IL FATTO QUOTIDIANO
Fogliazza
Present when you say “”cartoon plot”?
More or less the same thing happens with the cartoons, especially when used badly, vulgarly, out of place and shortcut to littleness. In short: they make more news when they are hurt than when they are worthy of being magnificent means of communication. At this point, when improvised“cartoonists” are bounced to the headlines for their indecency, it is easier to realize that these languages exist, but completely emptied of their nobility and ability to convey ideas and messages, discrediting even those who do so with passion, competence and talent.
In recent years there has been a significant decrease in the quality of the design and at the same time of its content and the social networks that disseminate them are the press office of the news editors. A minimum goal of the artist should be to be able to hold the pencil in his hand, in the same way as one who writes should properly chew the grammar and conjunctiva. This happens less and less, also because it is less and less necessary and the ability to perceive the quality is adapted to the decrease of improvised and mediocre, of those who think that a graphic tablet and any graphic program makes you capable. So we find those who let themselves be called illustrators because they use digital paint cans or writers who pay a printer to print the book.
The Venetian regional councillor of Fratelli d'Italia, Sergio Berlato, publishes on FB an image (let’s not call it a cartoon), which more than expressing a concept could allude to a repressed desire: his. He does it using a language not his own and does it badly, he publishes an ugly thing of easy comprehension and immediate diffusion, counting on“intellectuals” similar to him. But Berlato is only the last of a series of cheap gigs and follows who made that cartoon in which Boris Johnson escapes from a Europe as if it were the concentration camp of Auschwitz.
The denunciation of these mediocrities is always a double-edged weapon: if on the one hand it condemns its cultural lowness, on the other it risks to give it resonance and this article is no less. This is why I close by quoting the beautiful things of this trade, of those who draw and do it with the talent of a poet: Mauro biani, but perhaps even his talent is too much for this country.
Fogliazza
Present when you say “”cartoon plot”?
More or less the same thing happens with the cartoons, especially when used badly, vulgarly, out of place and shortcut to littleness. In short: they make more news when they are hurt than when they are worthy of being magnificent means of communication. At this point, when improvised“cartoonists” are bounced to the headlines for their indecency, it is easier to realize that these languages exist, but completely emptied of their nobility and ability to convey ideas and messages, discrediting even those who do so with passion, competence and talent.
In recent years there has been a significant decrease in the quality of the design and at the same time of its content and the social networks that disseminate them are the press office of the news editors. A minimum goal of the artist should be to be able to hold the pencil in his hand, in the same way as one who writes should properly chew the grammar and conjunctiva. This happens less and less, also because it is less and less necessary and the ability to perceive the quality is adapted to the decrease of improvised and mediocre, of those who think that a graphic tablet and any graphic program makes you capable. So we find those who let themselves be called illustrators because they use digital paint cans or writers who pay a printer to print the book.
The Venetian regional councillor of Fratelli d'Italia, Sergio Berlato, publishes on FB an image (let’s not call it a cartoon), which more than expressing a concept could allude to a repressed desire: his. He does it using a language not his own and does it badly, he publishes an ugly thing of easy comprehension and immediate diffusion, counting on“intellectuals” similar to him. But Berlato is only the last of a series of cheap gigs and follows who made that cartoon in which Boris Johnson escapes from a Europe as if it were the concentration camp of Auschwitz.
The denunciation of these mediocrities is always a double-edged weapon: if on the one hand it condemns its cultural lowness, on the other it risks to give it resonance and this article is no less. This is why I close by quoting the beautiful things of this trade, of those who draw and do it with the talent of a poet: Mauro biani, but perhaps even his talent is too much for this country.
