Satire is a critical and humorous resource that uses irony and parody to ridicule or denounce institutions or figures of power, often marked by hypocrisy or corruption.

An artist may construct an image of the enemy that is not only open to ridicule, but also intended to provoke reflection and awaken the viewer’s awareness. Protest and catharsis are part of the same whole.

Art is a powerful means of making injustice, inequality and human rights violations visible. It ceases to be an end in itself and becomes an instrument of protest. It confronts the viewer directly with the intention of stirring consciences and mobilising society towards change.

In this area, conflict is represented in a more abstract way, through evocative images that are apparently not directly linked to the subject. The most explicit aspects are avoided in order to focus on the emotions they evoke.

In this section, the element of reference is replaced by an imaginary one, and the qualities of a conflict are transferred to a new setting. This enriches the language and makes it more visual and poetic. Instead of representing reality literally, symbolism, analogy and visual association are used to evoke emotions and reflections in the viewer.

These creations do not seek merely to copy the Museum’s works, but rather to decipher the code with which they were created. Emotion and context are processed, themes and symbolism are identified, and they are reconsidered in order to offer new perspectives on the object of study.

The conclusions drawn from the study of past conflicts are applied to the present context in order to express the concerns and situations of crisis witnessed by the works’ creators. Once the nature of the observed conflicts has been identified, connections with the present are established.

This section includes proposals generated from observing works in the Museum’s permanent exhibitions. Although they are not related to any specific piece, they capture and develop the spirit with which the works were created, giving rise to a personal vision of conflict.

Here you will find the reinterpretations organised according to the MNAC work from which they originate.

Sequence is the way images and dialogues are organised in order to provide the narration. It implies continuity and succession, where each part determines the next. Normally, events follow a linear sequence, but they can also include time jumps, flashbacks or simultaneous actions.

Within this framework, ellipsis is a key resource: it consists of omitting periods of time or actions that are not relevant to the development of the narrative. This narrative gap helps streamline the story and involves the reader, who must complete or infer the missing information.

Composition determines the rhythm and flow of reading and is organised according to cultural habits. For example, in the West we read from left to right and from top to bottom, which affects the arrangement of elements within the panel or page.

Composition also makes it possible to distribute elements harmoniously and evenly within the space of the panel or page. The size of the elements, their position, tonal values (light and shadow) and colour help guide the reader’s gaze.

One of the most common resources is the rule of thirds, which consists of dividing the space into a 3 × 3 grid using two horizontal and two vertical lines. The four intersection points are the areas of greatest interest, ideal for placing the main elements. This avoids cluttering the centre and making it rigid, while also creating a more balanced and natural image.

The panel is the minimum unit of meaning in comics. Each space represents a narrative moment, and its size and shape directly influence the rhythm.

When the aim is to compress time, artists use a greater number of panels; the action is fragmented and the narrative gains speed, unlike action that takes place in larger, more conventional panels. A large-format panel can help establish context, show environments or intensify emotional impact (splash page).

The panel frame (or even the lack thereof) can also have narrative value and become a meaningful part of the story.

Framing and perspective determine how we perceive space. Viewing angles generate different sensations: a high-angle shot can convey vulnerability or drama, while a low-angle shot suggests superiority or heroism. More dynamic or tense scenes often use the Dutch angle (tilted framing).

Visual metaphors are a distinctive resource in the language of comics. They allow an idea to be replaced by a symbolic image: hearts can indicate falling in love; a light bulb can represent an idea; or a saw cutting through a log can evoke the sound of snoring. These images reinforce the narrative, suggest moods and help describe what is not depicted explicitly.

Speech balloons are the graphic resource that contains characters’ dialogue. A tail indicates who is speaking. Since it is usually not transparent, artists must carefully plan where to put them so as not to interfere with the composition. Its shape also determines the tone: it can indicate shouting, whispering or thoughts. Captions are generally rectangular spaces that also contain text. They are used to situate the action in time and space or to introduce a voice-over.

Onomatopoeia imitates or recreates sounds through words. Some graphic elements can be read both visually and phonetically: BOOM (explosion), RING (bell), CRASH (impact). Their size and design influence the perceived intensity.

Although comics consist of static images, movement is suggested through various resources. The most common are motion lines, which indicate trajectories and reinforce the sensation of dynamism.

Comic styles come in a wide variety, ranging from realism to cartoon, including expressionism, abstraction, synthesis and more experimental approaches.

There are also numerous techniques that shape both the atmosphere and tone of the work. Ink can be used as solid areas (with large black masses), as shading (to create shadows and textures) or in a clear-line style (with clean contours).

Beyond description, colour has an expressive and psychological function. Saturated colours, sepia tones, monochromatic palettes or flat colours can define the emotion of a scene. Each colour can have associated meanings depending on the context: blue can convey calm or coldness; red may mean energy or danger; green can represent hope or health.

Facial expressions are an essential form of communication. The challenge is to represent them accurately so that the reader can recognise emotions such as joy, sadness, anger, surprise or fear.

This section features different moments from the creative process, from the initial ideas to the development of the proposals. Through sketches and other working materials by 13 students from Escola Joso, you can observe decisions, changes and different ways of approaching composition and visual storytelling.