Caricature Books

I stumbled upon this incredible book in the used section of a local comic book store. I'd already read two of her other collections of pictures and stories and was totally siked when I saw this one. It really blew my mind, man. I mean, its a totally awesome experience, like blowing coke out of your nose or farting in the middle of class when its real quiet and everybody just dies of pure laughter. Its sad too, and serious as death. Lynda Barry is my eternal soul sister and she doesn't even know it. I only share this book with my favorite people in the world. Its one of my secret treasures. Its a totally radical and awesome story, man, you gotta believe me, man, its like, its like the best book ever. I love Lynda Barry.

This is a work of genius. "Now, how can you say that about such a book?" Well, have a look at it first. Barry's observations may be couched in terms of her odd protagonists, Marlys and Maybonne, but they are no less telling, cutting, emotive or perceptive for that. Never have I come across an evocation of adolescence which comes close to her achievement here. She manages to touch on love, death, commitment, family, joy (and even, very lightly, incest), and have fresh things to say about each. The scenes involving school and the love-rivalry between the sisters is unique in cartooning, and perhaps in the wider realm of illustrated literature.

I picked up this book on a whim & I'm glad I did--it only took reading one or two of the (cartoon) frames for me to buy it. It's a down-to-earth but funny trip! It is just funny! Reminds me of when I was 14 & all the crazy things I went through-guys, siblings, teachers, parents. The two main characters are so quirky, but you gotta love them! It's like you're let into their minds & you know every little thing they're thinking. Seriously, this book is funny & insightful, & good to read on a late night at home when you're alone & the rest of the world is asleep. I can't wait to read Lynda Barry's other books.

Not only has Frank Miller influenced my writing (available right here on Amazon), but he changed the entire face of the comic book industry. "The Comics Journal," a magazine that produces some of the best interviews with comic book creators you'll ever read, delves into Miller's mind with some probbing, in-depth interviews that don't shy away from call the creator on his own personal faults. It may sometimes be uncomfortable to read (especially for fans who think Miller is untouchable), but it is always interesting.

Presented in an oversize format, with great reprints from Miller's work, this book looks great sitting on a coffee table, and may even introduce the uninitiated into the wonderful world of comic books.

A must for any Frank Miller fan. See every interview ever published by the comics Journal. See him talk about his early work on Daredevil and Wolverine to reaching his mainstream peak with the dark knight to the Nexus of some of the most successful creator owned work in comic's history, Sin City and 300. miller is one of my heroes in the comic world and I love this insider look into his thoughts of comic, politics and the world we are plunged in now and how that translates to his work. Lots of no holds bared and uncensored dialog about his entire catalog of works in the past two decades.

I've owned this book for about four years now and go back and give it a read offen.

For fans of Frank Miller's work, this book is a must-purchase. Essentially a collection of interviews that he has done over the years with The Comics Journal, this book covers the man's entire career, from his early fanzine work right on up to DK2.

In typical TCJ fashion, the interviews are quite in-depth and span a wide range of topics. Miller has always been a big proponent of fighting against censorship and sounds off on the self-imposed censoring that the comic companies do on a regular basis.

Fans of his seminal works, Ronin, The Dark Knight Returns and Sin City, will be delighted to see him talk at length about each of these titles. He also goes into detail about his stint on Daredevil and his motivation for doing a Dark Knight sequel. He also touches upon everything in between -- including Martha Washington, Hard Boiled and 300. Also, Miller talks a bit about his feelings on 9/11 (he moved back to NYC when it happened) and how it informs his work.

In short, this is a fascinating book on a true artist and a genius in the comics field. In addition to the interviews there is a great collection of art from all of his major works and also rare, unpublished stuff as well. Highly recommended!

A good friend of mine gave this to me as a present. I found myself reading those fine, short essays again and again. I'm a European with little knowledge of the Civil War of the USA. This opened new perspectives to this American tragedy. Even my son of 15 years have found it very interesting.

I admit I bought this book because I really liked the clever caricatures of Civil War figures like Lee, Grant, Jackson, etc. But the mini-biographies of each person are really fascinating too, especially chapters dealing with some of the lesser known figures like spy Rose Greenhow and Robert Anderson, the Union guy who surrendered Fort Sumter. The author dug up some little "nuggets" about each person that you don't usually find in the history books, and it is this kind of offbeat data that makes history come alive. By the way, the bios are one half Rebel, one half Union--equal time, I guess. I think the author has a slight pro-Confederate bias, but I didn't mind that at all.

In my view the personalities that make history are often more interesting than the events that make them famous. "Drawn To The Civil War" demonstrates that this is true, even for an event as significant as the the war that tore our nation apart. This book is a series of short biographies covering the major warriors, politicians, spies, and others who achieved fame on both sides of the war, focusing on the characteristics that made each individual unique. The book is layed out in a fashion that guides the reader through all the major events leading up to and during the war, giving the reader a good perspective on the sequence events and how one led to the next, without being strictly chronological and without dwelling on dates and places. The caricatures by Mike Caplanis are wonderful. They are humorous, but when viewed in the context of the biographical information they clearly capture the essence of each unique personality as well. I picked up the book from a coffee table at a bed and breakfast last weekend, and couldn't put it down. I'm not a "Civil War Nut", but I found the book captivating nonetheless.

Grosz created a gallery of archetypes representing the corrupt underbelly of post-World War I Germany. His wit is biting, his imagery striking, his vision acute, as he examines the results of an insane, lost war and a draconian peace imposed by victors intent on punishing rather than reconstructing an enemy who might have been turned toward more democratic ways by understanding rather than retribution. We are caught up in the demoralization he portrays with the poignant knowledge that a far greater corruption of Germany and of Europe, generally,would be created by a later Nazi regime which brilliantly exploited the moral degeneracy we see in this masterpiece of social criticism.

Grosz shows us the complex nature of the human being. In a book full of prostitutes, nazis, animals and more you will discover the great "line" and "style" of a german master.

Grosz shows us the complex nature of the human being. In a book full of prostitutes, nazis, animals and more you will discover the great "line" and "style" of a german master.

Now here's a clever little book chock full of funny drawings that are guaranteed to make you laugh out loud or you are seriously lacking a sense of humor. You don't even have to have watched any television to enjoy the visuals.

This satire of American television is very funny. The cartoons in the book poke fun at some of the cliché's that are the staple of network television shows and commercials. My favorites are:

* Teachers and parents are all idiots who are easily fooled by kids.
* Each of us has at least one identical look-a-like, usually evil.
* There really IS life on other planets, oddly enough, all the aliens speak perfect English and look suspiciously human.

and the best:

It is possible to jump through a plate glass window and not get a single cut on you!

I enjoyed every one of these cartoons, they are all accurate depictions and make you think about the absurd premises that some television shows are based on.

Ever wonder why the heroine twists her ankle whenever she's running away from the bad guy? How come all the actors who play high school kids look like they're 30 years old? The authors skewer TVs cliches and assumptions in a very funny illustrated manner. Everyone who watched the Brady Bunch or Dukes of Hazzard must read this book

Garfield's Jolly Holiday three pack is a great book not only because of the great stories inside but the price and the number. I've never liked garfield except tv specials so this book is great I think.

These three books are great and having them all in one is even better

Garfield's Jolly Holiday 3-pack is a great book. It's just like the other Garfield Fat Cat 3-Packs, but it's in color. Also, they are based on television episodes of Garfield. My favorite was 'A Garfield Christmas.' I loved the price, and highly recommend it for holiday gifts.

If you're interested in learning the art of cartooning and maybe even making some money along the way, this book should be one of the first you pick up! It covers how to draw funny cartoon characters, how to develop your own style and characters, how to get funny ideas, how to sketch and ink your cartoons, where and how to sketch and ink your cartoons, where and how to sell your cartoons, and some extra stuff--everything you could need to know! In addition, this book is filled with gag cartoons and strips from some of the most prolific cartoonists in the business. Take my advice: If you're going to by books on cartooning, the Randy Glasbergen books are some of the best! Highly recommend.

I'd been looking for this kind of think forever and I finally found it for 5 bucks at the mall complex near the city where I vacation often. It has to be the best book I've ever owned.

This is an easy to read, compact (117 page) mini-course for anyone considering a career in cartooning. Illustrated throughout by Randy Glasbergen's unique cartoon style, this book first shows how to draw funny cartoon characters, then launches into the kinds of skills needed to compete in today's competitive environment: how to develop your own characters and style; how to create clever cartoon ideas; how to sketch and ink your drawings; and how and where to sell your finished cartoons.

Interspersed are 8 "Cartoonist Profiles". In each Randy introduces the reader to a successful working professional. Tom Cheney is but one example. Thousands of his cartoons have appeared in the New Yorker, National Lampoon, Cosmopolitan, Woman's World, the Wall Street Journal, and 400 other publications worldwide. Another example is "Revilo," whose real name is Oliver Christianson. Oliver spent many years creating cards for the Hallmark greeting card company. Each of these "profiled cartoonists" supplies the reader with his or her own sound advice.

Every so often Randy gives a "homework" assignment, a challenging lesson to help the reader to practice what he has been learning. Afterall, if you are going to "draw and sell" cartoons, you will need to actually apply your ideas, your pencil, and your pen to paper.

Who better to write a book on "Getting Started Drawing and Selling Cartoons" than someone like Randy, who is one of the most widely and frequently published cartoonists in America today, and has drawn "The Better Half" comic panel since 1982?

The back cover concludes with these words: "With this book, you'll learn the ins and outs you need to succeed in this fun-filled -- and lucrative -- market." Very well expressed!

But even if you never sell a cartoon anywhere in your life, this
book will give you a wonderful behind-the-scenes look at this excellent profession.

I have had some experience in this field. I have sold hundreds of cartoon ideas and cartoons over the years, and I recommend Randy Glasbergen's "Drawing and Selling Cartoons" very highly.

This book has received a Special Recognition for Paperback Cover Design from the 2001 Southern Books Competition. "Elements of playfulness and anger combine to produce a striking result. The concept of treating a serious topic with humor is effectively conveyed." Congratulations to the author, designer Dana Bartelt and NewSouth Books.

he really hits the mark with this collection. All the hidden sub-text and absurdity of the legal system, skewered, with a fiendish glint in his eye. A delight!

Gerson is an extraordinary artist with a sardonic wit who we discovered at the Lemieux Gallery in New Orleans (www.lemieuxgallery.com) while at Jazz Fest. He apparently used to practice law there before he wised up and applied his considerable talents to the canvas full time. We were delighted to see another Gerson show in New York last summer and met the artist/author. For anyone who loves the legal profession (or loves to hate it), gerson's wickedly charming illustrations and bon mots is perfect. I'm sending this to all my legal beagle friends for the holiday.

All hail Hirschfeld, and, more importantly, all hail this trio of tomes featuring works by the premier theater and entertainment illustrator of the 20th century. For decades, Big Al's works adorned the cover of Sunday's New York Times Arts and Leisure sections, sketches celebrating plays, musicals, movies and celebrities gracing Gotham that particular week. The bearded, rotund artist (sort of a secular Santa for show-biz folk) was ubiquitous at opening nights in and out of town. And, of course, each week, there were the "Ninas," his daughter's name, hidden, sometimes once, sometimes up to eight times, in each sketch. (The number next to his signature would clue us in on the number of times Nina's name was hidden.) Cross-country phone calls wailing, "Where's the last Nina?" ensued on many a Sunday afternoon.
Nina-searchers can now glut themselves on Hirschfeld's British Aisles, a collection culled from the New York Times; as a special treat, there are welcome commentaries from such big name Brits as Julie Andrews, Dame Edna, Sir Cameron Mackintosh and Lynn Redgrave.
A veddy nice job, but the real treats are Hirschfeld's Harlem and The Speakeasies of 1932. In Harlem, we can see the artist's style develop; before the detailed line drawings we have come to expect came almost impressionistic pencil shadings, at once more personal and mysterious, more abstract, and evocative and startling in their originality. Harlem has, as well as several historical essays, text by a band of authorities, including Bobby Short, Lena Horne, Ossie Davis and Ruby Dee and Savion Glover.
The Speakeasies of 1932 is a fascinating look at the dives and divine watering holes of that noble experiment, prohibition. Sketches of bars, bartenders and patrons, along with a written description of the joints, are included. Added to this fizzy mix are drink recipes from each bar; we should, perhaps, avoid the cocktail simply called "Smoke," from an establishment called O'Leary's on the Bowery. The principle ingredient? Two cans of Sterno.
Art should teach us something about the past, about ourselves, about our society. But it should also be fun. Al Hirschfeld accomplished all of this with pencil, pen and ink. If you aren't familiar with his work, meet this terrific triumvirate. And if you are familiar with dear Al (and Nina), then enjoy a reunion with old and treasured friends.

This is a very impressive and moving collection of artwork that captures a robust culture from a unique perspective. While best known for his apparently goofy caricatures (a common opinion that is a caricature in itself), Al Hirschfeld is actually a keen and insightful observer of culture. Hirschfeld came of age in New York City almost next door to Harlem, and was heavily influenced by the culture of the Harlem Renaissance, and this spirit informed his interpretation of African American culture for the next 75 years.

Before embarking on his well-known celebrity caricatures, Hirschfeld captured the spirit of Harlem culture and nightlife in narrative paintings of regular people, which are collected impressively in this book's opening gallery. Here Hirschfeld's misleadingly simple style captures a full range of motion and emotion - capturing dancing, music making, and street culture with incredible power. The same goes for the uncharacteristically haunting "Ebony Sister" which speaks volumes on black experience. Next is a fantastic collection of caricatures of African American celebrities, covering a good 75 years of showbiz greatness, in which Hirschfeld uses simplicity and humor to bring out each performer's most eye-catching strengths.

As usual, it is great fun to search for the Nina's that Hirschfeld always slipped into his portraits - the best is one of Whoopi Goldberg, whose dreadlocks are made up almost entirely of Nina's. This book is well-supported by an outstanding essay on the Harlem Renaissance by Gail Lumet Buckley, as well as commentary by many black entertainers who have been moved by Hirschfeld's documentation of their culture, and who sure don't treat him like any sort of outsider. This is truly a winning collection not just of great artwork, but of its place in culture and history. [~doomsdayer520~]

This book is a must for any Hirschfeld fan. A great addition to my Hirschfeld collection of books.

My father, brought a copy of this book home in 1974 ... and gave it to me. I was 10 years old. The edition was copyright 1969. Perhaps he gave it to me because of the cartooning (I was into that) or, perhaps he realized it was an essential lesson I would understand.

The most important lessons it taught me were ... (and I hope Mr. Floyd will feel I got it right) 1. you don't bring someone into the group only to isolate them with unique references, prodcedures, patronization, or identification. 2. (And I think Shelby Steele might agree) You do not place someone in a position based on their race ... you place someone based on their skills and commitment to excellence. The minute you place someone on the job for any reason OTHER than an objective assessment of skill, you sentence them to perpetual separation, disdain, disrespect (on a human level) and elimination by their coworkers. 3. We often hold and apply culture stereotypes which, in fact, cannot be applied universally. Each person is unique ... there can be no assumptions as to upbringing, education, political or religious beliefs ... nor should there be exclusion of those unique cultural characteristics of an individual (unless they are inconducive to the workplace).

This book delivers these lessons (and others) with humor, gentle sarcasm ... and a hint of anger and disappointment (which serve to make us realize the consequences of misguided selective policies).

Age 10 is a GREAT age to begin learning these lessons. The copy I STILL HAVE, was $1.95. But, it is essential for anyone - at any age - of ANY race, religion, or cultural uniqueness (which today includes sexual preference).

The bottomline ... this book is STILL relevant TODAY!!! almost 30 years later. I haven't seen the new edition yet ... perhaps the cartoons now show computers on the office desks which weren't there in 1969 ... if not, it really doesn't matter - you won't notice.

Buy this book and share it until the pages begin falling out. And as you move from place to place in life and sell your old books, keep this one always.

America has finally admitted its racism and in some corporate circles, a concerted attempt is being made to address it and reduce it as much as possible. Often racism is the result of ignorance and insensitivity. Integration is a Bitch is right on target in addressing racism with insight and humor! Every CEO or office manager with a culturally diverse staff should read this provocative book!

...as a Black-white collar worker have having willingly and concientiously taken part in America's leading social preoccupation..an experiment called 'Integration'...I am compelled to assess my total experience by saying ...Integration is a Bitch!