This book explores Alan Moore's career as a cartoonist, as shaped by his transdisciplinary practice as a poet, illustrator, musician and playwright as well as his involvement in the Northampton Arts Lab and the hippie counterculture in which it took place. It traces Moore's trajectory out from the underground comix scene of the 1970s and into a commercial music press rocked by the arrival of punk. In doing so it uncovers how performance has shaped Moore's approach to comics and their political potential. Drawing on the work of Bertolt Brecht, who similarly fused political dissent with experimental popular art, this book considers what looking strangely at Alan Moore as cartoonist tells us about comics, their visual and material form, and the performance and politics of their reading and making.

This book looks at comics through the lens of Art History, examining the past influence of art-historical methodologies on comics scholarship to scope how they can be applied to Comics Studies in the present and future. It unearths how early comics scholars deployed art-historical approaches, including stylistic analysis, iconography, Cultural History and the social history of art, and proposes how such methodologies, updated in light of disciplinary developments within Art History, could be usefully adopted in the study of comics today. Through a series of indicative case studies of British and American comics like Eagle, The Mighty Thor, 2000AD, Escape and Heartbreak Hotel, it argues that art-historical methods better address overlooked aspects of visual and material form. Bringing Art History back into the interdisciplinary nexus of comics scholarship raises some fundamental questions about the categories, frameworks and values underlying contemporary Comics Studies.

This book explores what the methodologies of Art History might offer Comics Studies, in terms of addressing overlooked aspects of aesthetics, form, materiality, perception and visual style. As well as considering what Art History proposes of comic scholarship, including the questioning of some of its deep-rooted categories and procedures, it also appraises what comics and Comics Studies afford and ask of Art History. This book draws together the work of international scholars applying art-historical methodologies to the study of a range of comic strips, books, cartoons, graphic novels and manga, who, as well as being researchers, are also educators, artists, designers, curators, producers, librarians, editors, and writers, with some undertaking practice-based research. Many are trained art historians, but others come from, have migrated into, or straddle other disciplines, such as Comparative Literature, American Literature, Cultural Studies, Visual Studies, and a range of subjects within Art & Design practice.

This book is about taking an image- a drawing, painting, digital photograph, computer design or photocopy- and, using simple methods, turning it into a piece of textile art. The author takes you through a variety of techniques for creating the image, such as scanning mixed-media artwork and digital photographs, or using imaging software to create exciting patterns and effects. No technical knowledge is required to use this book, as it offers easy-to-follow instructions, and the materials, technology and equipment are all readily available. But at the centre of the book lies the use of stitch. Having produced the image and transferred it to fabric, the next step is to enhance it with hand or machine embroidery. Innovative methods, both in the image transfer and the stitch, are simplified and broken down into the easy stages. Throughout the book, inspirational ideas are offered to get your creativity going. From books to bangles, panels, bags and vessels, the book offers all textile artists ideas to expand their creative work.

This book explores what the methodologies of Art History might offer Comics Studies, in terms of addressing overlooked aspects of aesthetics, form, materiality, perception and visual style. As well as considering what Art History proposes of comic scholarship, including the questioning of some of its deep-rooted categories and procedures, it also appraises what comics and Comics Studies afford and ask of Art History. This book draws together the work of international scholars applying art-historical methodologies to the study of a range of comic strips, books, cartoons, graphic novels and manga, who, as well as being researchers, are also educators, artists, designers, curators, producers, librarians, editors, and writers, with some undertaking practice-based research. Many are trained art historians, but others come from, have migrated into, or straddle other disciplines, such as Comparative Literature, American Literature, Cultural Studies, Visual Studies, and a range of subjects within Art & Design practice.

The words kept running through her head: There's gotta be something more. With Zach Baker, there just might be. Divorce. Dead-end career. Disaster. Then fate steps in and changes Jesse's life in an instant. With her dreams now close enough to touch, she moves to the mountain splendor of Montana with her young daughter. Far from city life, her plans to start her own riding school start to take shape-with the help of a certain cowboy down the road. A girl with money and a passing interest in horses sure isn't enough to turn Zach Baker's head. With the ice wall around his heart firmly in place, he isn't about to let Jesse chip away at it. It'll take more than just the heat of attraction to melt that ice, and attraction is all he feels for Jesse, isn't it? But then, he has been wrong before. Reviews and Other Information: "The author did a wonderful job of creating a believable and real couple complete with flaws and emotions. I became emotionally invested in the story, and couldn't help but root for Jesse and Zach throughout the ups and downs of their relationship. THERE'S GOTTA BE SOMETHING MORE is a highly satisfying story...!"-Long & Short Reviews