Are Comics an Art Form? Why or Why Not? When or When Not?

2007 Schools Wikipedia Selection. Related subjects: Cartoons

Comics (or, less commonly, sequential fine art) is a form of visual art consisting of images which are unremarkably combined with text, often in the class of voice communication balloons or image captions. Originally used to illustrate caricatures and to entertain through the use of amusing and trivial stories, information technology has past now evolved into a literary medium with many subgenres.

The most common forms of printed comics are comic strips (most unremarkably four panels long) in newspapers and magazines, and longer comic stories in comic books, graphic novels and comic albums. In the first 2 forms the comics are secondary material usually confined to the amusement sections, while the latter consist either entirely or primarily of comics.

Depending on the definition of the term, the origin of comics tin can exist traced back to 15th century Europe. However, today's form of comics (with panels, and using text within the image in voice communication balloons, etc.), besides equally the term comics itself, originated in the tardily 19th century.

Little Sammy Sneeze by

Winsor McCay

Defining comics

Note: Although it takes the grade of a plural noun, the mutual usage when referring to comics as a medium is to treat it as singular.

Scholars disagree on the definition of comics; some claim its printed format is crucial, some emphasize the interdependence of image and text, and others its sequential nature. The term as a reference to the medium has besides been disputed.

In 1996, Will Eisner published Graphic Storytelling, in which he divers comics as "the printed organisation of art and balloons in sequence, peculiarly in comic books." Eisner'due south earlier, more influential definition from 1985's Comics and Sequential Art described the technique and structure of comics as sequential fine art, "...the arrangement of pictures or images and words to narrate a story or dramatize an idea."

In Understanding Comics (1993) Scott McCloud defined sequential art and comics as: "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer"; this definition excludes single-panel illustrations such every bit The Far Side, The Family unit Circus, and nearly political cartoons from the category, classifying those as cartoons. By contrast, The Comics Periodical's "100 Best Comics of the 20th Century", included the works of several single panel cartoonists and a caricaturist, and academic study of comics has included political cartoons .

R.C. Harvey, in his essay Comedy At The Juncture Of Word And Image, offered a competing definition in reference to McCloud's: "...comics consist of pictorial narratives or expositions in which words (often lettered into the moving-picture show area within spoken communication balloons) unremarkably contribute to the meaning of the pictures and vice versa." This, all the same, ignores the existence of wordless comics.

Eddie Campbell offered the term graphic storytelling, defining it as "the fine art of using pictures in sequence and its attendant linguistic communication of forms and techniques, refined over many centuries." He contrasted this term with comics, which he defines as "humorous art...just with the proviso that in our own times it has come up to encompass not only cartoons but comic strips and comic books which are not necessarily humorous due to their own evolutionary patterns, merely they remain nether this rubric equally they evolved from it."

Nearly agree that blitheness, which creates the optical illusion of movement within a static physical frame, is a divide form, although ImageTexT, a peer-reviewed academic periodical focusing on comics, accepts submissions relating to animation as well , and the 3rd annual Conference on Comics at the University of Florida focused on comics and blitheness .

History

When and where comics originated is another matter of debate, largely dependent on its definition. The bulk view, represented by many authors and academic sources, Scott McCloud being the well-nigh recent, is that the comic format observes precedents in Egyptian hieroglyphics, Japanese emaki, European stained glass windows, pre-Columbian Central American manuscripts, and the Bayeux Tapestry.,

An alternative view is represented by Roger Sabin who argues that the definition is predicated on the printed comic course. This perspective is increasingly being challenged every bit electronic distribution of movies, music, books and art emphasizes content over the delivery mechanism.

15th–18th centuries

Sabin cites the invention of the printing printing equally the moment when the modern form began to crystalise, arguing that the medium of comics has been intrinsically linked with press.

An early surviving work which is recognisable as being in the form of printed comics is Francis Barlow's A True Narrative of the Horrid Hellish Popish Plot (c.1682). The Punishments of Lemuel Gulliver by William Hogarth, (1726), is another early work that bears similarities of form, although Eddie Campbell has argued that these may exist more a drove of cartoons rather than actual comics. Other notable artists producing work in this catamenia are Thomas Rowlandson, Jan Vandergucht, James Gillray and George Cruikshank. Rowlandson and Gillray are credited with having codified the oral communication balloon in its present form, from the previous convention of having speech represented by banners.

An example of Rowlandson's work from 1782, satirising the politics of the day, shows information technology to be an early variation of the strip cartoon. His work popularised the strip grade every bit a pictorial narrative.

The 19th century

Rodolphe Töpffer, a Francophone Swiss artist, is the key figure of the early part of the 19th century. His work is reprinted throughout Europe and in the U.Due south., creating a market on both continents for similar works.

In 1845 Töpffer formalised his thoughts on the film story in his Essay on Physiognomics: "To construct a picture-story does not hateful yous must set yourself up as a main craftsman, to draw out every potential from your material —frequently down to the dregs! It does not hateful you simply devise caricatures with a pencil naturally frivolous. Nor is it simply to dramatize a maxim or illustrate a pun. You must actually invent some kind of play, where the parts are bundled by plan and grade a satisfactory whole. Y'all do not only pen a joke or put a refrain in couplets. You make a volume: skilful or bad, sober or dizzy, crazy or sound in sense."

Sir Ernst Gombrich certainly felt Töpffer to have evolved a new pictorial language, that of an abbreviated art manner, which worked by assuasive the audition to fill in gaps with their own imagination.

Satirical drawings in newspapers were popular through much of the 19th century. In Uk, in 1841, Dial, a mag containing such drawings launched. In 1843 Punch referred to its 'humorous pencilings' equally cartoons in satirical reference to Parliament, who were organising an exhibition of cartoons at the fourth dimension. This usage became common parlance and has lasted into the nowadays mean solar day. Similar magazines containing cartoons in continental Europe included Fliegende Blätter and Charivari, whilst in the U.S. Estimate and Puck were popular.

In Germany in 1865 Max and Moritz past Wilhelm Busch was published inside a newspaper. This strip is thought to be a meaning fore-runner of the comic strip.

It is around this fourth dimension that Manhua, the Chinese grade of comics, started to formalise, a procedure that lasted upwards until 1927.

In 1884, Ally Sloper's Half Holiday was published, reputed to be the kickoff comic strip magazine to characteristic a recurring character. In 1890 two more comic magazines debuted to the British public, Comic Cuts and Illustrated Fries. These magazines as well republished American material, previously published in newspapers in the U.S.. They established the tradition of the British comic equally being a periodical containing comic strips.

Depending on the criteria used, the offset successful comics series featuring regular characters was either R.F. Outcault'southward unmarried-panel cartoon series Hogan'southward Aisle (1895) or Rudolph Dirks' multi-console strip The Katzenjammer Kids (1897). The Yellow Kid, the star of Hogan's Aisle, became so popular as to bulldoze newspaper sales, and in doing then prompted the creation of other strips. This boom marks the kickoff of comics as an ongoing popular art form.

The 20th century

The term comics in the U.South. came to define early newspaper strips, which initially featured humorous narratives , hence the adjective comic. In 1929, strips started to broaden their content, with Cadet Rogers and Tarzan launching the action genre. More strips followed, with the term "comic" quickly adopting through popular usage to refer to the class rather than the content, .

1929 too saw the get-go appearance of The Adventures of Tintin published equally a blackness-and-white strip in Le Petit Vingtième, a supplement to Le Vingtième Siècle, a Belgian newspaper. The strip was collected as Tintin in the Land of the Soviets in 1930, beingness published in the European comic album format.

Another notable publication of 1929 was The Funnies, a reprint collection of paper strips. Reputed to be the first four-colour comic newsstand publication in the United States, it was published in tabloid size, a size which left it easily confused with the Sun supplements of the time and then harmed sales to the extent that publication ceased after 36 bug.

The outset publication to utilise a format recognisable today as a comic volume was Funnies on Parade which took the tabloid size used for the Sunday supplements and folded it in half. Published in 1933 by ii workers for the Eastern Colour Printing Company of New York, Harry Wildenberg and Max Gaines as an ad giveaway, its success led to like giveaways being published. On a hunch, Gaines distributed extra copies to newstands, with a 10 cent cover price, returning to detect them all sold. This led to Eastern publishing Famous Funnies in May 1934 for sale through the newsstands.

By 1935 comic books were commissioning original material, mostly influenced past the lurid magazines of the day, whilst likewise repackaging foreign cloth. Volition Eisner was one who supplied strange cloth, and in his retooling of the material to fit the comic volume format Eisner is credited with inventing the grammar of the comic book. Techniques devised by Eisner whilst adapting the cloth for this new format include the "jump cut".

In 1938 Action Comics #1 was published, featuring the first appearance of Superman and ushering in what is now referred to as the Gilded Age of Comic Books. Also in 1938, Spirou first appeared in Kingdom of belgium, starting the typical custom of weekly magazines featuring more often than not Franco-Belgian comics.

After Earth State of war II the form in Japan, known as manga started to modernise. The lifting of a ban on non-propaganda publications, allowed Osamu Tezuka to re-energise both the content of manga and the way of its presentation Tezuka'south first book work was an updating of Treasure Island, appropriately titled New Treasure Island (1947).

During the latter half of the 20th century comics take get a very popular detail for collectors and from the 1970s comics publishers have actively encouraged collecting and shifted a large portion of comics publishing and production to appeal directly to the collector's customs. The collecting of comics is today known by a separate term known as panelology.

The mod double usage of the term comic, as an adjective describing a genre, and a noun designating an unabridged medium, has been criticised every bit confusing and misleading. In the 1960s and 1970s, underground cartoonists used the spelling comix to distinguish their work from mainstream newspaper strips and juvenile comic books; ironically, although their piece of work was written for an adult audience, it was usually comedic in nature as well, so the "comic" label was yet appropriate. The term graphic novel was popularised in the late 1970s, having been coined at to the lowest degree two decades previous, to distance the material from this confusion.

In the 1980s comics scholarship started to blossom in the U.S., and a resurgance in the popularity of comics was seen, with Alan Moore and Frank Miller producing notable superhero works and Bill Watterson'due south Calvin & Hobbes being syndicated.

In 2005 Robert Crumb's work was exhibited in galleries both sides of the Atlantic, and The Guardian paper devoted its tabloid supplement to a calendar week long exploration of his piece of work and idioms.

Artistic medium

An artist sketching out a comics page

Comics artists will generally sketch a drawing in pencil earlier going over the drawing again in ink, using either a dip pen or a brush. Artists will also brand use of a lightbox when creating the last image in ink. Some artists, Brian Bolland being a notable example, are at present using digital means to create artwork, with the published piece of work being the offset physical appearance of the artwork.

By many definitions (including McCloud's, above) the definition of comics extends to digital media such as webcomics.

Fine art styles

Whilst well-nigh all comics fine art is in some sense abbreviated, and as well whilst every artist who has produced comics work brings their own individual approach to carry, some broader art styles accept been identified.

The basic styles accept been identified as realistic and cartoony, with a huge centre footing for which R. Fiore has coined the phrase liberal. Fiore has besides expressed distaste with the terms realistic and cartoony, preferring the terms literal and freestyle, respectively.

Scott McCloud has created The Big Triangle as a tool for thinking about comics art. He places the realistic representation in the lesser left corner, with iconic representation, or cartoony fine art, in the bottom right, and a third identifier, abstraction of image, at the noon of the triangle. This allows the placement and grouping of artists by triangulation. This approach to creative analysis where comics are concerned was parodied by Penny Arcade in this comic.

The cartoony manner is i which utilises comic effects and a variation of line widths as a means of expression. Noted exponents of this style are Carl Barks, Will Eisner and Jeff Smith.

The realistic style, also referred to equally the adventure mode is the one developed for employ within the hazard strips of the 1930s. They required a less cartoony look, and used the illustrations plant in pulp magazines equally a basis. This mode became the basis of the superhero comic volume style, since Joe Shuster and Jerry Siegel originally worked Superman up for publication as an adventure strip.

The language

Equally noted above, ii singled-out definitions have been used to define comics equally an art form: the combination of both discussion and paradigm; and the placement of images in sequential lodge. Both definitions are lacking, in that the first excludes whatsoever sequence of wordless images; and the 2nd excludes unmarried panel cartoons such as editorial cartoons. The purpose of comics is certainly that of narration, and so that must be an of import factor in defining the fine art grade.

Comics, as sequential art, emphasise the pictorial representation of a narrative. This ways comics are not an illustrated version of standard literature, and whilst some critics contend that they are a hybrid grade of art and literature, others contend comics are a new and split up art; an integrated whole, of words and images both, where the pictures practice not simply describe the story, merely are part of the telling. In comics, creators transmit expression through arrangement and juxtaposition of either pictures solitary, or word(south) and flick(south), to build a narrative.

The narration of a comic is set out through the layout of the images, and whilst at that place may be many people who work on one piece of work, like films, there is one vision of the narrative which guides the work. The layout of images on a page can exist utilised past artists to convey the passage of time, to build suspense or to highlight action.

Forms within comics

Comics equally an art form represents many different forms and publication formats, not all of which are physical.

Cartoon

The cartoon, originally an artist's prepartory drawings, is considered by some scholars, notably R.C. Harvey, as a form of comics. Although a singular image, information technology has been argued that since the drawing both combines words with epitome and constructs a narrative, information technology merits inclusion as a form of comics. Cartoons typically have one of iii forms, that of the gag cartoon, the editorial drawing or the political cartoon.

Comic strip

The comic strip, also known as a strip cartoon, is a sequence of images. The term has currently become nigh commonly used when referring to the shortened paper comic strip, only historically the term was designed to apply to whatever strip, in that location being no upper limit on the length of a strip, the minimum length existence 2. This usage is nonetheless fairly common in the United Kingdom. In the U.s. the term "comics" is sometimes used to describe the folio of a newspaper upon which comic strips are found, and through this usage has as well grown to be used every bit a definition for comic strips.

Newspaper comic strips come up in two formats, daily strips and Sunday strips. Daily strips usually run Monday through Saturday, and historically have been presented in black and white, although color is used more ofttimes since the early nineties. Sunday strips are much larger and have always tended to be in colour.

Note: In the "Toronto Star" The "Sun" comics are on Saturday.

Comic volume

The comic book is predominantly a United states term, with the term comic or comic mag preferred in Europe. Comic books are often chosen comics for short. Although the term implies otherwise, the bailiwick affair in comic books is non necessarily humorous, and in fact its dramatic seriousness varies widely. The term "comics" in this context does not refer to comic strips (such equally Peanuts or Dilbert).

Comic magazine

The primary format for commencement publication of Franco-Belgian comics, and also the format used in the Britain, where it is commonly referred to as a "comic", plurally as "comics". The British comic dates back to earlier 1884, a year which saw the publication of Marry Sloper's One-half Holiday. Over the next century many unlike titles have been published, with The Dandy, the longest running comic in the United kingdom of great britain and northern ireland, debuting in 1937 and the Beano in 1938. More contempo established titles include 2000 Advertisement and Viz

Graphic novel

Graphic novel is a term for a kind of comic book, unremarkably with long and fairly circuitous storylines and often aimed at more mature audiences. However, the term is not strictly delimited, and can be notoriously difficult to pin down. It is often used to imply subjective distinctions in artistic quality betwixt graphic novels and other kinds of comics which can be quite controversial. Graphic novels frequently encompass several separate issues of comic books and tin be published over a period of several months or years and then republished in larger volumes.

Comic annual

The comic annual is an annual publication predominantly specific to the Great britain. Marvel Comics (makers of Spider-Man, Ten-Men and more) did annuals for many of its comics throughout the 1980s and 1990s.

Comic album

In Europe, a comic anthology is the equivalent to a graphic novel, being of A4 size and hardcover, typically with 48 pages. They comprise either new stories or collections of previously serialised strips.

In American terminology, a graphic anthology is an anthology-format comic book with multiple stories that is published and distributed as a volume rather than a journal as distinguished from a graphic novel which has similar format but tells a single story.

Webcomic

Webcomics, as well known equally online comics and web comics, are comics that are available on the Internet. Many webcomics are exclusively published online, while some are published in print but maintain a spider web archive for either commercial or artistic reasons. With the Internet's like shooting fish in a barrel access to an audience, webcomics run the gamut from traditional comic strips to graphic novels and beyond.

Webcomics are similar to self-published impress comics in that near anyone tin create their own webcomic and publish it on the Web. Currently, in that location are thousands of webcomics available online. Some webcomics accept gained popular, critical, or commercial success.

Instructional comics

The instructional comic is a strip designed for educative or informative purposes, notably the instructions upon an aeroplane'south rubber card.

Storyboard

Storyboards are like illustrations displayed in sequence for the purpose of previsualizing an animated or live-action motion-picture show. A storyboard is essentially a big comic of the motion picture or some section of the film produced beforehand to help the directors and cinematographers visualize the scenes and observe potential problems earlier they occur. Oftentimes storyboards include arrows or instructions that indicate motion.

Minicomic

A minicomic is a pocket-sized, creator-published comic book, oft photocopied and stapled or with a handmade bounden. These are a common inexpensive way for those who want to brand their ain comics on a very small budget, with more often than not informal means of distribution. A number of cartoonists take started this way and gone on to more traditional types of publishing, while other more established artists continue to produce minicomics on the side. Minicomics are even less mainstream than alternative comics.

The term was originally used in the United States and has a somewhat confusing history. Originally, information technology referred only to size: a assimilate comic measured v.v inches wide by eight.5 inches tall, while a minicomic was 5.5 inches by four.25 inches. These sizes were convenient for artists using standard office supplies: a United states letter of the alphabet page could be folded in half to make a digest, or in quarters for a minicomic. These comics were by and large photocopied, although some that were produced in larger quantities used offset printing. An early and unusually popular example of this minicomic format was Matt Feazell'south Cynicalman, which began in 1980. (The earliest and most popular comics in mini- and digest sizes—predating not only the term minicomic, but fifty-fifty the standard comic-book format—were the anonymous and pornographic Tijuana bibles of the 1920s.)

Currently, the term is used in a more general sense which emphasizes the handmade, breezy aspect rather than the format. By this loose definition, a single photocopied page folded in quarters would even so exist a minicomic, but and then would a thicker digest-sized comic, or even a big, elaborate, and relatively expensive photocopied booklet with a silkscreened cover. Even some professionally printed and bound booklets are referred to as minicomics, as long as they are published by the artist and marketed in minicomic venues, merely this usage is controversial.

The creation of comics

The nature of the comics work being created determines the number of people who work upon its creation, with successful comic strips and comic books existence produced through a studio arrangement, in which an artist will gather a squad of assistants to assist in the creation of the work. However, works from contained companies, cocky-publishers or those of a more than personal nature can exist produced by as little as one creator.

Comic book cosmos

Within the comic volume industry of the Us, the studio system has come up to exist the main method of creation. Through its use past the manufacture, the roles have become heavily codified, and the managing of the studio has get the company's responsibleness, with an editor discharging the management duties. The editor volition assemble a number of creators and oversee the piece of work to publication.

Any number of people can assist in the creation of a comic book in this way, from a plotter, a breakdown artist, a penciller, an inker, a scripter, a letterer, and a colorist, with some roles being performed by the same person.

See also Creation of a Tintin anthology for a description of a comic book creation steps by Hergé.

Comic strip creation

A comic strip tends to be the work of a sole creator, commonly termed a cartoonist. Yet information technology is not unusual for a cartoonist to employ the studio method, peculiarly when a strip become successful. Mort Walker is one such creator who employed a studio, whilst Bill Watterson was 1 such cartoonist who eschewed the studio method, preferring to create the strip himself.

Drawing creation

A cartoonist in this instance typically works alone, although again it is not unheard of for a cartoonist to use assistants.

Tools of the trade

An artist will use a variety of pencils, paper, typically Bristol board, and a waterproof ink. When inking, an artist may cull to use a variety of brushes, dip pens, a fountain pen or a variety of technical pens or markers. Mechanical tints tin can be employed to add together grey tone to an prototype. An artist might also choose to create his work in paints; either acrylics; gouache; poster paints; or watercolors. Colour can besides be achieved through crayons, pastels or colored pencils.

Erasers, rulers, templates, set squares and a T-foursquare assist in creating lines and shapes. A cartoon board gives a good angled surface to work from, with lamps supplying necessary lighting. A light box allows an artist to trace his pencil work when inking, allowing for a looser finish. Knives and scalpels will fill a variety of tasks, including cutting board or scraping mistakes. A cutting mat will assistance when cutting paper. Process white is a thick opaque white handy for covering mistakes, whilst adhesives and tapes are helpful in limerick where an epitome may demand to exist assembled from different sources.

Estimator generated comics

With the growth of calculator processing ability and ownership, there are now an increasing number of examples of comic books or strips where the art is made by using computers, either mixing it with paw drawings or replacing hand drawing completely. Dave McKean is one artist who combines the paper and the digital methods of composition. Nonetheless, it is important to separate between traditional drawing washed with a graphics tablet and actual computer graphics (CG). Computers are widely used for both lettering and coloring, with Blambot Comicraft 2 studios which proved digitised fonts for comics.

Comics awards

There are numerous awards given out within the comics industry, some taking their proper name from noted creators, others from famous characters or publications. Each country has its own indigenous awards.

Usa

The Pulitzer Prizes have included an award for Editorial Cartooning since 1922. The start awards designed specifically for cartoonists in the United States were the Reubens, followed in 1946. They were named in accolade of Rube Goldberg and are presented annually by the National Cartoonists Gild of the United States.

The Academy of Comic Book Arts Awards, also known equally Shazams, were created in 1970, the first awards being given out in 1971. The awards had a very short life, and were no longer existence presented by the late 1970s.

In 1984 the Kirby Awards, named for Jack Kirby, were launched, aimed specifically at the comic book manufacture. The awards were sponsored by Fantagraphics through their magazine Amazing Heroes. These awards ran until 1987 before a dispute over the ownership of the awards led to their ending. In 1988 two dissever awards were launched, both aimed at the comic volume manufacture. The Harvey Awards were named in honour of Harvey Kurtzman, and include the Jack Kirby Hall of Fame. Voting for the Harvey Awards is performed through a ballot of manufacture professionals. The Will Eisner Comics Industry Awards were likewise launched in 1988, named in honor of Will Eisner. The Eisner nominations are decided by a panel of five judges before being voted on by retailers, creators and publishers within the industry.

The Ignatz Awards, named for the brick-throwing mouse in George Herriman's Krazy Kat, began in 1997 and are awarded annually at the Modest Press Expo. The attendees of the Expo vote for the winners based on a shortlist drawn upwards by independent judges.

The Lulu Awards were as well created in 1997. These are awarded past Friends of Lulu, an organisation concerned with furthering the entreatment of comic books to a female audience.

Publication awards

The Alley Awards, presented by the fanzine Change Ego, began in 1961, with the awards decided by the fanzine'south squad of editors. Alley Awards had ceased to be presented by the showtime of the 1970s. The Comics Buyer Guide has been giving annual awards, chosen by reader poll, since 1983. In 1999 Magician Magazine launched its Wizard Fan Awards, chosen through two rounds of voting past the mag's readers.

Britain

The Eagle Awards were launched in 1976, named in honor of The Eagle comic. The awards have lessened in importance and prestige, disappearing entirely for a menstruation during the 1990s. The current status of the awards is unknown.

The National Comics Awards were launched in 1997, originally awarded at the U.k. Comic Art Convention, before moving to that event'southward succesor, the Comics Festival.

The Cartoon Art Trust's British Cartoonist Awards are annual awards presented to newspaper cartoonists.

Canada

The National Newspaper Awards of Canada include a category for Editorial Cartoonist.

The Bédélys Prize have been awarded to French language comics at the Promo 9e Fine art Foundation since 2000.

The Doug Wright Awards were inaugurated at the Toronto Comics Fine art Festival in 2005, with the intention of honouring excellence in culling or artistic comics across Canada. (website: www.wrightawards.ca)

The Shuster Awards were also created in 2005. The awards are named in award of Canadian-built-in co-creator of Superman, Joe Shuster (1914-1992), and are awarded at the Paradise Comics Toronto Comicon.

Kingdom of belgium

The city of Brussels awards since 1971 just on an irregular footing the Prix Saint-Michel in unlike categories (author, debut, ...). This is the oldest European comics laurels still in existence.

The Bronzen Adhemar, named after a graphic symbol from Nero, is given every two years since 1977 to a Flemish comic book author. Twice, a golden Adhemar has been awarded.

France

The Prix de la critique is a prize awarded by the Association des Critiques et des journalistes de Bande Dessinée annually.

Angoulême International Comics Festival Prizes (formerly known as the Alfred and subsequently the Alph'arts) and the Grand Prix de la ville d'Angoulême are given yearly at the Angoulême festival since 1975.

Germany

The Max & Moritz Prizes are awarded biannually at the " Internationaler Comic-Salon" fair in Erlangen.

Italy

The Pantera di Lucca Comics is a series of prizes awarded in Italy betwixt 1966 and 1992.

The netherlands

The Stripschapprijs is awarded yearly since 1974 to an author.

Poland

M Prix Międzynarodowego Festiwalu Komiksu has been awarded annually since 1991. It is presented as part of the International Comics Festival in Łódź.

Kingdom of spain

The Haxtur Awards, (Premios Haxtur), are awarded annually at the Salón Internacional del Cómic del Principado de Asturias.

Sweden

The Adamson Awards are awarded annually by the Swedish Academy of Comic Art at the Gothenburg Volume Fair between 1965 and 2002. The Urhunden Prizes is another Swedish almanac honour for comic books, awarded since 1987 by Seriefrämjandet (The comics promotion association).

Nihon

Below are some of the notable awards that are still active in Japan:

i. The Tezuka Award and Akatsuka Award, awarded since 1971 and 1974 respectively, are biannual manga awards offered by the Japanese publisher Shueisha, under the auspices of its Weekly Shonen Jump mag. Both of the awards designed to cultivate new manga artists, the Tezuka Award focuses on Story Manga while the Akatsuka Award focuses on Comedic Manga.

2. The Shogakukan Manga Accolade, sponsored by the manga publisher Shogakukan Publishing has been awarded since 1955.

3. The Kodansha Manga Award are another ready of publisher sponsored awards, in existence since 1960.

4. The Osamu Tezuka Culture Award, named subsequently the famous creative person Osamu Tezuka, awards annually since 1997.

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