In the second half of the seventies, Murtić's paintings were becoming structurally more complex and substantial. For the observing eye they were more suggestive, but for the decoder, more and more complicated. Now, in an indicative majority of the works, three elements of the painting began to interrelate in positions of complete equality: ground, sign and calligraphic cursive script, which put large forms of the sign in motion and gave them a new acceleration. The sign converged, on the whole, on the shapes of the letters T, X and V or O, I and K: What is quite fascinating in these pictures is the combination of Murtić's male strength and his combative vigour. His speed. When only the sign is read off (ideally) from the structure, it will seem that it came into being from the shifting of two black mountains. While in the imagination only the traces of the rapid indicting come out, it seems that the fire of the threads will flare up before the eye even manages to record them. Now, in line with the events that broaden the picture from the centre to the edges, vast American formats begin to appear. The story begins to flow over the edges of the diary, the notebook, the memo, and to seek the combat zone.