Komenský Komenský. perceived a human being in a not separate cognitive holistic knowledge from the way emotional. and did “I read about it” and of an eye witness has the largest weight, A competition of between what was course. seen, read or heard white on black the namely winner, same the has always screen a on seen paper, on printed is that information – images particular, in readers young For display. a on or are of paramount importance. For that reason books for the littlest ones are in their full right accompanying bursting illustrations with and that is something self- to us. evident what Now, about older Those readers? who live in the the in videogames, and Facebook of world accelerating data? the sort them help to going is Who data? of realm did not understand are You me. forgetting the human vocabulary century 17th used Komenský Though soul”. and referred to the soul, we can use a more modern to emotion. concept and refer window a is eye “The idiom: old an used ancestors Our into the soul”. Everything that is to be received by the really sight Our first. senses our through go to has mind seems to be the most important sense for Let receipt information. us compare three different statements of about the same event: It is because people are nothing but harmony, internally harmony, but nothing are people because is It Lon- the to replied Komenský upset An . externally” and describedproudly had scien- who their academics don tific research inspiredby his concept of wisdom: Renáta Fučíková Renáta The youngest school children learn how to classify and classify to learnhow children school youngest The taught are They them. around phenomena denominate myriad names and numerical data and are expected chil- to know most of those by heart. Lamentably, facts dren of the 21st century still are made to nies” of recite information which “lita- they do not understand and our children can Yet, of interrelating with. are incapable master modern technologies quite spontaneously and in skill and sciences of knowledge Their independently. manoeuvring within the virtual world can hardly guide detri- from beneficial bad, from good discerning in them - unattrac an principlesin Ethical presented are mental. way. plain and often unclear tive, 104 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava their computers or TV screens. vities that do not pose so many hurdles and go back to circumstances the little readers give preference to acti- easily tire out the schoolchild and discourage as well. can In such image documentary a of use of kind That easy.as not eventis historical a of image.photo the A process easily quite can beast the at looking child A tiger.a of photo the to compare eventcannot war a of photo a of message independently.The that doing of butinformation the theycapable usually not are sort to forced are alikedates. readers and Youngerolder and figures and data of full is documents.then textbe The photographsdocumentary or illustrations of pretending to full are literature, non-fiction as well as textbooks, well-stylizeda give.what illustrationcan reader School a photo, regardless find how sharp or to accurate it is, hard that can offer very the is It similar. are textbooks history in data.Pictures time-based sortable and table waya in coun- sciences,of to sum similar a as namely children sciences.to the bypresented driven are They ble. Humanities such as and history civics are currently possi- quite not is fact, the of matter a as of which, sciences interpretation emotional make to need not do we that understood is read.It is that text the to charge educati- emotional needed emotional much the add illustrations missing on.Book the of issue the raised I the oppositeriverbank ofbooks. ception on the riverbank of computerized information to that takes young readers from comfortable, passive re - bridge a past.are contrary,To obsolete they the an of me trite or an anachronism. Picture books are not a part beco- cannot books richly-illustrated that reinforced is I watch my 14-year-old son and his peers and my belief Renáta Fučíková TV that was in line with line in was that TV Czech on appeared tion competi- a applications, grant unsuccessful ral seve- and form best the for searching of months several Following ject. hers and offered my and pro- publis - Práh the fortunate found was days. I these Republic Czech the is in easy experiment not to ling wil- publisher a Finding great peopleofCzech history. the on books of edition an with start way.to decided I own my sought I reason that ideas.For their steal nor procedures their replicate to want impression.not did I accessible and vivid fresh, a make non-fiction, publications their European Central plain the with parison com- In statespersons. important or artists scientists, as such personalities world of portraits publishingbrief TaiwanesePress. Grimm For several years been has it the by publications admire I literature. instructional of perception emotional their and East Far the from hers dren. My inspiration, inter alia, were products of publis - that correct to shortcoming in trying the Czech instructional been literature for have chil- I years several For ofthesoul. the harmony the words of Komenský: the margin of our children’s interest. at And now I incorrectly reiterate are development and systems its ciety, Texts about actual historical events, the structure of so-

“We forget the soul”. We forget 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 105

namely to attract the attention primarily through pictu- Illustrations about cover res. two thirds of the space of the petite book. They display an eclectic spirit I wanted to since induce the atmosphere of the high Czech gothic style. I drew inspiration from contemporary illu- Bible. Wenceslaus the especially manuscripts, minated That book concludes with a family tree of Charles IV and a list of the most important dates. blication That in first“The pu- Great Czechs” series was a kind a of prototype. It yielded certain important so- facts, are readers young mainly of parents Czech that finding the mewhat They conservative. still believe that the most important thing about a non-fiction book is thenumber of pages and how As much it text if contains. an unfair child my more the words, more The valid: was equation gets The to publisher know. and I decided to continue our effort to develop a new kind of Czech non-fiction, namely a picture-instructional book. pub- IV Charles the from conclusion significant Another text and illustration for space entire the that was lication by organized best be can was That author. single a the reason why the next which series, the in book first the to dedicated was Czechoslovak president, Tomáš Garrigue saryk, was Ma- handled by me from the beginning. looking was I again Once captu- to way best the for re the contemporaneous world the namely setting, journalismand politics of Renáta Fučíková Renáta our project. People were asked to People pick the our greatest project. his- Czech was winner The country. the in toricalpersonality lis- The publisher CharlesKing and Roman Emperor IV. tened to the voice of the people and the firstthe bookseries of presented the life and deeds of Charles IV. The author of the text, writer Alena Ježková, drafted a Further had to reduction of the concise manuscript. text be made in order to accomplish the original purpose, 106 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava textbook. Masaryk’s biography was very well-received very was biography Masaryk’stextbook. the like school look a make book and a story a flow of free disturb data and Figures text. the off was dating their articles, newspaper as followed life Masaryk’s in events book.The the in characters by quotes contain could text with balloons comics.The – with fascinated get and love children that element an of included I top that, On centuries. 20th and 19th the of turn the at Renáta Fučíková at ok ulse un- published book last the far so and third The read togetherathome. can families that book a forand aid schools useful a become has and pose really met the original pur- it because also but time long a in Masaryk about book children’s first the was it because just Not professional communities. and readers the both by uh s Te al f h Rmn mie o “William or the Conqueror” are big unknowns to them even Empire” though Roman the of Fall “The as such names or Concepts personalities. and events Eu- ropean fundamental miss they time, same the At lution. revo- and war of times perplexing the including times; several even events or periods certain cover schools Their detail. much in history Czech learn children old 10-year- Czech that namely finding, surprising followeda after project The history. European is it time this fiction. to Thechildren, book again presents history but kedyetis on non- of illustrated, another work authored The largest and most ambitious project I have ever wor- used again but this timethey were hadaBaroquelook. quotes with balloons The work. linguistic a trilingual version of the book to underline Komenský’s giveto wasit time this and special something book the quiet study with stacks of books, was not easy. I wanted his in time his of most butspent turns and twists of full presentation of the life of an intellectual, who lived a life comprehensible and vivid a Komenský.Making Amos above-quotedJan the biographyof a is series that der 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 107 pushed the topics so-called such men’s as battles and in The the events, war we to way pre- the background. sented them, are true and cover the various peoples of Europe in the most objective possible way but emotional an discussion of historyanecdotal an with complemented is chapter Every is else. above everything It conclusion. completes the core message, adds inte- - cove be not could which peculiaritiesdetails resting or red in illustrations, but (above all) encourages critical and independent thinking in children. The young rea- events of messages the understand to guided are ders and their historical role and are able to re-experience them. and embrace I believe that in this time of books illustrated with mo- dern technologies, instructional picture books in parti- Komenský as because, value strongest their have cular put it: knowing the year when the when year the knowing cousins Veverka improved must a is swing-plough the in certain textbooks. First, I tried to outline the book out that I several but found thousand years of Euro- pean from history, the sto- European the to up ne-age Union, can be squeezed only chapters. into seventy The Práh publishers took up the challenge of - publis Renáta Fučíková Renáta hing the book and it will be introduced in the market in autumn 2011 in both the and Republic Czech Slovakia simultaneously. The preparations and drafting took almost three years. Daniela Krolupperová, a renowned writer, cooperated Kof- Václavka historian and text the drafting on me with The correctness. for data expertsupervised all ránková overall expression of the book was important as well. The primary principle of my work was the introductory impression including colour symbolism, signs, - monu mentality, and streamlining. Substantive correctness was very important also for stylized most important illustration. aspect The of the book was to make it fri- children to brought events Historical sharing. and endly in a rather plain manner in textbooks were presented through stories in our book. They were expressed as stories with real characters. We looked at the fate of women and children since children have always been interested in other children’s stories. We covered the and things common storiesof life, historyday-to-day of life style. We are a women’s team and quite logically 108 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava larger thanitscontents.” “Our Mind is greater than the World, just like a vessel is us. around world Because: the of messages the process ofREASON can help the with our MIND, then Only first. screened emotionally is senses our through it enters So, our HEART is the entrance to the human soul. What accept andwhattoescapefrom…” to what REASON.decides is It motion spiritual locking DESIRES and PROPENSITIES. The keyare unlockingit and driving weights the and WILL the is wheel cipal turn the wheels – the limbs. In spiritual motion, the - prin NERVES.and They BRAIN the is work clock the king HEART,acting.lifeand ma- fountainof weight the the The is motion that all of source pins.The and wheels Just harmony.like man is likethe world, a great clock made from little but else nothing is being human “…a Renáta Fučíková

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23rd Biennial of Illustrations Bratislava 109 at the beginning of presenting Croatian illustration illustration Croatian presenting of beginning the at 1 I am referring to published texts about the biennial exhibition of illustrations in the Klo- of illustrations about the biennial exhibition texts to published I am referring vićevi dvori Gallery, such as: JURČEC-KOS, Koraljka (2009), “Second Croatian Biennale “Second Croatian Biennale (2009), Koraljka JURČEC-KOS, such as: Gallery, dvori vićevi A Gyermekkönyv- Biennálé”, in Art A Második Horvát Illusztrációs Limes. of Illustration. 25-31. January-March, p. nr.I., Hungary, Tatabánya, v., illustztráció “The International the Second Croatian of Character (2008), Koraljka JURČEC-KOS, Biennial of (ed.), Second Croatian Koraljka in Jurčec-Kos, Biennial of Illustration”, p.7-9. Gallery, dvori Klovićevi Zagreb: Illustration, in Jurčec-Kos, “First Croatian Biennale of Illustration”, (2006), Koraljka JURČEC-KOS, Gallery, dvori Klovićevi Zagreb: (ed.), First Croatian Biennale of Illustration, Koraljka p.4-7. in the international context, after the foundation of the Croatian Biennale of Illustration. Both public and the media showed great interest in this subject, which has in Croatia not been adequately covered and ched. I resear- am, therefore, grateful for the invitation to take previous on light some shed and symposium this in part and developments show selected examples of illustra- subject. given of the context tion in Croatia in the The Croatian art scene still often circumvents - illustra tion and does not closely follow all the ways in - which expres contemporary the in interweave media different a considered usually is Illustration artists. young of sion supplementary decoration of a text or a lucrative clas- purposemake only to whose is discipline drawing sical the book more attractive. When I was looking for an approach to lustrations in a reputable gallery exhibiting and creating the il- con- ditions under which artists could submit their works for our first competition in 2006, I realised the importance I was faced with the important of development - illustra tion in the world of the new media when I spoke and wrote about illustration in Croatian and other - publicati ons 1 (Croatia) Gradac Gradac Gallery and has organized over fiftyex- Koraljka Jurčec Kos Kos Jurčec Koraljka She studied at the Philosophical Department Literature and of Comparative University’s Faculty of Zagreb specifically the history ofart infairy Since tales. 1998 she has been the senior curator at the dvory Klovičevi She edited Gallery. exhibition catalogues, was the au- thor of various exhibitions and wrote papers on these She exhibitions. is the curator of a collection of works - develo and Crnobon Josip painter university-trained by presentation of works for by program ped an exhibition young university-trained Since painters. 1996 she has been in charge of managing the exhibition programs in the hibitions for the She gallery. established the Croatian Biennial of Illustrations and has attracted the attention art illustration. of the professional to community Koraljka Jurčec Kos Kos Jurčec Koraljka the of World in the Illustration Croatian Media New 110 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava 2 70s. early the and 60s late the in art Croatian in period important this in ons exhibiti - the of views critics’ the about wrote Koščević Želimir Putar. Radoslav and Denegri Jerko by 1960s the of art the and tendencies” “new about texts place first the in are These art. Croatian in 1960s the about historians art by publications some in media new the in illustration contemporary of analysis the to proach New Tendencies.foundI forbasis theoretical a ap- this movement the with started that tradition exhibition the of understanding of degree a implies Croatia in which media, new of use the about knowledge contextof the in illustration to approach contemporary a show to ted des the qualities mentioned above, for the works selec- besi- wasimportant, it type similar a of works between in the catalogue. When a final decision had to be made standards and included them both in the exhibition and high requisite the with complied that works the all ned a web presentation, or simply a proposal. A examijury - CD-ROM, or on DVD be could which product, final the became a chronological step in the process of creating format, large a in processed computer both, or graph, photo- or sketch drawn the cases many afterwards.In one on processed or computer a on created be could in published book form. The format was free, as well, and the works not but illustrations, orwith size three-dimensional in large competition, the for work fine of lot a submitted artists of number large a year first the in Already book. a in published been have to had mit sub- to wanted they work the that requirement the by of not restricting the artists, who were often unaffirmed, Zagreb, 1982,p. 92–95.. Gallery,desetih godina(Innovations intheSeventies), Art inCroatian Art Contemporary from 1970to1980),catalogue oftheexhibition Inovacije uhrvatskoj umjetnostisedam- Koščević, Želimir. Likovna uHrvatskoj kritika od1970. do1980. inCroatia Criticism (Art Koraljka Jurčec Kos 2 mn the Among New TendenciesNew between pictureand word, whichitinfact is. of course, used illustration in various media as a bridge cal attitude to traditional materials and art values. They, the field creativity, of artistic and emphasised their- criti extend to etc.) (photography, video materials film, and procedures art non-traditional using often art, ceptual con- of forms prototype developed Group the of bers it.in mem- some 1963) to 1961 (in time that at Already to the concept that preceded the work or was contained idea, the to artwork materialised the from interest shift to mid-1970s. artists’ attempts the reflected to It lasted and Group Gorgona the of wing the under art porary developedceptual art as a current in Croatian contem- con- 1960s early the in hand, other the Zagreb.On in expression – an example is the Student Centre Gallery artistic of forms new the for areas exhibition new med affir- and institutions of framework the outgrew which scene, art current the of liveliness and complexity the showed them, about wrote who critics the on also and artists, of generation younger the on influence their of and phenomena related the of analysis An Koščević. Želimir Tomićand Biljana Čorak, Željka by conceived entitled poetry concrete and visual of bition exhi- international an and Gallery, Art Contemporary the in field research visual and computer the in ation situ- the of presentation up-to-date Crafts,an and Arts research, The exhibitions were: 1969.August of end the until lasted Tendenciesthat 4 eventthe launched called which colloquium, Research and Visual Computers the organised Zagreb in Centre In August of the same year the Culture and Information what was then the Contemporary Art Gallery in Zagreb. exhibitions I single out the one that was held in 1968 in in the Museum of Museum the in NT3 – NT1 Retrospective NT 4 – recent examples of visual Typoezija, 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 111 everyday everyday premises, including the urban environment Occasionally of the the writtencity. word - was transfor med into a decorative sign, an arabesque lengthening the visual before the even effect entire picture is taken in. An inversion took place in the usual and traditional approach to the basic characteristic of an illustration. Especially impressive were the works of the NOWAR! Project and of Gianluca Costantini, who grew up as a child of the generation videoplay that read comics and - Fran Italy, in works his exhibited He Borroughs. William ce, Slovenia and Croatia. He brings together applied and pure art, paints on paper in and washed coffee, is NOWAR! technologies. new beyond going in interested gathered around it visual and graphic designers, their goal being to create a special outlook, a specific kind of visual narration in which writing intertwines with il- lustration and moving pictures. Everything, of course, visual and verbal in organised text draft the with begins suggestions, and each participant is asked to coope- rate with the others in exchanging advice, drafts and empathy based on anti-war messages recognisable to particulara - generati to belong they although everyone on or art education. several were there year that of selection Croatian the In artists outstanding in quality and with a similar appro- and design in work continuously who illustration, to ach Helena Bašić, Zdenko Bulaja andanimated films: Ma- 2008 in Biennial Second the At Maštruko. Vladić nuela the in illustration advertising – added was subject new a artiststhe Among at present media. new the of context the 2008 exhibition I single out two young Slovenian artists who successfully move from design to comics and illustration or street art. In the advertising - illustra tion category they sent their work for young users of It had It 4 At that time I found more important 3 Koraljka Jurčec Kos Jurčec Koraljka Hlevnjak, Branka. “Ilustracija čuvarica slike” (Illustration, the Guardian of the Picture), (Illustration, slike” čuvarica “Ilustracija Branka. Hlevnjak, Exhibition catalo- Od knjiga do ulične umjetnosti. tebe. moje slike Sve Karin. Gavassa. Hrvatsko slovo, Zagreb, 20 June 2008. 20 June Zagreb, slovo, Hrvatsko 112-113, 2006, pp. Zagreb, Gallery, dvori Klovićevi gue, mean, I recall the Italian selection of artists in Zagreb the possibility of applying the illustrations made in this way (potential pictures that accompany some kind of explain what a To textual foundation) in various media. I 2006. The curator Karin Gavassa from Turin grouped all the young artists selected under a Artcommon Street . to Books name: From You. of Pictures my All been her aim to show the various ways in which con- would it but working, were Italy in illustrators temporary be more exact to say in the global world and the new media, how of new they fieldsdiscovered of the web intervention within the multidisciplinary practice usual for the generation of artists born after 1970. Most of them acted in a collective group, signed with themselves pseudonyms and used graphic research to pro- duce illustrations interwoven with text, but which can also function independently or be used to decorate 3 4 After the first biennale of illustration in Croatia in 2006 several younger, and also older, art historians - appro ached the works of artists/illustrators of the generation younger as semi-products (not in any disparaging sense). They interpreted them as a kind the of of development what would stage become an illustration in when it was published in a book, which was the sen- se that was then accepted. As there was no appropri- ate form of presentation at that time we became customed ac- to this approach, but in my opinion it does not show the real situation which must include a his- torical approach. 112 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava 6 5 of FineArts. 1981 in Ljubljana, where he graduated at the Academy in born was Testen,who Žiga of and 2007, Ljubljana, Europrix Top TalentAward, 2005; Brumnovopriznanje, 2005;modrc, forillustration:Zlati prizes Magdalena ral student of the Academy of Fine Arts. He has wona seve- is he where Ljubljana, in 1983 in born Aljaž Žiga of work Illustrator).the was (Adobe project logy joint This had characteristic figures/symbols in computer techno- ITAKit was and name project’s the Mobitel;Slovenian made the 13-minute animated film Gulliver subsidised Gulliver film animated 13-minute the made he 2009 Theatre.Merlin In the with designer and gner desi- designer,stage costume as cooperated he 2004 2001.From and 2000 in Samobor and Zagreb in nival car- during held project ambiental-costume and Office, of author the is graduate.He successful most the as award an won He Snow. the in Angels – film puppet 10-minute a Media with New Department, and Film Animated Zagreb, in Arts Fine art of Academy the graphic at 2005 the in graduated He at department. Design and Art Applied of school the finished he where Zagreb in 1980 in born was He film. and photography animation, of knowledge his on draws Mažuranić, Brlić Ivana by Ago Long Talesof of artist first The as well. given subject, we must get to know their other projects, artists/illustrators mentioned above in the context of the If we want to more write about the work of the Croatian Second CroatianBiennale ofIllustration), Klovićevi dvori Gallery, Zagreb, pp. 232-237. Contemporary World). Catalogue oftheexhibition biennaleilustracije hrvatski (The Drugi Link: HYPERLINK„http://www.guliver2009.com“www.guliver2009.com Mastnak, Tanja. Vizualni komentari suvremenogsvijeta(VisualCommentsofthe Koraljka Jurčec Kos 5

, knownZdenkoforBašić, illustrationhis The Witches’The Snow TaleSnow and experience of applying illustration in films or video or films in illustration applying of experience and the or knowledgetheir use rockpivogroupHladno artists the Stipišić Zlatan for texts poetic “animating” on work newer their in Pinocchio,and and in Wonderland Illustrationgraphicsof computer Biennale tian for Alice the to sent Croa- he Third Šumberc Manuel with ration song musicalfilm 5-minuteanimated Giboni’sa for made he and the Croatian Audio-Visual Centre. In the same year City Croatia, of Zagreb Office for Education, of Culture and Sports Republic the of Culture of Ministry the by to motifs from the same film. same the from motifs to “I Thirst” 6 In coope- In 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 113 Melisa u zemlji slatkiša Mice (Kittens), an interactive cartoon for hers’ hers’ project children, showed how drawing, design, computer pro- cessing and final realisationby several artists can be contemporary, a in exhibit attractive an into “packaged” manner. artisticallymotivating and textually finished Manuela Vladić Maštruko is and an the author academic of the project painter ili u svijetu stvari bez težine (Melissa in Candyland or in the World of Things), Weightless an interactive - mu seum picture-book made as early as The 2004. artist started from the hypothesis that there is no boundary between life and art and found ideal collaborators for this project among her family Johan- Tomo members. nes in der Muehlen composed the original The music. Contemporary Art Museum in Zagreb took part in the project’s première presentation and in the publication of accessory materials, from which Vladić formed a Duringpicture book. the there exhibition was Maštruko communication and interaction with museum visitors viewing an of exhibition the printouts levels: on several and the artist’s collection of the most beautiful sweets, There case). glass a (in table a on exhibited were which an to connected keyboard computer and monitor a was LCD projector that simultaneously projected the com- puter image on the gallery The wall. computer anima- tion taking called partfor in VRML the (Virtualgame in Reality Modeling Language) format, interactively mo- ving through the virtual space of the Sweets Museum, the designed landscape surrounding the Museum, completing successfully After in sweet. hidden a of search the task the using players, the key object – the sweet, and connected to the Museum’s box. e-mail web Museum’s the to messages e-mail sent and page, created The final stage of the project still callsfor making and Koraljka Jurčec Kos Jurčec Koraljka clips, clips, with an appropriate critical shift to mass produ- ction which is characteristic of all the Croatian artists mentioned. Helena Bulaja made a multimedia installation of of Long Ago and invitation the at my Tales book interactive exhibition, 2006 the at area special a with provided was held in the crypt of the 17th century Jesuit Monastery, which she equipped with 4 complex video projections, world virtual the into space real transforming completely of a “moving picture-book”. In 2010 the Bulaja - Publis 114 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava also realisable. are that landscapes fantasy of inhabitants conscious ecologically and complete more us make and adults and children for literature between boundaries erase they - users facebook of profiles the all say,with day to- would we - generationsdifferent with communicate artists Croatian by works successful Manyon. so and ages, recipients’ the between genres, between daries boun - the move to need the emphasise to important especially is it aspect adults.this Fromand teenagers children, for “books” and books illustrating for mation at academies art in painting, sculpture, directing or ani- gained they knowledge the apply creatively who those especially and animate, paint, write, read, time atthe same who Maštruko) Vladić quote (to profile” sance However, there are relatively few of the artists “Renais- mid-1960s.the since Croatia in media new of use the traditionin a been newhas showrent there media that diffein illustration- of use the examplesof three These DVD. the producing Koraljka Jurčec Kos game on a CD or CD a on game Candyland in Melissa 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 115 One day, I was correcting the print version of a book to correcting the print I was version One day, be The published. paper absorbed the printing ink, so the proof sheet color was not as bright as the original The picture. dimension aspect, was however, alive on the computer screen in the process of working on the I told scanned the picture. designer that it would be far shown as book the children the show could we if better started- con I to how was This screen. computer the on digital picture book. the idea of the ceive As Steve Jobs had expected, people have now fallen in love with the remarkable machine, iPhone or iPad. Tinkering with those people nice can machines, be out in cyberspace anytime and anywhere or are absorbed in it. It is true that the smartphone is richer and more and simpler mobile phones, intriguing the existing than to use and more than convenient In the a PC. manner and sensuous. of speaking, it is intuitive Cyberspace, which started to be actualized with advent of the PC and the the Internet, has become an im- discuss, people cyberspace, In lives. our portantpartof turned have PCs Smartphonestablet and shop. or play importantmore and greater thing far a into cyberspace that works speed. at such high physical only that insist to reasonable seem not does It space, as compared to cyberspace, is real and mea- This ningful. is true in the realm of picture books and illustrations. P-book to App book From Picture book: Currently in Korea, five or six Application books (App this in books the of Most store. ibook the on are books) book store were the books that had been as published (South Korea) Yun-Deok Kwon Yun-Deok She studied on Hongik University in She Seoul. is wri- in exhibitions on many She exhibited ter and illustrator. South Korea and abroad. She is the author of several She won books. domestic and international for awards her work. Yun-Deok Kwon Kwon Yun-Deok New in Books and Illustrations Picture Media 116 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava touch it with your fingers, the pictures respond and the and respond pictures yourfingers, the with it touch over.flipped are book the you When of pages or wind, the ball in the picture would fall, tree leaves flutter in the sensor.For example, youif iPadthe hold down,upside sensor, camera approaching sensor, and light quantum acceleration sensor, terrestrial magnetism sensor, GPS sensor,touch – bysensors aders using gravity sensor, re- from response interactive creates book App Thus, voice recording.serting in- and books picture the in characters the with stories the restructuring by books picture own their make to zles and other games. Some books enable the readers puz- problems, word solving pictures, coloring include books reading alongside activities The included. are activities additional as enhanced, is books reading in textsP-books.and in pictures movementsthe into Fun and voiceeffects, sound music, They putting by ones. made were digital into converted were and P-books Yun-Deok Kwon Cloud Bread(2004)/P-book ning. begin- the from drawntechnology and digital on based planned is that newbook a picture of idea an create to necessary therefore is P-book.It the of characteristics picture book or remain at the level of maintaining some the of contents the to technology digital apply simply books App current the peatedly.because be may This re- book picture the read and who readers from enjoyment response elicit continually to easy not is it Thus mechanical.and example,fragmentary be to theytend for limitations; have games or video to responses ve interacti- world, real the in unlike hand, other the On interesting andattract thereaders’ eyes atonce. and wonderful App are expression the of methods in Such book. world real the in are they as realized are physicsworld. of real laws the The likefeels book App Cloud Bread (2011) /App-book 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 117 (2010) / App-book Anything Falls Falls Anything se things may be done not by illustrators alone but with but alone illustrators by not done be may things se the collaboration of App book editors, animators, and technology developers App books will reveal their dif- ferent forms in reading books, watching movies, and games. playing Illustration is the art of communication. This remains unchanged even in new media. Illustrators should - ex new of use making by expression of methods new plore media technologies and information for more tive communication with Then, the is readers. the effec- cre- ation of a new method of expression the ultimate goal The contents of and communication the of illustration? messages of authors are more fundamental At issues. this time of rapidly changing technologies, - illustra tors should all the more agonize over what should be communicated rather than how to communicate them. communication, of forms the this, to true are they When the i.e., methods will of also expression, be cre- newly ated. Illustrations should not be limited to stimulating, arousing responses, giving fun, and drawing interest. through this Rather, process, the is objective to create imaginations. various Cloud Bread (2011) / App-book Cloud Bread (2011) Yun-Deok Kwon Yun-Deok Illustration – Forms and Contents of Communication Illustration – Forms and Contents Until the present, pictures completed on a rectangular paper have been the basic forms of the picture book illustration. Even in the case of using dolls and instal- lations as subject matters, oftentimes they pictures just of take them and print them in App nes. However, book, such on formal prerequisites rectangular pla- are not Instead necessary. of a picture completed on a sheet of paper, a picture can be produced by - diffe rent combinations of layers constituting a background of characters and things. And from the beginning, the picture is composed with sound and video considered, the of consideration in planned be also storiescan and media. use of new making environment Now illustrators need to deliberate on entire forms to convey messages beyond a picture. Illustrations may the- Of course, be started video contents. sketching by 118 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava Symposium several times. BIB the in Denmark.in illustratorsparticipated nian He Ira - of exhibition an organized Tallinnin and TI at jury the of member a and jury 2005 BIB the of member a as served He participant. BIB regular a been Section has and IBBY Danish the of member a been has He nals. jour- for papers many to addition in books, two wrote and experts literatureforother and librarians,teachers books).children’sgaveon He presentations numerous & (children Bøger & Børn as such journals specialized for writes also and Denmark in paper cultural top the per beginning in 1972. Currently he works for Politiken, pa - Danish leading a for reviewer literature children’s a as worked and years several for history studied He Reflections on TheNew Media Steffen Larsen Steffen Larsen (Denmark) (Denmark) Rasmus Bregnhøi the opposite opinion, as he stated in an interview. If you has Bregnhøi Rasmus illustrator Danish hard-working and artificial dull. Without nerve image or intensity. digital The wellknown and the very consider artists Many valuable- to more look at HOW be these people could use the techniques. it computer on made are pictures and elswhere beyoundmachine.innovativethis most the of some As look to has one Media New with aling stay.to De- come has computer the that decided I So glue for acollage. And The New Media would be like using a pencil or real I thought, the handmade illustrations will be a minority. soon, prints.So were images the of 30% about - med infor- was I – BIB was there time computer.Last a on can of.think you wasThere created pictures of mention slight a everything is It admit: must I – answer wise very a recieved and Bratislava to wrote New I The And Media”.is ”what – too! did you think I like – myself to said I announced was event this of topic the When

23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 119 Snakedog which was The . Shadow But we have Jan Kjær Jan Merlin P. Mann, Merlin P. create a better understanding of the nature of story. Her masterpiece is perhaps when she gave light and shadows to one of the most facinating fairy tales Hans Christian of Andersen on to the that questions arisesto and move facts from curiosity)her (and skills these of Because skills. these fields several over spread has artist many-talented this like doing king-sieze prints of her pictures, mixing a book with fancy fashion like in part of a general concept to spread several subjects like the Her textiles. work images is truly on a New Media thing. And I want to tell you about a figureTaynikma called popular which in partsis many extremely of the world. – gentlemen Danish two These Norway. to Brazil From the shares delebiteraly – Kjær Jan and Mann MerlinP. action and the information between words and pictu- They res. produce these easy read fantasy very pro- Steffen Larsen Steffen Helle Vibeke Jensen Vibeke Helle dig deep enough into the world of photoshop – the and world il- new whole a find will you - observed lustrator do computer the make and structures new find can you things it was not meant to Is do. this kind of religion? contemporaryartist. a spirit of innovative the is this No, But He be he may wrong. is working seriously with the Media. New of world the into look more one you show to want I And Vibeke Jensen from Helle Denmark,the screen. mem- BIB on awarded previously and juryyear the this of ber has – so to say – invented the new techniques in our countryShe - mul a and whole invented language. new - tem the with elegantly balances and objects her tiplies ptation of being At decorative. the beginning she was of language The universe. anglosaxon an by influenced Vibe- Helle But children! many so scared has that Alice ke does not She scare. is cool and kind. She updated this language old-fashioned filled it with modern sights and And visions. moved It on. is true that she has this can decorative You side findalso. it in the manybook She covers. truly believes that multiplying objects can 120 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava Real Life”.Real haveI dream! a these someday of That one ”In IRL made are that part lesser the and puter-works began. I com- were of finish growth the me With let So find thattherearealsotraces oflife indigitallity! beforementioned Danish illustrator Rasmus Bregnhøi the – like – perhaps and them meet will they sure am I and that will of course be a new challenge to one,our artists.being without come can you e-book the to close dvd-book-app.a as presented is thing whole as is This the and TV from well-known is concept Denmark.The possibility of having a game.a and This information new containg dvd a or - e-book an perhaps – book a with together available be will that apps the in medias of mixture the of side another see fantasy andmagic. Yes! otype and shiny. But you forcan also smell a real heart Lego and Disney, like we may business see the product as very flat, stere- real in rooted are artists these of as they mix illustrations and text in an unseen way. Both Media Newof The part being to aspire and fessionally Steffen Larsen Facebook or Twitter. will or We Facebook on likes the with municating com- as interesting as not is this perhaps But the caracters. some about information are new there perhaps and questions ask can you and story the or author the about read can you site this On this. in new nothing is re website.a with together The- produced been has read can that children for series Many Enyo is a new serie in ie o e n mgat o h ps aan H tid it. tried And itisgreat. He again. past the to emigrant an be perhaps to is time it that us tells he book old-fashioned this severalof inventivemastering medias.the and mind In an postmodernism, of power the show to as tecniques ther Suborbia he deliberately tells in different tones and language. In specific a have not does everywhere.is that Media Newproof The Shaun a Tan himself is he that is artists this about thing interesting of children’s litterature and illustrations for children. Prize The Nobel the becoming rapidly is Award Memorial Lindgren Astrid May.The in ALMA-prize the recieved artist great this know all you As computer). a on later made by a pencil, (the colours is – mostly brown is line added every And picturebook. a is It novel. graphic a terpiece mas- this making yearsfour then more Tanspent who Shaun like people be always will there that conviction the with comes whetever face can We drawing. start and a pencil find and flicker the from up look will guys hc h cntnl dne is denies constantly he which Arrival The Shaun Tan TalesOu- From 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 121 “Children do not including computer graphics, 2 Z. Jarošová, Curator General, BIB General, Curator Jarošová, Z. , visually different (Picture 7) (Picture different visually , illustration digital Computer art 1 Reference to M. Tokár (Kontexty umeleckej ilustrácie [Context of Artistic Illustration], Cuper, Cuper, Illustration], Artistic of [Context ilustrácie umeleckej (Kontexty Tokár M. to Reference Computers are used as a specific tool Computer art has appeared in the late 1950s. Prešov 1996, p. 142). This is not an “invention” as the idea is an integral part of knowledge in in knowledge of part integral an is idea the as “invention” an not is This 142). p. 1996, Prešov Symposia. BIB at presentations several in attested as area, the The first artists art design, applied by in their work (computer animation, graphics, etc.). journalsThere are specialized such as in London in 1968. was exhibition comprehensive Computer art (Art the art. uses new now in Linz) covering elektronika festivals Leonardo, and computer networks (Internet). through telecommunication form communication 1 2 BIB exhibitions reflect changes in the world of children’s children’s of world the in changes reflect exhibitions BIB Besides especi- styles, illustration contemporaneously. ally in modern film,paintings animation, and drawings, naïve and decorative art, children’s visual expression, of means other and media, computer design, graphical been visual applied communication have in illustration. out- experience, the from draws also Artistic illustration current of possibilities technical and expressive comes, culture. “Every year BIB receives computer-aided illustrations. chan- essential an brings media electronic of world The of illustration” to the face ge and transformation have have become one of its indispensable parts. It is quite logical then that BIB exhibitions have embraced pre- sentations of computer illustration. way the illustration” traditional the of realm the “Beyond - mul more ever an it, seeing to used are and it know we ti-faceted or with its relation to the traditional illustration preser- ved (Picture 6), have been asserted. program, Photoshop a or pencil a use you whether care they seek their for food imagination and when you can (Slovakia) Andrej Švec Švec Andrej He is a visual art historian and critic and visual focuses on art of the 20th century, especially literature to in He children’ recent wrote years. reviews illustrations of numerous exhibitions of illustrations and organized several independent exhibitions in that field. He parti - sym- BIB several of preparation professional in cipated posiums. Andrej Švec Andrej Realm the Beyond Illustration “Traditional” of the computer illustration in Notes concerning BIB 122 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava 2003 reviewer 2003 BIB illustration.” children’s A of point difficult most the D. Kállay thinks that “the strong computer trend may be ‘Digital’ issuesofillustration BIB exhibitions. by attested as growing, been has production lustration il- overall in illustrations computer of share the reason puter for illustrations offers multiple benefits and for that 4 3 good.”for them wonhave you that give images and ideas. The graphics designer I. Imro said Imro I. designer graphics ideas.The and images artist can materialize and visualize her/his non-material is typical of the ‘creative artist’s hand’ through which the that something incorporating words, other pression.In genuine aspect of and art a personal authenticity of ex- a with perfection,its lancing mannerism and formalism artistic language of illustration. the It was not of capable developmentof ba- the in limitations technological in illustration which did not escape growing pains dwelling exactly? mind ans of expression, he hinted in at a difference in computer have me- sophisticated highly using artist illustrator reputed a As quoted the did What technology.” of kind this with produced be can things perfect Now drawing. in deformation include deliberately to signed de- be to had software reason that For hand. human the of imperfection the missing was illustration puter varies.com- pictures The those of quality artistic “The detail: embarrassment]. In: Bibiana,10,2003,No. 4,p. 21. Ľ. Petránsky Jr.: BIBprísľubov a slovenských rozpakov [BIBofpromisesandSlovak Illustrator Jackie –children´sbookillustration. SniderontheInternet. Computerarts Andrej Švec 4 , who refers to the artist, goes in more in goes artist, the to refers who , 3 Using a com- a Using

7 6 trace what helped to produce the work. It is virtually virtually isimmature. itsart formalistic, artificial, is It work. the produce to helped what trace lized(a tiger)isamusing. animaltheme We canclearly world of the digital illustrations from its beginnings. His sty- to inviting 1999, BIB at exhibited was 1) work” (Picture mature” “more his and 1995 BIB at illustration computer presenting illustrator only the was spect.He re- that in pioneer BIB a is Argentina Kernfrom Sergio The digitalbeginnings 5 BIB in2009! last the at pictures digital through artistry their fended de- sevenillustrators in then.One since growing been has exhibitions BIB in work of kind that of share The capacities ofanauthor.” creative the fornever substitute can it is, technology a pencil:a and computer a about to learn to accept and evaluate digital illustrations on illustrations digital evaluate and accept to learn to of the true reason, one thing is certain, namely we have style.Regardless life own their rea- become has it little or ders, the of style life the to closer come to order in so do they whether is question computer.The their using time more ever spend also illustrators children’s computer,the of front in time spend children like “Just 2009 Catalogue. Switzerland (2): fiftyillustrators outofthreehundredand four.forty Data fromtheBIB (2),MoldovaHungary (1),Poland (5),Russia(1),Slovenia (2),Serbia(7),Spain (4), (1),Estonia France Denmark (1),Cyprus(1), Bulgaria (6),Croatia(4),Columbia (4), witty, light drawings inwildcolors(BIB2001). The styleisanimatedfilm-like. illustration) frompurelynaïve-like (BIB1995),throughsign-basedimages1999),to cal processingofchildren’s books]. In: BIBSymposiumProceedings, 1997,p. 27. Digital illustrators atBIB2009by countries: (1),Brazil (3), Argentina (4),Belarus ofhisBIB presentation)keepsSergio Kern improving (interms theimageperception of I. Imro: DTP a knihy pre deti 7

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23rd Biennial of Illustrations Bratislava 123 Minimalistic illustration Minimalistic This deliberately simplifies shapes whose stylization reduces figural topics to almost a kind of essentialex- certaina render which areas color pure using pression, to rhythm composition or stand in - contrast to expressi ve A drawing. good example of this style are - illustrati ons by Suzann Hesselbarth Picture (Germany, 4, BIB the with traits common certain display also which 1999) above-noted works which we covered under the term certain for analogies to cartoon films. ‘animation’ Computer graphics (in works) Antonio by Acebala (Spain, Picture 5) who was conjunction with se- the for awarded was 2003, combined BIB Plaque the awarded ar- The persuasive, artist a creative, offered cond time. tistic that expression steps out of the shadow of a cold manner’. ‘digital emerging an and calculation computer Similarly grasped figural illustrations by Angela Lago - ex more from painter-founded Picture 6), draw (Brazil, the Plaque BIB 2007. awarded pression were of animal themes Revitalization This can be called visual presentation of motifs, using a visual ‘new’ text-based language with a simplified form but an intensive engagement of color expression that wakens imagination in the The child. polar nature realistic’ ‘more a and illustration areal and decorative of represented are virtualreality of presentation animated examples. following in the two re- naturalistic for criticized be could Certain illustrators - illustra digital contrast, in Now, animals. of presentation in (expressed which under manner image an offers tion animals exaggeration) are as “cut if out of color paper”

8 Andrej Švec Švec Andrej vzťahy [Animated Cartoon – súvislosti a vzťahy knižná ilustrácia film a Animovaný Veselý: M. In: Proceedings SNG BIB 1981, Bratislava 1983, 1983, Proceedings SNG BIB 1981, Bratislava In: – In Interaction]. and Book Illustration 72-75. pp. Typical Typical examples of that 1999) BIB 2, (Picture trend (Finland) Toivonen in Sami by works illustration include with areal and linear composition of elements and by Ingela Peterson (Sweden), (Picture 3, BIB 1999) who to analogy distant (a shapes of stylization ‘plastic’ uses a puppet film). 8 an equal footing with the classical illustration, discern quality from poor quality, select the unessential acknowledge and the substantial in the creative ‘genre’. (B. Brathová, BIB 2009 Catalogue) BIB 2009 Brathová, (B. Let us look at digital computer illustration in the light of BIB and the selected examples to visualize certain expression. typical aspects of Computer animation This ranks among traditional areas of computer visual surprisingnot is computer it that respect artthat in and illustration presented at BIB often engages in direct or Its language, indirect dialogue with animated cartoons. sou- a as serve, or used, are aesthetics and expression We refer to rce style-related of elements inspiration. of cartoons, the drawing line and clear color areas that avoid detail and descriptiveness. On the other hand, we refer to certain situational composition and a ge- neral component of a film. Thoseanalogies between illustration and animated cartoons also result from us brou- ‘illustration to as ‘animated’ to referring frequently in motion’. ‘illustration or ght to life’ 124 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava based on incorporation ofthe outermodel. based onincorporation ginativephotography model inner-reality an presenting ration for his digital illustrations from the poetics of ima- De Conno (Italy, Picture 11, BIB 2005) has drawn inspi- hyperrealismphotorealism.names or the under Gianni illustration analogies of a painting school that appeared integral of part composition of a collage, but we point at We do not refer here to cases where that medium is an already. time some for illustration influenced has This Photography atBIB(Plaque1999).art digital collages received the first awards for that kind of beke Jensen (Denmark, Picture 10), whose impressive Veronika Bauer (Croatia, Picture 9, BIB 2009), Helle Vi- by works the in as fantasy,such and imagination with abounding illustration, of role the of presentation sual renaissance. and vi- elegant offer art of impetus kind that of examples best The new a collage gave tion illustra- in technology Computer material. background (newspaper, cutouts books, prints, photographs onto a and similar material) various gluing, by assembling work a producing inserting, of technique a is This Collage evoke achild’s recurrentinterestinactualreality. can stimulus visual one.of kind virtual This new brand a into reality of transformation the with way) affected product of a computer illustration, playing (almost in an (Spain, Picture8, BIB 2007). We are looking at a typical PedroDe way(Ángel impressiveyet and creative less a in illustration in embraced be can theme animal An (Mandana Sadat,France, Picture7,BIB2007). Andrej Švec

however, lack the ‘natural imperfection’ (Picture 8). The- works, Severalprevail. 12) (Picture accent decorative and colors attracting 4), (Picture expression the of means of minimization certain 5), (Picture focus Figural ties suchastherecipients of BIBawards. personali- top of shortage butis worldwide there ading of these kinds of production for children has been spre- 90s on a regular basis. The share of (in quantity) terms mid- since BIBs in exhibitedillustration digital of areas certain present to used were examples selected The Conclusion evenartisted-up, kitsch-like impression. cold, impersonal, an make may 2009) BIB 15, Picture Samosonovby(Moldova,illustratedSerghei Andersen H.Ch.as such topics literature classical on stylizations children.perfection’to figure offered ‘Digital in taste tic - artis and communication image of perception her/his and artist an of creativity the for substitute cannot gy generation.forsoftwarepicture bycomputer Technolo - These do not avoid the wide array of possibilities offered Pleasing andcommercialization 14, BIB2003). 2009) or civilian topics (Katja Kamm, Germany, Picture technology (András Baranyai, Hungary, Picture 13, BIB (Adrienne Switzerland, Barman, Picture 12, BIB 2009), topics natural be maymatter. There not does topic or sual works looks similar to graphical design. The theme pure shapes, intensified with color harmonyand the vi- At first look such works technologies. attract with their composition of digital by offered visualizations and expressi- on of means aesthetics, called be can These New visualpoetics

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23rd Biennial of Illustrations Bratislava 125 Picture 1 Sergio Kern, Argentina, BIB 1999 Picture 2 Toivonen, Sami Finland, BIB 1999 It makes us to respond and seek to better adapt to fu- ge- the accompanying technologies New changes. ture of progress neral our civilization will certainly not avoid our imagination. it beyond transform art may and they Computer-aided book processing or even illustrating is a big Computers, besidesbenefit. making electronic as personalities creative by used when possible, books the furtherprocess and digitalize to used be can tool, a or its portions. production traditional

“seek equilibrium between Andrej Švec Švec Andrej . In: Bibiana, In: Spirituality Called Culture] . [New kultúra zvaná duchovnosť Nová Hevier: D. 5, 1997, No. 2, p. 30. 30. 2, p. 5, 1997, No. 9 se words are intended to engage in polemics rather than than rather polemics in engage to intended are words se Digital illustration often struggles Kállay. paraphrase D. with a commercial, pleasing approach (Picture 15) ref- lecting the stand of the artist when it comes to visual values offered to children. It may be said that children - expel once taste, poor way that In underestimated! are a through illustration to back comes scene, the from led to put it in simplified terms. door, back Computer illustration takes a free ride in the wave of Several globalization which eliminates individual signs. representing illustration, by digested are signs those of topics from the life of animals (Picture The 7). - effecti veness of the use of computers for illustration grows when it complements a classical technique expression the process (Picture 10). such as collage in traditional with competed fully not has illustration Digital On the other illustration. hand, it is fully with integrated expression. of possibilities and style the extended and it It also helps educate children to understand the new visual For the sensibility. future of digital illustration, it holds what Hevier D. said, namely that it will have to its defend status in art, and There will be easy to read signs and artistic stylization. pseudo- kitschy a copying illustration for room less ever formalistic, is that illustration for also and world realistic impersonal, mannerist; and both of them will have to else.” somewhere their market look for not be an absolutely logical conclusion of my This may be can we that say to like would I still, but presentation, grateful to computer graphics for the stimuli it brings. 126 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava Brazil, BIB2007 Picture 6AngelaLago, Sweden, BIB1999 Picture 3IngelaPeterson, Andrej Švec Germany, BIB1999 Picture 4SuzannHesselbarth, Picture 8Ángel DePedro, France, BIB 2007 Picture 7MandanaSadat, Spain, BIB2007 Spain, BIB2003 Picture 5AntonioAcebal, 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 127 Picture 15 Serghei Samsonov, Picture 15 Serghei Samsonov, BIB 2009 Moldova, Picture 11 BIB 2003 Germany, Germany, Picture 14 Italy, BIB 2005 Italy, Katja Kamm, Gianni De Conno, Gianni De Conno, Picture 13 - Bara András nyai, Hungary, BIB 2009 Picture 10 Picture 10 Vibeke Helle Jensen, Denmark, BIB 1999 Andrej Švec Švec Andrej Picture 12 Adrienne Barman, Switzerland, BIB 2009 Picture 9 Veronika Bauer, Bauer, Veronika Picture 9 Croatia, BIB 2009 128 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava author ofmany professional papers. the is severalShe juries.of member a was and board executiveits of member and Committee Books dren’s Chil- the of section illustrations the of committees onal She is also a member of various - national and internati graphical outline for five volumes ofthathistory. the and cover the designing as well as Iran in terature res in Children’s Books” for of Children’s the History Li- “Pictu- project the in researcher assistant an was and illustrations and literature children’s into research ted designer,conduc- independent an as worked has She Tehran.of University the at communication visual and Sunderland in Great Britain as well as graphical design She studied multimedia and graphics at the University of Toward the World ofNew Media! Sahar Tarhandeh Sahar Tarhandeh (Iran) such as television and newspapers. and television as such computers or the and Internet, not by traditional methods and products servicesas following: that provide information orentertainment using it defines dictionary online differently by scholars and professionals. The Cambridge The term „New Media” has been defined and understood 3 2 1 hing tools. softwareon likepublis desktop and Photoshop Adobe - manipulati- image as such technologies of application the through transformed been have press printing the as publications.such line forms media Eventraditional as suggested by the advent of digital television and on- media, ‚old‘ remaining the transformed has computers digital of use media.The new of representation small games.computer However, a only examplesare these the use of digital technologies, such as the Internet and upon predicated are which media into transformation and radio. The last twenty-fivetelevision of years havethose as seensuch themodels, rapid broadcast analog and print upon primarily relied media 1980s, the Until or assomemay say hascreatedadifferent world. differently, world the see and experience to us led has these of games.Each PC and design digital art, video ments: from photography, film, cinema and television to affected by various technological and been mediatic develop has - culture visual century, twentieth the During and DVDs technology. modern thatusevery dictionary defines it simply as things such as the internet Longman Dictionary of Contemporary English. ofContemporary Longman Dictionary U.K., 2003,Longman. http://dictionary.cambridge.org http://en.wikipedia.org/wiki/New_media 1

2 And the LongmantheAnd 3 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 129

(in, for example, pho- example, (in, for ceived ceived distinctions between the human and the ar- as) (media and body technology, and nature tificial, and the virtual. the real prostheses, technological New pattern of organisation and production: wider realignments and integrations in media cul- control ownership, access, economy, industry, ture, and regulation Computer-mediated communications: chat email, room, avatar-based communication voice image forms, transmissions, the World Wide Web, etc., blogs social networking and sites, mobile tele- phony. New ways of distributing and consuming me- dia texts characterised by interactivity and hyper textual formats- the World Wide Web, CD, DVD, podcasts and the various platforms for computer games. Virtual realities: simulated environments and im- representational spaces. mersive A whole range of transformations and disloca- tions of established media and film journalism, television, animation, tography, cinema). culture Cyber Media versus New New Media as Computer Technology Used as a Platform Distribution Software Data Controlled by Media as Digital New New Media as the Mix Between Existing Cultural of Software Conventions and the Conventions New Media as the Aesthetics that Accompanies the Early Stage of Every New Modern Media and

• • • • • 1. 2. 3. 4. 5. Lev Lev Manovich, (2003, pp. 16-23.) also using eight simple and concise propositions: by definesMedia’ ‘New Sahar Tarhandeh Tarhandeh Sahar new kinds of genre and genre of kinds new experiences: textual New textual form, entertainment, pleaser and patterns of media consumption (computer games, - simulati cinemas). effects special ons, New ways of representing which, in that ways the are not clearlyalways defined, world: media offer new representational possibilities and - expe riences (immersive virtual environments, screen- multimedia). based interactive and (users subjects between relationships New consumers) and media technologies: changes - communica and image of reception and use the in that meanings the in and life everyday in media tion technologies. in media are invested New experiences of the relationship between embodiment, identity and community: shift in the personal and social experience of time, space and place (on both local and global scales) which implications have for the in ways which we - experi world. and our place in the ence ourselves relati- body’s biological the of conceptions New onship to technological media: challenges to re- • • • • • According to Martin Lister et al. in New Media, A Critical A Media, New in al. et Lister Martin to According 12-13), (2009, pp. Introduction While a person using the term ‘new media’ may have one thing in mind (the Internet), others may mean so- mething else like digital TV, a virtual environment, computer a game, or a blog. We need to ask what the new media are in their variety We and - provi plurality. ded a schema that breaks down the global term ‘new constituent parts. into some more manageable media’ on light shed to list following the provide they this, After aspects of the term: different 130 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava dia and the impact of new media on illustration. In this illustration.In on media new of impact the and dia me- differentangles:fornewtwoillustrating from seen be can interaction This technologies. new of light the is among those subjects which must be reconsidered in The relationship between illustration and the New Media that possibilities these toolsprovide for theircreation. new the and consumers of attitude the design, of nature the on newtechnologies these of etc.media, Secondly, effectstheyhavethe consider to digital photo imagery, digital prepress, interactive multi- design, digital as such technologies, new with expert ar- tists to know two and things strongly. designers Firstly, for they have to be necessary it make Media New of characteristics features.These formal other among are flexibility and speed high compression, space and and parcel of New is Media.a part Global access, time is no longer a one-way road; interactive communication Media and traditional ones. Communication in our days Newdifferencesbetween formal also are there Media, New of feature distinguishing this from Apart source. open or free usually are which tools simple relatively using others, with content public and personal share ble for all people around the world to create, modify, and possi- it made havebeen Media New that said be can it mind, in conceptions heterogeneous these Having 8. 7. 6.

in Post-WWII Art and Modern Computing. in Post-WWII andModern Art New Media as Parallel of Similar Ideas Articulation garde; New MediaasMetamedia Avant- Modernist of Encoding the as Media New nologies Other Techthrough or - Manually Executed viously New Media as Faster Execution Pre- of Algorithms Communication Technology Sahar Tarhandeh in digital graphic design and multimedia. The number of Recently, most of Iranian universities have courses run an illustrators are more reluctant to accept New Media. Irani- designers,few among seen be still can sistance tools of art-making.as appropriate Although such a re- Media New and computer recognize not did people se works the wereof originality digital not art proven. The- works, traditional with comparison in artwork, digital a gued that because an artist needed less effort to create easy to use and accessible for all. too As a result, it was was ar- software computer them, to According work. art computer-made any against methods and media traditional with years many for worked had who gners - artists/desi professional by resistance strong a was it acceptable not designers.and professionalamong artists time, that At were software computer been by had created which works art ago, decade a than Less tools. digital using been have illustrators recently and animators architects, designers, multimedia and game tal software and modern tools. Graphic designers, video Currently most of design works in Iran are done by digi- in theirinfancy inIran. still are Media New and art digital ones, traditional the than quickly havedevelopedmore technologies digital Although artists. for challenges and opportunities new about brought Iranand transferredin culture visual the haverapidly media and technologies new of discovery ly book design. In the last three decades, invention and prints have changed the culture of visual arts, especial- emergence of lithographic books and offset 4-coloured the on later and 1815) (around printing of advent the that ago long not was it Iran, in history rich and long a has painting/illustration Iran.Although in illustration on Media New of impacts on focus to try shall we paper,

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23rd Biennial of Illustrations Bratislava 131 Florian, D., Florian, D., Zemestan Chashmhaye Hadadi H. Illustration: Baghcheban, S., Aftab Mahtab Cherangeh? Ghorban H. Illustration: Sheykhi, M., Naneh Golabi, M., Sheykhi, Rahimizadeh P. Illustration: Sahar Tarhandeh Tarhandeh Sahar Illustrators who work in advertisement, motion graphics graphics motion advertisement, in work who Illustrators might it as and industrygrowing, commercial is TV and be expected these people are more familiar with com- techniques. design web and puter software let Now on us the bookfocus - field illustra of children’s As book are said, not Iranian illustrators very inte- tion. rested in digital tools. Although developments in new storytelling techniques that need normally engage ways navigable and the contextualized more audience in ten- strong a not is there illustration, of techniques new dency among illustrators to follow their colleague wri- ters by using New Media. The interactive storytelling space to gives a wide of range modali- communication ties images, video (e.g., text, and and graphics), offers extraordinary possibilities customization for and heigh- tened audience the However, involvement. number of illustrators who use New Media to/for creating images books and other materials are quiet small. in children’s layout illustration, book children’s in media digital Using and design, is however going At to the grow. moment, and then edit is to scan hand-drawings a common way - Illustra and Photoshop like software of means by them Among tor. young generation of illustrators, there is a digital of means by totally works their create who group media. Unfortunately, most of these books have very low quality both in the case of text and in the case of Exceptions image. do exist and are going to increase. suc- some from taken been have images following The cessful examples. 132 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava permedia documents. One goal is to enhance musical enhance to is goal documents.One permedia hy - and video, audio, image, including data, of types multiple support that tools interactive contain must The environment criteria. evaluative among are items following DVDs,the and CDs multimedia on Focusing plications andhow besttoapplyit” (2004,p. 120). technology im- its understand the to important most is how it rather works, know to enough not is “It it, put haveal. et Figueiredoa As aspects. visual in and tent con- in both skill, and knowledge of lack indicate sults as websites/weblogs.children’sre- DVDsand Their CDs, such materials multimedia the of most evaluated and monitored been have Iran of Council Book dren’sChil- the in experts of group a years, few past the In and illustrations, areevident. texts written in both creativity, of Lackattractive. very current examples of multimedia products in Iran are not the of most subject, a teach to or story a tell to media different mixing in backgroundcreative and rich the te techniques.However,and despi- technologies used ly applications, CDs,radio, television frequent- most the are video and software resources, web Newspapers, alive.traditions oral the keep to ways other many are objects.Today material there with media narrative the mix to and alive stories/news their keep to storytellers by used havebeen that materials among were papers and clothes ences.crafts,fabricpotteries, and Leather audi- with relationship their deepen to skills formance per- attractive using in master were memories, dinary extraor- with people, These storytellers. by told were technique.traditionsold oralIran, very ancient a the In was story a narrate to media different using that gests children’sof reviewsug- literature history brief the A of Sahar Tarhandeh artists to produce local and regional works, severalworks, regional and local TV produce to artists and illustrators animators, national the of ragements encou- the to due and outside the from materials tural cul- of import blockthe to budgetpublic the huge of amount relatively of allocation the to due years, recent In different. are animations and games video as such media new other in illustration of quality However,the Multimedia CDCover, ShabeJado Multimedia DVD Cover, Samya andComputer Multimedia CDCover, Tamasha have poorimages. very products multimedia these of most illustration, of case standards. wayinternational the to the up in Especially long a is levelsthere basic and very in are tertainment media products, literature, aesthetic, education and en- such in criteria mind, it can be seen that in the Having existing multi- product. multimedia proper and a unified create to sections entertainment and audio combine visual, to is goal Another sections. Education and Audio-Video, Information, including approaches rious severalvathrough - music practice to and experiences 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 133 Manovich, Manovich, L. New Media from Borges to Wardrip-Fruin, HTML, Noah and Nick Montfort, ed 2003. Press. The MIT Media Reader. The New Lister, et M. New al. Media, a Critical Introduction. Routledge. Second edition, 2009. Maraviglia, What M. Do We Really Mean By Art?. July 23rd, 2010. (http://www.smashingmagazine. com/2010/07/23/what-do-we-really-mean-by-art/) publication digital Refereed al. et C. F. Figueiredoa, of computer graphics educational materials. Com- puters & Graphics. 2004, Volume 28 pp 119–124. www.sciencedirect.com from: [online] Available • • • • dia give us dia unique give abilities to create adapted works for minori - ethnic people, disabled as such groups minority workers. children and street non-native ties, References: Sahar Tarhandeh Tarhandeh Sahar TV Commercial, Pifpof The final Hit Soshiant: Video game, Creating art by means of New Media is not just a matter a just not is Media New of means by art Creating use a medium, the artist To must see the world of skill. to absorb her perspective and change that medium via The new problem possibilities. of some old generation artists with New Media arises exactly from this point. They cannot see and experience the When new an windows. artist world is armed with through new tools she can and use techniques, it to create works dealing with human universal New Me- issues and challenges. commercials, commercials, animations and games have been pro- Although their quality most duced. is of not them even, meet high standards of creativity, interactivity and at- they although images, their to regard With tractiveness. are still heavily influencedby thewestern visual cultu- there are re, cases of successful combination of digital storiesmedia with traditional and elements. 134 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava nal and international artists. nal and international natio- by works of exhibitionsmany of curator the was columns of daily newspapers as well as magazines and cultural the in exhibitions art visual on papers science popular reviewsand publishedtheses. He dissertation of defence for and proceedings inauguration their and vedforpanels of member a as granting professorships ser- papers, professional and qualifications reviewed He also focuses on the theory of visual art teaching. He booksofspecialized proceedings.tic andinternational blished in specialized journals and in dozens of domes- monographs in team publications. His studies were pu- two and topic that on monographs book five published narratives.He picture and illustrations book Slovak of history the and issues theoretical on focuses primarily P.in Universityof Philoso- FacultyŠafárikJ. phical the from education arts visual in graduated he and University Prešov of Pedagogy of Faculty the with education art visual of teacher university a is He Michal Tokár New Media, versus Illustration DigitalArt Michal Tokár (Slovakia)

Prešov.He illustration with new media. Therefore, the concept concept the Therefore, media. new with illustration of interaction the on concentrates – theme posium’s sym- the of scope the within intended – reflection My New Media booksfortion ofthecontemporary children. which pertain to the areas modified form andproblem content of thethose illustra- only outline will I as ted, elabora- systematically not is though, reflection, This illustrators.Slovak the of generation youngest the by media some of utilisation innovative of examples vide will I paper touch upon both the of the outlined directions In and will pro- designers. graphic and il- lustrators namely book, illustrated the create who persons of potential artistic the is here element decisive The illustration. of content and form the modify which cts reflection a of produ- media new of impact negative and positive that on or medium, computer a by tions illustra- book generating of question the of that either directions:two take can we issues above the on ring and modifies the existing cultural conventions. Ponde- vance to – “here and now”. As a it consequence, affects rele- shape compelling the stressing for the important form and adopted has illustration – element visual the which to thank stimuli technological its of means by especially book, children’s illustrated the revived and influenced have media new of art the doubtedly, Un- information. storing and broadcasting providing, ality is influenced by new media – a dominant entity in form as well as the outer reception of it. Contemporary visu- illustration’s determine which features and ces devi- those however,are change, to Subject carrier). text a (or book a or text inspirational an with onship relati- utilitarian genre’s the by determined is stant.It con- is genre a as illustration book a of essence The

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23rd Biennial of Illustrations Bratislava 135

dematerialised, ethereal. Most often, what falls within the category of digital art is an art stored in puter a com- or a DVD carrier or is accessible on internet. Nowadays, Nowadays, it found its way into the mainstream art. It became a subject of theoretical and historical search re- and has been acknowledged by art museums and it galleries. However, is not possible to research langua- art traditional the of norms the by art digital the - communi new a of language a constitutes it since ge, systems. conventional the from differing system cation “structuringartistic of way new a is interactivity Digital artistic- of communica processes organizing and form sensibi- new and aesthetics new requires also It tion”. transferring for possibilities new represents thus It lity. emotional information within the system. If we admit that a technology can assist in evoking inner of feeling revelation, digital art, than, acts as a creative tool. The time comes when the society can acknowledge those emotional-visual entities as works of art. Illustration, more specifically computer generated il- iPad in (e.g. book electronic an for finalised lustration, or iPhone) or in the form more ofoften represented printed in BIB, book, does whichnot correspond is with the theoretical framework of digital art. I am not competent to go into the polemics on non-unified ter- But, the for minology purposeso far. of my reflection, the digital illustration will refer to such visual - expres sion which was created or processed by a computer. It comprises creation (processing) and imaging further with possibilities drawing) sketch (orillustration also here included of have I variation and modification. rendered in one of the traditional techniques, - trans ferred to a computer by scanning, than completed in certain graphic software application. Such combined

Michal Tokár Tokár Michal of the artistic form of new The terminologymedia of media artfirst. is still at the- begin should be defined ning despite it has been in existence for about thirty years. Digital artyears. initiallywas called computer art, then multimedia art and finally theart of All new media. of those terms are frequent however, their are they blurred. boundariesAnyway, reflect the real changes in both society and art conditioned by the cal advancement, despite the that fact - technologi all innovations usually tend to be reflected with somedisciplines of art. traditional delayby the Media art is most often conceived as the intersecti- on of vectors of the three historical technology forces: capita- commodity transnational science), (computing lism and traditional visual art. It can also be viewed as an accumulation of hitherto independent areas of arts,fine human activity:literature, music, science and computer programming. Deep rootedthus overcome, yet they contexts still coincide with are the tradi- tional activities. Even the term new media currently lacks the theoretical exact delimitation since the large number of its elements and thus possible manipulations are not li- mited or Terminologiesdefinite. mayvary depending - Life on the position or the specialisation of a scholar. span of a new medium lasts until subject of polemic or itdiscussion and society starts ceasesto to be a perceive it as something natural (“established” in so- cial consciousness). Artists of new media attempt final Their to worktechnology. computer of aesthetics the with predominantly art artan “materialised” but is which a not is “product” 136 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava (Wisdom Tooth)(Wisdom . 2010;A.Anďalová,Children) , Other and Betty,forKika Fairytales (Merry deti iné a Kiku Betku, Horecký,M. 2009; Animals), on Nagaj, (O. Vrabec Ján by means of computer include the following illustrators: illustrated children young for books colour Full 2009). F.book Rojček, the in expression(forunique example a in ideas and wits his employ thus could He technique. traditional in duced pro- picture precise a chosen was product generated innovativecomputer technically for groundwork the as graphicbysoftware.charactera its o prived Therefore, gh, was not ofsatisfied the withstyle thede- originality technology.computer new a by spired thou- artist, The in- few,was a name to just Mydlo, Svetozar Illustrator electronic medium. of means by illustration book children’s of technical realisation of ways frequent most the are illustrations illustration Svetozár Mydlo F. Rojček: Cake ofSand Michal Tokár ák n pv pha (oe t First at (Love pohľad prvý na Láska Torta z piesku (Cake of Sand), of (Cake piesku z Torta ešk o veakc (Verses zvieratkách o Veršíky Veselé rozprávky pre rozprávky Veselé Zub múdrosti Zub artist to language as “create byartist means ofthevisualart endeavour. Computer as one of the new media enables success of software and ratherprinter than artist’s own graphic applications to assume the illustrators work is a ding for a person without any experience in working with ly reproduced book illustration. It would also be mislea- traditional or conventional used forcriteria mechanical- of aspect of the from illustration book types”of evaluation“technical to approach cannot one enough, Sure product. results inthefeeling ofalienandartificial a limitation to the role of artist in electronic media, which or “handwriting” of author’s self-projection which I find as software.byauthenticmissingthemcharacter aof is It ning data entry and continue by subsequent processing withdefi- Creativestart computer imaging processesin (style). self inner his/her from emanating vibrations all withreality literary ofaspects the ofmaterialised some author the which inillustration an been has there now technique(photography, collage). Tosimply,itput to up rialised by some of either more traditional or modern art mate- idea), (or author’s work the of original production re- prefers Modernism edition). bibliophile the in work nuscripts,illustration originaltheprintedbook,theor in ma- the in (illuminations original artistic an as viewed been illustrationhas the illustratedbook, the ofadvent of its “domesticising” will take some time since, from the ceived unanimously well in Slovakia so far. There- process been not have computer by generated Illustrations (Who StoleinGoldStarCircus),2010). (J.Mlčochová, ská Záhor- Alica and 2010) Fight), can Brother (My biť vie the illustrations of Miroslav Regitko (R. Brat, Sight), 2010). Computer influence can also be traced in Kto kradol v cirkuse Zlatá hviezda Zlatá cirkuse v kradol Kto Môj brat sa 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 137 Three Little Pigs illustration D. Koinok, Koinok, D. illustration illustration E. Cvrčková E. illustration P. Sklár: Little Red Cap Sklár: P. Little PrincessLittle Pavlík: Pavlík: J. Uličiansky: Uličiansky: J. Kopták M. illustration P. a Stone Was There Stanislavová D. illustration

(Malá princezná (Little Princess)) , Dušan (Tri malé (Tri prasiatka (Three Little Pigs)), Denisa Michal Tokár Tokár Michal each gestic computer interface simulates the means of means the simulates interface computer gestic each - functionali the only is here Accepted language”. visual the book, the of component utilitarian a illustration, of ty role whereby it serves literary text in printed It form. is technical realisation. matter of solely thus not a The question arises, what is a starting point in an at- tempt to find similarities and differencesbetween the traditional illustration and the one generated by com- I think that the of advent computer into puter. the art in an by accompanied is book of art the as well as general of array similar problems as those related to any other visual media. new Books Interactive Electronic by supplied is market our books, printed the Apartfrom children and electronic adults, books for the interactive intended for tablet computers (iPad) and modern mo- bile phones (iPhone). They display interactive anima- tions with atmospheric music, sound effects, text, but language with versions audio dubbed include also they - dra by reader, The illustrations. obviously, and, options gging fingers on the screen, becomes directly involved in the story which he or she reads or listens, while he or she can influence what is going on in screen. the A page (can be turned by a finger touch) is experienced is touch) finger a by turned be (can page A ob- and Characters recipient. a by differently time each jects in illustrations move either according to pre-pro- the on finger-touches on react or commands grammed screen. Illustrations in Slovak electronic fairy tale books (i Ad- verti publishing) were designed by young illustrators: Miloš Kopták Koinok 138 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava ol efciey elc te xsig etok and workbooks. textbooks existing the replace effectively would tablets advanced more of availability the whether and consumed, be will books interactive the how foresee to difficult is It impressions. artistic a of dimension book, new printed a to comparison in book, interactive the add which animations interactive are by compensated illustrations electronic of “drawbacks” given The tional illustration for book. theprinted remains basically identical as is the functioning of tradi- The illustration’s functional to auxiliarity the e-book text disappearing. is reproduction rooted deep of aura the flection in the “mirror” of a traditional printed book while re- mere a if as side other the on is essence, ethereal and dematerialised its in levels.Illustration, new by it complement or it modify and title issued already the to return time some after can publisher since nomenon, phe- new a is book Interactive benefit. educational of also are versions Language techniques. art new them with acquaint also they but creatively, think to dren one the chil- prompt and on imagination children’sdevelop hand, books, illustrated electronic Interactive ). Crisscross) dým (Krížom-krážom (Africa Afrika res, and the book of travels with photos by NikoMartin - T. Maťátko Matúš bygroup: Tomášauthor’sbook age and older Klepoch for published books also were There form. printed in techniques and some of them had even been published tion. The illustrations were realised by the traditional art Cap)) the Czech author of the Slovak school of illustra- EvaŠvrčkováand ne)), Stanislavová

Klepoch Michal Tokár presented as street art pictu- art street as presented Story) a (Find (Bol raz jeden kameň (There Was a Sto- a Was(There kameň jeden raz (Bol etrl vsa on tr of story own visual entirely , (Geteria) (Červená Čiapočka (Little Red (Little Čiapočka (Červená rm h woe ae lutain pclry inverted specularly illustration page whole the from ko Fer- M. by book the of places block some in text the typeset of within miniatures as applied Kellenberger Martin of illustrations page whole selec - the following:from motifs the ted are process such of Examples duced detail,etc. either as a miniature within the block of text or re-repro- book: of medium the to adapted presentation modified new, a is It format. unauthentic an into original the of reproduction of an untouchable butoriginal the remake of illustration obviously does not imply the conventional lisation within format.a book illustration art Finalisation sign) is changed as it becomes a semi-product for fina- The conventional position of the original illustration (de- techniques. art traditionalby realised illustrations book children’s in found be also can processes Analogous tition. Such processes influence the content of pictures. repe- or size,blowingup reducing overlying, montage, example:forcollage, include principles and processes above the of use Creativepictures. existing the re- make and manipulate vary, to enable media Electronic Original ofModifying Artwork Effects the on Reflection Kellenberger, illustration M. The World isaPlay M. Ferko: (2009), or detail or (2009), Play) a is World (The hra je Svet 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 139 sed of planes (photographs, posters, screens, displays, displays, screens, posters, (photographs, planes of sed Variety of visual reality by is viewed traffic codes, etc.). coding of way new the of “result a as author quoted the - wan and feeling thinking, of way new the – universe the the culture”, “new style, varied a of reflection a is It ting”. manifestation of how to give the world and life a times. new current of culture the to immanent is It meaning”. for properties, (different variety the in reflected also is It - (ex colourfulness and used) techniques the in example for example in pressive colours) variety, of illustrations book. in contemporary children’s Colourfulness is a weapon by which our senses attacked are from television. Numerous researches have documented that it is a dominant medium, hence the substantial dilemmas arose regarding the relationship between art while and artmedia: opens to its recipient more space, television suppresses it, which leads our from it know all We to communication. unbalanced an which of screen the medium a is it that experience own flickers with manifold visual effects, especially in com- mercial “spots”. A TV set is switched on in our house- of- is It purpose. permanentlyalmost holds any without by surrounded be to need our reflecting habit a just ten Danubian Queen, Tales, Myths and Tales, Queen, Danubian Ďuríčková: M. and Danubian Historical of Bratislava Pictures Vančo B. illustration Surroundings, Dunajská kráľovná: Povesti, báje báje Povesti, kráľovná: Dunajská Ďuríčková Ďuríčková

Michal Tokár Tokár Michal a historické obrázky z Bratislavy a dunajského okolia (Danubian Queen, Tales, Myths and Historical - Pictu res of Bratislava and Danubian Surroundings) (2010) illustrated by The Bystrík Vančo. detail thus becomes an autonomous illustration entity in the other place of which context, receptive visual-text new the in book the anticipated not meanings, and effects new about brings in the author’s original intention. Selected detail from the original composition is of a synecdoche character (a part stands the for whole), which child motivates re- original the to return – illustration the “complete” to ader source of the picture or reinterpret it using his or her imagination. own The above processes in the book illustration are but a that a reprodu- theoretical premise known proof of well ction as an autonomous medium does but not design its only on report mechanical a have be to ambition the wants to assert itself specifically and creatively with a Illustration of in view distinctive the modifiedworld. ap- plications is therefore understood not only as a repro- duction of the original (design) but as an independent art genre – the medium of - book conven displacing illustration. Modifica- as only not viewed be thus can tions tional features and forms of book illustration in terms of “playing with” technological possibilities but also as finding possibilities of message potential – merger of processes with the message of illustration. “technical” Varied of Philosophy are, pictures and texts – carriers information Traditional according replaced to by new codes Flusser, which in- form and program us, and those systems are compo- and reapplied on the opposite page of the book of le- M. by gend 140 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava D. Hevier, Xavier with X-shapedLegs illustrator – Daniel Hevier, and writer – author the by book recent the in mented BIB.last the illustrationsof Heterogeneity docu- also is in Apple Golden the awardedwas which (2009) Tiger) the W.in example Saroyanbook Matlovičová-Králová, forMartina by illustrations of ons collecti- the of motifs the in reflected is colourfulness and variety of experience such that surprising not is It tic boombecomesperceived ascommonplace. posters, graffiti etc. colourful Enormously visual-acous- decoratedbysquare or media:street static a billboard, is paradoxicallyquarters a domesticated commotion of living in “pulsating”visual decoration.Such twinkling a Michal Tokár Xaver s nohami do X (Xavier Králová illustration M. Matlovičová- W. Saroyan: Tracy‘s tiger Tracyho(Tracy’stiger the contemporary post-industrial man cravesman post-industrial contemporary the for visua- that in concur media visual on studies theoretical that add I artist, Iranian the of reflection the on Following symbols oftheworld. real as mind children’s into written inappropriately is figures deformed and creatures zoomorphic peculiar” of “invasion visual Produced delusions. boundless by life. Watching of such programs,traps the children the are deceived for unprepared add, I and, souls, gullible view, the fact that the consumers are children with their on of devastation into pseudo art”. Dangerous is, in her ma TV screen, she indicated the widespread - “absorpti on cultural identity of children. Bearing in mind the plas- have can uniformity which impact negative of warned also She media. by out spewed culture “global” of art national at characteristics the in expenseart of pseudo natural of signs the of loss a on out book.pointed She children’sillustrated in otherness and globalisation the which wereshiri the pronounced symposium during on M. Mo- theorist and artist Iranian of words warning the of remind to order in is it illustration children’sbook on new of media influence the features with connection In Attack ofSchemes Eliminating NegativeAspectsofMedia. for children’s book. norm a becomes and language visual of forms the by bleed”.to future of signs chaos visual current mirrors It variety which intertwines past with present and enables sive combination of colours introduces a “philosophy of Varietyillustrations,of cycle the of attractive inten- and realismexpresses the “spirit” ofvisualrealitytoday. pictures’techno-sur- (2010).The Legs) X-shaped with 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 141

child’s psyche. I have observed, in my own pedagogical pedagogical own my in observed, have I psyche. child’s practice, the negative impact on the visual culture of of schemes visual by caused adolescents and children such products. Weather we like it or not, we can only accept the cur- rent cultural and social reality and try at least to elimi- nate its negative I impact. do not want to be sceptical, but the remark of M Šperka says something about the given He problem. stated that despite the introduction conclu- to possible not is it schools, in education ICT of de that the young generation would be orientated the influx visualisations of and in today’s wouldform the- ir own opinion, critical thinking and aesthetic feelings. He concluded that one cannot that say the of level ge- neral culture and education is rising, “it may even be the opposite is true”. Shifts and Returns Until the beginning of the modern fine artsera, art had been an important source and a tool for documenting the visual side of the world. This exclusivity was visualisation was of technology efficient more lost the when A discovered. tool for mass processing of the original art work nowadays is neither photography nor production in the printed a medium but a dematerialised re- image in an It electronic has influen- medium. different ce on human since, apart from the loss assume of can materiality, One “elusiveness”. its for characteristic is it that, similarly as in the period“the eyesight of antiquity had often the active role similar to the one attributed to tactility nowadays”, the eyesight of a child has also such active Therefore, nature. in the view of a young recipient, the illustration of a material nature in a book remains an important antipode to dematerialised - ethe Michal Tokár Tokár Michal lised “penny dreadful”, horrors, extraterrestrial mutants, mutants, extraterrestrial horrors, dreadful”, “penny lised As etc. stated by the Iranian such author, cravings are fulfilledby current TV screens, internet, computer ga- modern of trend this escape cannot We tablet. and mes media, especially television the influence of which is the most intensive as it is the most And commercialisation, viewed to which electronic medium. media ser- is as if unstoppable. ve, Even though my reflection is aimed in on the question one direction, of the influence ofnew mediaon book illustration, it is also possible to speculate influence about of illustration the on other media. Especially the picture character are books predeterminedof narrative to be further processed by such media as film,- televi sion, computer games, digital book and men- to worthcommercials. is it genre, named last the to respect With rebirth Pokemons, of adoption enthusiastic rather a tion Disney’s of child W. Mickey or media fuss about com- mercial advertising of Harry Potter brand. They were broadcasted by various media and were incorporated into souvenirs, plush figures, chewing gum wrappings, stickers, picture cards, etc. They primarily brought fi- nancial profit. Advertising concepts have no ambition to activate child a viewer whatsoever. In their practical artistic interpretations re- they almost schemes enforced numb by media serve as creativity. an example Visual of visual violence with far reaching educational quences. Such stimuli are conse- chaotic for children as they are not able to arrange and order them cognitive in structures. They their miss own the interpretation - fra the meaning which is necessary evaluating mework for of such stimuli. They leave, however, a deep trace in 142 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava coming back to craft products is what marks a natural a marks what is products craft to back coming as well as technologies, new of features the Utilising time togeneralise itsassetsandfaults. short rather a for around been has book, interactive ly future of what has just emerged. Digital book, especial- dia.the predict and Yet,assess objectively cannot one me- other by brought inspiration utilises times current the of coding technological expressiveand the that ral remains.realisation material of essence natu- only is It however,digitalisation, the secondary with experiment Theyillustration. book printed of possibilities new the about seriously think to started and succeeded have effects), visual and patterns globalised cheap of adop - tion (rapid 1990s in culture book in rumbling of od - peri the after illustrators, young of generation current the that seems forecast.It unrealistic an also is book, being consumed or replaced by electronic or interactive manner, thinking about the end of a printed book, about similar the in it.So against standing were world the of verification of means and tools as installations or art video art, concept of ideas the since painting, of ath” Not so long ago there were prophetic visions of the “de- riddles). maze, (painting-by-numbers, it with manipulate even can child A again. and again it to return to possibility gives and pages through browse to time unlimited her with contact the “live”of eling or provideshim material, a material-craft product, enables its reader a natural fe- narrativereceptivethe to adequate type. book, static A of freedom interpretational and creativity recipients of exercisefull forprovidea not far does so image Digital tricks.spectacular and interactions focusof the amidst real illustrations in the digital books. With them a child is Michal Tokár original inrather homogenised globalculture.original remainproduction,willbookwe the in preserveit we If archetype.manifestationnational a of is and us passes encom- environmentwhich cultural concrete ted”a into “implan - is mark plate a Such enrichment. mutual their technology. Sometimes it is not easy to find a balance in artistic messages based on the linkage of creativity and a doubt, the new electronic media give an opportunity to termined by an “enlightened” adult. Without a shadow of rything naturally. Intentionality, though, should be prede- perceiveeveperhaps theyaffected stereotypes by- not arestereotypes. childrenrooted Asdeep the fromfers dif - language Such art. of language contemporary the to it adjusted and reception conventional the changed havefeaturesproduction media by inspiredillustration book children’s in innovation of methods indicated All own identitydevelopment. their of continuity in threat real no under are they and obstacles.without era digital textTheymastered editor changes.rapidthe against with stance on get Children adults’the possess defensivenot theydo and past the by encumbered not are they collaborators...”because and life,partners and world activethe are participants, of computerisation and medialisation of process the in tendency and ability to consume easily every innovation element in the book art. “Children, thank to their natural motivate him or her are and harnessed as a liberating and innovative author the to appeal which media new of features production the that natural is it hand, other the creator.On the of soul the and pulse warmth, feel source. A reader being in immediate contact with it can fundamental a remains book a of “material”the in ded embed- Illustration illustration. of existence pulsating 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 143 most important is important most The new media, digital illustration and animated films at appeared animation, digital of forms other and 3D in Croatian the on figures gifted several as time same the and artillustration scene. acade- formal a got artistshere The introduce shall we but sculpture, and art,painting graphic in education my me- digital the in skills their developed and learned they - curiosity(ex personal by motivated themselves, by dia cept my for young colleague Bašić who belongs to the first generation graduatesof from the Animated They Arts). Film Fine of Academy Zagreb the Departmentof are versatile Renaissance-type design artists they media: various research and in themselves who express settings, write scripts and stories, draw strip cartoons, illustrate picture books, animate puppets in the theatre or on computer … they are active in both the classical media. and the new lectu- this for preparation in had we conversation the In attem- which we questions for discussed re several we pted to find answers, which led to a shared viewpoint sub- our for conclusion of kind a as on look can we that THE NEW MEDIA. IN ject, ILLUSTRATION the and Differences; Drawbacks the in Advantages the Relationship between Classical and Digital Il- lustration: The artists has that no digital particuillustration agree - classical the or illustration classical over advantages lar media. Although digital technology and its techniques and tools are a mark and form of today’s art (a large part of it), it is not the medium in which role; an essential the artwork plays is that executed the power of the idea and the artist’s ability to present (Croatia) Manuela Vladić-Maštruko Manuela She graduated from the Academy of Visual Arts in Za- greb under Professor Ferdinand Kulmer and several individual staged and joint exhibitions in Croatia and - art,undertakespracti making also Besides she abroad. creati- children’s and expression visual into research cal art projects multimedia of several author is the She vity. for children and youth and cooperates with museums and galleries in organizing art children. projects for She wrote and illustrated nine books for children and was granted She several awards. is a member of the Croatian Art Society and the Croatian Association for Independent Artists. Manuela Vladić-Maštruko Vladić-Maštruko Manuela Media in the New Illustration Croatian 144 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava into a perfectly regular and uniform technical expres- technical uniform and regular perfectly a into to painterly and the of characteristics visual the all transform the from hand human the of traces all remove to was objective whose tools and techniques by marked were illustration digital of beginnings The The Development ofDigitalIllustration: their conceptspeficicum. can only be developedcontents and presented in and media that are subjects some that show, later will I means,as this media digital the of aspect the from and technique may, that nevertheless, consider and be point a this means on of differ I expression, that say must I to project present of a myparticular own in this lecture, role.However,like would artistic I as crucial a play not the digital medium is no more than a medium and does scope and the richness of of their diverse because activities, agree probably that artists, the too here shown, have already it answer to the and question first the As Finding one’s own ExpressioninaDigitalMedium: hard diskhasitstimelimitsandrisks. or DVD or CD on “storage”even although workroom, studio/ the in work the “store”to easier is CMYK);it to (adjusting colours colours in from print the RGB format the harmonise to and visual the of quality original the hibitions; as there is no scanning it is easier to preserve ex- international to especially form, printed in hibitions Croatian publishers) and it is easier to send them to ex- lustrations (a very frequent il- problem in cooperation with original the keep not do clients the execution; and communication faster as: such medium, digital the of advantages some noted they project, whole a and on illustrati- individual an of both finishing, and execution it, in any medium. However, from the aspect of practical Manuela Vladić-Maštruko metier how to use them. use to how came new generations of who artists wanted and knew tools and programmes of development technological the with gesture.Parallel visual the of humanness the and strokes hand implement/imitate to manipulated ly mechanical- be could that those became programmes and tools popular most the approach: opposite the in resulted tools accompanying their and technology in developments new but saturation to lead quickly very human race teach us, not only did this kind of approach idea. However, and history the as psychology art of the visual mechanically-generated the of finish “pure” and avoid subjective expression and achieve the “objective” and the texture of the paper disappeared in the wish to paint the of thickness the brushstrokes, and lines fect imper- the hand, the of renderings sion.imperfect The and picture books for children. An essential factor for factor essential An children. for books picture and books of and media classical the of future fateand the about think to realistic is it world digitalised today’s In The FutureofClassicaland DigitalIllustration: being submergedinthemedium andofreality). of impression the increase now spectacles (3D tions limita- its without and it to superior but world real the on modelled possible, as realistically as world, virtual modelling and animation technology aims at creating a 3D of development the direction other the in “results”; fasterachieve to techniques painting use to want who designers and illustrators for possible it makes hand”, programmed “trainedits with machine, the which in on manipulati - faster and simpler enable to digitalisation, being used to “perfect” techniques classical through art is technology sophisticated direction one directions:in developingbe two to in said be expressioncan and gy technolo- and scene, art digital the and market the on and pencils Digital arrived art-pads 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 145 Tri animated film Tri screenshot from the Guljašević, Ivana Dragons) Terrible (Three zmaja strašna suggested time a for worked she whom for publisher A that she began to work in digital media. Now a com- plete and all-round artist, she has written and - illustra films, animated made and books picture numerous ted combine to likes She shortwrites also stories. she and classical and digital drawings using distinct textures and vivid colours which she composes into pictures- que and colourful collages. With her husband Bruno the picture book Pauk for illustrations Guljašević, Ivana (Dusty the Spider) Praško was born in 1970 and graduated graduated and 1970 in born was Manuela Vladić-Maštruko Manuela understanding understanding all messages and contents, including those in the new media, always emerges from the re- lationships between child-adult, child-parent, as well as individual-society! If the approach is active and the contents positive and affirmative, starting from a point - and encoura and interaction communication of mutual ging emotional and cognitive processes and participa- tion, the medium is again only a means and does not approach this cultivate we If carrycrucialresponsibility. we can avoid all the traps of seduction by and - passi ve addiction to the screens on which we follow digital contents (digital picture books, animated films, games and the newest e-books). Nurturing visual quality and genuine suitability for childhood (without pandering to the consumerist world of entertainment) is as crucial in the digital media as it is in the which classical there media are (in also many unsuitable and poorly de- Thus we that can say signed messages and contents). the future and survival of all the media, including clas- sical and digital illustration, depends only on our attitu- de and activities, both those of competent individuals stimulating and Good-quality whole. a as society of and projects on the level of the community and of cultural and educational institutions can certainly contribute to evaluating the products intended for children in all the media solely on the basis of quality. artisartistswhose - the present to now me allow Please tic individuality and versatility have launched Croatian children: and animation for digital illustration GULJAŠEVIĆ IVANA at the Academy of Fine Arts in Zagreb in 2000 as an artist.academic graphic 146 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava sion combines digitally processed elements of photo- of elements processed digitally combines sion newmedia.the to publisheropposition expresred His - the suggestion of her publisher, Zlatić at first encounte - children. at for illustration digital on books started absorbed who Guljašević, Unlike and been books 1996 picture since illustrating has in and 2002) in Arts Fine of Academy the at graduated (he painter demic aca- an is He 1976. in born was TOMISLAVZLATIĆ Mo (LittleMo)andNoinamačka (Noah’s Cat). 2009, Hrvatske bajke (Croatian Fairy Tales), 2010, Mali Prize (for knjige illustration): 2008, Čarapojedac (Sock-Eater), Lice the of Commendation Prize, Vitez Grigor the of Commendation and jury,children’s the from ze Prize from the professional jury and Sheep in a Box - Pri 2007 - for the picture book Sock-Eater: Sheep in a Box FoundCrocodile Mark aHome, How book picture the for Prize Box a in Sheep - 2005 animated filmAsif by Magic, the for Portugal,Festival, FIKE the at prize 1st - 2002 3rd prizeattheComicsSalon, Vinkovci, 2000 -1stprizefor romanišou,Zagreb, comicstrip, Crtani tia andabroad: receivedseveralhas She Croa- awardsin forwork her how to. know not do but Christmas celebrate to likewould that unwashed socks forgotten under the bed, and Dragons devours which 2007), kuća, Autorska (Čarapojedac, young readers are a creature known as the Sock-Eater (sometimes on the fringe of taboo): great favourites with situations unusual in them places prejudice.artist The overcome helps approach witty and playful their and gnomes) grumpy flies, dragons, (spiders, popularity of borderline the from figures animal creates she Kuman Manuela Vladić-Maštruko

2006. Vitez Prize for illustration in Grigor wonnational He the and digitallyprocesses. photographs he which settings, classical and puppets uses also environments.He urban in modelled, tically coloursi- and dimensionally two are which figures, and dimensionally modelled, and his own elements original three- are which elements, photographic realistic ting An especially original feature of his work is - counterpoin dynamic andcolourfulcompositions. graphy and classical illustration, which he uses to make magazine Smib Illustration for children’s Tomislav Zlatić, Daisy), AnaĐokić Tomislav Zlatić, Školice za Tratinčicu (Hopscotchfor 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 147 ginners in reading. Special emphasis must be to his given animated films using stop animation. He makes puppets for animated films and the complete settings, li- He project. entire the finishes digitally and them films makes he which figures stylised and defined use to kes from plastic and plaster, which he then dresses in colours latex and clothes made in the puppet moulds. He and his life partner Sanja Šantak have made - se veral hundred objects for the needs of his films, from hero figures to static elements and up to ten different kinds of cars that are yet to “rush through” the screen. He places his figures innostalgic settings designed in the retro style of the 50s and 60s and he photographs every movement and change of lighting with endless The authenticity of his personal style and the patience. style of the period in which the action takes expressed up place to the is tiniest detail and is also shown in nostalgic atmosphere. somewhat an overall, He received three prizes at international film festivals his animated film Soldat (Soldier). for ZDENKO BAŠIĆ was born in 1980. He graduated Department Media in New and Film Animated the at 2005 of Fine Artsof the Academy in Zagreb. Unlike artists who mostly use computer create present-day or futuristic graphics figures,forms and- sto to il- book supportclassical to collage digital uses he ries, the emanate animations and illustrations His lustration. coded mysteriousness of the fairy tale, they are very lyrical and the scenes are based on the story’s atmos- the blending gently and collageing By mood. and phere - background/founda the of architecture the with figures tion/scene he creates an atmosphere of ancient fairy David Peroš Bonnot, Peroš David , free illustration 2010, unpublished Manuela Vladić-Maštruko Manuela DAVID PEROŠ DAVID BONNOT was born in 1967 and - gra duated in painting at the Zagreb of Academy Fine Arts in 1993. He is a many-faceted artist who uses digital media to create and publish illustrations, cartoons and be- for magazines picture-storieschildren’s Croatian in David Peroš Bonnot, screenshot from the animated film Bonnot, screenshot from the Peroš David (Arctic Pirate) pirat Arktički 148 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava Prize for thegraphic designofthatpicture book, Kiklop the and jury,children’s the and professional the from both Sertić, Irena by (Chocolate) Čokolada book picture the of forillustrationBox Prize a in Sheep 2006, Bašić haswon several prizes for illustration and animation: ons, whichgive themanuance ofethnocharacter. elements of mysticism and the decorative in includes his illustrati - also artist young this tradition, folk from tales fairy and stories with and changes, its and nature with connected Deeply detail.for feeling sense and atmosphere of sophisticated a through tales fairy for clination in- characteristic his preserves time same reality,the at and Bašić story between boundary the of us remind to motifs urban using appearance.While contemporary giveswhich culture urban the of metaphors very a them and elements includes occasionally he which in tales, Z. Bašić, ScreenshotfromtheanimatedfilmGuliver I. B. Mažuranić (Stribor’s Forest), the bookŠumaStriborova Z. Bašić, Illustration for Manuela Vladić-Maštruko missioned her to set up the first Croatian museographi- In 2003 the Contemporary Museum Art in Zagreb com- media. new the and digital the of concept the within tionships que as such. Her projects address definitions and rela- techni- the and medium the examine to likes She dia. me- makesthe and all illustrations1985 in in Arts Fine of Academy Zagreb the at painting in graduated She 1962. in born was VLADIĆ-MAŠTRUKO MANUELA (I Thirst). 2011, Porin Prize for the animated video number Žeđam in Dubrovnik, liver (Gulliver) at the Libertas International Film Festival 2010, prize for film best short for the animated film Gu- Film Days Festival. Croatian the at 2009 in film best for prix Grand 2010, best animatedfilmattheCroatianFilmDays Festival, 2010, Oktavijan Prize of the Film Critics’ Society, for the the Renown oftheULUPUH to Contribution and Young Artist Best for Prize 2009, Novela ofStanac), odStanca(The Story and Ago) Long (Talesof davnine iz Priče children for 2008, Grigor Vitez Prize for best illustration in the books phical picturebook from 3Dmuseogra - dyland), screenshot kiša (MelissainCan- Melisa uZemljislat- -Maštruko, Manuela Vladić- 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 149 The artist has received several prizes for her artistic illustration: work, them for among 2005, Sheep in a Box Prize for writing and illustrating the picture book Pustolovina pauka Ota (Spider Otto’s and Commendation Adventure) Vitez of Prithe Grigor- ze for designing the edition Dobar dan gospodine An- Mr Andersen), You, to dersen (Good day - Illustra of Biennial Croatian 3rd the of prize third 2010, tion for the illustrations in Snježna kraljica (The Snow Andersen, H.C. Queen) by 2010, Sheep in the Box Prize of the children’s jury for illustrations in the picture book Plavi slavuj (The Blue Maja Brajko-Livaković. Nightingale) by Manuela Vladić-Maštruko Manuela Manuela Vladić-Maštruko, illustration for her own her own for illustration Vladić-Maštruko, Manuela in Space) (Piko u svemiru picture book Piko cal interactive picture cal book interactive in VRML 3D animation and technology entitled Melisa u Zemlji slatkiša (Melissa in Candyland), which she created within the imaginative The community project of was her designed family. for children and adults alike and the author (referring to Carroll’s Alice in Wonderland) examined the various strata in the relationships of child-adult, - museum-pub lic-artist, digital-analogue, virtual-real, the seduction of the media and the enforced happiness that the sumer con- society dominated by the pleasure demands. The formula luckiest of player in instant this game, who manages the to secret discover and find the best- hidden sweet within the museum walls, wins as many The designed project was as he or she weighs. sweets and itself museum the in execution, of levels several on on the Internet, and in several media and forms: as a prize-winning game, computer exhibition, book, picture A game. characteristic of this artist is her fondness for with playing the media and the strategies which she at work her of messages the and criticises, time same the are very the ironic approach. humanistic despite 150 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava illustration. book European and Polish on papers many published and section IBBY Polish the of member a is sity.She professor at the History Institute Art of Wroclaw Univer- and Art Design in Wroclaw and since 2008 as a visiting Academy of withtheEugeniuszGeppert been working has she History.2002 and Since Art of Institute the of library the at worked has Ireland.She in internship an to her took Illustration Children’sBook about project A doctoral programme on Polish Book Illustration in 2007. her completed and University Wroclaw of Institute Art the at history art studied Patyna – Wincencjusz Anita Illustration. Some RemarksonPolish Contemporary Solution oraDevious Tool? New MediainBookIllustration-aGreat Anita Wincenjusz Patyna Anita Wincenjusz Patyna (Poland) often happens this wonderful state has also its another about to arrive at hands of an impatient reader. But as it nal designs not to be forgotten. A perfect volume is just ableare that chines provideto faultless - origi of copies rate than reality, should also be mentioned; printing ma- which recreate the image that seems to be more accu- scanners, tablets;perfect touch and unlimited pen to potentials, almost their all with them, of popular most Suite and, Corel Draw Graphics Suite, just to name the CreativeIllustrator, InDesign Photoshop,world:Adobe the around all used commonly is that software design graphic – tools electronic from starting technologies, modern of use make design book of stages Different which isourmaininterest. graphic design, strictly connected with book illustration, of world the to also applies situation described above The useful. more much be to seems progress logical techno- the from benefitting sensible and appreciation sense in struggling with them. An much open no attitude showing is there apparently and everywhere are ces devi- technical new and forth.possibilities Newso and on so and transmissions analogue for designed were they as signals digital receive not do sets TV our etc., are not compatible with notebooks, cameras, scanners we get new mobile phones, our yesterday data carriers as up-to-date become to as havechoice almost no we in electronic, digital or even empires.virtual Sometimes to keep up in pace with all new solutions and inventions pursuit the in surrendered actually haveinventions cal oriented towards computer science and modern techni- much so not people that year every them of many so in the world of new technology are so fast and there are we contrary, happen the to live in the on time of medial revolution. just Changes perhaps or enough, Luckily 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 151 of a wide enough, attentive and caring audience who studies illustrations in books with sheer pleasure that derives from the possibility of meeting beautiful arte- facts. Being an academic, for quite some time alrea- dy focused mainly on history and presence of book il- countryhome my in both makes abroad, and lustration me look at a graphic side of volumes and designs visual their for analyse I thoroughly. more even illustrations composition, of ways forms, styles, compare I contents: sources of inspiration, methods of constructing - narra tions of So stories. Here I are gaze. some conclusions of my observations concerning contemporary Polish illustration in children’s books but, to be honest, I pre- sume that some of these general remarks may refer to contemporary book illustration all around the world. By the way the world we live in becomes smaller and day. smaller every Software tools, which have been in common use yet some for occasionally time, have resulted in too many somehow (even difficult to describe precisely) similar among noticed be especially can This designs. visually proposals created by the youngest graphic designers and artists, just about beginning their careers in the fi- eld of book illustration. Some of brand new titles and new editions (in a modern costume) of may obviously classic come texts as examples here. Easily enou- gh we will also be to able find among them sometimes - gra surprising ideas, original ‘sparkling’ but simple very not least of a really high ar- and last but phic solutions, Amidst tistic numerous quality. young artists in Poland Monika Hanulak, Anna Ładecka, Anna Ola Niemierko, Cieślak, Marta Ignerska, Aleksandra - Woldańska-Pło cińska, Marianna Oklejak are especially worth menti- interesting, All isn’t to ladies, it? have able I was oning. Illustration Illustration Pawlak Paweł Anita Wincenjusz Patyna Wincenjusz Anita face, face, which isn’t necessarily The that - enume positive. rated solutions become may dangerous when we start to consider ready-made effects that they for are created software of potential technical The able produce. to designers graphic is great huge and amounts saves of is it time, same the at as, seems it but energy and time capable of stealing an original manual the stroke, very spirit of an illustration. Certainly in advertised are they enough (as brushes” “natural of this precision offered product descriptions) may be hard to trace and in fact prints, spots, lines, the that pretend to – aim their is this stains, etc. were drawn, written, painted, if we torn,created by simply: a However, human hand. scratched, take a closer look, this is a human hand that remains and a computer mou- of illustrations the ultimate factor se, or to be more up-to-date, a tablet together with a pen become multifunctional, artistic, equipped with ar- but still mere tools. tificial intelligence, I am not an artist I myself, utter these words as an art historian, a theorist, and last but not least, a member 152 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava u b Po. ymn Jnsesi n hs assistant his and Januszewski Zygmunt Prof. by run Mayin 2009. Illustrationthe of presentation The Atelier of Art Illustration, an event held in the Polish capital city accompanying conference international an of occasion the on Gallery ASPEKT YoungPolish Illustrationwasexhibited Academy the at in Warsaw.Arts expositionThe Fine of Academy the were of milieu the ideas in exclusively creativeborn time this one Although earlier. happened year opportunity good Another artistic of concepts. variety a and designs interesting showed of Gallery,plenty Rondo the at presented exhibition, post-competition large a and competition towice.The Ka- in Arts Fine of Academy the at Design Graphic of wasforwhich held by time Department second the the tition compe- a accompanied conference2010. The April in Katowice in books children’s to dedicated exclusively conference international an during countries) ropean all from Eu- mostly other represented participants few designs (a Polandover new brand at look closer a Illustration MonikaHanulak A Book Well Designed: Let’s Start with Children with Start Let’sDesigned: Well Book A Anita Wincenjusz Patyna NMLTR European ANIMALITER. WatchBulldozers! Out! -Płocińska Woldańska- Aleksandra Illustration toshop CS or inaccurate shape filling. The described described The filling. shape inaccurate or CS toshop Pho- in files image of layers about particular in details forgettingsome instance, for like, mistakes of kinds new cause may tools computer-bound issue, yet another And paste). and copy (cut, trap” 3-control-key “a along a temptation to quote. brings We could evenmore) to try call much it: and of think can we everything ly (literal- heritage visual our of treasures the all to ternet In- the via access open enormously an and easy imperfection.An of charm the – quality particular very awaya taking in result may they case another in spot, paint a of authenticity line, a of genuineness the spoil make some designers a bit lazy. In one case they might them using of ease the and motifs) patterns, symbols, calligraphy, (like solutions ready-made many Tooetc. change sizespaste in, delete some and parts, colours, multiply,to enablethem matically) combine,transform, the mentionedsoftware, whichsoeasily(oreven auto- follow similar paths, that they make use (or overuse) of to tend creators young the that notice could one signs de- the of however,number still, in ideas, graphic and by shownintriguing their formsmany artworks, original were there and Warsaw– Katowice in – presentations (at freshest the Polishbloodin time) that of circuit.illustration both Within portion a of potential huge of real reviewa interesting an introduced Hanulak Monika

23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 153 collage itself and some specific Illustration Illustration Marianna Oklejak enormous digital It collage. seems to be natural these pre- better much is perception our nowadays And days. this. pared for Considering new designs of illustrations in children’s books it seems that qualities of its aesthetics have become ptoms visible of art in sym- the Post Modern era, including the art of book illustration. Quite a number of works use this particular way of constructing various pictured worlds. Its origins Collage has a rich and distinguished history. are found in the early 12th the in century Persia and among Turkey Japanese in popular was It calligraphers. 15th Nevertheless, century. we foremost associate an experiments and works with collage of technique artistic by Cubist artists, namely Pablo Picasso and Georges Braque, performed since 1912, which date brings us a one-hundred-years anniversary next year. Collage was widely applied in European illustrations of the first revival its great It used to have half of the 20th century. in Polish book design of the 1960s (Jan Lenica, - Hen Daniel ryk Mróz, Tomaszewski, Bohdan Butenko, Sta- nisław Zamecznik The among variety of others). pictu- re sources (e.g. own artworks, photos, and bills) cut-outs tickets, magazines, from coloured and newspapers the mixture of the used ingredients (any printed/deco- Anita Wincenjusz Patyna Wincenjusz Anita situation I am able to spot also at my mother Academy. Academy. mother my at also spot to able am I situation - in – faculties the of all with contacts professional have I there- and – Design Graphic Departmentof the cluding works during observeto students’ chance a have I fore diploma exhibitions and some other speaking, presentations generally are, conclusions The at Academy. the the same as earlier described. the extent what to decide to hard is it hand, other the On contemporary visual environment is also responsible designers, regular users Young for this state of matter. of the Internet, of not only e-mails and but e-magazines, are also accustomed to e-books a different from traditional graphic layout, which is probably somehow unconsciously printed in their minds. This new visual edi- film current clips, music by built also is constitution ting, billboards and the whole world of advertisement whole the short,in story long a cut to commercials, and con- of issue an begins here fact In iconosphere. visual temporaryin-bornthe and aesthetics post-mo- of taste con- ‘a as perceived is society our As generations. dern sumer society of a spectacle’ (Guy Debord’s live concept we world the and Baudrillard’s), Jean with up mixed in is seen as constructed out of simulacra and - simula watching seeing, of way concerningthe habits our tion, Internetthe to Thanks changed. also have noticing and extent an truesuch came to village global a of idea the that sometimes we do not even notice that we freely move in an apparently unlimited visual space. Moreo- the standard made and introduced has Internet the ver, multitude of parallel plots, masses of texts and pictu- at the to windows be opened in numerous res possible en- to us accustomed also Internethas The time. same dless What links. we get this way is a huge mosaic of facts, images, stories, symbols, signs, figures, etc. An 154 23. Bienále ilustrácií Bratislava 23rd Biennial of Illustrations Bratislava a number of designed titles on their creative account, creative their on titles designed of number a already and experienceprofessional some with Artists ourrecenttalk.during Paweł Pawlak, one of the best-known Polish illustrators to reach mastership. has This been remark dropped by chance a of artist an deprive may mistake single any erasing of possibility the that remembering worth also very is rule. It a be haveto the not does certainly on it project.But work finish to wants artist an if obstacle real a creating become may design of a of versions new possibility endless this time same the At design. cess of creation, so pro- it is also simple to choose the best the during just even or afterwards straight seen be can effects the compared, easily be can versions the moreover satisfied, fully feel to want they as sions has artist spotted it, of course) and create as many ver- an (if occurred has that error any delete them let they wish, they as corrections many as make to artists low al- they time, precious media.of new savehours They I Still from come that advantages tools. the all stress to like would wonderful new of dangers potential the I deliberately use modal verbs ’may’ and ‘might’ to show ofallillustrations ofthiskind.milarity strategy, si- however,first-impression the in mayresult creation. artistic different of out methods This trying of state preferences.The their tempers, their aesthetics, their suit best that solutions artistic for searching of te sta- designers youngfor typical a shows also this way a In world. visual contemporary our of character like rately reproduced in a final illustration reflect a mosaic- accu- and together composed elements the styles.All cardboard, textiles, plastic etc.) resulted in the blend of material: flat relatively other any even or paper rated Anita Wincenjusz Patyna which in case of the discussed titles is evoked by the byevoked is titles discussed the of case in humour,which immanent colours, balanced beautifully but joyful pictures, of composition e.g. elements, Pawlak for characteristic some as well as figures’ proportions, facesand of traits typical in seen stroke individual The 2009-2010). in House Publishing Konik Czerwony by proper usage of a hammer, a comb and a mitten edited about not Pawełbooks Pawlakand (comic ech Widłak Wojci- by handbooks non-reference surrealistic of set a for designed PawełPawlak’sillustrations come here manner they decide to make use of. As good examples which matter no imagination, plastic their of stamp’ ‘a leave they artistically. themselves works define their In to managed havethey recognised, easily is style dual abovehazards.indivi - mentioned Their these of any of afraid be to have to seem not do preferences, stylistic and vision own their of conscious more much are who Chmielewska Illustration Iwona 23. Bienále ilustrácií Bratislava

23rd Biennial of Illustrations Bratislava 155 For For the majority of renown artists, for original, and brave consequent in their artistic quest, computer software is yet another tool of their technical young artists equipment, new media and new possibilities just broa- den their artisticA designer, vocabulary. who controls his tool from the very beginning to the very end impor- most absolutely the as comes process, creation of a tant element. He or she invents characteristics of he- roes, decides colours and their intensity, or thickness of lines, or numbers and ways of displaying multiplied objects, or sources of collages, or compositions All in and all, it is an artistperspectives. who decides what, another or this in used is extent what to and how when, design. Domowe duchy (Home duchy Spirits)Domowe by Anita Wincenjusz Patyna Wincenjusz Anita text itself. text Poetic itself. worlds, deep in their meaning, full of metaphors, performed by the aim of collage, can seen designs in (let Iwona be Chmielewska’s me mention only her latest work: Ugrešić, Znak Dobravka Another 2010). this example, time from the oeuvre of the already mentioned Monika - (Wy Tuwim Irena by Pampilio for design her is Hanulak figures, of shapes shady beautiful Such 2010). twórnia, only obtained been have could story, the in appear that thanks to computer program abilities, high marks The for wide apply to artisticthe whole of the design. level range of computer-originated could technical be followed in designs by - seven women-illustra possibilities tors that compose graphic layout and edited Wytwórnia illustrations by Tuwim in 2008 (Bologna Ragazzi in [category: Award Poetry] – 2008, Honorary Mention of Polish Section IBBY – 2008, BIB Honorary Mention – work collage of examples great also were There 2009). this title. designed for