The first superhero team from the Silver Age of comics, DC's Justice League has seen many iterations since its first appearance in 1960. As the original comic book continued and spin-off titles proliferated, talented writers, artists and editors adapted the team to appeal to changing audience tastes. This collection of new essays examines more than five decades of Justice League comics and related titles. Each essay considers a storyline or era of the franchise in its historical and social contexts. Exploring both the popular culture and relevant events of the day, the contributors discuss how the Vietnam War was addressed in Justice League comics, how the Cold War transformed the roles of superheroes in the DC universe and how the post-9/11 political climate affected a crossover character.

The official art book for the Marvel's Avengers expansion Black Panther: War for Wakanda Blindsided by a betrayal and the resulting tragedy, King T'Challa, the Black Panther, devoted protector and current ruler of Wakanda finds it difficult to entrust his duty to anyone else, even his sister Shuri, while also confronting those who wish to do Wakanda harm. When arch-villain Klaw's forces threaten Wakanda's safety, T'Challa must take the fight right to them to defend everything and everyone he holds dear. Players experience the game's story and additional missions in the ongoing Avengers Initiative in the lush jungles of Wakanda, an entirely new environment and sole location of the world's Vibranium. They also get to explore the Royal Palace that overlooks Birnin Zana, known as "The Golden City," in a new Outpost that contains Shuri's laboratory, Zawavari's chambers, and the Wakandan War Room. Unmask the artistry behind the expansion in this showpiece hardback book containing exclusive concept sketches, character art, storyboards, and fully rendered scenes alongside fascinating insights into the creative process from the talented creators of the expansion.

In the immediate aftermath of the Revolutionary War, only the wealthiest Americans could afford to enjoy illustrated books and prints. But, by the end of the next century, it was commonplace for publishers to load their books with reproductions of fine art and beautiful new commissions from amateur and professional artists. Georgia Brady Barnhill, an expert on the visual culture of this period, explains the costs and risks that publishers faced as they brought about the transition from a sparse visual culture to a rich one. Establishing new practices and investing in new technologies to enhance works of fiction and poetry, bookmakers worked closely with skilled draftsmen, engravers, and printers to reach an increasingly literate and discriminating American middle class. Barnhill argues that while scholars have largely overlooked the efforts of early American illustrators, the works of art that they produced impacted readers' understandings of the texts they encountered, and greatly enriched the nation's cultural life.

The Rise of the Image reveals how illustrations have come to play a primary part in books on art and architecture. Italian Renaissance art is the main focus for this anthology of essays which analyse key episodes in the history of illustration from the sixteenth to the twentieth century. The authors raise new issues about the imagery in books on the visual arts by Leonardo da Vinci, Giorgio Vasari, Sebastiano Serlio, Andrea Palladio, Girolamo Teti and Andrea Pozzo. The concluding essays evaluate the roles of reproductive media, including photography, in Victorian and twentieth-century art books. Throughout, images in books are considered as vehicles for ideas rather than as transparent, passive visual forms, dependent on their accompanying texts. Thus The Rise of the Image enriches our understanding of the role of prints in books on art.

The Intertext series has been specifically designed to meet the needs of contemporary English Language Studies. Working with Texts: A core introduction to language analysis (second edition, 2001) is the foundation text, which is complemented by a range of 'satellite' titles. These provide students with hands-on practical experience of textual analysis through special topics, and can be used individually or in conjunction with Working with Texts.
The Language of Comics: *highly illustrated with large number of real comic strips *provides a history of comics from the end of the nineteenth century to the present *explores the 'semiotics of comics', from the interaction between the verbal and the visual and how texts interrelate to the way speech and thought are reported in narrative and point of view *makes the case for comics as multi-modal texts and considers future developments in the genre *is user friendly and accessible, and provides a full glossary.

The Intertext series has been specifically designed to meet the needs of contemporary English Language Studies. Working with Texts: A core introduction to language analysis (second edition, 2001) is the foundation text, which is complemented by a range of 'satellite' titles. These provide students with hands-on practical experience of textual analysis through special topics, and can be used individually or in conjunction with Working with Texts.
The Language of Comics: *highly illustrated with large number of real comic strips *provides a history of comics from the end of the nineteenth century to the present *explores the 'semiotics of comics', from the interaction between the verbal and the visual and how texts interrelate to the way speech and thought are reported in narrative and point of view *makes the case for comics as multi-modal texts and considers future developments in the genre *is user friendly and accessible, and provides a full glossary.

Feather, Leaf, Bark & Stone is a book of poems and meditations with a difference. More than a hundred short texts have been typed onto small squares of gold leaf, then photographed. These pieces are arranged in a sequence which culminates in a glorious final section made up of texts typed directly onto leaves, bark and feathers. Jackie started to write the pieces shortly after her father died, and for the first time ever she found herself unable to paint. The words grew out of her grief and, guided by her deep intimacy with the natural world, these objects emerged to fill the space her paintings had left behind. This book is full of the light and wind that fills the Pembrokeshire coast where it was crafted, each page anchored to the landscape by the mechanical rhythm of Jackie's antique typewriters. The result is a collection of individual artworks to be both looked at and read. It is poetry re-imagined by a visual artist; words transformed back into their original function as images. Feather, Leaf, Bark & Stone announces a new departure for Jackie Morris and confirms her as an artist and writer at the peak of her power.

This step-by-step manga art course for beginners makes it simple to learn the creative techniques behind the most popular Japanese comic style. One hundred and forty colour illustrations, plus easy-to-follow directions, are divided into three sections: basic tutorials; how to turn raw ideas into finished comics; and projects from the masters, with exhaustive detail on producing professional-grade artwork. Draw Manga covers not only traditional media such as coloured markers, pencils and watercolours, but also computer-generated manga. And there's advice on special techniques for drawing the distinctive eyes and hairstyles that are the genre's hallmark, as well as on character creation, developing a first sketch, using colour and motion, sequencing, pacing and more.

Epic battles, hideous monsters and a host of petty gods--the world of Classical mythology continues to fascinate and inspire. Heroes like Herakles, Achilles and Perseus have influenced Western art and literature for centuries, and today are reinvented in the modern superhero. What does Iron Man have to do with the Homeric hero Odysseus? How does the African warrior Memnon compare with Marvel's Black Panther? Do DC's Wonder Woman and Xena the Warrior Princess reflect the tradition of Amazon women such as Penthesileia? How does the modern superhero's journey echo that of the epic warrior? With fresh insight into ancient Greek texts and historical art, this book examines modern superhero archetypes and iconography in film as the crystallization of the hero's journey in the modern imagination.

The Art of the Dead showcases the vibrant, charismatic poster art that emerged from the streets of San Francisco in 1964 and 1966. It traces the cultural, political, and historical influences of posters as art back to Japanese wood blocks through Bell Epoque, on to the Beatniks, the Free Speech Movement, and the Acid Tests. Featuring interviews and profiles of the key artists, including Rick Griffin, Stanley Mouse Miller, Alton Kelley, Wes Wilson, and Victor Moscoso.
The book uses Grateful Dead as the vehicle to tell the story of poster art as The Dead were the band that ultimately proved to be the most substantive and engaged partner for the artists and hence featured the best art of any rock 'n' roll band ever. The book will follow a chronological evolution of the art from the band's origination in 1965 through Jerry Garcia's death in 1995.
The book is in four-color throughout, featuring iconic and rare images as well as extensive process material, including sketches, original art, blue lines, film, and printing plates that show how the art was created. It will also include essays by Greil Marcus, Peter Coyote, and Victoria Binder, as well as essays on the elements of the printing process from the original art to the final poster.
Ultimately, the Art of the Dead makes the case that poster art is truly an original form of American fine art.

The ultimate guide to visual storytelling! How to make the audience "feel" the story while they are "reading" the story. Using his experiences from working in the comic book industry, movie studios and teaching, Marcos introduces the reader to a step-by-step system that will create the most successful storyboards and graphics for the best visual communication.

After a brief discussion on narrative art, Marcos introduces us to drawing and composing a single image, to composing steady shots to drawing to compose for continuity between all the shots. These lessons are then applied to three diverse story lines - a train accident, a cowboy tale and bikers approaching a mysterious house.

In addition to setting up the shots, he also explains and illustrates visual character development, emotive stances and expressions along with development of the environmental setting to fully develop the visual narrative.

This is a book about the comics genre and language, how these were used to create Batman, and how that character's longevity is largely due to the medium's unique formal qualities. It argues that Batman's core appeal is his mythic nature which allows him to transcend changes in reader tastes, the vicissitudes of the comics industry, and the changing media landscape. While including some historical elements, it is mostly a study of how the formal aspects of comics are able to evoke uniquely mythic qualities that have made Batman such a long-lived cultural phenomenon and how efforts to adapt these qualities into other media, particularly live-action feature films, have succeeded or failed based on the strategies employed. The book sheds light both on comics as a medium and art form with its own language, syntax and codes and on the process of adaptation - a growing area of study, given Hollywood's continuing interest in working with the comics superheroes.

This detailed analysis of the adult manga phenomenon describes and analyzes the complex attitudes towards manga in Japan since the 1980s. Topics covered include: the revival of manga censorship and the moral panic surrounding manga otaku; the repression of the amateur manga subculture; and the promotion of certain genres of manga by educational and cultural institutions. The book aims to show how manga's status in Japanese society is intimately linked to changes in the balance of power between artists and editors.

First detailed analysis of the phenomenon in English. Describes and analyses the complex new attitudes to manga since the 1980s. Provocative and timely, the book shows how manga's status in Japanese society is intimately linked to changes in the balance of power between artists and editors.

Before photography was invented, we relied on illustrations, paintings and, even more so, real dead bodies to gaze upon decaying flesh. Many visual expressions of death were used to moralize or romanticise death. Vanitas paintings were made to remind us that life is only temporary and all mortal possessions remain in vain. The Japanese Kusozu tradition of watercolour paintings, that depict the nine stages of the decaying body, from the first moment of death unto the final stages, were made to remind us not to give into bodily desires. Romantic war paintings asked the viewer to fight for the cause. In DEATH BOOK, you will find various signs and symbols related to death, such as skulls, violence, accidents, spirits, cadavers, sexual acts and references to religion and Christ. The works included remind us of our living status, in ways that are sometimes funny, arousing or DEAD serious. A true representation of death, and its associated pain is impossible, but the works included attempt to communicate the agony, the anguish, the grave sadness and, sometimes, the humour associated with death. DEATH BOOK is art directed by PZtoday, who has designed the book as a Bible/Address book. With an introduction by Pernilla Ellens and Lauren Raaijmakers and featuring drawings, paintings and illustrations from Alicia Gibson, Christina Quarles, Dallas Seitz, Ellen Cantor, Franko B, Gray Wielebinski, Hermann Nitsch, Ion Birch, Keith Boadwee, Lin Ke, Mike Diana, Namio Harukawa, Oliver Eales, Patrick Wray, PZtoday, Qiu Xiaofei, Richard Hawkins, Sutapa Biswas, Toshio Saeki, Urs Luthi, Vittorio Scarpati, Will Henry, Julien Ceccaldi and many more.

Contributions by Kenneth Baker, Jaqueline Berndt, Albert Boime, John Carlin, Benoit Crucifix, David Deitcher, Michael Dooley, Damian Duffy, M. C. Gaines, Paul Gravett, Diana Green, Karen Green, Doug Harvey, Charles Hatfield, M. Thomas Inge, Leslie Jones, Denis Kitchen, Jonah Kinigstein, John A. Lent, Dwayne McDuffie, Andrei Molotiu, Alvaro de Moya, Kim A. Munson, Cullen Murphy, Gary Panter, Trina Robbins, Antoine Sausverd, Rob Salkowitz, Art Spiegelman, Scott Timberg, Carol Tyler, Brian Walker, Alexi Worth, Joe Wos, and Craig Yoe Through essays and interviews, Kim A. Munson's anthology tells the story of the over-thirty-year history of the artists, art critics, collectors, curators, journalists, and academics who championed the serious study of comics, the trends and controversies that produced institutional interest in comics, and the wax and wane and then return of comic art in museums. Audiences have enjoyed displays of comic art in museums as early as 1930. In the mid-1960s, after a period when most representational and commercial art was shunned, comic art began a gradual return to art museums as curators responded to the appropriation of comics characters and iconography by such famous pop artists as Andy Warhol and Roy Lichtenstein. From the first-known exhibit to show comics in art historical context in 1942 to the evolution of manga exhibitions in Japan, this volume regards exhibitions both in the United States and internationally. With over eighty images and thoughtful essays by Denis Kitchen, Brian Walker, Andrei Molotiu, Paul Gravett, Art Spiegelman, Trina Robbins, and Charles Hatfield, among others, this anthology shows how exhibitions expanded the public dialogue about comic art and our expectation of "good art"-displaying how dedicated artists, collectors, fans, and curators advanced comics from a frequently censored low-art medium to a respected art form celebrated worldwide.

Sold in packs of 6. Gorgeous, foiled, handmade greeting cards, blank inside and shrink-wrapped with a gold envelope. Themed with our art calendars, foiled notebooks and illustrated art books. Our greeting cards are printed on FSC paper and wrapped in biodegradeable cellobag, and are themed with our art calendars, foiled notebooks and illustrated art books. This example features the Bodleian Libraries' 'Hobbies and Pastimes Bookshelves' design.

This historical and critical survey looks at horror comics from the Golden Age of the 40s, through the Silver Age of the 60s, up until the early 80s - the end of the Bronze Age. Included are the earliest series, like American Comics Group's Adventures into the Unknown and Prize Comics' Frankenstein, and the controversial graphic and gory comics of the 40s, such as EC's infamous and influential Tales from the Crypt. The resurgence of monster-horror titles during the 60s is explored, along with the return of horror anthologies like Dell Comics' Ghost Stories and Charlton's Ghostly Tales from the Haunted House. The explosion of Horror titles following the relaxation of the comics code in the 70s is fully documented with chapters on Marvel's prodigious output - The Tomb of Dracula, Werewolf by Night and others - DC's anthologies - Witching Hour, Ghosts - and titles such as Swamp Thing, as well as the notable contributions of firms like Gold Key and Atlas. This book examines how horror comics exploited everyday terrors, and often reflected societal attitudes toward women and people who are different.

Graphic novels (kurimchaek) are a major art form in North Korea, produced by agents of the regime to set out its vision in a range of important areas. This book provides an analysis of North Korean graphic novels, discussing the ideals they promote and the tensions within those ideals, and examining the reception of graphic novels in North Korea and by North Korean refugees in South Korea. Particular themes considered include the ideal family and how the regime promotes this; patriotism, and its conflict with class identities; and the portrayal of the Korean War - "The Fatherland Liberation War", as it is known in North Korea - and the subsequent, continuing stand-off. Overall, the book demonstrates the importance of graphic novels in North Korea as a tool for bringing up children and for promoting North Korean ideals. In addition, however, the book also shows that although the regime sees the imaginative power of graphic novels as a necessity for effective communication, graphic novels are also viewed with caution in that they exist in everyday social life in ways that the regime may be aware of, and seeks to control, but cannot dominate completely.

Even the most creative mind needs stimulation. Inspiration can come from examples of exceptional work, exercises designed to motivate, or time to reflect. The more inventive pieces the mind takes in, the more resources it has to draw from. That's why, for instance, many creative talents in advertising keep their own clip files. Street-Smart Advertising: How to Win the Battle of the Buzz contains a plethora of examples designed to jump-start the right side of the brain. It is packed with memorable uses of new media, exciting on-strategy marketing, creative online work, insightful quotes by giants in the advertising industry, and exercises to strengthen creative thinking. Students and practitioners alike can reference this book for fresh campaign concepts, unusual visual treatments, innovative media ideas, powerful writing techniques, brainstorming methods, and more. Street-Smart Advertising is an inviting, hands-on supplement for courses in integrated marketing campaigns, print concepts, creative strategies, and copywriting.