3 comments about Drawing Words and Writing Pictures: Making Comics: Manga, Graphic Novels, and Beyond.

1. I brought an advance copy of this book into a college illustration class I teach. The class was quite impressed. In fact, two students went onto Amazon online and bought it instantly. Usually I discourage shopping during class, but Drawing Words and Writing Pictures is an answered prayer for the aspiring comics artist.
   
   This is an ideal text for a 15-week class in comics. It also has guidance for starting an informal collective class. It includes suggestions for the stereotypical solitary artist, who the authors are gracious enough to refer to as ronin. There is a wealth of info on the narrative process, page design, lettering, pens, and even Photoshop scanning advice.
   
   The authors' individual web pages present a lot this DIY info, so search out their sites, see if their philosophies appeal to you. The book contains multiple perspectives from two remarkable artists. Matt Madden is into "formalist" styles, working within Houdini-like constraints. Jessica Abel's La Perdida is one of the great masterpieces of the long-form graphic novel.
   
   From George Herriman to Robert Crumb, Charles Burns, to Kaz and John Porcillino, the book is crammed with a diversity of styles. Wide-ranging and inclusive, no matter what one's preferred comics style, from manga to superhero to alternative, you will find something to like here.
   
   Instructors will find the bibliography alone is worth the price of admission, I teach a seven-week college comics course each fall. My plan is to email the students over the summer, tell them to get this book and get started on the exercises. The ronins will get a head start and their classmates will lose face.
   
   Scott McCloud's Making Comics is also a valuable college course text for serious students, who have some background in reading comics and thinking critically about the artform. Drawing Words and Writing Pictures, however, has practical exercises for students at any level. Highly recommended.



2. I am a BIG fan of both Abel and Madden's work. I go to BOTH of their websites several times a month and "La Perdida" and "99 Ways To Tell A Story" are part of my collection of graphic novels.
   
   This book is great for high school & college art teachers who want to teach sequential art to their classes. I believe the content is particularly suited for art majors that are interested in the finer points of visual narrative. And you can tailor your curriculum around the chapters if you so choose. If you want to use these for middle school kids I think simpler steps need to be added. I like the fact that people can form groups: "Nomads" OR go do it alone: "Ronins" and follow the lessons independently.
   
   This book is NOT bad.
   
   All the chapters and lessons are made to be studied in sequence and if you are an old timer to comic art you can easily skip to other chapters; which I did alot. A seasoned pro will probably go to the chapters that interest him/ her the most. One chapter that I REALLY like was called "Black Gold" the chapter on using and inking with a brush.
   
   The other chapters on page layout, panel construction, character design,
   facial features/ figure anatomy were VERY good.
   
   My ONLY complaint was the layout of the book. My [web]comic artist collegues & I felt there was TOO much white space waisted on each page, the typeface was too small and that neon orange color used throughout the book distracting. It was hard to read and strained the eyes.
   
   Plus being a webcomic artist myself I wanted to see MORE about using the computer for making comics. It covered scanning, re-sizing, adjusting your line art in PhotoShop, etc. The chapter on lettering was good; but they tended to downplay the use of COMPUTER LETTERING. They make a STRONG point in favor of HAND LETTERED comics; but it would have been nice if they address lettering on the computer as well.
   
   My Suggestions:
   A. Read the book cover to cover.
   B. Do the Exercises. I am in a NOMAD group; plus I'm doing the RONIN thing as well.
   C. Do the Homework.
   D. Go back to your favorite chapters again and again.
   E. Cross reference this with OTHER books on how to make comics.
   
   This book is a welcome addition to any comic artist's arsenal of graphic narrative/ sequential art references. Use it along with books by Will Eisner & Scott McCloud and you'll be fully versed in the Language of Comic Art.



3. I bought this book for a class titled "Human Satire and Caricature". All of the projects for our class came out of this book, or were somewhat derived from the lessons, and I must say, it's one of the best classes ever.
   
   The text is a large contributor, but not the only one. My professor's an amazing guy as well.
   
   Definitely a great buy if you're into anything dealing with comics, technical drawing, layout, storytelling, or any combination of those. It's structured really well, and a person with nearly no artistic talent can easily be turned into a decent comic artist by reading this book front to back and following the lessons in it.

5 comments about Vanishing Point: Perspective for Comics from the Ground Up.

1. I thought I had a fairly good handle on perspective drawing, but this book goes into significantly more depth. (Pun intended.) It provides exciting options for approaching a piece of art beyond the ordinary, and many little tips and tricks on solving perspective problems. Even though it is themed towards comic and fantasy art, I would recommend it to any artist who wants to have a greater understanding of perspective, and more tricks up their sleeve for producing believable and emotionally impactful scenes.



2. Jason Cheeseman-Meyer has done something special with "Vanishing Point" - he makes a pretty darn difficult subject look fun and easy. An initial flip through the book with its colorful multi-genre example illustrations is all it takes to know this one's different.
   
   The author offers fresh looks at basic one, two and three-point perspectives and heads into new territoy with solid explanations for FOUR and FIVE-points. That's right - FINALLY, a book that covers the fun fisheye lens look used by many contemporary comic book artists - CURVILINEAR PERSPECTIVE!
   
   It's not enough to know how to build environments, however - one has to populate them. That's all addressed with a section on drawing figures from different angles in addition to placing them properly in a scene.
   
   His "Tricks and Troubleshooting" chapter alone is worth the price of admission as Cheeseman-Meyer breaks down several common mistakes, tells you WHY they're mistakes and offers advice on how to correct them. Yes, there are even cheats and shortcuts among many other useful gems.
   
   This book truly stands out as one of, if not THE best books on the subject.



3. i tried several times to learn the secrets of right perspective but never have i truely mange to understand it. everytime it felt i should know stuff i didn't and that it's common knowledge - since it was not cleared and the book i worked with.
   with this book i felt i actually treated like what i am - a novice!
   its pace and teaching are clear and simple and all you need is to read and follow.
   
   highly recommanded



4. Firstly, I want to make it clear that I have never wanted to become a graphic artist because I lack the creativity to become one. So, if you need an expert advice, please read someone else's review. However, I have always wanted to understand how this art form works and the book brilliantly served this purpose.
   
   Getting the perspective right must be the first step before you start drawing people, buildings or anything at all. You have to place objects and persons at the right place and in the appropriate size. The ancient Egyptians managed to become famous without acquiring this crucial skill, but nowadays few people would accept a deficiency in this area in the works of their contemporaries.
   
   Perhaps most of us learnt at school that to give a sense of depth and space in the flat-world of drawing, you need to set up one or two vantage points. This book actually makes it clear that you can have any number of them between one and five and also shows what special effect can be achieved by the application of each of these options.
   
   After studying this book for a while, I started to look at pictures and drawings in a different light: I began to search for vantage points, which is, I suppose, an important step towards a better appreciation of visual art.



5. Vanishing Point: Perspective for Comics from the Ground Up
   
   great book for Design & Perspective Drawings ... highly recommended

5 comments about Drawing Scenery: Landscapes and Seascapes.

1. Hamm's How To books are really good. They dissect the shapes of things and show clear ways to draw them.



2. Hamm's Drawing Scenery book was published in 1972, yet it is still full of useful advice to the artist today. As an author, he makes no assumptions about the reader's drawing skills, and gets right down to basics. This book is broad enough to be written for the general artist, whether you are an illustrator, commercial artist, or fine artists. While it has a slight comic book artist feel about it, the tips and advice are not limited to just comic book art. I've only taken one star off for its unusual layout - but then it was written BC (before computers).



3. Yes Congratulations if you buy this book! It is by far the best book on landscape drawing EVER! Ten books by other authors does not cover the volume or quality of information here! I got a copy when I was twelve as a gift. I already drew quite a lot could copy drawings, photos ,do self portraits and such but this volume turned the lights on drawing the landscape (still my subject specialty!) In over twenty years since, I have never found any book on drawing ANYTHING that is more useful than this one folks! If you paint you should get this too! I have never seen a competent painter that could not draw also! So if you do or do not already paint work through this gem of a book ! Give it the time and effort it deserves , do what he says, then find your own subjects to draw as well (preferably from life in the field) and APPLY what you learn in here .It will pay big dividends for you and your artwork!I do not understand complaints about format or lack of color in the previous reviews.You can complain about this masterpiece of B&W drawing instruction??? Jack Hamm is one of the most talented artist-teachers ever!I wish to send him a great thank you ! for this book and his others too. He left us a great gift.It is smart to take advantage of it. What else can I say but if you find a better book on landscape drawing I'd sure like to know about it ! It dosen't yet exist to my knowledge! So get it and have fun !



4. What can I say - I would love to have the talent of Jack Hamm. I really enjoy this type of art toward character. I'm sure there are many others who I would admire too, but for now I at least know about Jack Hamm... So I went ahead and collected as many books about his style as I could.



5. I'v been using this book for about 30 years. I needed to get a new one to use in my art classes. This is an excellent book for painting and drawing with all different media.

5 comments about The Doubtful Guest.

1. You will not be doubting this book as a guest on your shelf. The Doubtful Guest is a Gorey masterpiece in all its pawky nature. If you find that you are fond of it, you might drop it in the pond, as the doubtful guest does to things it's fond of: "It would carry off objects of which it grew fond, And protect them by dropping them into the pond." You'll surely be all wet if you do, because you'll want to fetch it out for a read quite often.



2. This is my single favorite Edward Gorey book, partially because of the amusing couplets it is written in, but mostly because of the appearance of the guest himself, which never ceases to amuse me. The concept of a strange creature who mysteriously visits and decides to stay (seventeen years) while exercising odd whims (like fits in which he removes all towels from the bath or hiding inside a soup tureen) is particularly suited to Gorey's odd brand of humor (although it is not one of his more unusual books, by any stretch of the imagination.)
   
   I have liked Edward Gorey since I was in my teens, and still find him as unique and entertaining as ever. This is my very favorite Gorey book, and would make an excellent introduction to one of the oddest cartoonists of the twentieth century.



3. Edward Gorey's humor is delightfully absurd. Although this particular tale is unlike any other Gorey story, the humor and pen & ink illustrations are beautifully done and unmistakably Gorey.



4. A macabre classic. Perfect for any collection. Adds a little whimsy to any day you open the cover.



5. I picked up a copy of the Doubtful Guest because I heard Steven Speilberg optioned the rights to turn this into a movie. Not sure how he's going to do it, because there really isn't a story to tell. It's about a weird-looking penguin that shows up at a house and doesn't leave. Big whoop. I love the art. I like the whole idea of the story. And I'm sure at the time, it was what children's book critics would consider 'avant-garde' and a bit dark. But, it just didn't do it for me. I read it to my daughter. She was so angry that she grabbed the book out of my hands, took it over to the fireplace and threw into the fire. Then she went PFFFTHTTPT! Whatever that means! Maybe she was tipsy on the expired-date cow's milk she was drinking. Maybe it was because she was teething. Maybe it was because she's only a year old, but she didn't like it at all. Would I tell someone else to buy this book? Not really. Although, on a personal note, I may check out more of Gorey's work. This guy may have been on to something.

5 comments about Dynamic Figure Drawing (Practical Art Books).

1. Dynamic Figure Drawing by Burne Hogarth is an explosion of human motion. The text, like the drawings, is crisp and forthright. There are no unnecessary lines in Hogarth's sketches or his dialogue on how to create them. This is the book to give anyone, of any age, with, or without talent. The beauty of the illustrations almost eclipses their value as examples. The figures curl, cringe and almost seem to launch from their empty backgrounds. There are no distractions of composition, just the human body in motion, caught on paper. The static, frozen, two dimensional renderings of anatomy previously available to artists don't give a clue as to how the bones, muscles and tendons will flex with movement. Hogarth's work clearly and beautifully shows how to capture the human body in motion. If you love art, of any form, you will find endless enjoyment in this book. If you are an artist you will find it an invaluable anatomical reference. This is the book to give anyone interested in art, but in the hands of the very young, that person just forming their talent, it would be invaluable.



2. I have been learning anatomy for my drawing for a long time. I own quite a few anatomy books but I have been having trouble converting my knowledge of anatomy into drawing people. After buying this book it all changed.
   
   You will not learn everything from this book, which I think is fair enough. I do not understand the attitude of people who think a book should include every detail of subject. It shouldn't. A book should set out to achieve a purpose and supply everything needed to achieve this purpose. Which is what this book does.
   
   This book will teach you how to draw your figures in different, dynamic poses. It goes into foreshortening and overlapping of body parts and it breaks down each body part into shapes and outlines how the body parts flow into one another. There a wealth of examples that you can copy and experiment with.
   There are two main problems with this book.
   
   Firstly, there is not a lot of structure to it. It really could have used an editor or somebody to go through it and organize it a bit.
   
   Secondly, the text is very academic and can be hard to understand. If you look at the accompanying pictures though you should be able to work it out.
   
   You will still need to learn anatomy. Anatomy is a fundamental that all aspiring artist needs to learn and this book isn't a shortcut, but I found that this book was able to bridge a huge gap for me in my drawing. It is something I think I will use for the rest of my life. I only wish I had found it earlier.



3. This is the best one for action figures and How To draw them of all his other books. Recommended highly ONLY if you are willing to actually take the TIME to do the exercises in drawing he outlines in detail. You can copy his stuff and never learn HOW he thinks to see things in motion as he does. His 'effortless' drawings took dicipline to learn and I am still going thru it AGAIN now. I ordered these books in the 80's and admired them, but NEVER did the exercises. I just never made the TIME. Now I re-ordered the paperbacks (the hardbacks are in storage!) and actually am going step by tedious step and it is changing the way I SEE and draw. Worth it if you will actually DO what he says!!! Recommended highly! As a physician who is rehabbing a Iraq brain injury and probably headed back into Art-my 1st career- I cannot recommend this enough if you are SERIOUS about putting in the time/work to learn his techniques.



4. This book and the series by Hogarth in general, are a class apart in teaching the figure.
   
   In no other book I have seen the body masses so clearly and simply presented that with just one look you 'understand' the form and add it to your repertoire. Just like that.
   
   One striking difference we notice is the three dimensional presentation of the drawings using probably charcoal or a very soft pencil, how else will we understand that form if its not rendered in three dimensions?! Yet so many books exist, even the ones from great such as Loomis, where you would see a more finished figure, where the contours take over, making the student wonder 'why is a line in front of the other?' etc. Hogarth aims as dispensing such doubts and to get rid of the guesswork from the minds of the artist.
   
   He talks about 'inventing' the figure, and about a notation of representig the figure in deep space, meaning three dimesnions.
   As the masters such as Vilppu would say, drawing is all about learning how to represent the form in two dimensional paper, and about knowing the form one wants to draw. We do get both in this book by Hogarth. more actually on the forms of the figure. more than half the book presents the figure, the varous parts, the torso, the limbs and the head in great detail using simple three dimensional forms. and the remainder of the book deals with how one would approach or rather go about drawing the figure.
   
   An interesting approach here is to begin with the torso, and not with the head. torso, legs, arms and then comes the head, and surprise surprise, this is such an effective way of setting up the figure in the desired gesture. Vilppu would talk about a Ball and a box in a sock to study the torso. Bridgman would also talk in detail about these two forms, Hogarth lays down explicitly the order, and importance. This approach must be tried before understanding its effectiveness.
   
   This is overall a great book for the figurative art student. I found it most effective, because every single picture in this book teaches me something that I can apply directly. The rendering of the forms make it so easy to understand them and cast to memory not only the form but its relations to the other forms in context as well as what happens when they twist and turn and go about doing whatever a figure would do.
   
   This book stays right at the top along with Kimon Nicholaides and Glenn Vilppu and Bridgman.



5. These books are so helpful in studying the human body in an exagerated way. Helps identify muscle groups and form.

5 comments about Ronin.

1. I still have my well-worn copy of Ronin from the early '80s. It stands today for me, as it did back then, as peerless among comic art. Though it is probably one of the least valuable comics in my whole collection in monetary terms, is the most priceless in terms of overall feel.
   
   Even though I think Sin City and 300 have ported to the screen very successfully, I worry that Ronin won't measure up to those standards. It will take a truly masterful producer and director to pull it off. I sincerely hope that Miller keeps as much creative control as he has on the previous movies. Ronin deserves that.



2. This book is by no means bad, its just not very good. Were this book an unknown writers first tale, or a 2.99 pickup at the comic shop, I would be completely satisfied with what I received. As it is, this book is often given credit that it simply doesn't deserve. The future Miller envisions is boringly realized. We see almost nothing outside of a small compound, and what we do see are humans reduced to monsters with no character at all. The title character is boring. He's a samurai who lost his master. Thats it. Thats your whole characterization. The twist at the end is unnessesary and somewhat silly. In short, its a decent book, but its not a classic. Way overrated, but still a good read.



3. The best graphic novels pull you into a world that may be bizarre, fanciful or exotic, but completely captivating. Ronin makes that grade easily. Beginning as a medieval samurai tale of blood and honor, the tale fast forwards to the near future, where a female supercomputer and a limbless man with unusual mental powers sit at the nexus of a world of biocircuitry in which machines self-assemble without human intervention. There are evil geniuses, demons, and nasty rbots. There are terrific fight scenes, some of which take place in the minds of the the characters. You won't always know what's going on, and a rereading wll be rewarding. But "Ronin"is a rewarding and highly crafted piece divesion that is well worth the time it taks to read and figure out.



4. I liked this graphic novel much better than Frank Miller's Batman. The story is compelling and interesting mix of different elements. A cyborg samurai set in futuristic world with robots and bio-computers.



5. I think the only real reason that I was underwhelmed by Ronin was the fact that it was Frank Miller. It's an interesting story with engaging artwork, but it didn't grip me like Dark Knight or Sin City. All in all though, it's quite good.

5 comments about The Artist's Complete Guide to Figure Drawing: A Contemporary Perspective on the Classical Tradition.

1. This is an excellent book. It takes a fresh look at teaching both beginners and experienced artists on his approach. It's very well written and easy to understand. This is one of the best art instruction books, if not the best, that I've ever worked with.



2. I actually started out using the Bargue Drawing Course (invented in the 19th century) to learn classical drawing methods. This book is the PERFECT addendum for anyone that is trying to understand how to draw accurately from life. The Bargue Drawing Course is VERY light on technical tips (since it was intended for use in an atelier where a master could instruct the student on proper technique).
   
   Most drawing classes today emphasize gestural drawing and 'quick' drawing. These are very useful skills to have (no doubt!), but accuracy and good draftsmanship will never come from gestural and quick practice. Someone seeking to be well rounded in the technical aspects of drawing can do no better than with this book. Before exposure to this book my drawing was 'topped'.. this gave me the tools to take my drawing to the next level.



3. The study of classical drawing of Old Masters is not only necessary step, but enjoyable touch to timeless magic of art.



4. I recommend this book to anyone who wants to learn the correct way to draw the human figure in an accurate and realistic way. I went to art school in the early eighties and was never taught this approach to drawing and now that I have read this book my life drawing skills have improved immensely.



5. As some others have said this book is good for artists who have some mild experience. But no doubt techniques such as enveloping, blocking in, and learning how to scan your eyes to see form is something that is very important. This of course this isn't the whole picture to drawing technique, and as one review said following his technique could to some degree eventually make your drawings a bit like his; if perhaps you ever got such a precise eye. So don't take this book and try to become the next Tony Ryder. I recommend borrowing it. If you know how to block in figures and break down form, shade and so on, this book won't be of much use to you except to see Ryder's drawings (which tend to get boring since they're more about preciseness and not the work). But Ryder is a good guy and doing his part for classical realism. So if you got the money support him and support the movement!

5 comments about Drawing for Dummies.

1. This is a nice basic drawing book. This book teaches you how to do tonal drawings by crosshatching. She doesn't smudge her drawings to save time and you can tell by the finished piece. This would be good practice for someone interested in printmaking.



2. I like this book on some levels. On other levels...erm...there are problems. I agree that there are a lot of cartoony drawings, as well as some more realistic ones where she seemed to go through a looong period of giving people strange looking round clown type noses. The effect is off putting...not charming as I think was hoped.
   She also uses what I think is a lot of inappropriate hatching..making her subjects sometimes seem kind of...hairy looking.
   But these are all style issues...I really can't find fault with her technical ability. In fact, many drawings are beautiful.
   As for blending, she feels it is more difficult to do well , and that's why she doesn't really approach it here. On her website she states more or less that to blend or not should be up to the individual artist and gives a reasonable tutorial on blending correctly.
   Her examples are often not illustrated enough...and written instructions seem hurried, without details on how to do what she is talking about.
   Also the pics in the examples are far too small...
   But this is a good book as far as being approachable goes.
   It gives good solid info, and does cover many subjects.
   One book is rarely definitive in any endeavor one tries to learn...and often you can't cover everything in one book.
   Publishers sometimes have to think about the larger market and what it will pay for.As far as we know she may have a limit on how many words and images she can use!
   These books are designed to be inexpensive and general.
   Given that fact, I think this particular "Dummie" book, does pretty well.



3. Well, I really wanted to learn how to draw well, so I picked this up. The first few chapters really help, but then it became was to hard for a beginning artist. Some of the stuff she wants you to draw is insane, and I just gave up on this book. If you want a good drawing book for beginners, don't look at this one.



4. Drawing for Dummies was a gift for my nephew, who likes to draw comic chacters.As you might expect, they are all out of proportion and child-like.He is a teenager now and is looking for some guidance to improve his drawing. When I first received this book, I thumbed through it and read the chapter headings. I'm sure he will profit from this book. I can't wait to see what he comes up with next.
   A.R.
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   



5. Drawing for Dummies is a great drawing guide. I am somewhere between beginner and intermediate but no where near advanced in my drawing skills. I found this book to be of great help in learning new things and sharpening skills that I already have.
   It offers many exercises to improve and enhance your drawing style.
   It is a simple read; the author doesn't make it all technical and boring.
   I think this is a book that every aspiring artist should have on their shelves.

5 comments about Meggs' History of Graphic Design.

1. This book was in amazing condition. It arrived 2 days prior to the expected delivery date. I am absolutely satisfied with the seller and product. THANK YOU!



2. interesting stuff to read.
   as the author suggests, it's difficult to be a history w/o being encyclopedic.
   but there's lots of information in this edition.
   if you have to get it, for class or whatever, it's worth the money.
   ..maybe



3. I did't receive this book! I payed and she didn't send to me!!! Don't buy anything from her!



4. Great book! Teaches you so much about Graphic Design! It's so packed with information.



5. This book is the most interesting and easy to read art history book I have yet to encounter as a student. Very good quality and wonderful pictures.

5 comments about DragonArt Fantasy Characters: How to Draw Fantastic Beings and Incredible Creatures.

1. I bought the first neondragon book just because I liked the artwork on her website, and while I loved all the monsters, I have always struggled with drawing people. I'm so glad that she came out with this book, it has helped a lot, and even despite that, the graphics are awesome just to look at! I HIGHLY recommend this and everything else she has come out with. Keep up the good work Jess!



2. This book is divided into five sections: a preface and four parts. The preface contains a tutorial about how to draw people. It briefly covers all the basics: shapes and shading, penciling and inking, coloring, human body, face, facial expressions, hair, hands and feet.
   
   There are step-by-step tutorials on how to draw fantasy beings in part 1, 2, and 3. Part 1 contains classic fantasy creatures: a fairy, a sprite, an elf, a goblin, a dwarf, and an orc. Part 2 contains mythological creatures: a mermaid, a centaur, a faun, an angel, and a kitsune. And part 3 contains night creatures: a banshee, vampire, a werewolf, and a demon.
   
   Part 4 is about fashion. It shows a limited collection of clothes, accessories and weapons for male and female characters of various professions: warrior, ranger, rogue, mage, cleric, samurai, noble, and peasant.
   
   The step-by-step tutorials are very useful, but this book works the best for me as a source of inspiration. J. Peffer's artistic style is refreshing and extremely contagious.
   
   The bad thing about this book is that it's only 128 pages long. Overall, I think this is great book.



3. Jessica Peffer has come out with the most useful art books that i know of that relate to fantasy. I am a VErY big fan of her work and i recommend this book to every and anybody who is interested in drawing fantasy stuff. GO JESS!!!!



4. We bought this book for our 14 year old and found it had nudity/partial nudity in many of the drawings. The work is beautifully done.



5. This is an excellent resource for artists of fantastical races. It has info for everything and fun little comments throughout the entire book. Wonderfully drawn, coloured, and simple to use, I highly recommend this book to other artists, as a guide on how to make their own wonderful creations.