Comics and Sequential Art Paperback – Sep 2 2008
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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 out of print or unavailable edition of this title.
“Indispensable technique from the mind of the master cartoonist who developed them.” — Jeff Smith, creator of BoneSee all Product Description
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Top Customer Reviews
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.Read more ›
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
|Length: 0:13 Mins|
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.
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.
Most recent customer reviews
A must have for any artist looking into doing some Storytelling...This is THE BOOK on storytelling...know how and how to apply the techniques and why it's working the way it is. Read morePublished 8 months ago by Jean Claude de La Ronde
I don't want to spew too much hate about Eisner because his work definitely was groundbreaking for comics/comix/graphic novels' studies. Read morePublished 18 months ago by Anna Domestico
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... Read morePublished on Jan. 28 2003 by D. Robertson
This is something of Will Eisner's lifework, the non-fiction complement to his wonderful work from the 1950s onward with _The Spirit_ through _A Contract with God_. Read morePublished on Aug. 2 2002 by Glen Engel Cox
Will Eisner either invented or refined most of the techniques of storytelling that "modern" comics depend on. Read morePublished on March 10 2001 by Fairportfan
INDISPENSIBLE HOW-TO BOOK THAT REALLY STUDIES THE MEDIUM Reviewer: Zorikh Lequidre from Brooklyn, NY Before this book came out, most "how to draw comics" books were... Read morePublished on Dec 23 2000 by Zorikh Lequidre
Before this book came out, most "how to draw comics" books were mostly concentrated on big, muscular heroes and action poses. Read morePublished on Dec 23 2000 by Zorikh Lequidre
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