On the surface, the relationship between comics and the ‘high’ arts once seemed simple; comic books and strips could be mined for inspiration, but were not themselves considered legitimate art objects. Though this traditional distinction has begun to erode, the worlds of comics and art continue to occupy vastly different social spaces. Comics Versus Art examines the relationship between comics and the most important institutions of the art world, including museums, auction houses, and the art press. Bart Beaty's analysis centres around two questions: why were comics excluded from the history of art for most of the twentieth century, and what does it mean that comics production is now more closely aligned with the art world? Approaching this relationship for the first time through the lens of the sociology of culture, Beaty advances a completely novel approach to the comics form.

On the surface, the relationship between comics and the 'high' arts once seemed simple; comic books and strips could be mined for inspiration, but were not themselves considered legitimate art objects. Though this traditional distinction has begun to erode, the worlds of comics and art continue to occupy vastly different social spaces. Comics Versus Art examines the relationship between comics and the most important institutions of the art world; including museums, auction houses, and the art press. Bart Beaty's analysis centres around two questions: why were comics excluded from the history of art for most of the twentieth century, and what does it mean that comics production is now more closely aligned with the art world? Approaching this relationship for the first time through the lens of the sociology of culture, Beaty advances a completely novel approach to the comics form.

On the surface, the relationship between comics and the 'high' arts once seemed simple; comic books and strips could be mined for inspiration, but were not themselves considered legitimate art objects. Though this traditional distinction has begun to erode, the worlds of comics and art continue to occupy vastly different social spaces. Comics Versus Art examines the relationship between comics and the most important institutions of the art world, including museums, auction houses, and the art press. Bart Beaty's analysis centres around two questions: why were comics excluded from the history of art for most of the twentieth century, and what does it mean that comics production is now more closely aligned with the art world? Approaching this relationship for the first time through the lens of the sociology of culture, Beaty advances a completely novel approach to the comics form.

In The Expanding Art of Comics: Ten Modern Masterpieces, prominent scholar Thierry Groensteen offers a distinct perspective on important evolutions in comics since the 1960s through close readings of ten seminal works. He covers over half a century of comics production, sampling a single work from the sixties (Ballad of the Salt Sea by Hugo Pratt), seventies (The Airtight Garage of Jerry Cornelius by Moebius), eighties (Watchmen by Alan Moore and Dave Gibbons), and nineties (Epileptic by David B.). Then this remarkable critic, scholar, and author of The System of Comics and Comics and Narration delves into recent masterpieces, such as Building Stories by Chris Ware. Each of these books created an opening, achieved a breakthrough, offered a new narrative model, or took up an emerging tendency and perfected it. Groensteen recaptures the impact with which these works, each in its own way, broke with what had gone before. He regards comics as an expanding art, not only because groundbreaking works such as these are increasing in number, but also because it is an art that has only gradually become aware of its considerable potential and is unceasingly opening up new expressive terrain.

Presents a guide to stylized figure anatomy for artists wishing to emulate one of today's popular streamlined comic book styles, with step-by-step demonstrations and studies of major muscle groups, heads, hands, and feet.

At last–the first guide to drawing comics digitally! Artists! Gain incredible superpowers...with the help of your computer! The DC Comics Guide to Digitally Drawing Comics shows how to give up pencil, pen, and paper and start drawing dynamic, exciting comics art entirely with computer tools. Author Freddie E Williams is one of DC Comics' hottest artists and a leader in digital penciling and inking–and here, in clear, step-by-step directions, he guides readers through every part of the digital process, from turning on the computer to finishing a digital file of fully inked comic art, ready for print. Creating a template, sketching on the computer, penciling, and finally inking digitally are all covered in depth, along with bold, timesaving shortcuts created by Williams, tested by years of trial and error. Step into the digital age, streamline the drawing process, and leap over the limitations of mere physical drawing materials with The DC Guide to Digitally Drawing Comics.

"Thank you for the copy of Carl Barks and the Art of the Comic Book by Michael Barrier, which we are thrilled to see finally in published form. It was worth the years of waiting, and we hope will supply the answers to the myriad of questions which Carl must answer thousands of times over. Now he can just say buy the Barrier book published by M.M. Lilien..." --Gare Barks (Mrs. Carl Barks)) "Carl Barks and the Art of the Comic Book is the very long-awaited biography/bibliography/critique of the Good Artist's work by Michael Barrier. It is published in a handsome, sturdy, well-designed hardcover edition by M. Lilien of New York, with a lovely dust jacket featuring a self-caricature of Barks on the front and a color photo of the Duck Man on the back side. Inside you will find a detailed account of Barks' life and career, with each story discussed and highlighted. There are many photos of Barks as a young man, sketches and cartoons he did for the Calgary Eye Opener and as inter-office gags at the Disney Studios ... If you are a fan of Carl Barks, you simply, absolutely, positively and unquestionably must have this book and right now. If you are a comic-book student, you must have this book to see how thoroughly and well comics can and should be studied ...." --Don and Maggie Thompson The Buyer's Guide For Comic Fandom. " ... Barrier covers not only the life of Barks but his particular thematic preoccupations (the "rescue theme") in what parent/child roles are reversed is documented with considerable wisdom, for instance). The photos of Barks, his house, and other people he worked with are precious glimpses on an important period in comic book history, and the many drawings by Barks and others constitute a real treasure trove for both fans and scholars..." --Catherine Yronwode. The Buyer's Guide For Comic Fandom This beautifully illustrated book captures the essence of Carl Barks, the man who brought Donald Duck into the hearts of a generation of Americans. Only Michael Barrier, who is uniquely familiar with both Bark's life and works, could assemble this definitive introduction to Barks' creations. Barrier traces Barks' life as a young cartoonist who eventually joined the Walt Disney Studios during the depression. Upon joining the Western Publishing Company in 1942, Barks produced vivid tales which captured comic book readers' imaginations for the following two decades. Barks brought to life such unforgettable characters as Uncle Scrooge, the Beagle Boys, and the other zany inhabitants of Duckburg. Although Barks' art was readily accessible to children, his stories contained satire aimed at the foibles of a nation immersed in the Cold War and new-found material success. In addition to chronicling Barks' life, this book provides a definitive bibliography of Barks' works. The bibliography is enhanced by quotations from Barks on specific works as well as comments from Kim Weston. Cost $90.00 plus shipping and handling.

Supercharge your drawings with the power of photo reference! Almost every professional comic artist uses photo reference. Finding really good photo reference is crucial to capturing accurate lighting, foreshortening and body language in your drawings. Sure, you can surf the 'net or flip through catalogs to find a few poses . . . or consult generic photo reference books with static poses and flat lighting. But to draw a character consistently and convincingly over an entire issue or series, you need a serious reference library. In this book, you get over 1,100 awesome-quality, color photos—500+ in the book and 600+ on the CD-ROM—all created specifically for you, the professional or aspiring comic artist. Inside you'll find: Handsome, muscular men and gorgeous, fit women in dynamic poses Extreme angles, foreshortening and complex body mechanics Poses including jumping, kicking, punching, standing, ducking, lifting, flying, sitting, smoking, drinking, kissing, screaming, laughing, cowering, shooting, sword-fighting and more Superior lighting that creates dramatic, muscle-revealing shadows 7 fantastic art demos by professional comic artists Unless you have a team of superheroes willing to pose for you, Comic Artist's Photo Reference: People and Poses will be the most important tool in your photo reference library. Get started today drawing the pictures that will launch or advance your comic book career!

It's the '70s Marvel Monster Marching Society versus the Independent Comics of the '80s in the Eisner Award-winning CBA's third compilation, re-presenting that acclaimed mag's seventh and eighth sold-out issues. Behind a new cover by Michael T. Gilbert -- featuring his great creation Mr. Monster doing battle with various Marvel monsters -- you'll find interviews with Gilbert, Steve Rude, Paul Gulacy, Steve Gerber, Don Simpson, Howard Chaykin, Scott McCloud, Rich Buckler, John Byrne, Denis Kitchen, and many others