{"id":12718,"date":"2026-05-07T14:41:37","date_gmt":"2026-05-07T14:41:37","guid":{"rendered":"https:\/\/guides.muzee.it\/mnac\/guide\/del-conflicte-a-la-vinyeta\/"},"modified":"2026-09-07T13:19:07","modified_gmt":"2026-09-07T13:19:07","slug":"from-conflict-to-the-comic-strip","status":"publish","type":"guide","link":"https:\/\/guides.muzee.it\/en\/mnac\/guide\/from-conflict-to-the-comic-strip\/","title":{"rendered":"From Conflict to the Comic Strip"},"content":{"rendered":"
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\n \n <\/svg>\n <\/i>\n 1. The Project\n <\/h2>\n <\/div>\n <\/div>\n
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Comics are a strategic focus of the Museu Nacional d\u2019Art de Catalunya (MNAC)<\/strong>. The Museum\u2019s graphic collection includes original works by almost all the illustrators of the turn of the century, and it has a specific acquisitions programme for comics and illustration to expand its holdings. Beyond the collection itself, comics are present across the Museum\u2019s activities: from scheduling the exhibitions to promoting educational and mediation initiatives.<\/p>\n

Fourth-year Graphic Art students from Escola Joso<\/strong> have created around sixty comic reinterpretations<\/strong> based on roughly twenty works from the MNAC collection<\/strong> linked to contexts of conflict. This is the result of a process that included a guided visit, the selection of works, contextual research and creation, now presented in the virtual exhibition From Conflict to the Comic Strip<\/em>.<\/p>\n

Using this example as inspiration, we invite you to create your own comic<\/strong> with resources that will help you bring your first panels to life. Ready to give it a try?<\/p>\n\n <\/div>\n <\/div>\n\n<\/div>\n <\/div>\n <\/section>\n\n\n

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\n \n <\/svg>\n <\/i>\n 2. New Perspectives on the MNAC Collection\n <\/h2>\n <\/div>\n <\/div>\n
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The itineraries<\/strong> propose several ways of engaging with the original works: from more faithful readings to freer, more symbolic or critical approaches<\/strong>. Below, you will find seven areas organised around the resources each artist has chosen to reinterpret them.<\/p>\n\n <\/div>\n <\/div>\n\n\n

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2.1. Satire and Humour<\/h3>\n <\/div>\n <\/div>\n
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Satire<\/strong> is a critical and humorous resource that uses irony<\/strong> and parody<\/strong> to ridicule or denounce institutions or figures of power, often marked by hypocrisy or corruption.<\/p>\n

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\u2019s awareness<\/strong>. Protest and catharsis are part of the same whole.<\/p>\n\n <\/div>\n

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\u00c0gata Novas Paniagua, Lessons on Fascism<\/em>, digital, 41 \u00d7 29.70 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Pere Catal\u00e0 Pic, Crush Fascism<\/em>, 1936, photomechanical printing, 29.6 \u00d7 19.5 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Pere Catal\u00e0 Archive.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Mart\u00ed Bas, Executions at Badajoz bull ring<\/em>, 1937, oil on canvas, 221 \u00d7 327 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Edgar P\u00e9rez Galv\u00e1n, P\u00edo, the Not-So-Pious One [P\u00edo, el no tan P\u00edo]<\/em>, digital, 29.7 \u00d7 21 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Francisco Mateos, The site of Madrid. 10 lithographs by Francisco Mateos<\/em>, 1937, colour lithography on paper, 70.3 \u00d7 50.4 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Julen Mombiela Guitera, The Conquest of Mallorca I<\/em>, graphite and digital, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Julen Mombiela Guitera, The Conquest of Mallorca II<\/em>, graphite and digital, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Master of the Conquest of Majorca, Mural paintings of the Conquest of Majorca<\/em>, 1285\u20131290, fresco transferred to canvas, set of three panels with mural paintings, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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Lis Tsuki, The Politician<\/em>, digital, 24.6 \u00d7 34.4 cm.<\/figcaption>\n <\/figure>\n
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Ainhoa Arjona Mora, Weak and Servile<\/em>, digital, 29.7 \u00d7 49 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Francisco Mateos, The Civil Guard<\/em>, 1936, colour lithography on paper, 70.2 \u00d7 49.5 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Oriol Rivera Rubio, And You, Are You Also Being Deceived?<\/em>, traditional ink, 29.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Aintzane Amo Arzuaga, Little Soldiers<\/em>, digital, 29.7 \u00d7 21 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Lorenzo Go\u00f1i, I t\u00fa? Que fas per la victoria? (And you? What are you doing for victory?)<\/em>, c. 1936, colour lithography on paper, 138.9 \u00d7 98.7 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Lorenzo Go\u00f1i, VEGAP; Barcelona, current year.<\/figcaption>\n <\/figure>\n
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Alex Rom\u00e1n G\u00f3mez, Visit to Tetu\u00e1n<\/em>, digital, 29.5 \u00d7 21 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Santiago Pelegr\u00edn, Bomb in Tetuan (Madrid)<\/em>, 1937, oil on canvas, 124 \u00d7 103 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Jos\u00e9 Antonio Caraban Vald\u00e9s, Ow! Ouch! Argh! Eek!<\/em>, digital, 42 \u00d7 29.70 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Anonymous, Altar Frontal from Durro<\/em>, mid-12th century, tempera on wood with gold finishes, 98 \u00d7 129.3 \u00d7 6.5 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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Alicia Soravilla Berrueta, The Apse of 21st-Century Adoration (Fenus pecuniae, funus animae)<\/em>, digital, 29.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Master of Ta\u00fcll, Apse of Sant Climent de Ta\u00fcll<\/em>, c. 1123, fresco transferred to canvas and remains of tin leaf, 620 \u00d7 360 \u00d7 180 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n <\/div>\n
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2.2. Protest<\/h3>\n <\/div>\n <\/div>\n
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Art is a powerful means of making injustice<\/strong>, inequality<\/strong> and human rights violations<\/strong> 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<\/strong>.<\/p>\n\n <\/div>\n

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Aina Lahoz Calonge, The Silenced Workshop<\/em>, digital, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Urimare Montserrat Navarro Adri\u00e1n, Killing Knowledge<\/em>, digital, 29.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Laia Rodr\u00edguez P\u00e9rez, Now, Everyone Sees Me<\/em>, digital, 21 \u00d7 29.7 cm.<\/figcaption>\n <\/figure>\n
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Satya Mart\u00ednez Garc\u00eda, The Walk of Education I<\/em>, digital, 42 \u00d7 29.70 cm.<\/figcaption>\n <\/figure>\n
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Satya Mart\u00ednez Garc\u00eda, The Walk of Education II<\/em>, digital, 42 \u00d7 29.70 cm.<\/figcaption>\n <\/figure>\n
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Satya Mart\u00ednez Garc\u00eda, The Walk of Education III<\/em>, digital, 42 \u00d7 29.70 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Angela Nebot, Saint Culture, martyr of fascism<\/em>, 1937, oil on canvas, 90 \u00d7 110 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Aroa Sanz Llusa, Information Overload<\/em>, digital, 29.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Juli Gonz\u00e1lez, Head Shouting<\/em>, c. 1936\u20131939, oil on canvas, 46 \u00d7 33 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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Carmen Pedraza, Women CAN Leave the Kitchen!<\/em>, digital, 29.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> J. Pons, Lina \u00d3dena<\/em>, 1937, oil on canvas, 100 \u00d7 75 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Caudet, Monster I<\/em>, traditional and digital, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Caudet, Monster II<\/em>, traditional and digital, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Enric Climent, Bombardment<\/em>, 1937, oil on canvas, 156 \u00d7 199.5 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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David Blanes Camarasa, Hidden<\/em>, digital, 20.33 \u00d7 31.4 cm.<\/figcaption>\n <\/figure>\n
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Mar\u00eda Jos\u00e9 Angulo Mart\u00ednez, The Children of Russia<\/em>, traditional and digital, 42 \u00d7 29.70 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Helios G\u00f3mez Rodr\u00edguez, Evacuation<\/em>, 1937, oil on canvas, 159.5 \u00d7 122 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Helios G\u00f3mez Cultural Association, VEGAP, Barcelona, current year.<\/figcaption>\n <\/figure>\n
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Mireia Prat Vives, The Lost Child<\/em>, traditional and digital, 14.7 \u00d7 20.8 cm.<\/figcaption>\n <\/figure>\n
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M\u00edriam Mart\u00ednez Santiago, The Gaza War<\/em>, digital, 29.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Santiago Pelegr\u00edn, Bomb in Tetuan (Madrid)<\/em>, 1937, oil on canvas, 124 \u00d7 103 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Irene Hidalgo Morro, FUCK WARS I<\/em>, screen print on textile, 20.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Irene Hidalgo Morro, FUCK WARS II<\/em>, screen print on textile, 20.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Irene Hidalgo Morro, FUCK WARS III<\/em>, screen print on textile, 20.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Mart\u00ed Bas, Defensar Madrid es defensar Catalunya! (Defending Madrid is Defending Catalonia!)<\/em>, c. 1937, colour lithography on paper, 138.2 \u00d7 98.4 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n <\/div>\n
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2.3. Escape<\/h3>\n <\/div>\n <\/div>\n
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In this area, conflict is represented in a more abstract<\/strong> way, through evocative images that are apparently not directly linked to the subject<\/strong>. The most explicit aspects are avoided in order to focus on the emotions<\/strong> they evoke.<\/p>\n\n <\/div>\n

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Miriam L\u00f3pez Rodr\u00edguez, Mourning<\/em>, digital, 25.13 \u00d7 40.6 cm.<\/figcaption>\n <\/figure>\n
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Alexandra Chernyshova, Agony<\/em>, traditional, 29.7 \u00d7 21 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Anonymous, Pleurants<\/em>, c. 1295, tempera on parchment mounted on wood, 51 \u00d7 88.4 \u00d7 3.5 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n <\/div>\n
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2.4. Metaphor<\/h3>\n <\/div>\n <\/div>\n
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In this section, the element of reference<\/strong> is replaced by an imaginary<\/strong> one, and the qualities of a conflict are transferred to a new setting. This enriches the language<\/strong> and makes it more visual and poetic. Instead of representing reality literally, symbolism<\/strong>, analogy<\/strong> and visual association<\/strong> are used to evoke emotions and reflections in the viewer.<\/p>\n\n <\/div>\n

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Galileo Elizar\u00e1n de Sousa-Serro, The Ghost of the Bullring<\/em>, digital, 42 \u00d7 29.7 cm.<\/figcaption>\n <\/figure>\n
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Amanda Lloret Chac\u00f3n, Butterfly Effect I<\/em>, traditional, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Amanda Lloret Chac\u00f3n, Butterfly Effect II<\/em>, traditional, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Amanda Lloret Chac\u00f3n, Butterfly Effect III<\/em>, traditional, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Berta Alfonso Figueras, 1\u2033<\/em>, acrylic on canvas, stitched on canvas and digital, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Mart\u00ed Bas, Executions at Badajoz bull ring<\/em>, 1937, oil on canvas, 221 \u00d7 327 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Luis Usuga Castro, Saying Yes to War<\/em>, digital, 73.12 \u00d7 40.87 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Aine Bru, Martyrdom of Saint Cucuphas\r\n<\/em>, 1502\u20131507, oil on wood, 164 \u00d7 133 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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Sara Ripoll Renart, The Missing Pieces<\/em>, digital, 29.7 \u00d7 21 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Lorenzo Go\u00f1i, I t\u00fa? Que fas per la victoria? (And you? What are you doing for victory?)<\/em>, c. 1936, colour lithography on paper, 138.9 \u00d7 98.7 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Lorenzo Go\u00f1i, VEGAP; Barcelona, current year.<\/figcaption>\n <\/figure>\n <\/div>\n
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2.5. Interpretation<\/h3>\n <\/div>\n <\/div>\n
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These creations do not seek merely to copy the Museum\u2019s works, but rather to decipher the code<\/strong> with which they were created<\/strong>. Emotion and context are processed, themes and symbolism are identified, and they are reconsidered in order to offer new perspectives<\/strong> on the object of study.<\/p>\n\n <\/div>\n

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Alejandro Blanco Tobarra, Echoes of the Past<\/em>, digital, 20.59 \u00d7 28.3 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Helios G\u00f3mez Rodr\u00edguez, Horrors of War. Bombing of a School in Barcelona<\/em>, 1938, Indian ink on card, Museu Nacional d\u2019Art de Catalunya. \u00a9 Helios G\u00f3mez Cultural Association, VEGAP, Barcelona, current year.<\/figcaption>\n <\/figure>\n
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Alejandro Moreno Barrag\u00e1n, Front of the Durro Altarpiece<\/em>, digital, 29.7 \u00d7 21 cm.<\/figcaption>\n <\/figure>\n
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Sara Moreno Estell\u00e9, Embers<\/em>, digital, 25.7 \u00d7 36.4 cm.<\/figcaption>\n <\/figure>\n
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Paula Trapero Miguel, The Martyrs of Society<\/em>, digital, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Anonymous, Altar Frontal from Durro<\/em>, mid-12th century, tempera on wood with gold finishes, 98 \u00d7 129.3 \u00d7 6.5 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Master of Ta\u00fcll, Figure of Cain from Sant Climent de Ta\u00fcll<\/em>, c. 1123, fresco transferred to canvas, 143.7 \u00d7 118 \u00d7 2 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Lorenzo Go\u00f1i, I t\u00fa? Que fas per la victoria? (And you? What are you doing for victory?)<\/em>, c. 1936, colour lithography on paper, 138.9 \u00d7 98.7 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Lorenzo Go\u00f1i, VEGAP; Barcelona, current year.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Master of Ta\u00fcll, Apse of Sant Climent de Ta\u00fcll<\/em>, c. 1123, fresco transferred to canvas and remains of tin leaf, 620 \u00d7 360 \u00d7 180 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> J. Pons, Lina \u00d3dena<\/em>, 1937, oil on canvas, 100 \u00d7 75 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n <\/div>\n
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2.6. Extrapolation<\/h3>\n <\/div>\n <\/div>\n
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The conclusions drawn from the study of past conflicts<\/strong> are applied to the present context<\/strong> in order to express the concerns and situations of crisis witnessed by the works\u2019 creators. Once the nature of the observed conflicts has been identified, connections with the present<\/strong> are established.<\/p>\n\n <\/div>\n

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MNAC reference work:<\/strong> Lorenzo Go\u00f1i, I t\u00fa? Que fas per la victoria? (And you? What are you doing for victory?)<\/em>, c. 1936, colour lithography on paper, 138.9 \u00d7 98.7 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Lorenzo Go\u00f1i, VEGAP; Barcelona, current year.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Llu\u00eds Borrass\u00e0, Investiture of Saint Peter Martyr<\/em>, 1414\u20131421, egg tempera, gilded and silvered wood, 104 \u00d7 64 \u00d7 4.5 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Master of the Conquest of Majorca, Mural paintings of the Conquest of Majorca<\/em>, 1285\u20131290, fresco transferred to canvas, set of three panels with mural paintings, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Mart\u00ed Bas, Defensar Madrid es defensar Catalunya! (Defending Madrid is Defending Catalonia!)<\/em>, c. 1937, colour lithography on paper, 138.2 \u00d7 98.4 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Arturo Ballester, 19 Julio 1936 \r\n(19 July 1936)<\/em>, 1936, colour lithography on paper, 160 \u00d7 109 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Pere Catal\u00e0 Pic, Crush Fascism<\/em>, 1936, photomechanical printing, 29.6 \u00d7 19.5 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Pere Catal\u00e0 Archive.<\/figcaption>\n <\/figure>\n
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MNAC reference work:<\/strong> Anonymous, Madrid. The \u2018Military\u2019 Practice of the Rebels<\/em>, c. 1937, photomontage, 67.2 \u00d7 49.4 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n <\/div>\n
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2.7. The Museum Inspires Us<\/h3>\n <\/div>\n <\/div>\n
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This section includes proposals generated from observing works in the Museum\u2019s permanent exhibitions. Although they are not related to any specific piece<\/strong>, they capture and develop the spirit with which the works were created, giving rise to a personal vision of conflict<\/strong>.<\/p>\n\n <\/div>\n

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2.8. The MNAC Works, Reinterpreted<\/h3>\n <\/div>\n <\/div>\n
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Here you will find the reinterpretations<\/strong> organised according to the MNAC work<\/strong> from which they originate.<\/p>\n\n <\/div>\n <\/div>\n\n\n

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Master of Ta\u00fcll, Apse of Sant Climent de Ta\u00fcll<\/em>, c. 1123.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Master of Ta\u00fcll, Apse of Sant Climent de Ta\u00fcll<\/em>, c. 1123, fresco transferred to canvas and remains of tin leaf, 620 \u00d7 360 \u00d7 180 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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Alicia Soravilla Berrueta, The Apse of 21st-Century Adoration (Fenus pecuniae, funus animae)<\/em>, digital, 29.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Master of Ta\u00fcll, Figure of Cain from Sant Climent de Ta\u00fcll<\/em>, c. 1123.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Master of Ta\u00fcll, Figure of Cain from Sant Climent de Ta\u00fcll<\/em>, c. 1123, fresco transferred to canvas, 143.7 \u00d7 118 \u00d7 2 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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Anonymous, Altar Frontal from Durro<\/em>, mid-12th century.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Anonymous, Altar Frontal from Durro<\/em>, mid-12th century, tempera on wood with gold finishes, 98 \u00d7 129.3 \u00d7 6.5 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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Alejandro Moreno Barrag\u00e1n, Front of the Durro Altarpiece<\/em>, digital, 29.7 \u00d7 21 cm.<\/figcaption>\n <\/figure>\n
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Paula Trapero Miguel, The Martyrs of Society<\/em>, digital, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Jos\u00e9 Antonio Caraban Vald\u00e9s, Ow! Ouch! Argh! Eek!<\/em>, digital, 42 \u00d7 29.70 cm.<\/figcaption>\n <\/figure>\n
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Sara Moreno Estell\u00e9, Embers<\/em>, digital, 25.7 \u00d7 36.4 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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Master of the Conquest of Majorca, Mural paintings of the Conquest of Majorca<\/em>, 1285\u20131290.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Master of the Conquest of Majorca, Mural paintings of the Conquest of Majorca<\/em>, 1285\u20131290, fresco transferred to canvas, set of three panels with mural paintings, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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Julen Mombiela Guitera, The Conquest of Mallorca I<\/em>, graphite and digital, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Julen Mombiela Guitera, The Conquest of Mallorca II<\/em>, graphite and digital, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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Aine Bru, Martyrdom of Saint Cucuphas<\/em>, 1502\u20131507.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Aine Bru, Martyrdom of Saint Cucuphas\r\n<\/em>, 1502\u20131507, oil on wood, 164 \u00d7 133 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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Luis Usuga Castro, Saying Yes to War<\/em>, digital, 73.12 \u00d7 40.87 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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Llu\u00eds Borrass\u00e0, Investiture of Saint Peter Martyr<\/em>, 1414\u20131421.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Llu\u00eds Borrass\u00e0, Investiture of Saint Peter Martyr<\/em>, 1414\u20131421, egg tempera, gilded and silvered wood, 104 \u00d7 64 \u00d7 4.5 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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Anonymous, Pleurants<\/em>, c. 1295.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Anonymous, Pleurants<\/em>, c. 1295, tempera on parchment mounted on wood, 51 \u00d7 88.4 \u00d7 3.5 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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Miriam L\u00f3pez Rodr\u00edguez, Mourning<\/em>, digital, 25.13 \u00d7 40.6 cm.<\/figcaption>\n <\/figure>\n
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Alexandra Chernyshova, Agony<\/em>, traditional, 29.7 \u00d7 21 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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Mart\u00ed Bas, Executions at Badajoz bull ring<\/em>, 1937.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Mart\u00ed Bas, Executions at Badajoz bull ring<\/em>, 1937, oil on canvas, 221 \u00d7 327 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Galileo Elizar\u00e1n de Sousa-Serro, The Ghost of the Bullring<\/em>, digital, 42 \u00d7 29.7 cm.<\/figcaption>\n <\/figure>\n
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Amanda Lloret Chac\u00f3n, Butterfly Effect I<\/em>, traditional, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Amanda Lloret Chac\u00f3n, Butterfly Effect II<\/em>, traditional, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Amanda Lloret Chac\u00f3n, Butterfly Effect III<\/em>, traditional, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Berta Alfonso Figueras, 1\u2033<\/em>, acrylic on canvas, stitched on canvas and digital, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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\u00c0gata Novas Paniagua, Lessons on Fascism<\/em>, digital, 41 \u00d7 29.70 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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Helios G\u00f3mez Rodr\u00edguez, Evacuation<\/em>, 1937.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Helios G\u00f3mez Rodr\u00edguez, Evacuation<\/em>, 1937, oil on canvas, 159.5 \u00d7 122 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Helios G\u00f3mez Cultural Association, VEGAP, Barcelona, current year.<\/figcaption>\n <\/figure>\n
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David Blanes Camarasa, Hidden<\/em>, digital, 20.33 \u00d7 31.4 cm.<\/figcaption>\n <\/figure>\n
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Mar\u00eda Jos\u00e9 Angulo Mart\u00ednez, The Children of Russia<\/em>, traditional and digital, 42 \u00d7 29.70 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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Angela Nebot, Saint Culture, Martyr of Fascism<\/em>, 1937.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Angela Nebot, Saint Culture, martyr of fascism<\/em>, 1937, oil on canvas, 90 \u00d7 110 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Aina Lahoz Calonge, The Silenced Workshop<\/em>, digital, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Urimare Montserrat Navarro Adri\u00e1n, Killing Knowledge<\/em>, digital, 29.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Laia Rodr\u00edguez P\u00e9rez, Now, Everyone Sees Me<\/em>, digital, 21 \u00d7 29.7 cm.<\/figcaption>\n <\/figure>\n
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Satya Mart\u00ednez Garc\u00eda, The Walk of Education I<\/em>, digital, 42 \u00d7 29.70 cm.<\/figcaption>\n <\/figure>\n
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Satya Mart\u00ednez Garc\u00eda, The Walk of Education II<\/em>, digital, 42 \u00d7 29.70 cm.<\/figcaption>\n <\/figure>\n
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Satya Mart\u00ednez Garc\u00eda, The Walk of Education III<\/em>, digital, 42 \u00d7 29.70 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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J. Pons, Lina \u00d3dena<\/em>, 1937.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> J. Pons, Lina \u00d3dena<\/em>, 1937, oil on canvas, 100 \u00d7 75 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Carmen Pedraza, Women CAN Leave the Kitchen!<\/em>, digital, 29.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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Pere Catal\u00e0 Pic, Crush Fascism<\/em>, 1936.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Pere Catal\u00e0 Pic, Crush Fascism<\/em>, 1936, photomechanical printing, 29.6 \u00d7 19.5 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Pere Catal\u00e0 Archive.<\/figcaption>\n <\/figure>\n
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\u00c0gata Novas Paniagua, Lessons on Fascism<\/em>, digital, 41 \u00d7 29.70 cm.<\/figcaption>\n <\/figure>\n
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Santiago Pelegr\u00edn, Bomb in Tetuan (Madrid)<\/em>, 1937.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Santiago Pelegr\u00edn, Bomb in Tetuan (Madrid)<\/em>, 1937, oil on canvas, 124 \u00d7 103 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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M\u00edriam Mart\u00ednez Santiago, The Gaza War<\/em>, digital, 29.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Alex Rom\u00e1n G\u00f3mez, Visit to Tetu\u00e1n<\/em>, digital, 29.5 \u00d7 21 cm.<\/figcaption>\n <\/figure>\n
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Mireia Prat Vives, The Lost Child<\/em>, traditional and digital, 14.7 \u00d7 20.8 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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Enric Climent, Bombardment<\/em>, 1937.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Enric Climent, Bombardment<\/em>, 1937, oil on canvas, 156 \u00d7 199.5 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Caudet, Monster I<\/em>, traditional and digital, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Caudet, Monster II<\/em>, traditional and digital, 29.7 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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Juli Gonz\u00e1lez, Head Shouting<\/em>, c. 1936\u20131939.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Juli Gonz\u00e1lez, Head Shouting<\/em>, c. 1936\u20131939, oil on canvas, 46 \u00d7 33 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Public domain.<\/figcaption>\n <\/figure>\n
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Aroa Sanz Llusa, Information Overload<\/em>, digital, 29.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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Helios Go\u0301mez Rodr\u00edguez, Horros of War. Bombing of a School in Barcelona<\/em>, 1938.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Helios G\u00f3mez Rodr\u00edguez, Horrors of War. Bombing of a School in Barcelona<\/em>, 1938, Indian ink on card, Museu Nacional d\u2019Art de Catalunya. \u00a9 Helios G\u00f3mez Cultural Association, VEGAP, Barcelona, current year.<\/figcaption>\n <\/figure>\n
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Alejandro Blanco Tobarra, Echoes of the Past<\/em>, digital, 20.59 \u00d7 28.3 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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Francisco Mateos, The site of Madrid. 10 lithographs by Fancisco Mateos<\/em>, 1937.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Francisco Mateos, The site of Madrid. 10 lithographs by Francisco Mateos<\/em>, 1937, colour lithography on paper, 70.3 \u00d7 50.4 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Edgar P\u00e9rez Galv\u00e1n, P\u00edo, the Not-So-Pious One [P\u00edo, el no tan P\u00edo]<\/em>, digital, 29.7 \u00d7 21 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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Francisco Mateos, The Civil Guard<\/em>, 1936.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Francisco Mateos, The Civil Guard<\/em>, 1936, colour lithography on paper, 70.2 \u00d7 49.5 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Ainhoa Arjona Mora, Weak and Servile<\/em>, digital, 29.7 \u00d7 49 cm.<\/figcaption>\n <\/figure>\n
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Lis Tsuki, The Politician<\/em>, digital, 24.6 \u00d7 34.4 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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Arturo Ballester, 19 Julio 1936 (19 July 1936)<\/em>, 1936.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Arturo Ballester, 19 Julio 1936 \r\n(19 July 1936)<\/em>, 1936, colour lithography on paper, 160 \u00d7 109 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Mart\u00ed Bas, Defensar Madrid es defensar Catalunya! (Defending Madrid is Defending Catalonia!)<\/em>, c. 1937.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Mart\u00ed Bas, Defensar Madrid es defensar Catalunya! (Defending Madrid is Defending Catalonia!)<\/em>, c. 1937, colour lithography on paper, 138.2 \u00d7 98.4 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Irene Hidalgo Morro, FUCK WARS I<\/em>, screen print on textile, 20.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Irene Hidalgo Morro, FUCK WARS II<\/em>, screen print on textile, 20.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Irene Hidalgo Morro, FUCK WARS III<\/em>, screen print on textile, 20.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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Lorenzo Go\u00f1i, I t\u00fa? Que fas per la victoria? (And you? What are you doing for victory?)<\/em>, c. 1936.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Lorenzo Go\u00f1i, I t\u00fa? Que fas per la victoria? (And you? What are you doing for victory?)<\/em>, c. 1936, colour lithography on paper, 138.9 \u00d7 98.7 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 Lorenzo Go\u00f1i, VEGAP; Barcelona, current year.<\/figcaption>\n <\/figure>\n
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Aintzane Amo Arzuaga, Little Soldiers<\/em>, digital, 29.7 \u00d7 21 cm.<\/figcaption>\n <\/figure>\n
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Oriol Rivera Rubio, And You, Are You Also Being Deceived?<\/em>, traditional ink, 29.70 \u00d7 42 cm.<\/figcaption>\n <\/figure>\n
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Sara Ripoll Renart, The Missing Pieces<\/em>, digital, 29.7 \u00d7 21 cm.<\/figcaption>\n <\/figure>\n <\/div>\n
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Anonymous, Madrid. The \u2018Military\u2019 Practice of the Rebels<\/em>, c. 1937.<\/h3>\n <\/div>\n <\/div>\n
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MNAC reference work:<\/strong> Anonymous, Madrid. The \u2018Military\u2019 Practice of the Rebels<\/em>, c. 1937, photomontage, 67.2 \u00d7 49.4 cm, Museu Nacional d\u2019Art de Catalunya. \u00a9 The author or their heirs.<\/figcaption>\n <\/figure>\n
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Ready to create a comic?<\/strong> Continue to the next section!<\/p>\n\n <\/div>\n <\/div>\n\n<\/div>\n <\/div>\n <\/section>\n\n\n

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\n \n <\/svg>\n <\/i>\n 3. Create Your Comic\n <\/h2>\n <\/div>\n <\/div>\n
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3.1. The Language of Comics<\/h3>\n <\/div>\n <\/div>\n
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Comics are a complete and complex art form in which drawing <\/strong>and text<\/strong> combine to construct meaning, and where rhythm<\/strong> becomes a fundamental narrative tool.<\/p>\n

The story is structured through resources such as the size and shape of the panels<\/strong>, the placement of the speech balloons<\/strong> or the composition of shots<\/strong>. All these elements are expressive decisions used by the author to communicate: form<\/strong> and content<\/strong> function as an inseparable unit.<\/p>\n

Comics can take academic<\/strong> forms aimed at a broader audience<\/strong>, or more experimental<\/strong> approaches in which technique and narrative style do not follow precise or functional models. In this sense, new narrative<\/strong> forms<\/strong> have gained traction within self-publishing and independent comics.<\/p>\n

Format is also a factor that shapes the narrative approach. Newspaper comic strips<\/strong> (horizontal), the large format<\/strong> of Franco-Belgian albums (very large pages) or webcomics<\/strong> (with vertical scrolling) are examples of how the medium influences narrative and visual decisions. Each of these formats can become a starting point<\/strong> for creating a comic.<\/p>\n\n <\/div>\n <\/div>\n\n\n

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3.2. Guidelines for Creating a Comic<\/h3>\n <\/div>\n <\/div>\n
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Comics are a form of reading in which drawings, with or without accompanying text, are organised into narrative sequences<\/strong> to tell a story or dramatise an idea. Below, you will find a series of tips for creating your comic<\/strong>, taking into account all the essential elements needed to make it complete.<\/p>\n\n <\/div>\n <\/div>\n\n\n

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3.2.1. Sequence<\/h3>\n <\/div>\n <\/div>\n
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Sequence<\/strong> is the way images and dialogues are organised in order to provide the narration. It implies continuity<\/strong> and succession<\/strong>, where each part determines the next. Normally, events follow a linear sequence<\/strong>, but they can also include time jumps<\/strong>, flashbacks or simultaneous actions.<\/p>\n

Within this framework, ellipsis<\/strong> 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.<\/p>\n\n <\/div>\n <\/div>\n\n\n

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3.2.2. Composition<\/h3>\n <\/div>\n <\/div>\n
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Composition<\/strong> 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<\/strong> within the panel or page.<\/p>\n

Composition also makes it possible to distribute elements harmoniously<\/strong> and evenly<\/strong> 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\u2019s gaze.<\/p>\n

One of the most common resources is the rule of thirds<\/strong>, which consists of dividing the space into a 3 \u00d7 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.<\/p>\n\n <\/div>\n <\/div>\n\n\n

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3.2.3. Panel<\/h3>\n <\/div>\n <\/div>\n
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The panel is the minimum unit of meaning<\/strong> in comics. Each space represents a narrative moment, and its size and shape directly influence the rhythm.<\/p>\n

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

The panel frame<\/strong> (or even the lack thereof) can also have narrative value and become a meaningful part of the story.<\/p>\n\n <\/div>\n <\/div>\n\n\n

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3.2.4. Framing and Perspective<\/h3>\n <\/div>\n <\/div>\n
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Framing<\/strong> and perspective<\/strong> determine how we perceive space. Viewing angles generate different sensations: a high-angle shot<\/strong> can convey vulnerability or drama, while a low-angle shot<\/strong> suggests superiority or heroism. More dynamic or tense scenes often use the Dutch angle<\/strong> (tilted framing).<\/p>\n\n <\/div>\n <\/div>\n\n\n

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3.2.5. Visual Metaphors<\/h3>\n <\/div>\n <\/div>\n
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Visual metaphors<\/strong> are a distinctive resource in the language of comics. They allow an idea to be replaced by a symbolic image: hearts<\/strong> can indicate falling in love<\/strong>; a light bulb<\/strong> can represent an idea<\/strong>; or a saw cutting through a log<\/strong> can evoke the sound of snoring<\/strong>. These images reinforce the narrative, suggest moods and help describe what is not depicted explicitly.<\/p>\n\n <\/div>\n <\/div>\n\n\n

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3.2.6. Text and Narrative Resources<\/h3>\n <\/div>\n <\/div>\n
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Speech balloons<\/strong> are the graphic resource that contains characters\u2019 dialogue. A tail<\/strong> 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<\/strong> 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.<\/p>\n\n <\/div>\n <\/div>\n\n\n

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3.2.7. Onomatopoeia<\/h3>\n <\/div>\n <\/div>\n
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Onomatopoeia<\/strong> imitates or recreates sounds through words. Some graphic elements can be read both visually and phonetically: BOOM<\/strong> (explosion), RING<\/strong> (bell), CRASH<\/strong> (impact). Their size and design influence the perceived intensity.<\/p>\n\n <\/div>\n <\/div>\n\n\n

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3.2.8. Movement and Motion Lines<\/h3>\n <\/div>\n <\/div>\n
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Although comics consist of static images, movement<\/strong> is suggested through various resources. The most common are motion lines<\/strong>, which indicate trajectories and reinforce the sensation of dynamism.<\/p>\n\n <\/div>\n <\/div>\n\n\n

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3.2.9. Style, Technique and Colour<\/h3>\n <\/div>\n <\/div>\n
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Comic styles<\/strong> come in a wide variety, ranging from realism to cartoon, including expressionism, abstraction, synthesis and more experimental approaches.<\/p>\n

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

Beyond description, colour<\/strong> has an expressive and psychological function<\/strong>. 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.<\/p>\n\n <\/div>\n <\/div>\n\n\n

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3.2.10. Character Expression<\/h3>\n <\/div>\n <\/div>\n
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Facial expressions<\/strong> are an essential form of communication. The challenge is to represent them accurately<\/strong> so that the reader can recognise emotions such as joy, sadness, anger, surprise or fear.<\/p>\n\n <\/div>\n <\/div>\n\n\n

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3.3. From Sketches to Panels<\/h3>\n <\/div>\n <\/div>\n
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This section features different moments from the creative process, from the initial ideas to the development of the proposals<\/strong>. Through sketches and other working materials by 13 students<\/strong> from Escola Joso, you can observe decisions, changes and different ways of approaching composition and visual storytelling.<\/p>\n\n <\/div>\n

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