Stan Lee. Comic-book writer and publisher (Ferguson Career Biographies).pdf
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James Robert Parish (Author)
Stan Lee: Comic-Book Writer and Publisher profiles the life and career of the creator of Spider-Man, The Incredible Hulk, and many other famous comic-book characters.
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Tito Faraci per scrivere fumetti. Teorie e tecniche. Diabolik, Dylan Dog, Lupo Alberto, Topolino
Copertina flessibile – 1 mag 2004
Questo libro analizza e testimonia i diversi modi narrativi di Tito Faraci e fornisce alcuni strumenti teorici e pratici a chi si interessa di fumetto e sceneggiatura e volesse scoprirne i segreti tecnici e stilistici. Leggere un libro su uno sceneggiatore e le sue pagine scritte per lavoro, non fa diventare sceneggiatori, ma può illuminare la lettura dei fumetti e far riflettere su questa misconosciuta professione creativa. Davide Barzi ha pazientemente raccolto e selezionato brani da precedenti interviste su questi temi, e raccolto inedite osservazioni a commento delle varie sceneggiature che qui vengono presentate: da Topolino a Dylan Dog, da Diabolik a Lupo Alberto (anche nella versione animata).
James Robert Parish (Author)
Stan Lee: Comic-Book Writer and Publisher profiles the life and career of the creator of Spider-Man, The Incredible Hulk, and many other famous comic-book characters.
Alphabetized entries cover the entire scope of comic-book and comic-strip art, on a worldwide scale, in its artistic, cultural, sociological, and commercial aspects.
Nie całość, ale sporo.
This excellent volume presents the portfolios of ten major artists from around the world who have influenced the comic book from its inception until the late 1970s. Their talents are presented here in a wealth of striking colour and black & white plates displaying the depth and range of their vision. The book discusses their work in detail, highlights their contributions to this art form and compares their unique visions.
These ten artists have made a lasting impact in the field of comic book art. They are Will Eisner, Harvey Kurtzman, Frank Bellamy, Richard Corben, Barry Windsor-Smith, Jean Giraud, Philippe Druillet, Wallace Wood, Robert Crumb and Victor Moscoso. The author admits that the selection is incomplete but I agree with him that there is enough here to provide a broad history that reveals the rich talent and imagination hidden within this medium.
The author demonstrates how the comic book resembles the film media: both manufacture dreams and both came into their own in the 1930s and 1940s. There are a number of similar techniques in film and comics and the two media have influenced one another. A good comic book artist selects the most potent images for his story in the same way as a good film director.
The book also contains a biography of each of the artists and concludes with an extensive bibliography. Masters of Comic Book Art is an impressive display of many varied styles. Through its insightful text and brilliant illustrations it makes a valuable contribution to the discipline and history of comic book art.
Peter Uys
