Carol Gray combines stick-figures with "conversation symbols" to illustrate what people say and think during conversations. Showing what people are thinking reinforces that others have independent thoughts--a concept that spectrum children don't intuitively understand. Children can also recognize that, although people say one thing, they may think something quite different--another concept foreign to "concrete-thinking" children. Children can draw their own "comic strips" to show what they are thinking and feeling about events or people. Different colors can represent different states of mind. These deceptively simple comic strips can reveal as well as convey quite a lot of substantive information. The author delves into topics such as: What is a Comic Strip Conversation? The Comic Strip Symbols Dictionary Drawing "small talk" Drawing about a given situation Drawing about an upcoming situation Feelings and COLOR

A collection of interviews and articles from 1938-2004 that shows how the cartoonist managed to keep his art and stories fresh for over seventy years of production

Collected interviews with the master cartoonist who created Terry and the Pirates and Steve Canyon

Interviews with the Disney artist who created Scrooge McDuck and many well-loved comic books Disney artist Carl Barks (1901-2000) created one of Walt Disney's most famous characters, Scrooge McDuck. Barks also produced more than 500 comic book stories. His work is ranked among the most widely circulated, best-loved, and most influential of all comic book art. Although the images he created are known virtually everywhere, Barks was an isolated storyteller, living in the desert of California and preferring to labor without public fanfare during most of his career. He created work of such exceptional quality that he was accorded the greatest autonomy of any Disney artist. He is the only comic book artist ever to receive a Disney Legends award. The influence of Barks's work on such filmmakers as George Lucas and Steven Spielberg and on such artists as Gottfried Helnwein has extended Barks's significance far beyond the boundaries of comics. After Barks's death at the age of ninety-nine, Roy Disney praised him for his "brilliant artistic vision." Carl Barks: Conversations is the only comprehensive collection of Barks's interviews. It ranges chronologically from the very first one (with Malcolm Willits, the fan who uncovered Barks's identity) to the artist's final conversations with Donald Ault in the summer of 2000. In between are interviews conducted by J. Michael Barrier, Edward Summer, Bruce Hamilton, and others. Several of these interviews are published here for the first time. Ault's friendship with Barks, ranging over a period of thirty years, provides an unusually intimate resource not only for standard q&a interviews but also for casual conversations in informal settings. Carl Barks: Conversations reveals previously unknown information about the life, times, and opinions of one of the master storytellers of the twentieth century. Donald Ault, a professor of English at the University of Florida, is the author of Narrative Unbound: Re-Visioning William Blake's The Four Zoas and Visionary Physics: Blake's Response to Newton. His work has been published in Studies in Romanticism, The Wordsworth Circle, Modern Philology, and The Comics Journal.

This volume, the first in the series, explores the high-functioning group of people within the spectrum of autism disorders. It is the culmination of over a decade of clinical work and research, including the most current information available about this group. Written in a style that is accessible to both seasoned clinicians and concerned lay persons, this volume is a unique resource.

Carol Gray combines stick-figures with conversation symbols to illustrate what people say and think during conversations. Showing what people are thinking reinforces that others have independent thoughts--a concept that spectrum children don't intuitively understand. Children can also recognize that, although people say one thing, they may think something quite different--another concept foreign to more concrete-thinking children. Children can draw their own comic strips to show what they are thinking and feeling about events or people. Different colors can represent different states of mind. These deceptively simple comic strips can reveal as well as convey quite a lot of substantive information. The author delves into topics such as: What is a Comic Strip Conversation? The Comic Strip Symbols Dictionary Drawing "small talk" Drawing about a given situation Drawing about an upcoming situation Feelings and color This 30th anniversary edition provides updated research and additional insights from the author.

A collection of interviews that reflect on the life and work of cartoonist Charles M. Schulz.

Robert Coover's detective novelette, STREET COP, is set in a dystopian world of infectious 'living dead,' murderous robo-cops, aging street walkers, and walking streets. With drawings by Art Spiegelman, this short tale scrutinizes the arc of the American myth, exploring the working of memory in a digital world, police violence and the future of urban life. STREET COP is provocative and prophetic, asking us to interrogate the line between a condemnable system and a sympathetic individual.

A history of the cartoonists and illustrators from the Connecticut School, written by the son of the artist behind the popular strips "Prince Valiant" and "Big Ben Bolt, " explores the achievements and pop-culture influence of these artists in the aftermath of World War II.

The comic strip was created by rival newspapers of the Hearst and the Pulitzer organizations as a device for increasing circulation. In the United States it quickly became an institution that soon spread worldwide as a favorite form of popular culture. What made the comic strip so enduring? This fascinating study by one of the few comics critics to develop sound critical principles by which to evaluate the comics as works of art and literature unfolds the history of the funnies and reveals the subtle art of how the comic strip blends words and pictures to make its impact. Together, these create meaning that neither conveys by itself. The Art of The Funnies offers a critical vocabulary for the appreciation of the newspaper comic strip as an art form and shows that full awareness of the artistry comes from considering both the verbal and the visual elements of the medium. The techniques of creating a comic strip - breaking down the narrative, composition of the panel, planning the layout - have remained constant since comic strips were originated. Since 1900 with Winsor McCay's Little Nemo in Slumberland key cartoonists have relied on the union of words and pictures to give the funnies their continuing appeal. This art has persisted in such milestone achievements as Bud Fisher's Mutt and Jeff, George McManus's Bringing Up Father, Sidney Smith's The Gumps, Roy Crane's Wash Tubbs and Captain Easy, Harold Gray's Little Orphan Annie, Chester Gould's Dick Tracy, Zack Mosley's Smilin' Jack, Harold Foster's Tarzan, Alex Raymond's Secret Agent X-9, Jungle Jim, and Flash Gordon, Milton Caniff's Terry and the Pirates, E. C. Segar's Popeye, George Herriman's Krazy Kat, and Walt Kelly's Pogo. In morerecent times with Mort Walker's Beetle Bailey, Charles Schulz's Peanuts. Johnny Hart's B.C., T.K. Ryan's Tumbleweeds, Garry Trudeau's Doonesbury, and Bill Watterson's Calvin and Hobbes, the artform has evolved with new developments, yet the aesthetics of the funnies remain basic. The Art of The Funnies unearths new information and weighs the influence of syndication upon the medium. Though the funnies go in ever new directions, perceiving the interdependency of words and pictures, as this book shows, remains the key to understanding the art.