Cartooning Books

There is no doubt this is a nice book, but the material is abundant elsewehere and a LOT less expensive. If you are a completist or money comes easy to you, by all means get this. If five hundred dollars seems ridiculously expensive even for a limited run, you can buy Wallace Wood books in bookstores, comic stores, and online very easily.

I recently purchased this volume, along with Starger & Spurlock's "Wally's World," and this is by far the superior of the two books. Rather than attempting to write a biography, as S&S do, Bhob Stewart has assembled some 35 essays about Wood, including four by Stewart himself. These range from one page to 46 pages in length, and from breezy to scholarly in tone. Some are more interesting and better-written than others, but collectively they add up to a fascinating portrait of a uniquely talented artist whose life ended far too soon.

As you'd expect with any book about Wood, there are copious illustrations, including 16 pages of full-color reproductions on glossy stock in the hardcover edition. (The paperback omits these.) The quality of the reproductions is generally good, although there is just the tiniest bit of bleed-through in the black-and-white pages. I wish they'd used a better grade of paper!

If you are a hardcore Wood fan, you should probably get both this book and "Wally's World." If you have to choose, this is the one to go with, assuming you can find a copy at an affordable price.

I came upon this book while browsing a comic shop in Cambridge, and soon realised it was the long promised comprehensive survey of Wood's art and career. I applaud Bhob Stewart for his perseverance and obvious passion in bringing this book to publication. Any fan of Wood's will want to read this book. It contains tons of great art ; some of it obscure and previously unseen, and the biographical information it presents is thorough, and illustrated with great photos. A blurb on the back of the book proclaims, "Hooray for Wally Wood" and sure enough the vivid and imaginitive genius of Wood is on full display between its covers. This is the triumph part of his story, and it makes it a must have art book. But this book bravely explores the person of Wood as well,including the negatives, and the price he paid for his obsessive genius. It's a tragedy that anyone who knows Wood's story is familiar with, and it speaks loudly to the American culture at large, and how we have in the past, sometimes treated our heroes like throwaway commodities. After seeing some of the gorgeous art in the book, it seems incongrous to imagine the same Wood staying up for 3 days on Dexdrine to ink a Wonder Woman comic, but it happened, and frequently. A giant like Wood routinely worked on mediocre jobs just to scrape by. This warts and all approach is as honest as it is heatbreaking, and in my opinion transforms the book into a work of art of another variety, in its portrayal of a gifted but tortured individual. Attention, Hollywood!
Assistants Paul Kirshner, Nick Cuti and others contribute amazing , written tributes to Wood that say just how much they loved the guy, all the while dealing with his difficult personality. For these heartfelt rememberances alone, this book is a welcome, if sobering addition to the legacy of the great Wallace Wood.
I don't know if the author's intent was to produce anything more than a beautiful art book and tribute to his friend, but the fact that this book also functions as a cautionary tale that provides insight into the creative process and inner workings of such an American icon as Wood, is a facinating by product that should be of interest to any general reader.

"Against the Grain" is an excellent collection of artwork by the late comic book artist Wally Wood, accompanied with essays by his friends and associates.

If you've never heard of Wood, you are in for a major treat here: Martians, robots, other-world landscapes, elves and dinosaurs have never looked better before or since Wood's time. Wood's crisp handling of pen-and-ink, his superb attention to detail (which fans called "beautiful clutter") and his extraordinary use of shadow and light are here for the reader to behold. The illustrations cover the entire range of his career, including his work from the 1950s with EC comics, his illustrations for Galaxy and other sci-fi magazines and his final masterwork, "The Wizard King".

Whether it was a grotesque monster from an unknown planet or a parody of Superman, a complicated machine from the 24th century or a fighter jet battle, a lush female in a tight-fitting spacesuit or a caricature of a contemporary politician, Wood could draw it. He could have you reeling in terror from space aliens or laughing out loud with "Batboy and Ruben." His influence on future generations of cartoonists was extensive, and some of them pay tribute to him in this book.

He had both friends and fans, some of them aspiring artists who probably would have paid him just to work in his studio. He could play guitar and entertain a group with his conversation, which tripped from art to politics to science.

Thomas Edison once said that invention is 1% inspiration and 99% perspiration, and Wally Wood must have understood that perfectly. His creations were the result not just of skill but of hours of labor. This is obvious from the fine details of such pieces as the spaceship interiors of "There'll Be Some Changes Made," his use of high contrast lighting in "Atom Bomb", the precisely-falling raindrops and slanted spears of "Joan of Arc," the exact movements of a medieval duel in "Trial by Arms"...

Phew! It's hard to know where to stop.

As a teenager and amateur cartoonist, I would imagine Wood as living in a Manhattan penthouse (for surely someone that talented would be rich) overlooking the New York skyline, working at his drawing board and surrounded by futuristic machines, while gorgeous women lounged about his bizarre-looking furniture. (He depicts himself in that manner in "My World", a tribute to science-fiction artists.)

Nothing could have been further from the truth. Despite his talent and his fans, Wood became a life-long alcoholic who worked in dank basements, spending weeks at his drawing board, half-wishing he could enter the fantastic environments he was creating and flee all his problems with publishers, bills and imperfect women. It was as if all his emotions had been bottle-necked and could only come out on the drawing board. (One of his three wives was a psychiatrist who concluded that he just had to control everything or else.) In the end, he just walked away from it all, putting himself to sleep with a handgun in 1979.

Still, his fans and associates have assembled this superb collection and hopefully there will be more of them.

Although it had been promised to be a "definitive biography" by the publisher, Against the Grain: Mad Artist Wallace Wood continues the piecemeal format of everything that has been available about Wood and his contemporaries (Severin, Elder, Ingels, Crandall, Williamson, Craig, Davis, et al) for the last 40 years. -Which is to say it's a rambling book of personal essays/reminiscences, panel discussion excerpts and brief, fan-flavored interviews. The books one undeniable saving grace is that it is very generously embellished with samples of the artist's work. But overall, it feels like a blow-out issue of Squa Tront.

This will scratch the itch of the diehard and casual fan who wanted a coffee table browser on the subject. For those, like me, who hoped, finally, to see the subject's life drawn in one cohesive portrait by an insightful Boswell, it's a letdown, or "more of same."

I hope the book does well. It is, perhaps, an urgently needed Wood intro for newer generations who lack a sense of history. It is a welcome public reminder/declaration of Wood's place in The Comic Pantheon, where he clearly stands shoulder to shoulder with the likes of Roy Crane, Milt Caniff, Walt Kelly, Al Capp, Chester Gould and, dare one utter it, the Great Charles Schulz. Honest, it's not a bad little read. But I wish it had offered something new on the subject, or at least somehow extended the genre of fan appreciation/criticism established by Squa Tront during the 60s and 70s. As it is, this book has an odd way of making me feel that an entire generation, my generation, never really grew up.

I tend to do things without paying as much attention as I should, like buying this book without researching it's details.

I bought the book because my 5 year old daugher loves to draw, and because she's nuts over the Lion King at the moment. I figured it would be great for her to see not just finished work (like what winds up on television) but to also see sketches, concept drawing and paintings, and the like.

So I bought it. When I received it and saw it's pocket size I was so happy! It's absolutely the perfect size for a little kiddo like her, but the content is professional, serious and mature as I had expected. It's hard cover, totally full of pictures, and has glossy pages printed on high-quality paper. Some folks might have been put off by the size but for my purposes it was more than perfect!

We have great fun looking through it together and looking at all the different styles of artwork. If you or your kid likes to draw or paint, and likes this movie, You'll really be sorry if you don't buy a copy. No I don't work for Disney or Amazon. I just like to encourage and support my childs love for art any chance I get, and boy was this a great addition to her library.

Apart from the fact that my copy was close to pocket size, i thought that this book was fantastic. Not only does it come filled with amazing concepts, it also is accompanied with the Lion King Storyline. As an illustrator and student animator, it is a wonderful addition to my resources. The sketches through to the complete full colour images are for any Lion King fan, artists or just someone wanting a beautiful coffee table book. If your from overseas like myself and cannot get these kind of books in Australia, i reccommend Amazon and their associate stores. Buy this, its great.

I received this book as a birthday present last month. To say the least, I was overwhelmed with all the artwork in this book. I love it! The artwork and production animation is breathtaking! It's a really awesome book, I'd get it if I were you! You can't go wrong with "The Art of The Lion King"!!!

This book is one of the most exquisite things to come out of The Lion King. The graphics are beautiful. Most of the pictures are ones that are used for the storyboard and layout scenes. I reccommend it to anyone who loves The Lion King, or just Disney in general. Order with confidence - the book is worth much more than its price tag. It is also much more convient than the larger, more expensive version which I believe is no longer being produced.

"The Lion King," Disney's 32nd animated film proved to be a smashing success, appealing to young, old, and those in between. As it filled movie houses, Disney mania swept the country again. The breathtaking visual effects that fascinated so many are brought to stunning life in "The Art of the Lion King" by Christopher Finch.

This lavish folio-size volume traces the creative process utilized in making the film, from black and white sketches to glorious full-color reproductions and even splendid fold-outs, one exhibiting the surreal beauty of the African natural world.

Actor James Earl Jones, the voice of Mufasa the Lion King in the film, contributes the foreword, while the text is by Christopher Finch, author of "The Art of Walt Disney."

Those fascinated by the art of animation and those touched by the story of Mufasa, Simba and Scar will treasure this color and fact filled memento.

- Gail Cooke

Although this book is written for adults, we purchased this book for our 7 year old son who is currently researching comics, their origins, and authors. It has been a constant companion...traveling with us everywhere! I have had the opportunity to read portions also and I too have found very well written, interesting and informative. The comics choosen have given our family quite few chuckles! Great for anyone who enjoys comics and wants to know more about comics through the years.

This gigantic collection of comics describes the strips that appeared in newspapers rather than on newsstands. There is a small amount of natural crossover, but the author is focused exclusively on what appeared in newspapers. For most of the main strips, he gives a brief historical recapitulation of the spirit of the times as well as a short biography of the people who created the strip. For the strips that have continued across generations of cartoonists, he explains when the transition took place and why.
As can be expected, the best part of the book is the cartoons. Walker gives a small but thorough sample of the flavor of the strip and how it changed over the years. There were some that I remember so well from my youth, in particular "Mandrake the Magician." When I was young, I always got up very early and opened the Sunday morning paper to read the cartoons. I always read them in the order from my least to most favorite. This meant that I shifted back and forth, but that was fine to me.
Even though I am now and will always remain a news junkie, the comics will always be my favorite part of the paper. They give us adventure, excitement and something to look forward to, and in this book you can learn a great deal about the people who made and continue to make them happen.

I've felt for a while that the newspaper comic strip is the most ignored form of popular art, rarely looked at critically. While comic books prosper and have gone well beyond the standard superhero format, the comic strip languishes, rarely allowing new and creative strips to break through, while "institutional" strips (those that have not been amusing for years but are institutions, such as Heathcliff or Crock) dominate the paper.

In this sense, this book is not very helpful; it is a relatively uncritical appreciation of the comics. Nonetheless, it is an excellent book, a good summary of the major artists and developments in the comics since World War II. All the big strips are here: Garfield, Peanuts, Doonesbury, Calvin & Hobbes, the Far Side and many more, along with plenty of material from bygone eras.

This book is around 50% text and 50% comics, so there is plenty of fun stuff to read in either format. For what it is - an appreciative history - it is fantastic. The only flaw is that Walker ignores the comic strips of alternative newspapers, therefore neglecting such important works as Groening's Life in Hell (without which, there would be no Simpsons).

For anyone who has ever enjoyed the comics, this book is a great look at the field and a lot of fun.

Blondie, Archie, Nancy, Pogo, Beetle Bailey to Peanuts, Garfield, Mutts and Calvin and Hobbes, here's a lavish, full-color, oversized, hardback, coffee table book celebrating the best part of the newspaper. Comics curator Brian Walker, son of Mort Walker (Beetle Bailey, Hi and Lois), collects the best examples of this much-loved medium over the last half century. Now that the companion volume, The Comics Before 1945, has appeared, Walker's labor of love is complete. Together these inviting volumes offer a compelling tribute to the art of the funny papers. And Amazon's irresistable price is nearly half off retail.

Hey,where to start in writing a review on a book about Comics, when one has been reading them for over 60 years.An excellent book in every way.Physically,this book is beautifully constructed,with top of the line paper,printing and color illustrations.A great dust jacket, as well as glossy hard covers printed with comic strips.A large volume 10X14 inches,over an inch thick and 326 pages...WOW! By the way ,there is a companion book,which is just as good,covering Comics before 1945;same size and by the same author.
What great memories this book brought back.I was born in 1935 and was an avid Comic Strip reader of 10 where this book starts.
While there are many strips covered in this book that are unfamiliar to me,and probably to most people;all my favourites are there.All through the years,in my opinion the Strips and writers were at their best in the 40's and 50's.But then that was when they were really growing up and so was I.
My favourites were Dick Tracy,Little Orphan Annie,Li'l Abner,Smilin' Jack,Popeye,Beetle Baily,Joe Palooka,Blondie,Tarzan,Captain Easy,Mandrake the Magician,Mutt and Jeff ,Smokey Stover,Henry,Superman,Terry and the Pirates,Pogo and later Doonesbury.
Dick Tracy was my overall favourite,especially in its prime with super characters such as Flattop,Mumbles,The Mole,Brow, B.O.Plenty,Gravel Gertie and little Pebbles,Pruneface,etc.,etc.
Then there was Li'l Abner with Daisy Mae and Ma and Pa Yokum.The nation wide craze set off by those wonderful Shmoos and then the creation of Sadie Hawkins Day antics that swept the schools and colleges.Nothing like that kind of stuff today!
I guess all this fun was just too much for the prudes of political correctness, and their misguided efforts put the end to it all.
At the height of the Comic Strip days,everyone was aware of the 'funnies'and knew all the characters.If you didn't know who Dagwood or Annie's dog Sandy,or Fearless Fosdick was;you just didn't know what was happening.There is nothing like it today.I found the papers kept dropping reader favourites,cutting back on the number of strips,introducing strips with agendas and social engineering,to the point many readers lost interest and abandoned them.
As a matter of fact ,I was really following only Pogo and Doonesbury for the last few years and sadly we have even lost Pogo.Dick Tracy is not even carried by out largest paper in Toronto.I just read the Tracy strips on the Net for 2005.Fletcher and Collins give it a good try,but the storylines and artwork fall way short of the master, Chester Gould.Not only that,punching the keyboard and reading the screen is a poor subsitute for sitting back with the funny papers enjoying a coffee after breakfast or dinner;again in my opinion.
This book also covers a lot of what I call cartoons,and does a great job of it,but cartoons just aren't what the world of Comic Strips was all about.
Walker has also included a huge list of references if one wants to dig further.
This book should not be thought of as a review of any particular strip.It is really a history of Comics,a reference to use if one wants a quick look-see of what a strip looked like and a little about the artists who drew the strips.It also tells a lot about what went on behind the scenes with the artists,newspapers and syndicates over the years.
It also talks about Comics as an artform.Here I agree,one only has to look at how the artwork progressed in a strip like Dick Tracy and more recently Doonesbury,to see the advancement from very simple sketches to excellent art of colors, silhouette,perspective and all, to appreciate it.
After reading the book, I hope one day to visit the International Museum of Cartoon Art;although I continue to think of the Comic Strips as one thing and Cartoons as something completely different.
A great gift for a friend or yourself if you were a follower of the "strips".

All of the sixty years of the K Chronicles drawn by Keith Knight. K Chronicles are the story of Mr. Knight, a good man who shows his humanity through Boston, SF and finally LA.

A new daily strip is being drawn by Mr. Knight, "The Knight Life." It is not about the days of chivalry.

Do not think that you can read this in one night. It is a thick book and would be hard to read in bed. And too hard to be a pillow.

This book is a delight. You'll laugh, you'll think, and most of all, you'll keep turning pages. I'm getting multiple copies to give to my traveling friends, who suffer through long layovers on planes and long rides on trains. They'll love it.

But they can't have my copy, huh-uh. And nobody gets to borrow it, either. So don't ask. It's the Kwintessence of Keeftoons...

I have been a fan of Keith Knight for years, and his humor is wise, and kind, yet incisive. What can I say? BUY THIS BOOK. You'll be sore from laughing before you get halfway through it.

I was surprised when I came across this book, because I have all of the individual books, including his "(th)ink" collection. For those who don't know much about Keith, let me just say that he is as individual a guy as you'll find: artist, satirist, rapper, etc. To get his entire collection in one place for such a great price is nothing to sneeze at.

If you are familiar with Harvey Pekar's "American Splender," McGruder's "Boondocks", or even "Candorville," you will love this collection. His wit, insight, and anecdotes make this the perfect collection for a person with even a mild interest in a good comic strip collection.

This book collects the first 4 "K Chronicles" books, reprinted large and many with commentary from the cartoonist, plus a foreword from Kyle Baker. This is not only a great collection for long-time fans of Keith Knight, but also a great introductory book for newer fans as well.

Of course, there's more to Keith Knight than this book. He does two other comic strips, "(th)ink," a political single panel comic and "Knight Life," which is basically a daily version of his weekly strip that's running in papers across America.

So if you've just started reading Keef's work, check this book out. If you've been following his work for years, check it out anyway.

While I happen to sell books on Amazon, I don't review too many of them. This book warrants a mention, IMHO.

It seems like a great book to get started w/
chapters include

1- Materials & tracing techniques
2- "From head to toe" - Body types and facial expressions
3- "Dressing your character"- clothes and character props
4- "Creating a cast of characters"- putting it all together.
5- "Cartoonifying objects and animals"
6- "Special effects and tricks of the trade"- creating cartoon sounds, movements, textures and speech
7- "Drawing a cartoon scene"- 10 easy steps to great cartoons from
rough to finish.

This book looks like a great one, for those who are motivated to try and draw cartoons.

Happy cartooning!
books-from-mk

I got this book for my son because it won the 2002 Oppenheimer Toy Portfolio Best Book Gold Award. For those who don't know, this is from a company that rates children's toys and books by how popular they are with the kids themselves. Anyway, this impressive book is a big hit with my son. He has practically worn it out, and goes to work on his cartoons right after his homework is done. I really can't believe the progress he has made. It's as if he has a private tutor! I got another copy of the book for his school's library, and they say it's now the most popular book there. Whatever Mr. Mayne is saying to these kids about cartooning, it's just what they want to hear. I recommend this book heartily!

Every kid, young or old, that has ever wanted to draw a cartoon has struggled with the elements of style. Anyone who has looked closely at Calvin and Hobbes, Doonesbury, or Peanuts can see that the drawings are deceptive; they seems simple, but are very complex graphically. At last, here's a book that shows the craft of cartooning in an utterly unassuming way. This book breaks down drawing cartoons to there barest elements, and by building on these elements, new artists can put together cartoons that can totally amaze. The tone is so conversational (and tongue in cheek) that the reader gets the feeling that Mr. Mayne is at their elbow, helping them to laugh at their mistakes and cherish their successes. The book refuses to take itself too seriously, at one point stating that cartoon characters routinely have four fingers because "Cartoonists are basically lazy." Although it at no point hypes itself as the "ultimate cartoon book for beginners", it is exactly that.

I read several reviews about beginning cartooning books for my 7-year-old son and ended up purchasing this book and he loves it. I would recommend this book for any child who has an interest in cartooning.

I purchased this book for my seven year old son, Benjamin. He loves cartoons, especially Captain Underpants, and wanted to see if he could draw his own. He didn't think he could draw well but after looking at the well laid out examples in the book, he came up with Super Embarrassed Man. He was really pleased with himself and now includes cartoonist on his list of things he'd like to be when he grows up.

Duane Barnharts Cartooning Basics has just been so much fun for my kids ages 12, 10, and 7. Using the Books step-by-step guidelines to cartooning they have created some of the most fabulous characters and cartoon strips. Not only is it great from a drawing perspective, but it also has some fun and interesting facts about the history of cartooning. Love this book!!!

'Cartooning Basics' is a wonderful tool for young aspiring cartoonists. No. 2 illustrates how to create friendly, familiar characters from simple shapes, which every child can relate to (ie circles, ovals, squares, triangles, etc.). Art teachers can gain lesson ideas that are effective and easy to implement. This is a great buy and a must read for any aspiring cartoonist, art teacher and student alike. Duane and Angie have created a fun, creative, well-illustrated tool in 'Cartooning Basics'.

Great how-to book, lots of practice exercises. The most helpful, how-to book I've read so far, and I've got a ton of them. Wish I'd found this one sooner!

'Cartooning Basics' is a wonderful tool for young aspiring cartoonists. No. 2 illustrates how to create friendly, familiar characters from simple shapes, which every child can relate to (ie circles, ovals, squares, triangles, etc.). Art teachers can gain lesson ideas that are effective and easy to implement. This is a great buy and a must read for any aspiring cartoonist, art teacher and student alike. Duane and Angie have created a fun, creative, well-illustrated tool in 'Cartooning Basics'.

This book has helped me learn to cartoon, and now, I teach it to my 2nd grade class!

Once again, Michel has taken black and white and created the most intriguing images using the most unique yet simple approach to storytelling. A must for anyone who admires good design.

A Brilliant piece of work. Original and clever.Very few books have the sophistication and style of Michel's. The combination of stunning graphics with deceptively simple storytelling are going to make tis book a classic.

Striking imaginative tale about a universal theme. The author's vision is fresh and vivid. From his first book to now, his poetry is maturing nicely. The dimensional illustrations are most impressive. Recommended for young and old (5 years+)

A wonderful tale from a very intriguing author. Michel Gagnes books just keep getting better and better. His love of people and their life journey is as obvious as his commitment to the highest quality printing. This book is superb in all respects.

The third book of Michel's ongoing and ever growing collection of books that always makes you wonder whats next. Beautifully and simplisticly told yet all the while deep and wonderful. A book that goes to the basics of black and white yet draws you in through elegant design and an even more vivid imagination. Highly recommended to all who have loved the past books and to anyone wanting a great story with great art.

Great book. He displays how to cartoon men, women, children, elderly and many types of animals. He does it in an extremely visual way that even a child could follow along. This book is packed with 95% illustrations and 5% text. To me, that's a winner. The 5% text that is in there is invaluable. The print is nice and large and easy to read. I am very happy I bought this book. It is a keeper.

From the beginning of this book to the end, it is filled with (finally) basic, step-by-step instructions on drawing cartoon people, body parts, the "action line", body language and style. And then it starts all over again with animals! Mostly dogs, cats, and different fowl, it also includes less common animals, like beaver, porcupine, raccoon and many sea animals. Can't forget the great alligators and dragon. Finally, the book spends time on placing the characters, reference lines and specialty shots and the all-important "balloon". Another great one by C. Hart. I think I own most of his books and they are all worth great merit, better than the other books I've seen out there by far.

A few years ago, on a whim, I decided to start drawing. I didn't know where to begin so I bought this book. I really believed I couldn't draw. The techniques in this book were so easy to learn that soon I went from drawing stick figures to expressive cartoon characters. My confidence went up and I took on more complicated projects. Now, I work part-time doing illustrations and it all started here!

Christopher Hart has truly done an excellent job with this book. Filled to the rim with illustrations, techniques, explanations and inside information, if you've ever wanted to learn about humorous illustration or cartooning, put this on your list. You'll be glad you did. :o)

This is an excellent book for any beginning artist or anyone else wanting to learn cartooning. Chris Hart publishes some of the best books on art that I've ever seen. This book gives good details on drawing that is easy to follow and understand. All in all, this is one book that should be in every artist's library.

Some of the most creative rabbit-monsters I have ever seen. Im even thinking about getting a couple tattoos of them.

I LOVE portrayals of monster rabbits because I have one myself--I took him in when I found him hopping down the street one week after Easter--yup, he was one of those poor abandoned Easter rabbits. He repays me by acting the savage beast. It is hilarious to be attacked by such an adorable creature, and his is SO WELL represented in this book!

GET THIS BOOK! This is fun to look at! What an imagination! Fluid and Beautiful designs make these drawings irresistable to stare at for hours. The artist is as imaginative as he is a talented.artist.

What delightful book. Gagne in color is even twice the power of his other popular offerings. I think he has really matured into a fine author and every new book is a joy. All I can say to Twisted Rabbits is bravo. What great designer.

Anyone who loves Monty Python, or who is a fan of Anya understands that rabbits are really voracious, man-eating creatures that hunt the night (or Knight) looking for the unsuspecting. And yet we continue to expose out children to them, believing that appearances could never be that deceiving. Finally, Michel Gagne has decides to take the lid of this secret scandal and reveal to the world the real horror that lurks between those sad brown eyes and cutesy tails.

Gagne was an illustrator in the well-known Don Bluth Studios until they closed in 1992. during that period he and another artist, Dave Kupczyk had a one-on-one competition about who could draw the evilest rabbit. While we won't know the real winner until Kupczyk publishes his own book, Gagne's rabbits are a delightfully evil and twisted as they come. The stuff of fluffy nightmares.

This is one of those books that is reserved for gag gifts for rabbit enthusiasts and excesses of cute, but it is fun for anyone that discovers it. Even as we speak, my cats are checking it out and whispering tales about that famous serial killer, Jack the Rabbit. You can't help but like this thin volume. Recommended for the light of heart.

This is such a treasure! It shows life inside Termite Terrace and preserves the history like a textbook. The author shares stories that aren't covered in other books and talks about the people who weren't in the spotlight of the Golden Era. I was amazed to find someone who had lived through it and been there had written this. Any students of Looney Tunes, animation, or cartoon history should read this book.

If you've read any other animation history books, you've gotten a basic idea of how things were during "Golden Age" of the 30's and 40's. But not only is Living Life Inside The Lines one of the few books written someone who actually worked in animation during that period, it's the only book I've seen written by an ink & paint artist, which gives it a point of view of the animation world that other books never mention.

Sigall also tells stories of people like Irv Spence and Phil Monroe who were a big part of animation history, but have never gotten much mention in books. And having worked at numerous studios and ink & paint houses, she has very broad perspective on how the animation industry has changed from the 30's thorough to the 80's. Plus her pleasant demeanor makes for a nice, easy-going read.

If you're interested in animation, this book is a perfect supplement to your library.

I know the son of the writer and was eager to read her book. I have done computer animation and presently am in involved in video production. I found this personal history of the early days of animation to be fun, informative, and came away feeling I had a better knowledge of the people involved in this wonderful form of visual art!

If you love animation, history of early animation days...this book is a wonderful read!

When Chuck Jones received his special Academy Award in the mid-1990s, he wondered aloud from the stage where all the "laughing faces of Termite Terrace" had gone. They're right here in Martha Goldman Sigall's wonderful book. Martha was a central participant in the Golden Age of the animated short: she inked and painted on timeless, classic films directed by Chuck Jones, Tex Avery, Bob Clampett, Friz Freleng, Bob McKimson, Frank Tashlin, Bill Hanna and Joe Barbera, and others, and almost certainly contributed to more animated films than all of them combined, probably without receiving a single screen credit in that era. But she sketches the men and women who sketched Bugs Bunny and Tom and Jerry masterfully in this extremely well-written book, which, like Martha herself, is very warm, funny, and people-oriented. Her personal portraits of artists like Treg Brown, Virgil Ross, Ben Washam, and many others are a crucial contribution to animation history as well as a fun and funny reading experience.

This is the best book on the Schlesinger studio (birthplace of Bugs Bunny, Daffy Duck, Porky Pig, and many others), and provides perhaps a thousand important details about that historic cartoon studio and MGM's that aren't found elsewhere. Martha sketches the 1941 strike, the Red Scare, wartime Hollywood, and other events from the animation community's perspective, and also sheds light on the historic industry locations such as 861 Seward, where six different studios sought shelter through the years; the neat and clean (but long gone) MGM building in Culver City, and the shabby Van Ness home of Leon Schlesinger and his "kids".

In what may be the last major eyewitness account of the classic era of animation, Martha raises the spirit of those long-gone laughing faces, and humanizes the creation of the great cartoons and timeless characters that will last forever. The joy she obviously felt in her career infuses the book and the reader.

Martha and her husband Sol, who, happily, is also heard from here, have always been like beloved grandparents to animators in Southern California (one of which this author was for a few years), but in 1996 they kindly donated themselves to the Warner Brothers Museum and are now officially public treasures. If you're not in the area, you can claim your share of them right here in this wonderful book. They should designate a rating higher than five stars for it.

I love reading stories from animations golden age and this book is especially charming.
Most people don't know it, but the ink and paint departments in all the major and minor studios were the real unsung heroes of the cartoon business-many ladies being accomplished artists in their own right and having the ability to take well drawn line drawings and just adding the right touch to each cel that the scenes would really shine. Water effects being one of the areas of animation that without great inkers and painters could tend to look "hokey".
I give this book 5 stars, but I wish it had more pictures!!