The authors, Frank Thomas and Ollie Johnston, worked with Walt Disney himself as well as other leading figures in a half-century of Disney films. They personally animated leading characters in most of the famous films and have decades of close association with the others who helped perfect this extremely difficult and time-consuming art form. Not to be mistaken for just a "how-to-do-it," this voluminously illustrated volume (like the classic Disney films themselves) is intended for everyone to enjoy.Besides relating the painstaking trial-and-error development of Disney's character animation technology, this book irresistibly charms us with almost an overabundance of the original historic drawings used in creating some of the best-loved characters in American culture: Mickey Mouse and Donald Duck, Snow White and Bambi (among many, many others) as well as early sketches used in developing memorable sequences from classic features such as Fantasia and Pinocchio. With the full cooperation of Walt Disney Productions and free access to the studio's priceless archives, the authors took unparalleled advantage of their intimate long-term experience with animated films to choose the precise drawings to illustrate their points from among hundreds of thousands of pieces of artwork carefully stored away.The book answers everybody's question about how the amazingly lifelike effects of Disney character animation were achieved, including charming stories of the ways that many favorite animated figures got their unique personalities. From the perspective of two men who had an important role in shaping the art of animation, and within the context of the history of animation and the growth of the Disney studio, this is the definitive volume on the work and achievement of one of America's best-known and most widely loved cultural institutions. Nostalgia and film buffs, students of popular culture, and that very broad audience who warmly responds to the Disney "illusion of life" will find this book compelling reading (and looking!).Searching for that perfect gift for the animation fan in your life? Explore more behind-the-scenes stories from Disney Editions:The Art of Mulan: A Disney Editions ClassicWalt Disney's Ultimate Inventor: The Genius of Ub IwerksOne Day at Disney: Meet the People Who Make the Magic Across the GlobeThe Walt Disney Studios: A Lot to RememberFrom All of Us to All of You: The Disney Christmas CardInk & Paint: The Women of Walt Disney's AnimationOswald the Lucky Rabbit: The Search for the Lost Disney Cartoons, Revised Special EditionDisney Villains: Delightfully Evil - The Creation, The Inspiration, The FascinationThe Art and Flair of Mary Blair: An Appreciation, Updated Edition

    Lonely hearts, romantics, and even cynics pore over missed connection ads in search of love, to gawk and giggle, or out of curiosity. These posted stranger sightings and chance encounters lay bare the truths and oddities of real-life loneliness and attractions and bring out the voyeur in the best of us. I Saw You takes this phenomenon and makes it even better. Julia Wertz has gathered the stars and soon-to-be-stars of the graphic art world, including Peter Bagge, Jesse Reklaw, Tom Hart, Sam Henderson, Laura Park, Emily Flake, Keith Knight, Janelle Hessig, Gabrielle Bell, Aaron Renier, Austin English, Corinne Mucha, Jeffrey Brown, Alec Longstreth, Minty Lewis, Joey Sayers, David Malki, Kazimir Strzepek, Ken Dahl, Shannon Wheeler, Shaenon Garrity, Rodd Perry, Abby Denson, Damien Jay, Sarah Glidden, and dozens more, to interpret these plaintive, hopeful postings in drawings that range from laugh-out-loud funny to disarmingly strange.

    . . ever. Since his first appearance in 1940’s Batman #1, the Joker stands alone as the most hated, feared, and loved villain in the DC Universe. Though his true origins may be unknown, the Clown Prince of Crime’s psychotic appearances in hundreds of comic books has shaped the way we look at Batman, comic books, and ourselves. Indeed, a hero is only as good as his nemesis, so the Joker’s heinous crimes, including murdering the second Robin and paralyzing Batgirl, have elevated Batman to the highest levels of crime-fighting, and we, the readers, to the finest levels of quality pop-culture entertainment.The Joker is the first retrospective chronicling one of the most groundbreaking and game-changing villains of all time, and contains images from his more than seventy years in comics by comic book artists and writers such as Bob Kane, Bill Finger, Jerry Robinson, Dick Sprang, Grant Morrison, Dave McKean, Neil Gaiman, Geoff Johns, Alan Moore, Brian Bolland, Brian Azzarello, Bruce Timm, and Paul Dini. Also included are images from his various film, television, animated, and video game incarnations, such as the timeless interpretations by Cesar Romero, Jack Nicholson, and Heath Ledger, who won his posthumous Oscar for his portrayal of the Joker in 2008’s The Dark Knight. This book is a must-have for fans and anyone who wants to die laughing.

    Spontaneous sketches and a travelogue diary document his adventures and quiet moments, creating a raw and intimate portrait of countries, culture and the wandering artist.

    In How to Draw Crime Noir, Martinbrough walks the reader step-by-step through layout, thumbnails, staging the action and working with actual scripts. Martinborough's art is cutting edge, has a 1940's vibe, but comes across contemporary, complelling, dramatic and urban. The book also contains twenty-two page original graphic novel, written and illustrated by Martinbrough.How to Draw Noir Comics: The Art and Technique of Visual Storytelling is an instructional book based on the cinematic, high contrast noir style of acclaimed comic book and graphic novel illustrator, Shawn Martinbrough.Martinbrough’s work has been published by DC Comics, Vertigo and Marvel Comics, illustrating stories ranging from Batman to the X-Men. This is his first book, released through Watson-Guptill Publications and The Nielsen Company.In How to Draw Noir Comics, Martinbrough shows how the expert use of the color black is critical for drawing noir comics. He demonstrates how to set a mood, design characters and locations, stage action and enhance drama, and discusses important topics like page layout, panel design, and cover design.How to Draw Noir Comics includes The Truce, an original graphic novel written and illustrated by Martinbrough which incorporates the many lessons addressed throughout the book, and has an introduction by critically-acclaimed novelist Greg Rucka, author of the graphic novel Whiteout, currently in production as a major motion picture.

    With roots in the punk-rock art scene of Santa Cruz skate culture and an early appeal to European trend spotters, the iconic image of Emily and her philosophy of devout individualism have become deeply rooted in global culture.The Art of Emily Volume One is the first-ever collection of images showing the wide and inspired range of artistic styles and mediums that have been used to create the world of Emily the Strange. From skateboard stickers to custom rock-and-roll album art, large-scale psychedelic paintings, and insanely intricate Mongolian paper cutting, the fantastic and artful imaginings of Rob Reger, Buzz Parker, and a staggeringly talented array of collaborators will give insight and inspiration to any Emily fan.

    Un retrato de una artista, sobre todo una artista.(Portrait of an artist, always an artist, above all an artist.)

    Here is the first book on this essential subject, the product of years of study by one of the world's great teachers of drawing and an artist of international renown, Burne Hogarth.Hogarth begins with the simplist kind of light and shade, showing how a dark silhouette on white paper can communicate form and space. He then shows how the silhouette is transformed into three dimensions with the addition of minimal light - the highlight.Following these instructory chapters, Hogarth devotes a separate chapter to each of the given basic categories of light and shade: single-source light; double-source light; flat, diffused light; moonlight; and sculptural light. In these chapters Hogarth illustrates the effects of these different kinds of light on a variety of subjects and examines both natural and artificial light sources.Moving on to more complex lighting effects, Hogarth explains spatial light - how light and shade can create a sense of "near and far"; environmental light - the effects of weather, time of day, and the changing of seasons; textural light - how light reveals the surface qualities of forms that range from rough stone to silk and satin draperies; transparent light - the effects passing through transparent materials like glass and water, and translucent substances like moving water or sailcloth; fragmentation light - the disrupted light we see in such subjects as fire, rain, and flying snow; radiant light - the intense light we see when we look into the light source itself, which may range from the sun to a candle flame; and finally the various kinds of expressive light invented by the artist - such as the symbolic and mystic light of religious art, or the paterns of light and shade that convey a mood or a psychological state.Burne Hogarth illustrates every effect of light and shade with brilliant drawings in pencil, charcoal, carbon, pen and ink, and brush and ink, encouraging the reader to experiment with diverse drawing media.Dynamic Light and Shade is an essential volume for everyone who draws and paints.

    Brom has collected together the very best of his art spanning his 30 year career. Many pieces have never before been published. Brom has written an insightful autobiography sharing his artistic journey from his earliest childhood drawings, his frustrations with commercial art, challenges breaking into the industry, to his years working in games and film, and insights into his latest personal works. Brom's art is a harmony of extremes: dark and beautiful, haunting and inspiring, majestic and raw. The Art of Brom is equally diverse. Here are images made iconic through his illustrated novels and his work in film and games. Many of the book's images, including those previously published, have been rescanned from the original artwork, and color-corrected by the artist himself, ensuring meticulous reproduction quality. Furthermore, this collection is designed by Brom allowing him the opportunity to arrange his art in a personal manner, with large full-color images and details to show his brush work.

    Ellerbisms catches a glimpse into the life of a young couple, their highs and lows, their sighs and LOLs.Ellerbisms collects more than 200 original strips plus an additional 30 pages of brand new material exclusive to this edition.

    With its wealth of exclusive photographs, this stunning book is a unique look into the world of the film.

    For one thing, Arabs are Semites as well and the prejudice as it generally understood certainly doesn't apply equally to Arabs and Jews. It was in the early stages of researching this graphic narrative that I first encountered the German term Judenhass. Literally, Jew-Hatred. It seemed to me that the term served to distill the ancient problem to its essence, and in such a way as to hopefully allow other non-Jews (like myself) to see the problem 'unlaundered' and through fresh eyes. Europe and various other jurisdictions aren't experiencing a sudden upsurge in 'anti-Semitism'. What they are experiencing is an upsurge in Judenhass -- Jew-Hatred. So that's what I've chosen to call this story. - Dave Sim, Writer/Artist/Publisher

    While trying to understand his dissatisfaction with the present, Seth discovers the life and work of Kalo, a forgotten New Yorker cartoonist from the 1940s. But his obsession blinds him to the needs of his lover and the quiet desperation of his family. Wry self-reflection and moody colours characterize Seth's style in this tale about learning lessons from nostalgia. His playful and sophisticated experiment with memoir provoked a furious debate among cartoon historians and archivists about the existence of Kalo, and prompted a Details feature about Seth's "hoax".

    Trashed, Derf Backderf's follow-up to the critically acclaimed, award-winning international bestseller My Friend Dahmer, is an ode to the crap job of all crap jobs--garbage collector. Anyone who has ever been trapped in a soul-sucking gig will relate to this tale. Trashed follows the raucous escapades of three 20-something friends as they clean the streets of pile after pile of stinking garbage, while battling annoying small-town bureaucrats, bizarre townfolk, sweltering summer heat, and frigid winter storms. Trashed is fiction, but is inspired by Derf's own experiences as a garbage­man. Interspersed are nonfiction pages that detail what our garbage is and where it goes. The answers will stun you. Hop on the garbage truck named Betty and ride along with Derf on a journey into the vast, secret world of garbage. Trashed is a hilarious, stomach-churning tale that will leave you laughing and wincing in disbelief.

    In early 2001 cartoonist Guy Delisle became one of the few Westerners to be allowed access to the fortress-like country. While living in the nation's capital for two months on a work visa for a French film animation company, Delisle observed what he was allowed to see of the culture and lives of the few North Koreans he encountered; his findings form the basis of this graphic novel.Guy Delisle was born in Quebec City in 1966 and has spent the last decade living and working in the South of France with his wife and son. Delisle has spent ten years, mostly in Europe, working in animation, an experience that taught him about movement and drawing. He is now currently focusing on his cartooning. Delisle has written and drawn six graphic novels, including "Pyongyang," his first graphic novel in English.