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Autobiography is one of the most dynamic and quickly-growing genres in contemporary comics and graphic narratives. In Serial Selves, Frederik Byrn Kohlert examines the genre's potential for representing lives and perspectives that have been socially marginalized or excluded. With a focus on the comics form's ability to produce alternative and challenging autobiographical narratives, thematic chapters investigate the work of artists writing from perspectives of marginality including gender, sexuality, disability, and race, as well as trauma. Interdisciplinary in scope and attuned to theories and methods from both literary and visual studies, the book provides detailed formal analysis to show that the highly personal and hand-drawn aesthetics of comics can help artists push against established narrative and visual conventions, and in the process invent new ways of seeing and being seen. As the first comparative study of how comics artists from a wide range of backgrounds use the form to write and draw themselves into cultural visibility, Serial Selves will be of interest to anyone interested in the current boom in autobiographical comics, as well as issues of representation in comics and visual culture more broadly.
From two of the strongest and most outspoken women artists working today comes a collaborative comic book loosely based on the history of sugar. This comic book is part of a larger, ongoing project started in 2006, titled Madonnas, Queens and Other Heroes, by Australian artist political commentator Geraldine Searles and Swiss artist Marlies Pekarek. Searles took Pekarek 3D sugar sculpture entitled Sugar Queen, scanned it into a digital file, then created a fantastic story and surrounding scenery to give the Sugar Queen a new context and a new journey. The cross cultural friendship of the collaborators began when Pekarek was studying art in Australia more than two decades ago.
During a garden party in California, Shelton is approached by a clearly determined individual. The man tells him that he is there on behalf of Wayne's son, who apparently tracked down one Rod Hooker. The thing is, Sergeant Hooker once served under Shelton in Vietnam, on a mission that ended in betrayal and carnage. The hunt is on for our trouble shooter for hire, although there is one problem: he's never had any children...
Manga Anatomy Like You've Never Seen It
Monsters seem inevitably linked to humans and not always as mere opposites. Maaheen Ahmed examines good monsters in comics to show how Romantic themes from the eighteenth and the nineteenth centuries persist in today's popular culture. Comics monsters, questioning the distinction between human and monster, self and other, are valuable conduits of Romantic inclinations. Engaging with Romanticism and the many monsters created by Romantic writers and artists such as Mary Shelley, Victor Hugo, and Goya, Ahmed maps the heritage, functions, and effects of monsters in contemporary comics and graphic novels. She highlights the persistence of recurrent Romantic features through monstrous protagonists in English- and French-Language comics and draws out their implications. Aspects covered include the dark Romantic predilection for ruins and the sordid, the solitary protagonist and his quest, nostalgia, the prominence of the spectacle as well as excessive emotions, and above all, the monster's ambiguity and rebelliousness. Ahmed highlights each Romantic theme through close readings of well-known but often overlooked comics, including Enki Bilal's Monstre tetralogy, Jim O'Barr's The Crow, and Emil Ferris's My Favorite Thing Is Monsters, as well as the iconic comics Series Alan Moore's Swamp Thing and Mike Mignola's Hellboy. In blurring the otherness of the monster, these protagonists retain the exaggeration and uncontrollability of all monsters while incorporating Romantic characteristics.
An eagerly awaited album that comes out annually, this year's collection of Zapiro's editorial cartoons was hugely well-received by South Africans and rose to become the bestselling book in the country. Full of delightful satire, the cartoons are informed by a sense of truth and dignity even while tackling sensitive issues and attacking public figures, particularly those in the ruling party. For news hounds who follow current affairs around the globe, this book provides an education on the issues and a bounty of deft political humor.
Have you spent years admiring manga drawing and wondering how to draw cool stuff, but you haven't known how to make it on your own? This book by Danica Davidson and illustrated by the amazing Melanie Westin will guide you to drawing your own manga. These two help you find your why and include how to draw for adult beginners in this book. They also include how to draw anime for beginners, how to draw cartoon comic strips, how to draw tigers, and more. This cartoon drawing guide will be especially useful for the beginner cartoon artist. This belongs on any anime bookshelf and can help readers create a book. Learn more about the art of manga with Danica Davidson and Melanie Westin in Manga Art for Beginners: How to Create Your Own Manga Drawings.
Wonderfully Wordless: The 500 Most Recommended Graphic Novels and Picture Books is the first comprehensive best book guide to wordless picture books (and nearly wordless picture books). It is an indispensable resource for parents and teachers who love graphic storytelling or who recognize the value of these exceptional books in working with different types of students, particularly preschool, English as a Second Language (ESL), and special needs, and creative writers. Every age group will benefit from Wonderfully Wordless, from babies and toddlers encountering their first books, to elementary age children captivated by the popular fantasy and adventure themes, to teenagers attracted to graphic novels because of their more intense content and comic book format. Even adults who are not yet readers will benefit from this uniquely authoritative resource because it will provide a bridge to literacy and give them books that they can immediately share with their children. Wonderfully Wordless is the ultimate guide to wordless and almost wordless books. Its 500 exemplary titles are a composite of 140 sources including recommendations from reference books, award lists, book reviews, professional journals, literary blogs, and the collections of many of the most prominent libraries in the United States and the English-speaking world. The US libraries include the Boston Public Library, Carnegie Library of Pittsburgh, Denver Library, New York Public Library, and Seattle Public Library, as well as the academic libraries at Bank Street College, Miami University, Michigan State University, Penn State University, Stanford University, and University of Chicago. The international libraries include the University of Oxford, British Council Library India, British Library, Hong Kong Public Libraries, National Library of the Philippines, Toronto Public Library, Trinity College Library (Dublin), Vancouver Public Library, and the National Library of New Zealand. The 500 books included here are generated from a database with 7,300 booklist entries. In essence, the ranked list emerging from this compilation will constitute "votes" for the most popular titles, the ones most experts agree are the best. By pooling the expertise from the US and other English-speaking countries, Wonderfully Wordless is an unrivaled core list of classic and contemporary titles. This authoritative reference book conveys not the opinion of one expert, but the combined opinions of a legion of experts. If a single picture is worth a thousand words, then a multitude of the picture-only texts is worth a compendium. Wonderfully Wordless is organized by theme and format and readers should have no problem zeroing in on their favorite topics. There are thirty-one chapters organized by topics such as Christmas Cheer, Character Values, Comedy Capers, Pet Mischief, Creative Journeys, Fascinating Fantasies, and Marvelous Mysteries. There is a full spectrum of wordless fiction and nonfiction, concept books, visual puzzles, board books, cloth books, woodcut novels, graphic novels, and more.
Siobh n's blood has brought her victory and the throne, but it contains its own kernel of evil... Time has passed in Eruin Dulea. Siobh n reigns with wisdom and compassion. One day, during a trip with her protector S amus, she meets Kyle of Klanach, a minor nobleman haunted by his family's dishonour, whose charm doesn't leave her indifferent... Unfortunately, the evil Lady Gerfaut is plotting to place her own son in power. And what better way to do this than a marriage, even if it requires black magic to arrange?
This book covers producing concepts and character sketches to laying out the final page of art. From comics icon Stan Lee, creator of the Mighty Marvel Universe and characters such as Spider-Man, Incredible Hulk and the X-Men, comes this ultimate how-to book for aspiring comic book artists. In Stan Lee's "How to Draw Comics", the author sets out to teach everything he knows about writing, drawing and creating comic book characters. The book focuses primarily on action-adventure comics, but will touch upon other genres and styles, such as romance, humour, horror and the widely influential manga style. From producing concepts and character sketches to laying out the final page of art, the man with no peer, Stan Lee, is the ultimate guide to the world of creating comics.
Comic Books Incorporated tells the story of the US comic book business, reframing the history of the medium through an industrial and transmedial lens. Comic books wielded their influence from the margins and in-between spaces of the entertainment business for half a century before moving to the center of mainstream film and television production. This extraordinary history begins at the medium's origin in the 1930s, when comics were a reviled, disorganized, and lowbrow mass medium, and surveys critical moments along the way-market crashes, corporate takeovers, upheavals in distribution, and financial transformations. Shawna Kidman concludes this revisionist history in the early 2000s, when Hollywood had fully incorporated comic book properties and strategies into its business models and transformed the medium into the heavily exploited, exceedingly corporate, and yet highly esteemed niche art form we know so well today.
Traces the history of racial caricature and the ways that Black cartoonists have turned this visual grammar on its head Revealing the long aesthetic tradition of African American cartoonists who have made use of racist caricature as a black diasporic art practice, Rebecca Wanzo demonstrates how these artists have resisted histories of visual imperialism and their legacies. Moving beyond binaries of positive and negative representation, many black cartoonists have used caricatures to criticize constructions of ideal citizenship in the United States, as well as the alienation of African Americans from such imaginaries. The Content of Our Caricature urges readers to recognize how the wide circulation of comic and cartoon art contributes to a common language of both national belonging and exclusion in the United States. Historically, white artists have rendered white caricatures as virtuous representations of American identity, while their caricatures of African Americans are excluded from these kinds of idealized discourses. Employing a rich illustration program of color and black-and-white reproductions, Wanzo explores the works of artists such as Sam Milai, Larry Fuller, Richard "Grass" Green, Brumsic Brandon Jr., Jennifer Crute, Aaron McGruder, Kyle Baker, Ollie Harrington, and George Herriman, all of whom negotiate and navigate this troublesome history of caricature. The Content of Our Caricature arrives at a gateway to understanding how a visual grammar of citizenship, and hence American identity itself, has been constructed.
This anthology explores tensions between the individualistic artistic ideals and the collective industrial realities of contemporary cultural production with eighteen all-new chapters presenting pioneering empirical research on the complexities and controversies of comics work. Art Spiegelman. Alan Moore. Osamu Tezuka. Neil Gaiman. Names such as these have become synonymous with the medium of comics. Meanwhile, the large numbers of people without whose collective action no comic book would ever exist in the first place are routinely overlooked. Cultures of Comics Work unveils this hidden, global industrial labor of writers, illustrators, graphic designers, letterers, editors, printers, typesetters, publicists, publishers, distributors, translators, retailers, and countless others both directly and indirectly involved in the creative production of what is commonly thought of as the comic book. Drawing upon diverse theoretical and methodological perspectives, an international and interdisciplinary cohort of cutting-edge researchers and practitioners intervenes in debates about cultural work and paves innovative directions for comics scholarship.
The comic book has become an essential icon of the American Century, an era defined by optimism in the face of change and by recognition of the intrinsic value of democracy and modernization. For many, the Middle Ages stand as an antithesis to these ideals, and yet medievalist comics have emerged and endured, even thrived alongside their superhero counterparts. Chris Bishop presents a reception history of medievalist comics, setting them against a greater backdrop of modern American history. From its genesis in the 1930s to the present, Bishop surveys the medievalist comic, its stories, characters, settings, and themes drawn from the European Middle Ages. Hal Foster's Prince Valiant emerged from an America at odds with monarchy, but still in love with King Arthur. Green Arrow remains the continuation of a long fascination with Robin Hood that has become as central to the American identity as it was to the British. The Mighty Thor reflects the legacy of Germanic migration into the United States. The rugged individualism of Conan the Barbarian owes more to the western cowboy than it does to the continental knight-errant. In the narrative of Red Sonja, we can trace a parallel history of feminism. Bishop regards these comics as not merely happenchance, but each success (Prince Valiant and The Mighty Thor) or failure (Beowulf: Dragon Slayer) as a result and an indicator of certain American preoccupations amid a larger cultural context. Intrinsically modernist paragons of pop-culture ephemera, American comics have ironically continued to engage with the European Middle Ages. Bishop illuminates some of the ways in which we use an imagined past to navigate the present and plots some possible futures as we valiantly shape a new century.
Having worked together for over 15 years, line artist and Chris Brunner and colorist Rico Renzi have become quite a team, bringing to life characters from both the Marvel and DC universe as well as several indie creations. This prestige artbook provides and inside look at how they work, showing process sketches, inked drawings and color versions of their best covers, interior pages and pinups. Together they've worked on such notable characters as Batman, X-men, Spider-Gwen, Winter Soldier, She-Hulk and more. Also included is an extra in-depth look at their own indie creation "Loose Ends" as well as a brand new interview where Chris and Rico discuss how they met and how they've grown as artists through their collaborations.
Everything that you need to know about reading, making, and understanding comics can be found in a single Nancy strip by Ernie Bushmiller from August 8, 1959. Paul Karasik and Mark Newgarden s groundbreaking work How to Read Nancy ingeniously isolates the separate building blocks of the language of comics through the deconstruction of a single strip. No other book on comics has taken such a simple yet methodical approach to laying bare how the comics medium really works. No other book of any kind has taken a single work by any artist and minutely (and entertainingly) pulled it apart like this. How to Read Nancy is a completely new approach towards deep-reading art. In addition, How to Read Nancy is a thoroughly researched history of how comics are made, from their creation at the drawing board to their ultimate destination at the bookstore. Textbook, art book, monogram, dissection, How to Read Nancy is a game changer in understanding how the simplest drawings grab us and never leave. Perfect for students, academics, scholars, and casual fans."
Cartoon strip satirists Carr and Kumar metamorphose last century's most hated figure with the contemporary twit known as 'the Hipster'. The notorious strip reveals how today's subculture personalities fetishise the authentic to create a new variety of conformism. For the first time, the infamous strip appears here in print.
* Founded in 1979 by Seth Tobocman and Peter Kuper, 'World War 3 Illustrated' is a labour of love run by a collective of artists and political activists working with the unified goal of creating a home for political comics, graphics and stirring personal stories. This title features many of the themes it has covered over the years, including housing rights, feminism, environmental issues, religion, police brutality, globalisation and depictions of conflicts from the Middle East to the Midwest.
Got manga? Christopher Hart's got manga, and he wants to share it with all his millions of readers--especially the beginners. With "Manga for the Beginner," anyone who can hold a pencil can start drawing great manga characters right away. Using his signature step-by-step style, Hart shows how to draw the basic manga head and body, eyes, bodies, fashion, and more. Then he goes way beyond most beginner titles, exploring dynamic action poses, special effects, light and shading, perspective, popular manga types such as animals, anthros, and shoujo and shounen characters. By the end of this big book, the new artist is ready to draw dramatic story sequences full of movement and life.
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