Cartooning Books

I have ther previous books that showed Robert's past work, but they suffered from not being the best printing and some non color reproductions of this color work. Well, this book corrects all that. It's all in glorioous color and full of Beautiful reproductions of his work. YOU NEED THIS BOOK if you are a Robert Williams fan. GET IT NOW.

This is really an excellent book that represents Robert Williams art. No other books are needed, it even has the painting used in the Guns 'n Roses Appetite for Destruction album. There's plenty of big beautiful prints in this large format book. I'd give it five stars but it turns out i'm not as much a fan of his art as i thought I was. The content is so busy and almost too much after a while. Maybe just soaking in a few prints at a time is the best way to enjoy it. With that said, deffinately a great addition to anyones art book collection.

This book is in my opinion, the best collection of Robert Williams art work. Nuff said!

A real great book, full of paintings, sketchs, pages, and fun.
Buy "Hysteria in remission " to a complete collection about the msater Robert Willians.
Para o pessoal do Brasil , pode comprar que é diversão garantida , livro para a vida toda!

A must have for aserious Williams fan. Considerd by most to be the founder of this genre. Exceeded my expectations.Xlnt value.

"Meanwhile..." ismuch more than justa biography of MiltCaniff. It pro-vides an insight tocultural attitudesimmediately prior toWWII, during the war, and on into thelatter part of the20th Century. Whileit brings to lifethe creative geniusof Caniff, it alsoprtrays his abilityas a masterful bus-iness man followingsuccess upon successin the managemeentand promotion of hisproduct.I eagerly followedthe exploits of Ter-ry and the Piratesas a youth as wellas Steve Canyon dur-ing my Air Forcecareer and was fas-cinated with Caniff's pursuit ofaccuracy in portray-ing service life andthe role that theAir Force Associa-tion played in as-suring he was keptabreast of the lat-est developmentsthat might affectColonel Canyon.It is a book I willkeep on my referenceshelf and use often.

First, some truth in reviewing. I have known Bob Harvey since we worked together on our college newspaper, and I have long admired his writing skills. We correspond occasionally, and see each other about every two years. And yes, I paid for my copy of Meanwhile...
That said, Harvey has written a fine, highly readable book, and a great one for anyone interested in comic strips and particularly Caniff's great creations, Terry and the Pirates and Steve Canyon. Indeed, you can think of Meanwhile... as two books in one: A long biography of Caniff and a short history of American comics in the 20th Century. Caniff's career spanned the high and ebb tides of newspaper comic strips, particularly the era of high-adventure strips. And that is no coincidence. Caniff helped pioneer that variety strip and he raised it to an art form. Indeed, I think Harvey demonstrates that Caniff, in his own right, ranked with such icons of American popular culture as George Gershwin, Frank Sinatra, and Humphrey Bogart.
Meanwhile... is not a perfect book. It is long, occasionally repetitious, and in need of judicious editing. Detail is important in nonfiction writing, especially biography. But Harvey, at times, overdoes it. I, for one, could do without a full-page listing of the books on Caniff's shelves or seemingly endless reprinted letters praising him. And as a nonfiction writer, I disagree with the author's decision not to footnote the book extensively.
When I raised these thoughts with Harvey, his return e-mail delved into what he sought to accomplish with the book.
Just as every novelist wants to write the Great American Novel, I wanted to write the Great Biography of an American Cartoonist. Having a suitable subject, Caniff, I next pondered how to achieve my next goal, which was to make the reader "live" Caniff's life as Caniff led it, or some such. I wanted to enable a reader to experience what it was like to be Caniff, to be "a cartoonist." One of the ways I thought a reader's experience of reading, of getting into another world--of being "a cartoonist"--could be intensified was to give the reader verbal information that would engage his or her imagination. As you read, you imagine the things the words are naming; the more concrete those things are, the more imagining you do, the more intensely you experience the "world" of the book you're reading. So when Caniff moves out into "the country" on South Mountain Road [in Rockland County, N.Y] in the 1930s, I scoured around to find out what the vegetation would be along South Mountain Road--what sorts of trees and bushes abounded there and so forth. And when I found out, I put those trees and their undergrowth into the book. In the chapter covering World War II, I quote lots of the letters that Caniff received--because he said somewhere that getting letters was the way he connected to the outside world, the world beyond his studio.... Now you know why I put them all in there.
Harvey, more than most authors, largely succeeds in fulfilling his ambitious goal.
Surprisingly, Caniff emerges from the pages of Meanwhile... as a writer first and an illustrator second--a stunning conclusion, considering Caniff's great innovations in comic strip art and his obsessive attention to detail and accuracy (whether military metals, weapons, or Asian clothing) that won him the admiration of his fellow cartoonists and shows in art galleries.
Harvey argues persuasively that what first carried Terry and the Pirates and later Steve Canyon was not just Caniff's superb craftsmanship and his inventive approach to illustrating, but his talent for plotting his story lines and writing dialogue. Caniff created memorable characters of depth and personality with the deft hand of a short story writer, so much so that some readers believed that Pat Ryan, the Dragon Lady, and Happy Easter actually lived and breathed. As the author puts it: "In fact, he [Caniff] enhanced our experience of his adventure stories by giving his protagonists enough personality to be fully human without complicating them beyond easy recognition: we like them, and because they are conventional, we know they are each `one of us.' And our identification with them engages and holds our interest."
In his analysis of what made Caniff extraordinary, Harvey describes in detail many stories lines of Terry and Steve Canyon (worth the price of the book alone) to emphasize the elements that encompass the development and growth of Caniff's career and talent. The reader is drawn along through Harvey's synopsis, not just by Caniff's story line, but by the author's own talent for making the descriptions intriguing. He is aided by a large number of reprinted strips, which enliven the book and illustrate the many points he makes. Reading them together, you see clearly the evolution of Caniff's writing and illustration skills over the years, as well as the growing depth of his main characters.
Caniff was Midwest born and raised, and he the never lost the sense of patriotism, honor, moral principals, humility, and striving for success that characterized so many people from that part of the nation during his formative years. His environment nurtured him. As Frank Stanton, a Caniff friend throughout their adults years, told Harvey: "It was during his days in Columbus that he developed three sets of central skills essential to his sensational success as the creator of Terry and Canyon: story teller, artist, and actor. He is remarkably efficient in each, and each of these skills reinforces and enhances the other two in his work. It is a rare combination in a rare guy."
--Patrick Young
.

This is the definitive history of Milton Caniff's life as one of the greatest contributors to the art of the comics. It is well-written & complete in detail.

As cartoonist biographies go I daresay that there has never been, and will likely never be, another of the length and depth of R.C. Harvey's "Meanwhile...". Coming in just shy of a four digit page count it could scarcely be otherwise. Even more so when you consider that the impressive heft of the tome is not substantially padded with photos and art. To be sure the book is indeed well illustrated, but only with visual aids directly related to the narrative -- there are no long reprints of Caniff's strips here or lengthy portfolios of miscellaneous art.

It is the nature of any successful cartoonist that they spend the bulk of their life hunched over a drawing board, endlessly skrith-skratching away. This is not the sort of lifestyle that would seem to lend itself to a lengthy biography. When we consider that there are plenty of well-rounded biographies of political figures, film stars, activists, people whose lives are filled day by day with the fodder of the biographer, that manage to tell their stories in a shorter page count, we have to wonder just what in the world Harvey is on about in a page count that rivals the King James Bible.

I for one certainly approached the book with trepidation. I've been a fan of Harvey's work for years, but my enjoyment of his work is tempered with the caveat that he is on occasion guilty of going over the top. When he goes into critical analysis mode he is always perceptive and thoughtful, but he can also beat a horse within an inch of its life. I was concerned that here Harvey would be shooting the works, analyzing Terry, Steve and their creator ad nauseam.

That fear, I'm happy to say, was completely groundless. Despite the enormous page count this book is, wonder of wonders, a tightly written narrative. In the tradition of classic biography, what critical analysis there is is grounded in the opinions that Caniff himself discussed with Harvey and others in interviews. Given that Harvey says the book in its original form was some 700 pages longer (!) than the final revision, I'm guessing that any extended author's analysis fell victim to the editor's red pen. If so, the book is better for it.

So what exactly does lurk between the distantly separated covers of this volume? Well, Harvey was lucky enough to be tapped by Caniff himself as his offical biographer in the early 80s. This afforded the author with ample opportunity to question his subject at great length. While Caniff was, as Harvey relates, not a particularly forthcoming interview subject, by dint of persistence the author eventually ended up with a treasure trove of Caniffiana. The book is, as we might expect given the size, an impressively complete chronicle of Caniff's life and the times in which he lived. However, completeness doesn't necessarilty translate to interest-sustaining or entertaining, and that's where Harvey's book truly amazes. I've read plenty of long form biographies where it got to the point that I was rooting for the subject to kick the bucket to cut the narrative short. That's not the case here. While I couldn't say that every single page is riveting, edge-of-the-seat reading, Harvey does an expert job of keeping the reader involved and interested all the way through. Any reader who is at least moderately interested in comic strips, even those not particularly fans of Caniff, will undoubtedly find the book fascinating.

Speaking of being a fan of Caniff, I should admit that I am not numbered in that legion. Of course I recognize Caniff's importance in the history of comic strips and the artistry of the two strips for which he is most famous. However, I think Caniff's writing is far too precious, heavily laden with hokey slang and tortured vernacular that I find grating and distracting. His subject matter, primarily military adventure, is just not my cup of tea. His cartooning, after a relatively short but glorious period in the early 40s when he was first influenced by Sickles' innovation of chiaroscuro comic strip illustration, later takes things too far for my taste, turning the strip into a series of ink-blots (not entirely Caniff's fault, of course - the comic strip was shrinking more rapidly than he could adjust his art style to suit, finally ending up so small that no one, not even Caniff, could possibly do a realistically rendered adventure strip).

The point is that you don't need to be a Caniff fanatic to thoroughly enjoy the book. I recommend it not only to the ardent Terry or Canyon fan, but anyone with more than a passing interest in the art and business of the comic strip in America. Caniff's story is, after all, the history of the adventure comic strip in particular, and the newspaper comic strip in general. Harvey does a superb job of weaving all the various aspects of the story of American comic strips into the narrative. We see Caniff marketing his comic strips (and find out just how tireless a promoter he was), we see him coping with the miniaturization of his daily and Sunday spaces, we gain a deep understanding of the relationship between the creator and syndicate. We learn one cartoonist's reaction to the unforgiving daily deadline pressure, and how assistants and ghosts can become indispensible in the process of producing a strip that doesn't have the luxury of relying on simplistic art and daily gags. We learn the intricacies of producing an integrated daily and Sunday storyline, a balancing act that is one of greatest tests of skill that any writer could ever face. We see one cartoonist's bold reaction to the demonization of his art form when accused of being, bizarrely, a cause of juvenile delinquency. We see how a cartoonist deals with the use, and misuse, of his creations in other media like movies and television.

I have only a few minor criticisms of the book, most worth mentioning if only so that this review doesn't seem utterly slavish in its support. First, the book is divided into just nine epic length chapters. It would have been more reader-friendly had it been broken up into more manageable chunks that could be read at one sitting. And although there are illustrations throughout the book, usually well-placed to coincide with the related narrative, each chapter ends with a gallery of additional illustrations. These sections would have been better broken up and dispersed throughout the text, if only to relieve the long stretches of type-dense pages.

The narrative flow drags a bit for a hundred pages or so near the end of the book. By this time Caniff was constantly being lured away from his drawing board by an endless procession of accolades and honors from every organization under the sun. Harvey unwisely devotes a considerable amount of space to the details. This section, while it does have occasional interesting points, could have been considerably shortened. If the purpose was to show that Caniff was revered by his peers and his fans, well, that wasn't much of a secret anyway.

Finally I have to question Harvey's use of invented conversations. In the first half of the book the author occasionally uses a device where he stages a conversation, usually set in Caniff's favorite watering-hole, in which we eavesdrop on a group of cartoonists shooting the bull. Harvey uses the device to impart some information in a presumably more entertaining method than dry prose. The device falls flat, though, because the conversations are stilted and too obviously staged for our benefit. And although Harvey makes no secret that the conversations are his own inventions, in a scrupulously researched work otherwise factual throughout I found these passages somehow discomforting from the standpoint of journalistic ethics. Call me a stick in the mud.

These are all picayune little quibbles, though. Harvey's work is, quite simply, a masterpiece of biography. He has set the platinum standard by which all future cartoonist biographies will be judged. Most, likely all, will be found wanting in comparison. It is one thing to produce a thick book, and not necessarily a good thing at that. It is an entirely different thing that Harvey has achieved here. He has produced a work of lasting merit, eminently readable, brimming with meticulous research, a work that must be atop the required reading list of every cartooning fan and cartoonist.

I've been waiting for R.C. Harvey to publish his biography of Milt Caniff ever since he casually mentioned it in the pages of his fine book, "The Art of the Funnies", over ten years ago. The resulting book is not only one of the finest comics oriented biographies but it's a great book in and of itself. I have to admit that after it arrived I was a little intimidated by it. It is after all a massive door stopper of a book and I left it sitting on my desk for a week before I finally cracked it open and began reading it in earnest. Despite its considerable length the pages flew by and I was soon at the end with the distinct feeling of disapointment at the prospect that it was over. Harvey literally transports his readers to an earlier age when there was no TV, no cable, no satelite, no computers and no internet. The general public got their entertainment by means of reading books and magazines, going to the movies, listening to the radio and reading the comics page in the local paper. The Great Depression was battering the country and war clouds were starting to appear over the skies of Eurpope and Asia. Out of those troubled times Milton Caniff became one of the greatest and most widely read storytellers of the age. This is his story and Harvey succeeds in telling it well.

This book is amazing!! It's great for huge Disney lovers (like me lol!) or if you're just interested in Mickey Mouse! It has tons of fun stuff inside and I enjoyed reading and looking at all of it! I totally reccomend that everyone get it! :)

Tieman's books in regards to all things Disney are always an easy read and a thorougly researched treasure.

If you are a Disney/Mickey fan this book is a MUST! Amazon offers (NO DOUBT) the best price you will find! You can nearly purchase two for the price of one on Amazon (at least I was fortunate to do so).

If you are into memorbilia this book is a real keepsake! Nearly every other page has a sweet surprise reproduced to take you back in time.

These books are an investment.

Robert Tieman's Mickey Mouse Treasures is another winner. We all knew it would be, but the 6 pages about "the Mickey that never was" did come as a beautiful surprise.

This is the third and final book in the series written by Robert Tieman. The first two books were fun and wonderful, but this was his best of the lot in my opinion. Of course, I am a Mickey Mouse fan and this book is all about Mickey. This book contains really wonderful reproductions of old Mickey Mouse memorabilia, the originals of which I could never afford. If you like Mickey you really must own this book!

1920s F E L I X T H E C A T

1920s f e l i x t h e c a t

1920s F E L I X T H E C A T

1920s F E L I X T H E C A T

This book is definitely a "must-have" for Felix fans. Unfortunately it is one of the very few - if not the only - collection of classic Felix newspaper strips. If only there were more books like this one!

Just buy this already-- here's a book with great production values that features one of the great artists (of any kind!) of the 20th century, Villy Elder. "Genius" it says-- and for once it's fully justified. Comic genius, artistic genius, wiseass genius: Elder is the real thing.

Will Elder, as you know was one of the Original EC Comics Artists. Along with Harvey Kurtzman he was a Part of the first 25 Issues of Mad Magazine.
His amazing Art helped to define what Mad was all about. To put it in Words, this man went Plumb Loco, and just about created Lampoon Art all on his own.

This Lavish 392 Page Book is The Document of Will's Life and his Art. Over 100 Pages of his Comic Art is Reproduced here, and this Material is a Feast for the Eyes, for anyone who enjoys Comics and Good Humor.

Besides Mad, Will's work in other Publications are here as well. The Humor Magazines: Panic, Trump, Humbug, Help! and Pageant are all represented with lot's of his Work not seen in decades. The 'Liitle Annie Fanny" and "Goodman Beaver" Stories {Teaming with Harvey Kurtzman, again} are here in Bulk as well.

Paintings, Portraits, Still Lifes, Stetches and Drawings from Will's Personal Files show another side of his Talents.

This Book is One of the Best, I have every seen on the Subject of a Comic Artist...{And I have seen a few!}. It is a Massive Volume about an American Original...The One and Only...Villie Elder !!!

Will Elder is one of the greatest artists in American history. Elder's works have appeared in magazines ranging from Mad to Playboy. Many of Elder's best works are parodies of such comic strips as Archie and Lil' Abner. Elder eventually became a full-time artist at Playboy Magazine and was one of Hugh Hefner's top assistants.

This is a must have book for all Will Elder fans.

This collection of Elder's work is a solid addition to what is already available. (The complete Mad comic book issues are available in paperback form at most bookstores, and the Little Annie Fanny series can be ordered from Amazon.) This volume contains much of Elder's work from Trump, Humbug and Help, as well as other magazines, like the 1950s Pageant.

Also included are many personal paintings and drawings of Elder's family, as well as landscapes.

A class clown in art school, Elder also assiduously studied such masters as Peter Breughel and Cezzane. In fact, he even gives homage to these painters in an illustrated series for Pageant, in which he discusses the artists which inspired him.

There is a lengthy essay by Bill Stoudt in which he describes the painstaking process by which Elder, Harvey Kurtzman and Hugh Hefner created each episode of the "Little Annie Fanny" series. Hefner insisted that each page resemble a painting, and that is precisely what Elder delivered. Only after numerous drafts, sketches and erasures was a page of "Annie" ready for print.

When commissioned to satirize Norman Rockwell, Elder decided to prepare for the work exactly as Rockwell would. He enlisted his neighbors to model for the characters in the painting, and the result was the hilarious "Visit to Grandma's" in which a wholesome American family is depicted feeding small animals to a Venus Fly-Trap plant.

You can look over the panels of "L'il Melvin" or "Howdy Dooit" and see something different each time. This is because Elder doted over each picture, cramming it with details, building one joke over the next. Thus it took hours - maybe days - to complete one page, but so what? It kept the kids in the 1950s laughing their butts off! (I know because I was one of them. We used to run around the playground, running like the characters in the "Starchie" parody with our knees up to our chins.)

But did he make money? Well, eventually, but he could have made a lot more. In 1956, Kurtzman and Elder left Mad to start their own humor magazine, Trump, financed by Hugh Hefner. Kurtzman had given an ultimatum to publisher William Gaines that he would remain with Mad only if he could retain 51% ownership. Gaines insisted on 49%, so Kurtzman quit. In retrospect, he should have stayed, because the magazine went on to make a fortune for Gaines. Trump, however, folded after two issues.

As other reviewers have suggested, Elder's work belongs not only the category of "comic books" but possibly to the world of art. Will Elder drew in the tradition of Breughel and Hogarth. He drew the Human Comedy. Ultimately, he held the mirror up to nature and found it all hilarious.

I'm not going to fault Daniel Clowes for including selections from Elder's work available elsewhere (MAD satires on "Gasoline Alley", "Archie", etc) or for NOT including the complete "Goodman Beaver Goes Playboy," which is apparently under copyright limitations from the ARCHIE publishers (and is available elswhere on the 'net!) However I would have preferred more complete sequences from TRUMP and HUMBUG - which are not readily available elsewhere - and fewer examples of Elder's "straight" artwork - one still-life fruitbowl is plenty, thanks! How about more on the "A Night at the Castle" and "With trembling pseudopods" illos, which are in any event reproduced elsewhere?

Where were YOU on the morning of September 11th, 2001? I was at work when Howard Stern reported that a plane had crashed into one of the World Trade Center Towers. Having been born and raised in The Bronx before moving to Rochester, N.Y., my workday immediately ended as I focused my full attention on Howard's show; He became my only link to the city I loved and would always call home. Later on came the TV reports and the images that will never leave my mind, but for those first few hours, I sat listening in shock as the man who makes me laugh every workday became my only connection to family, friends, and loved ones who were suddenly living in a war-zone.

9-11: Emergency Relief is a benefit book that is filled with true stories from September 11th. They range from touching, to infuriating, to thought-provoking, and the list of creators reads like a who's who of Indy Comics: James Kochalka, Will Eisner, Tony Millionaire, Harvey Pekar, Tom Hart, Joyce Brabner, Ted Rall, and literally DOZENS of others. Besides being entertaining, and raising money for the Red Cross, the book fulfills another important purpose: It stands as a reminder of a day we must NEVER forget. God Bless America!

9-11: Emergency Relief puts a unique perspective on a shared tragedy. Taking the events out of the cold realism of news photography and video and into the pen and ink world of the comix artist lets the reader share the emotions of another individual on a highly personalized level.

Do not let the genre keep you from reading this book! Even if you are not a comix afficionado, the images and storytelling technique of each artist/author are fascinating and deeply moving.

Like any good book, it is well structured. Stories lead up to the event, there are on-site accounts, the aftermath, and the realization that we're living in a changed world. For people having trouble coming to terms with the events of 9-11 -- regardless of their age -- this book provides comfort and insight. We all have stories to tell about 9-11 and most readers have probably wished they could express their own feelings so well. Fortuntely, this group of artists says it for us.

Easily the best of the comics industry's myriad responses to the tragedy of September 11th, this book gets down into the nitty-gritty of human experiences and reactions to tragedy. No superheroes. No larger-than-life expostulation. Just real people - talented artists - telling amazing stories. Higlights include Gregory Benton's "Treasure," an untitled Hutch Owen story by Tom Hart that manages to toe the fine line between rage and sentiment and "Citadel Of The Night" by K. Thor Jensen and Chris Knowle. Honestly, though, the book is so full of great material that nobody should be without it.

After the September 11th terrorist attacks on the Twin Towers, the Pentagon, and in the skies over Pennsylvania, some 50 graphic novelists and cartoonist ranging from such legendary names as Will Eisner and Harvey Pekar, to newer talents such as Frank Cho and James Kochalka, came together in a very special project as a way of expressing their grief, patriotism, and support of the American people in the face of naked, lethal, ideologically driven aggression. The result is 9-11: Emergency Relief, a powerful graphic novel. The proceeds will go to benefit the American Red Cross. Simply put, every school and every community library in the country should acquire a copy of 9-11: Emergency Relief for the edification of their students and their patrons.

Everyone has a dark side--it's that frightening part of our personalities that drives
you to root for something to blow up and hurt James Bond. It's what makes us "root
for the bad guy" at Mel Gibson films. It's what drove us to watch with rapt attention
on September 11, as the Civilized World crumbled before our eyes.

This, happily, is not the part of us that forces us onward through "9-11," a graphic
novel that tells nearly fifty stories by respected creators from the comic-book industry
about the terrorist attacks and their implications. "9-11" is, with rare exception
like Ashley Wood's obscenity-laden two page monologue, a labor of profound love.

Here, comics legend Will Eisner--who literally invented the concept of "sequential
art," the name by which the academic community now refers to comics--joins virtually
ever major creator in the comics industry in donating his time, money, energy and
artwork to charities benefiting the victims of the September 11 terror attacks.

Marvel Comics lead the pack, their magazine-format "Heroes" book being the first
released (in late October) and best-promoted of all benefit books. The first week
in January, they followed up with "Moment of Silence," another comics-for-charity
project to which Hollywood director and comics guru Kevin Smith contributed a story.
"9-11" was released on January 9 by Alternative Comics, a small, independent publisher.
It contains mostly works done by small-press of self-published comics creators who
are not under contract to a major publisher. Contributors include Phil Hester of
DC Comics' best-selling "Green Arrow," Michael Avon Oeming of "Powers" and "Bluntman
and Chronic" fame, Eisner and "Bone" scribe Jeff Smith. Sixty-two stories featuring
more than 75 creators are collected in the 200-page book, which costs [price]. All
profits from the sale of "9-11" go to the American Red Cross.

Especially notable in the "9-11" tribute book are several pieces by non-legends,
who have been largely overlooked even in the comics press due to names like Harvey
Pekar, Will Eisner and Tony Millionaire being attached to the project. A. David Lewis'
11-page "Alabaster Cities" details his exploits on the morning of September 11, which
are refreshingly non-dynamic. Rather than depicting himself running out the door
to help, as is the temptation when writing a story about your personal reaction to
great tragedy, Lewis and many other creators in the book simply paint a picture of
desperate phone calls, frantic e-mails and great personal reflection and fear. Despite
a medical condition that precludes him from Armed Services duty, Lewis confesses
to ever-so-briefly worrying about being drafted on September 11--a thought that surely
crossed the mind of every young male in the country in the hours following the attacks
on America.

John "Bean" Hastings has a short but poignant story about the importance of art and
popular culture in troubled times--it's clear that he put a lot of himself in a small
amount of pages, and the result is stellar. Keith Knight's indictment of middle America's
closedminded attacks against Arab-Americans and Danny Donovan's disappointment that
the heroes of comic books and movies weren't there to save us when it was truly needed,
hit home in witty and well-thought-out stories designed to make readers take a break
from the seemingly endless pages of grieving and think about their own attitudes.

All in all, "9-11" is a beautiful book, put together by truly talented people and
well-executed; it can do no person harm to buy a copy. Or two--the money, after all,
is going to charity.

beautiful drawings...no matter how self critical mr. ware was back in the day. the book really allows the reader into the head of a master illustrator. if you're looking more for a graphic novel, don't start with this one (try his first real freshman work jimmy c, or his ACME novelty library, probably my favorite - you get a real sense of what ware is all about - clean lines, insane, or better put, anal details). anyway, back to this one...great book, if you're a fan of ware, there's no reason not to get this one, and if you're not yet convinced, this is a nice piece just to have - these same drawings and doodles that once inspired ware himself, now get me thinking. love it.

The book is a record of an absolute monster drawing talent!
It collects tentative investigations, as a scrapbook of ideas and odds and ends. The amazing thing about it is its vitality.
Anything and everything becomes a source of inspiration and investigation into the nature of drawing. A coffee cup, a telephone in a waiting room, a washing machine, such mundane things seem to begin as notations but are transformed by Ware's observation of line and tone into their inner vitality - much like Van Gogh's peasant shoes. There are beautiful portraits. And beyond the observed notes, the book is positively brimming with characters, mutations, and cartoons from his eccentric imagination. The fantastical musings and the observed notations blend, merge together, separate like DNA strands through the book, adding up to a rich record of creativity

I didn't think I would like this one. But after owning everything else the man ever made, I asked for this one for x-mas. Wow! I love it! There are spontaneous portraits of people on the bus, views from friend's rooftops, the rudiments of strips like: God, Jimmy the robot etc...
If you are a Chris Ware fan YOU WILL LOVE THIS BOOK! If you are not familiar with Chris, best to start somewhere else.

If you want to see inside Chris Ware's head, this is the book. There's next to no Jimmy Corrigan or Acme Novelty, just raw sketches of inspiration and internal struggle spanning 9 years of Ware's life (1986-1995). As an illustrator/designer, I found this book to be the most inspirational book I own, and I own many inspirational books. I definately recommend it.

I just finished reading this, and it's a real treat. Fans of Jimmy Corrigan or Acme Novelty Library will enjoy drafts of these but expect differences in style. This gives a better look at Chris Ware than his other publications that I've read. You can really feel his frustrations in this work. I reccommend this to both fans and non-fans.

I found this book really by luck and was thinking I had too many animation books already - until I opened it and took a look. I realized I didn't! This is the most comprehensive and detailed book on the art of 2D animation - and can directly be used by 3D animators as the principals are the same. It is deceptively simple looking, but that is because it is one of the most well-designed books I have ever seen. If you are learning animation, brushing up on your skills, or even already doing animation this is the best book I have seen so far. Get it! Your library will thank you!

This book is amazing...it's a resource that any student of animation should not be without. It not only outlines in detail the process of drawing out the animation, it also explains to some degree every aspect of producing the piece. It is an easy read and a great reference, and I wouldn't want to be missing it in my collection.

As an animation teacher, I went through a lot of books as support for my 2D class; this one is on my top list and I would recommend it to any animation student new to the field who want to learn about the process and the principles of animation.
The book is clear, with beautiful illustrations. Many animation books use styles that often turn me off as being too cartoony or dated but this one is very appealing. Each chapter is well documented with simple explanation and visuals. I was particularly impressed by the clarity of the layouts and X.sheet section, as those are usually a nightmare to explain to students.
It offers a wonderful overview of the fundamentals of animation and covers all the aspect of the profession, from storyboard to animating to editing. Even if this is about hand drawn traditional animation, those principles can be applied to 3D and computer animation.

An absolutly great book!! I highly recommend it to any animation student or fan. It's as good as the preston blair book. Check it out!!

As an animation artist, I am familiar with the author's work and eagerly awaited the arrival of this book. It did not disappoint!
It is good for beginners and seasoned veterans alike. The sequential animation drawings - along with their respective numberings and spacing charts - are worth more than the price of the book. They are an excellent way for the student of animation to see how the drawings are spaced to provide the true 'spark of life' so necessary in the success of the animated image 'coming alive'. The book ranks up there with the Preston Blair books, Thomas and Johnston's ILLUSION OF LIFE, and Richard William's THE
ANIMATOR'S SURVIVAL KIT. The chapters on Storyboarding, Layout and Background, along with many other animation gems, are there as well. A true tour de force!

My wife bought a used copy of this book for me.....she wasn't sure if I would like it but since it was related to architecture, she thought she would take a chance...She was right on. It has a fresh take on a lot of the issues in the design and construction world. The author is not afraid to take on all disciplines and he is very successful. Some are a little "Far-Side-ish" but there is a lot of insight in the humor. And the drawings are really well done. I loved it. If you aren't sure this is for you, the author has an [...] website you can use for a test drive. My recommendation: This is a good book to have.

Great illustrations, Great Wit. Nicely packaged. The "Architect's Dream Sequence" cartoons resonated with me too. I didn't buy it but I would now- (It was a summer party gift to all employees from one of the principals in my office.)

I laughed and laughed! These cartoons are histerical! Every person who has ever built or designed a home or constructed any building whatsoever will enjoy this book! Its unique size and cover makes a great socking stuffer for all my "construction clients."

I think it is great that a professional can make fun of his profession and make other people laugh. It is all done in a very "non-bashing" way and should be read by all architects and design workers. They will learn a few things about their profession from Archi-Toons that they did not know.

What a delightful and humorus approach by an architect about his own profession. I am sure that everyone in the architectual and design profession or anyone in a family associated with someone in this profession will enjoy the humor in these delightful cartoons.

This book is big and chock full of beautiful Linsner paintings (many of which are of his greatest creation: Dawn). If you have ever seen any of his work and you liked it, I would recommend this book. There is an intro by Linsner that's pretty interesting and there are snippets about each painting throughout the book. It's a stout book that would be better as a hardcover, but that's my only complaint.

The Art of Joseph Michael Linsner is essential to any JML collector, but also an awesome item for anyone who appreciates the beauty of art. The softcover edition of this collection makes it affordable to the big fans with small bank accounts. Looking through the eyes of Joe, one will see a woman as a work of art or poetry and not a piece of meat. The colors are vibrant, the details are lucid, and the annotations throughout truly give insight into the mind of the artist, who he is, how he feels, and what inspires him.

Edited by JML and Eva Hopkins, with special thanks to Zeke Feldhaus, The Art of Joseph Michael Linsner is cleverly divided into sections. It begins with a nice introduction by Richard Kane Ferguson, then proceeds to a fabulous story by JML about the first artbook he bought which reveals how his taste for art began when he was just a boy. After that, we see exquisite images of Dawn, Death, and Dark Ivory along with many others (women, men, and vampires, oh my!) throughout the Love, Hate, Heaven and Hell sections. Then we move on to About the Art, comments by JML (about art, of course) which include images from the creation of the Dawn: Three Tiers #1 cover from its birth/sketch stage to the gorgeous finished painting. And of course, no collection of art would be complete without an About the Artist segment (with pictures). But wait, that's not all, there is also a two-page spread with photographs of Dawn Lookalikes from DragonCon, some Dawn collectors items, and a few other odd and end pictures. This definitely adds a personal touch to the entire thing. Well, if you've read this far, you must be interested, so what are waiting for? Get your copy today.

WOW! If one could give out 10 stars on the 5 star scale this would be the book to score that high.

More that just a detailed, beautiful look into one of America's leading illustrators, this is an insightful prose into the mind of that artist. Here is the successor of the great artists of the 40's, 50's, and 60's. Done in a style that is very today, and very much his own.

An amazingly well produced book, with quality throughout. From the paper, the binding, to the wonderful reproductions, everything is top notch. This is an art book you would expect to pay two to three times more for.

I feel this is a chance to glimpse into tomorrows major gallery artist, before he explodes on the scene. Live a little dangerously and venture into some unknown areas. ENJOY!

WOW! If one could give out 10 stars on the 5 star scale this would be the book to score that high.

More that just a detailed, beautiful look into one of America's leading illustrators, this is an insightful prose into the mind of that artist. Here is the successor of the great artists of the 40's, 50's, and 60's. Done in a style that is very today, and very much his own.

An amazingly well produced book, with quality throughout. From the paper, the binding, to the wonderful reproductions, everything is top notch. This is an art book you would expect to pay two to three times more for.

I feel this is a chance to glimpse into tomorrows major gallery artist, before he explodes on the scene. Live a little dangerously and venture into some unknown areas. ENJOY!

I believe the book is now out of print, but if you're lucky you might be able to pick it up at a comic book shop which is where I got mine. This book is FANTASTIC!!! Definitely one of the best fantasy art books out there. Great colors, excellent depictions of Dawn - the fiery redhead with one eye showing *grins* and some of the most imaginative and creative art pieces you'll ever see!

Even the backgrounds are incredibly detailed, with everything from dragons to architecture to detailed walls and textures. He really sets the mood in every piece he does.

Excellent work of art. Absolutely excellent.