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Comics And Sequential Art Paperback – Aug 29 2008


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Product Details

  • Paperback: 164 pages
  • Publisher: WW Norton (Aug. 29 2008)
  • Language: English
  • ISBN-10: 0393331261
  • ISBN-13: 978-0393331264
  • Product Dimensions: 2 x 0.1 x 2.5 cm
  • Shipping Weight: 522 g
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (13 customer reviews)
  • Amazon Bestsellers Rank: #14,091 in Books (See Top 100 in Books)

Product Description

From Amazon

Based on the popular course Eisner taught for several years at New York's School of Visual Arts, this lovingly written book on visual storytelling contains an accumulation of his ideas, theories and advice on the practice of graphic story-telling and the uses to which the comic book art form can be applied. Whether you're a film student, literature student, artist or simply a fan of good storytelling, you'll love this book filled with Eisner's cartoons. --This text refers to an alternate Paperback edition.

Review

"Indispensable technique from the mind of the master cartoonist who developed them." -- Jeff Smith, creator of Bone

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First Sentence
In modern times the daily newspaper strip, and more recently the comic book, provide the major outlet for sequential art. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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5 of 5 people found the following review helpful By Amazon Customer HALL OF FAMETOP 500 REVIEWER on Jan. 28 2004
Format: Paperback
"Comics & Sequential Art" is based on a course Will Eisner taught at New York's School of Visual Art although originally this work was written as a series of essays that appeared randomly in "The Spirit" magazine. Eisner provides a guide book to the "principles & practice of the world's most popular art form, and while it is of interest to those of us who read comic books it is clearly intended to be of use to aspiring comic book artists (and writers, albeit to a lesser degree). One way of measuring the book's success is to note that I have the 24th printing of a work that was first published in 1985 (and expanded in 1990 to include print and computer), but then the fact that the book was written by Eisner and uses dozens of examples of his own art work to evidence his points, as well as drawings down specifically for the book, is enough to tell you this is something special.
There are eight lessons in Professor Eisner's syllabus: (1) Comics as a Form of Reading looks at the interplay of word and image in comic books that has created a cross-breeding of illustration and prose, including the idea of how text can be read as image, which shows the sense of detail Eisner brings to his subject. (2) Imagery begins with the idea of letters as images and develops a notion of how the "pictograph" functions in the modern comic strip as a calligraphic style variation. The key subject here is that of images without words. (3) "Timing" considers the phenomenon of duration and its experience as an integral dimension of sequential art, with Eisner drawing (literally) a distinction between "time" and "timing.
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4 of 4 people found the following review helpful By D. Robertson on Jan. 28 2003
Format: Paperback
As a veteran comic book illustrator (You can find my work here on Amazon.com; I am the CO-creator and artist of Transmetropolitan), I am often asked to recommend books to aspiring professionals in comic book illustration. In that case I always enthusiastically recommend any of Eisner's instructional books as essential reading for anyone serious about their craft and dreams of getting into the industry.
From the earliest work of his career, Will Eisner was an innovator in writing as well as illustration. Even in his twilight years the man is still a vigorous and creative artist producing work that pros as well as fans can't wait to get their hands on.
These books display his genius in an entertaining and easy to follow method, and if put to practice will inspire and reveal hidden keys to making your work truly professional grade. A great companion book to Eisner's "Graphic Storytelling".
- Darick Roberston
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1 of 1 people found the following review helpful By Parka HALL OF FAMETOP 50 REVIEWER on Feb. 12 2009
Format: Paperback
Length: 0:13 Mins
The book focuses on the creation of comics and the various techniques one can use. Specifically, it talks about the why the techniques work and the concepts behind. The various lessons touch on timing, framing, composition, expressive anatomy, writing for comics and other application of comics.

Every page of comics included that serve as examples come with captions. They explain the effect to achieve on readers. One example would be to tilt a composition of a moving train to simulate the rocking on the tracks.

How Will Eisner uses his panels and framing is amazing. He can use doorways or windows on a plane as frames, and he can so easily blend his panels together using the environment. Paneling and pacing when done right really just enhances the story. You'll see and understand why it works. It's all explained.

This book will serve as a very good introduction to comic artists. Professionals might learn some new ways of doing things too.

There are more pictures of the book on my blog. Just visit my Amazon profile for the link.
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1 of 1 people found the following review helpful By A Customer on June 30 2002
Format: Paperback
I rank this book at the same level as Understanding Comics. Both are good texts for the novice or someone with little knowledge of how panels, pacing, etc. function. However, for someone really serious about getting into comics I would suggest books such as The Five C's of Cinematography (as well as books dealing with the understanding of basic storytelling from scriptwriting to crafting short stories) and any of the reprints of Alex Toth's various comics work. What these influences add are both a better understanding of specific types of shots and framing (both Eisner and McCloud strike me as too vague) and an understanding of how and why comicbooks adhere to certain principles of filmaking (both in terms of layout and storytelling) and still must adhere to the limitations and advantages of the printed page, which Toth handles masterfully.
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Format: Paperback
My guess is that a hundred people have heard of this work for every one who has actually read it. At the time the book was developed, you could only find this information by taking Will Eisner's class at the New York School of Visual Art.

Unless you haven't been paying attention to comics, you will probably find that you already understand most of the key messages: words and illustrations combine to form imagery; time elapses between panels and the pacing of the time involved affects how you react to the story; the frames around the panels and pages as a mechanism for tying the story together; using anatomy and expression to extract emotion from readers; how to combine words and illustrations for best effect; the potential to use sequential art in more than comic strips and books; and new technologies for making comics and sequential art.

As for me, the only section that I found rewarding was the extensive middle section on panels. Maybe I'm obtuse (I probably am), but I've often found it difficult to follow and understand the choice of panel structure on pages in Golden age comics. Mr. Eisner thoughtfully provides extended sections from The Spirit to demonstrate why he made the choices he did and what he hoped to accomplish. It was like a Rosetta Stone for translating what some of those odd pages are supposed to do. For that section, it was worth reading the book. The other sections I could have skipped and not missed anything.

I also recommend you read Scott McCloud book's about comics and sequential art: They are more rewarding in terms of setting out the issues and opportunities.
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