Analiza diversității tehnicilor utilizate în procesul de creare a benzilor desenate

Abstract

This paper examines the diversity of traditional artistic techniques and digital technologies employed in the creation of comics by local artists from 1960 to 2025. The main objective of the research is to highlight the ways in which technological transformations have influenced the artistic practice and visual expressiveness of this visual-narrative genre of fine art. The study traces the transition from traditional methods and techniques – based on freehand drawing and conventional materials – to digital technologies that define much of the contemporary comic production in the Republic of Moldova. The analysis of traditional materials and techniques used in comic creation, such as paper, graphite pencils, ink, and watercolor – characteristic of the late 1950s to early 2000s – has facilitated the identification of aesthetic solutions characterized by firm contours, strong contrasts of color and form, and a limited color palette. The manual process of comic creation, carried out in distinct stages (sketching, outlining, and coloring) by artists such as Alexei Grabco, Margareta Chițcatîi, Iurie Simac, Valeriu Curtu, Alexei Sainciuc, and others, was constrained by the technical possibilities of the time, visibly influencing the graphic style and narrative complexity. At the same time, the study of digital comic-making technologies highlights the profound transformations brought about by the use of specialized software (Clip Studio Paint, Adobe Photoshop, Procreate, Krita) and modern equipment (graphic tablets, styluses, interactive devices). These modern tools, employed by young artists such as Octavian Curoșu, Alex Buretz, Cristiana Grati, Inna Sacali, Călin Enachi, Valentin Enachi, and Anghelina Ciubotaru, integrate all stages of the production process within a unified environment, offering extended possibilities for editing, correction, storage, and publication. Moreover, the digital medium enables the simulation of traditional textures, the use of 3D models, the creation of complex visual effects, and the adaptation of works for multiplatform distribution – from print to webtoons and interactive formats – allowing artists to remain relevant within national and international comic art exhibitions. Thus, we conclude that the digitalization of the comic art field in the Republic of Moldova has not led to the complete disappearance of traditional techniques but rather to their synthesis, resulting in hybrid forms of visual expression. Contemporary local comics are configured as a space of convergence between traditional art, technology, and narrative complexity, reflecting the dynamic evolution of visual media in the digital age.