Book Description

This set includes the book How to Draw Manga: Getting Started - with sections on Basics, Characters, Tone, Storytelling, and Backgrounds. Also in the set is 5 sheets of double sided 8 1/2 x 11 3/4paper, black ink illustrations pen, 8" ruler, 2 pencils, eraser, and plastic curve template. The set is packaged in a hard plastic case, good for storage or travel.(****Additional Text****) A Previews Exclusive! Imported from Japan! You've read the books. You've got your ideas ready to run down your arm to the waiting paper... but how do you get started? Graphic Sha and Previews have the answer with the official How to Draw Manga "Getting Started" Illustration Kit! This indispensable kit is perfect for any budding manga-ka to launch their first project, and includes: a copy of the 128-page English-language book, How To Draw Manga: Getting Started featuring informative chapters on "the basics," Characters, Tone, Storytelling, and even backgrounds! PLUS: 10 sheets of 8 ½" x 11 ¾" (A4-size) authentic Deleter brand Manga Illustration Paper, One Deleter Black Ink Illustration Pen, One Deleter brand "Neo-Piko" Color Marker (one pen, TWO tips, thick and thin!), One Plastic Curve Template, an 8" Plastic Ruler, Two Pencils, and an Eraser... all packaged in a durable, hard plastic case, perfect for storage or travel! ... Read more

Reviews (33)

They say it's the first book to buy on animation. I agree.
I have, for several years, been a member of various computer animation lists, and that's where I'm coming from with this review. This is the one book which has consistently come up on those lists when dealing with general issues (the Principles of Animation, etc), simply because it is the best. It is not the best tutorial book, since it is not written as a tutorial: it is a history of Disney. If you want a tutorial on computer animation, go elsewhere. But that will probably NOT be as much help to you as reading this book, because after reading this, you will be inspired. I think this is why people are so religeously fervent when speaking about it - not because they found it useful for the large number of techniques and tips which are slipped in throughout (though very many of them are out of date or not applicable in the computer animation world), but because the book inspires. I thought it was expensive, but after I bought it and read it the first time, I realised it was cheap at the price. It is gorgeously produced, and filled with colour pics and examples of what it talks about. Worth buying if you are into animation, or if you are interested in the history of Disney.

Wonderful insight into Disney animation
A very comprehensive book about the development of Disney animation. Hundreds of drawings that show how individual characters were developed, what makes characters appealing, what worked and what didn't, how the animators came up with ideas, how to draw sequences -- this book covers every aspect of animation. It's more than a history of the Disney company, it shows how the individual departments (animators, inkers, stylists, storymen, sound studio, etc) worked together to create a 80-minute film that is made up of 460,000 finished cels, 2.5 million total drawings (including sketches), and takes an average of 3 and a half years to make. Examples come from all Disney films, such as Cinderella, Peter Pan, Jungle Book, etc. and show drawings, sketches, paintings, the animators who created the characters and pretty much everything one wants to know about animation. It is a wonderful book.

One of a kind, truly *the* animation "bible"
poopypants is unbelievably clueless. I first read this book when I was in high school, and it was out of print. The temptation to steal the book was overwhelming! About 8 years ago, it came back into print and I immediately bought it.

If all you're looking for is some hold-my-hand-and-teach-me-how-to-draft-sequential-drawings-book , check out Tony White's book, or Preston Blair's excellent text, or one in the Juvenile section of the library, but if you want to know how to *breathe life into your animation*, this books is a MUST HAVE. Period.

Also check out Richard William's "The Animator's Survival Kit" for a good "sequel" (in a way), and some advanced nuts & bolts stuff.

This is still the single best animation book available, and will be the animation "bible" for years to come. I'm at a loss as to why someone wouldn't be able to glean an amazing amount of wisdom from this book - it confounds me.

This book is NOT an illusion,its the real McCoy.
I have yet to read(well...fully..properly..) or for that matter even buy it(this book),but I have seen it in a local bookstore and are dying to get it.It is hellishly expensive,but I have my beady eye on it.
I have flipped through it many times ,and even read a paragraph or two,and I have to say,it is the best book on Disney and/or animation I have ever seen,and it is what I have been looking for ,for a long time.
Strictly speaking it is not a animation handbook,it is not supposed to be,but there is more than enough info on the why's and wherefore's of animation technique and principles to wet the appetite of any animator or lay person,and provide precious insight into the magic of Disney animation.
There is hundreds of photos,diagrams,demos,and stills within the book that will leave any serious animation fan sallivating..and gasping in wonderment....and I haven't even got the book yet..I can't wait to get it..it IS THAT GOOD !!!
This is NOT a book to be overlooked anytime soon.It is a MUST HAVE BOOK!!
Get it soon,get it today,get it NOW!!

I must've missed the magic
I realize I'm alone on this one, so I don't think my voice will be heard very well against the crowds saying otherwise, but I didn't find this book to be very useful. I was so excited when I first got it because I've heard nothing but good things about it, but I was unfortunately dissappointed. It's really more of a history and recollection of "the good ol' days" told by two brilliant animators, but, in my honest opinion, it lacked very much the "how to" part of animation. I'm all for learning from the experiences of others, but after reading the book cover to cover I can't say I'll be a better animator for it. ... Read more

Amazon.com

Robert Crumb,world-famous illustrator and definite pervert, got his start in the underground comics scene of the late 1960s and early 1970s. The R. Crumb Coffee Table ArtBook is a collection of his best work from the last 50 years (it's got kids stuff, too, which is pretty fascinating).The volume is a welcome reminder that, screwed up as Crumb may be, he's also a tremendously talented, utterly original artist. He artistically embodies a certain segment of the '60s, and as that fades even further into history, Crumb's material becomes more important. Is The R. Crumb Coffee Table Art Book funny? Yes, certainly, in a coarse, Rabelaisian way; you'll either find it a hoot, or horribly racist and sexist. And it's not for the kiddies, obviously. But R. Crumb is so well known by now, that you probably know which group you fall into, the lovers or the haters. The lovers will find this book awonderful treat. ... Read more

Reviews (15)

If you're an idiot, don't buy this book!!!
Don't blame R. Crumb for ruining your pitiful childhood. If you must watch Clint Eastwood movies to prove to your friends that you're a "real man" then, I think you need some help.
You're supposed to laugh at Crumb and at Crumb's work and Crumb knows it! Don't "real men" (read idiots) like to laugh at other people? Not all humor is apreciated by everyone, especially if you're and nit-wit and don't get it.
Crumb is a premier artist who's drawings are the best in the genre. His stories are fables to learn from - or laugh at depending on you're perception and experience.
Most people who buy Crumb's books already know what they're getting into. If you're a first time Crumb buyer, go to a comic book store and check out what you're getting into before you buy.
Anyone who buys online either enjoys taking chances or has researched the product before they buy.... or you may just be an idiot!!!
A great book for any Crumb fan!!!

An Entertaing Autobiography
I first became a Robert Crumb fan in the sixties. I remember buying Zap#1 at the Free Press Book Store in Los Angeles. It was to art as Jimi Hendrix's "Are You Experienced?" was to music at the time. Both pretty much blew my mind as a young impressionable teenager. (Sold to "Adults Only"? hah!)

Its Nothing Sacred attitude and straight-up uncensored dialogue and art got me. The artist himself remained sort of a mystery man. How could someone be so brilliant in one series,

and then disappoint me so much in another? He seemed so afraid of "selling out" he occasionally just went for shock value or put out some junk calculated to alienate. (News Flash: Crumb disdains most of his fans...yeah- you too, fan-boy.)

This book is an autobiography told in art and text that reveals a lot about Crumb's character and influences. Do not buy this book if you are not into biographies, you won't like it. However, if you are a Crumb fan, it gives an entertaining insight into his struggles and regrets as an artist trying to maintain his own code of artistic integrity. I see his influences every day in commercial and popular art and get enjoyment from knowing who the "real deal" is that they've been influenced by or are out and out ripping off. Buy this book.

- - - FEELIN' LUCKY ?
You don't need the lamer bosh of escapist nerd Bob Crumb. You need the integrity and courage of Clint Eastwood.

Take the money you were going to blow on this book, and go rent some good Dirty Harry films and Clint's 'Man with no Name' westerns.

Of course, if you are unconsciously oppressed and alienated, and looking to become even more lost in your own little cowardly world, Bob 'articial culture' Crumb is the place to go. But it wont get you anywhere. And it will separate you even further from your own potential, and what it means to be a Real Human Being with Real Courage and Integrity. Unreal 'Sleazy Bob,' ultimately, has none.

Go ahead. Take risks with your sanity and isolatory tendencies. Maybe a cheap therapy operation will take you in. But it will take you years to recover.

The Amazing Id Of Robert Crumb
There's an illustration on the back cover of The R. Crumb Coffee Table Art Book that perfectly encapsulates the artist's work - it depicts the top of Robert's head exploding, with several of his creations, famous, infamous, and otherwise, leaping out.

That, to me, sums up Crumb's work - this incredibly inventive artist with, to paraphrase Bob Dylan, a head full of ideas that are drivin' him insane.

There are frequent complaints about Crumb's work being too dark, racist, sexist, and/or misogynistic. While I can see where these criticisms come from, I really don't think Crumb is any darker, more racist, sexist, or misogynistic than any of us - he simply is unafraid to - COMPELLED to, almost - lay his cards on the table. Some people find this offensive. Would it be absurd of me to suggest that some of those who are offended by his work have their own issues with sexism, racism, and/or misogyny that they are unwilling to confront?

What I'm trying to get at here, I guess, is that this IS NOT a book for little kids. There's a sticker on the front of my copy of the book that says "FOR ADULT INTELLECTUALS ONLY!", and while I'm not so sure about the "intellectuals" part, this is probably not a book you want your grade-school age child to get ahold of, unless you're okay with said child seeing depictions of graphic (and I do mean GRAPHIC) sex, hard-core drug use, and extreme (albiet cartoonish) violence.

I realize all I've spent all this space talking about Crumb without ever really discussing what I like about his work. I think there's two main things: (1) his unflinching honesty (as I touched upon earlier), and (2) the incredible beauty of his draftsmanship. I think my favotite chapter in the whole book is the one that features his pen-and-ink still-lifes and landscapes. Just beautiful stuff - worth studying for his use of cross-hatching alone.

In conclusion, if you're at all interested in checking out the work of one of the finest artists to ever work in the comics medium, I highly recommend you get this book. It's easily worth the 25 bucks.

Oh, yeah - and it DOES make a wonderful coffee table book. :)

The Conventionalization of Crumb
(revised and corrected, 8/27/02)
Thirty years ago, as a teen-ager, I was touting Crumb all over the place, in the form of those little floppy "underground" comic books, not really realising their relatively dubious intellectual and artistic value.

Amusing they were. They also appeared to come from the "We'll save you" left wing, who were going to rescue us from the evil-doings of the Establishment, and Vietnam, and Nixon and conservatism and complacency and bourgeois America and pollution and what-not. . .

Some of my friends simply said, "where did you get these?" Needless to say, it did not increase my stature in their eyes. They were rather shocked. Some found them disgusting.
One needs a sturdy income behind one to endure earhquakes to one's reputation. If you are going to alienate Mrs. Grundy, be prepared to have something to hide behind.

. . .however, "What were once vices are now virtues. . . " Now, thirty years later, R. Crumb is a household word. People think of MR.NATURAL like they would PEANUTS or DOONESBURY. A dimension of the new form of liberalism "permits" this access, although some decry Crumb's alleged "political incorrectness" and dubious "sexual politics." Yet, what good has Crumbianity, any of it, good or bad, done anyone?

Everyone thinks Bob Crumb and Mr. Natural and Fritz the Cat are all something very special. Yet, just how special are they? Crumb's strips remain curiously under-analyzed. People seem simply to either embrace him as a fashionable "alternative," or despise him for his grotesques.

I wonder if my classmates can recall when I let them in on what seemed an obscure, unfashionable, and even reprehensible "secret" thirty years ago.

Yet I no longer think Bob is really worth it. Better to spend your time and money on good film and literature. Please grow up, if at all possible: you will be doing the rest of us a favor. And for good "picture" books, get Edward Gorey("The GashleyCrumb Tinies", "Amphigorey,1,2,3")and William Steig's "The Lonely Ones", and any Charles Adams cartoon books. . . You will at least then have a healthy perspective from which to regard R. CRUMB from, and make tolerant, educated, and useful judgments on him with more discretion than otherwise.

Let old Bob Crumb languish on the Riviera. He never really made me any smarter or any more sophisticated. I had to go elsewehere for that. (Hours in the art libraries, paging through art books and folios... hours reading the classics...)

Rather than indulge oneself with the semi-sophistication of Bob Crumb, why not go the rest of the way and read real literature ?
Do the job right. What's the point of getting part-smart and semi-sophisticated with Bob Crumb ?

Ultimately, all Bob helped me to do was waste my young life and energies...I wish I had returned to me the precious time I lavished/wasted on his silly cartoons. I would have done something useful with it.

I hope I have saved others some trouble.

. . .and I hope my revised and corrected review proves more useful than the previously posted.
-moosbrugger ... Read more

Amazon.com

Scott McCloud's Reinventing Comics, the sequel to his groundbreaking work Understanding Comics, is a study of two revolutions: a failed one and a potential one. His 1993 book was not only a chronicle of the potential breakthrough of comics (which he redefined as "sequential art") into a legitimate art form but a sterling example itself of the medium's astonishing untapped potential. Now, seven years later, he chronicles the failure of the comic book industry to fulfill that promise, but also explores how the movement can be restarted, particularly by utilizing the resources of another spectacularly successful revolution, the Internet. In the first half of Reinventing Comics, an elegantly clean example of comic art in McCloud's trademark bold black-and-white style, the author outlines how hype, speculation, and artistic burnout led to the genre's decline. He then lays out 12 paths toward a new revolution of comics, including creators' rights, industry innovation, public perception, gender balance, and diversity of genre, which are then explored with such innovative intelligence that, as with his earlier work, the conclusions he comes to are fascinating for both artists and nonartists alike.

Three of his paths, however, are of particular interest to anyone who wants to know how the Internet will affect both our lives and the livelihoods of future artists. Understanding Comics, with its brilliant how-to guide on marrying image and language, has become an indispensable reference for many Web designers. Now McCloud returns the favor by focusing on how the digital revolution will influence production, delivery, and the art form of comics itself. Informative without being pedantic, controversial without being argumentative, and always entertaining, this is both a worthy sequel to the author's brilliant original and a work that opens up the potential for an entirely different direction for sequential art in the realm of cyberspace. --John Longenbaugh ... Read more

Reviews (24)

Scott McCloud has helped legitimize an art form....
This book is great in it's exploration of the topic and giving us beautiful new perspective on one of the most under rated and overlooked art forms. However, this book doesn't reach the peak that McCloud reached in his masterpiece "Understanding Comics" simply because of the more technical tone and the more specific relevance. His first book not only expanded minds on the idea of comic art or "sequential art" but he also expanded minds on the world in general and how we as humans express ourselves in life. This newer book expands on comic specific ideas so it loses the broad relevance. Still a must read for anyone who believes in this art form... and we all should.

Competent but sometimes labored follow-up to _Understanding_
Let's call this 3 1/2 stars for most people . . . add a 1/2 star if the first book floored you.

Scott McCloud continues his analysis of the world of comics, this time spending more time on the history of the industry and possible future paths.

The reinvention in the title refers to McCloud's suggestion that Internet will free comics from the tyranny of print distribution and retail channels. I think he makes a good case -- some really amazing online comics are starting to appear -- but it does take him a long time to do it.

Many parts of _Reinventing Comics_ are just as brilliant and well-crafted as _Understanding Comics_, but as a whole it's a bit long and not as well paced as the first book.

Definitely NOT "Understanding Comics"
The idea behind this book was "computers, internet, and comics." Sounds great, but there was a bit too much explaining the history of computers and internet. It was necessary for those people who don't know, and I reccomend it for those who want to learn about computers / internet in general. However, as a seasoned computer tech of sorts, reading most of this book was like "eating 10 pounds of potato salad" as McCloud himself described his book at one time. Another problem is that the book is somewhat outdated. Comics on the web are proliferating successfully, and broadband and VERY fast computers are quite affordable now.

It has good moments, though his first book "Understanding Comics" is much, much better. That is a landmark title for comics.

Typical college crowd ideological faire
McClouds first book was a wonderful little study of the form and function of comics. I was hoping he would continue the lesson, but instead he seems to moan and complain about the economics and politics of the CONTENT of some comic books. He, like many a whiny, disillusioned liberal before him, paints a picture of evil corporations bogging down the "pureness" of unfettered art. And no hippy rant would be complete without the standard straight white male bashing; for, as everyone knows, we are the root cause of everyones problems. McCloud conveys clearly that he wants to stay at home and create masterpeices untainted by monetary, social, or racial boundaries and very poorly any real means of attaining these ends, all while very conveintly avoiding the subject of comic art. My suggestion is to file this one under "ivory tower political bilge" and focus more on his first work (providing you were looking for a comic book in the first place).

If you like comics, you need these books.
Understanding Comics is a chronicle of the infinitely weird connection of words and pictures that is comics. It tells usabout the heart of the concept of moving your eyes across panels, looking at the pictures, reading the words, and perceiving them all as a unified, flowing entity. It told us how and why the concept of reading and creating comics works.

Reinventing comics, on the other hand, focuses more on the public's attitude toward comics, the comic industry, and the varied possibilities of new ways of creating, distributing, marketing, purchasing, and reading comics. It contains many of Scott's theories as to how comics are and could be influenced by the internet and the new way of thinking it has brought us.

These are two very different books with two very different subject matters. However, they link hand in hand to aid us in viewing the medium of comics as a whole. If you liked Understanding Comics, you may or may not like Reinventing Comics. If you liked Reinventing Comics, you may or may not like Understanding Comics. But if you want to view the authors opinions and ideas on everything and anything that did, does, and will apply to Comics, I advise you get them both. ... Read more

Reviews (12)

Deja Vu, And As Good as the First Time!
Two of the three adventures here have their genesis in earlier Tintin adventures. Red Sea Sharks takes Capt Haddock back to a ship, and this time we see his metamorphosis from the drunkard in Tintin and the Golden Crab to a responsible and almost noble person who tries his best (in his inimitable manner) to prevent Africans from being sold in slavery. 'Tintin in Tibet' sees Tintin off to Tibet (obviously), with a short stop in Delhi, to rescue his friend who he first met in 'The Blue Lotus'. We meet the yeti, see the captain's attempts at whistling, Snowy's bravery (unintended, as in The Black Island).

I read these adventures as a kid, and some twenty years later I still find myself enjoying these as much. I also enjoy HTML and CSS books now, but some things are too good to grow out of :)

A word of warning - try and buy the bigger versions of these adventures. The 3-in-1 format is convenient to be sure, but the big print of the indivudal comics is that much more satisfying!

A great value!
For reasons unknown, at almost 43 years old, I suddenly had this strange desire to read some of the Tintin stories I read when I was about 12. As a kid I spent countless hours reading Herge's books over and over. If memory serves, I only had 5 or 6 titles, and they were big books with hard covers.

This book is a great value since it contains 3 stories. Oh what memories they bring back. If you ever read Tintin as a kid, get some of these books. The only caveat is that the text is hard to read as these collections are smaller in size and both the drawings and text have been shrunk proportionately.

And yet another "warning." You may start buying the bigger individual stories once you read one of these. I should know. I am now hooked again and "collecting" all 23 volumes.

Thank you, Herge. We miss you.

Tintin is awesome
I love the Red Sea Sharks and Tintin in Tibet. Calculus Affair is full of coincidences and looks amateurish. But hey, when you read Tintin, you cant be too old or critical!

Bordurian agents are after Professor Calculus and his device
If traveling to the moon represents the genius of Professor Calculus going too far in a good way, then the ultrasonic machine that is behind the international machinations in "The Calculus Affair" ("L'affaire Tourensol") clearly represents the good professor going too far in a bad way. Once again Tintin, Snowy and Captain Haddock have to travel across the continent to rescue the absent-minded professor from Bordurian agents, narrowly miss death on numerous occasions, and, most importantly, reunite Calculus and his precious umbrella. Meanwhile, the Thompsons show up in what they think are Swiss disguises, Captain Haddock has a memorable encounter with a piece of sticking plaster, and our hero and his friends have to contend with both Jolyon Wagg and Signora Castafiore (actually, the diva turns out to be surprisingly helpful in this adventure). This 1956 Tintin Adventure certainly reflects the height of the Cold War as Herge deals with the question of how scientific inventions can serve humanity without being coveted by military powers. The answer, unfortunately, is that they cannot and that is why rescuing Calculus from the bad guys is so important. Fortunately, the resolution proves the Herge is still one step ahead of us in the faux world he has created for his hero's adventures. "The Calculus Affair" is one of the better Tintin adventures, although, as always, you are reminded to read these in order.

Herge at the Height of his Powers
This book is one of the great masterpieces of the cartoonists art. I've read it many times since I was 14 (I'm now 29) but the sheer athleticism and virtuosity of both the draughtmanship and the narrative remained undiminished. It really is an astonishing display and is perhaps only second to 'Flight 714' and 'The Castafoire Emerald' in Herge's ouevre. Buy it and read it. ... Read more

Reviews (11)

No Disney fan should be without it!
First, while the title of this book is accurate, it is also misleading. This is no fluffy, flimsy book containing some fun descriptions of Disney characters from the latest popular films. This is an intense, in-depth look at EVERY Disney animated character since Walt began his career. The book is divided into two parts, "Shorts" and "Feature Films". The shorts have the usual gang, Donald, Mickey, Goofy, Pluto, and so on. After each characters bio is a list of every Disney short they've appeared in. Don't be worried or fooled by by this truly encyclopedic book - it is not a boring A to Z book. Color photos pop off of every page, including some from rarely seen Disney shorts. The feature films section not only includes detailed character bios, but plot summaries and "making of" details, cast and crew credits, and more. You buy this book, you will have a list of EVERY Disney short ever made (including the early "Alice" shorts and Oswald the Lucky Rabbit), every feature film in chronological order, and enough information about each one to be the champ of any Disney trivia game!

Wonderful reference book for Disney fans
This encyclopedia gives thoughtful, complete portrayals of every Disney character, from the shorts to the movies to the TV series. From the 9-page essay on Donald Duck to the paragraph or two on a minor character, it all makes for great reading. It is wonderful reference material and even as a good book; John Grant treats the characters like real people! It is very well reasearched, too. It's also got great animation stills of almost every character, too. Wonderful to read, browse through or look up stuff!

Great Disney Resource
This is a definite must-have for any Disney fan. The book is divided into three basic sections: Characters in shorts, characters in television shows, and characters in features. Each category has a mention of every Disney character created until 1997 including interesting articles about them. This is also a great place to find information on lesser-known or forgotten Disney characters such as Spike the bee from a number of Donald Duck cartoons and Little Hans, a star of his own wartime propaganda film. Combine this with hundreds of pictures from the films and you have a book that is sure to be a favorite of any Disney fan.

Excellent but not with every characters
Excellent Disney historic resource. If you're a Disney fan you will enjoy it, unless you're locking for a line about Eega Beeva, because you won't find any- a pity. Daniel

Absolutely STELLAR!
For anyone who ever had a longing for a complete, accurate, and all-encompassing critique of the treasure trove that is Disney animation, this is as good as it gets! From early, unheard-of black-and-white shorts to the latest animated programs and features, this anthology will enthrall readers/animation fans with its painstakingly exact analysis of every element of animation: the art, music, story, script, voice performances, characterizations, and basic dynamic of the film. In addition, the readers will find very well-researched analysis of other reviews of Disney's works and exactly where the given piece of work fits into the Disney cannon. One cannot possibly recommend this encyclopedia highly enough- it is DIVINE! Bravo for John Grant and his masterful evaluation of Disney animation. Those of us who have been lucky enough to discover this virtually sacred tome await with baited breath for the next installment, likely to be published in 2003. ... Read more

Book Description

Stan Lee, the Mighty Man from Marvel, and John Buscema, active and adventuresome artist behind the Silver Surfer, Conan the Barbarian, the Mighty Thor and Spider-Man, have collaborated on this comics compendium: an encyclopedia of information for creating your own superhero comic strips. Using artwork from Marvel comics as primary examples, Buscema graphically illustrates the hitherto mysterious methods of comic art. Stan Lee's pithy prose gives able assistance and advice to the apprentice artist. Bursting with Buscema's magnificent illustrations and Lee's laudable word-magic, How to Draw Comics the Marvel Way belongs in the library of every kid who has ever wanted to illustrate his or her own comic strip. ... Read more

Reviews (45)

Great book for any "wanna-be" comic artist!!!
Have you ever wanted to learn to draw comics? If you have, this book is the place to start. How to Draw Comics: the Marvel Way teaches A-Z on comic-book drawing, using the Marvel comics style.
The book is written by one of the founders of Marvel comics, Stan Lee, and is illustrated by veteran Marvel artist John Bucema. I would strongly recommend this book to anyone who wants to draw comics.
The writer uses many pictures with excellent analysis of each. He writes as if he's talking to you, using a humorous tone. This book would be comprehensible for teens through adults.
The book includes many excellent pictures which make it very comprehensible, and fun to read.
How to Draw Comics: the Marvel Way is an great starting point for any "wanna-be" comic-book artist.

SORRY, STAN
When I was a teenager, this book was the bible for any kid wanting to get into comics. In retrospect, I wonder why--I mean, it's not really informative and it doesn't give anything away--i.e., give you any details on the finer point of comic book storytelling and drawing. In short, it's as instructional as a Lee Ames book, and that's not saying much. Besides, in light of the new direction that comic books are going these days, it's a bit dated. If you really want to get into comics, here are four great books to get you started: The Encyclopedia of Cartooning Techniques (an overview of cartooning, from technical stuff to business aspects), The Encyclopedia of Fantasy and Science Art Techniques, Chris Hart's How To Draw Animation (because animation helps a lot, kids!), and let's not forget Wil Eisner's great book that started it all! Sorry, Stan. My verdict--2 stars; but add an extra star if you're a 12 year old aspiring comic book artist just for it's inspirational benefits.

Good Book.
For anyone wanting to just start drawing, then this is a pretty good book to start with. It starts out with basics like figure drawing and perspective and moves on to subjects such as composition and panel creations. However, don't expect to come out an expert artists after reading this book. It merely is a stepping stone to get you started on drawing really cool comics. The exercises are presented really simply and almost systematically so that it's easier on a novice drawer. What the book lacks is any information on technique. You'll notice that the artist's drawings are much better than your's, but don't feel bad, that's because he's probably holding the pencil differently or is using a technique other than just holding the pencil like he's writing an essay (which is how all us beginners start out). Bottom line is, it gets you aquainted with drawing and the step by step exercises makes sure that you have reference to work off of so that you can compare your work and progress with the illustrations in the book.

It's to bad I don't own it..................
It's a good book for getting started. It was one of the first How-to-Draw books, and even if it's a little dated it's still better then some modern How-to-Draw books. It gives you some proportion guidlines, faces, dynamic angles, inking and the comic book cover. It's not very stylized, which is good because the book isn't commanding you to copy their drawing style. One of the reasons that I think it's good is becouse it makes you want to draw. A lot of modern books are kind of blah in the sense that you just like looking at the pictures. This book is for begginers without having a baby drawning style which makes you feel like a fool. This book is very well made, and one of the only weaknesses I can think of is it dosn't show you how to draw everyday clothes (folds etc.). I really like this book becouse it's a firm starting point.

More a basis than the only tome you will need
Overcoming Stan's hyperbolic style, the earlier chapters of the book are the most useful and where any aspirant artist should make sure they have everything covered. Particularly good are the perspective chapters.

Later on the book tends to gloss over things, partially (one suspects) because they are harder to explain. Having been through various copies over the years I can assuredly say I have yet to actually glean anything from the composition chapter and there is precious little of any use in the inking section.

A good foundation, but nothing particularly more. ... Read more

Reviews (6)

One of our TOP TEN Books on the Walt Disney Studios
Words simply don't do justice to this book. It must be held in one's own hands to fully appreciate the investment that went into producing this masterpiece celebration of animation history.

John Canemaker has succeeded once again in bringing the creative process to a place where both a novice hobbyist and experienced researcher can find full appreciation in a single work.

Paper Dreams is filled to overflowing with original story sketches from the Disney Archives and Animation Research Library. The story sketch is the most primitive form in the process of animation, and yet is crucial to the development of both story and character personality. This process was invented at the Disney Studios in the early 1930's, and is widely used throughout Hollywood to this day, both in animation and in live-action production.

In particular, researchers of original animation art will appreciate this work as creating a permanent record of known storyboards and sketches from the Walt Disney Studio.

While most will never have an opportunity to visit the Disney Archives, Canemaker effectively opens the vaults for all to enjoy and appreciate.

A wonderful insight into the creative process
Too often in animation titles, the storyboard element is relegated to a minor footnote. This book presents a wonderful insight to the creative process of animation film making. Many animators and students collect resource material from feature films, and storyboard examples are rare and treasured items. As a storyboarder myself, I was in awe of the beauty and clarity of these works, many I was seeing for the first time. However, anybody with an interest in art or animation will enjoy this book. It is an amazing and definitive collection.

Outstanding!
I have most of the 'Art of' books and, though this is a little more pricey than the others, it is worth every cent. It is refreshingly reassuring to finally have a Disney art book NOT written by a Disney staffer, but by a film academic. It was great to read about the men who worked alongside Walt and knew him for all his faults as well rather than the godhead he has become to the company. This book, while showing page after page of behind-the-scenes miniature masterpieces that went into making the classic early features, also describes the not-so-happy endings that such chemistry produced among Disney and his storymen sometimes. It also covers the latter-day storyboard masters like Chris Sanders and the Brizzi twins. I have ambitions of being a Disney storyboard artist someday and this book is perfect inspiration. More than worth it.

its not cute little animals that made them there pictures!
If the Disney American Animated Film has one stigma, is the belief that it is made for childern. Mr.Canemaker's book disproves that notion by recounting stories by those lucky few that got to meet Walt,work with him and put his "Dreams" on "Paper" before they were made a reality on film. We are privy in the world of Walt Disney and the people who put his ideas on paper only to have Walt think that they could be better than that.The book is filled with instances of Walt cursing-four letter words and all,when his Soryman ideas did not cut the mustard. Why should they since Walt "was his own best storyman." We get to meet the men that were up to par with Walt-T.Hee and Bill Peet. But these man could be considered Lucifer to Walt's Christian God-those who wish to be better than him or take his place would end in Hell, which in a sense they did. Finally, lets not forget the geniuses Walt himself dealt with-Salvador Dali and Orson Welles. If there was anyone that could top Disney himself ,it was Orson,as described by Walt Himself.

Historic Disney Animation at it's FINEST!
This is a book we're proud to own. John Canemaker is to be congratulated on bringing together the art and history of original Disney animation in all its glory. Beautifully printed on quality paper. So much artwork has never before been published, it's almost overwhelming. To turn the page is to uncover a treasure! Someday Hyperion will learn something about the art of quality bookbinding. A book like this deserves the use of binding and boards of higher quality. But even with that one criticism, this book is a MUST HAVE. ... Read more

Reviews (6)

A solid introduction to the pencilling end of comic books
"The DC Comics Guide to Pencilling Comics" by Klaus Janson introduces wannabee comic book artists and fans of the art form to a more detailed appreciation of what goes into drawing pages for "Batman" than they will have picked up through osmosis or imitation to date. Janson divides the fifteen chapters in this volume into three parts focusing on Drawing, Storytelling, and Pencilling designed to provide an introduction to one of the most difficult of art forms:

Part One Drawing: (1) Materials outlines what supplies an artist needs in terms of paper, pencils, erasers, rulers and templates; (2) Shapes are presented as the foundation of the creative process of drawing, the general concept from which the artist moves to more specific ones; (3) Faces looks at both the basic geometric elements in composing a face and the artistic range available through example of faces drawn by Joe Kubert, Gil Kane, and Neal Adams; (4) Anatomy covers both the structure and design of the human body, including all the muscles, with special attention paid to the most difficult thing in the world to draw, the hands; (5) Clothing establishes the four basic dynamics that shape the folds and wrinkles of a person's clothing; and (6) Perspective, which is covered from the fundamentals to the use of vanishing points and systems of perspective. This unit is the most instructive in the book since it deals with the basic building blocks.

Part Two Storytelling: (7) Juxtaposition establishes the uniqueness of comic book art in terms of how sequential art functions in the eyes of the reader, featuring diverse examples by Eduardo Risso, Sean Phillips, and Dave Taylor; (8) How to Lay Out a Page starts with the grid approach and then moves to the free-form end of the spectrum, starting with an example by Jack Kirby and then moving on to some by Neal Adams and Walt Simonson. Janson explains the value of insert panel and breaking borders, along with the larger pictures need for covers, splash pages, and double-page spreads; (9) Storytelling is considered as being judged by the criteria of clarity and entertainment, just like telling a joke; (10) Composition takes us down to the level of individual frames, looking at how the process of combining elements together to form a united whole; (11) Shots and Angles parallels what we know about such things from cinematography; and (12) Movement examines the one inherent disadvantage of comic art, which is trying to show movement in a static image.

Part Three Pencilling: (13) Procedure lays out how most comic books are written, so you can see where the penciller comes into the process; (14) Breaking In has Janson offering advice on how to break into the business in a professional manner; and (15) Anatomy of a Story has Janson walking us through the drawing of "Good Evening, Midnight," a story he wrote and drew for "Batman Black and White" #3.

"The DC Comics Guide to Pencilling Comics" provides exactly what it promises: a clear-cut introduction to the fundamentals of drawing comic books. As to the fact that the vast majority of illustration examples in this volume are not pencilled but inked, I would point out a couple of pragmatic facts that would explain why. First, inked examples look better than pencilled examples. Second, given that Janson is using examples from real DC Comics, these are covers and pages of art that are already inked. Still, I would agree that more examples of pencilled art would have been nice, although I certainly like what Janson does in Chapter 15, "Anatomy of a Story," where we see layouts, pencilled, and inked pages side-by-side to have a full appreciation of the transformation wrought by the inker.

The companion volume to this work, "The DC Comics Guide to Writing Comics," is authored by Dennis O'Neil. Along with Scott McCloud's "Understanding Comics" and "Reinventing Comics," as well as Will Eisner's "Comics and Sequential Art" and "Graphic Storytelling," and John Buscema's "How to Draw Comics the Marvel Way," these two DC volumes are worthy additions to the limited library that every aspiring comic book writer/artist should have next to their computer/drawing table.

Filled with examples from Janson's own successful work
Aspiring cartoonists and comic artists of all ages will welcome DC Comics Guide To Pencilling Comics, an inspirational guide, penned by Klaus Janson, a comic book artist with over thirty years of experience. From creating effective and smooth visual communication sequences to learning about borders and completion processes, DC Comics Guide To Pencilling Comics is filled with examples from Janson's own successful work.

Hmmm... more ink work than pencil here...
All right, I have to admit that in terms of attempts to lay down solid info about composition, layout, and some basics of linework, the book isn't terrible. But... I had to laugh when flipping through a copy. There were more inked examples than pencilled. Ummm....
I know that Klaus has got some skill, and some of the folks who have pencilled for DC, I work with a couple, have done some amazing work. Still, this doesn't have much about the quality of work I am used to seeing from some of their past great pencillers. That is, not visually anyway, and isn't that what this was supposed to be about? Visuals? How to use tones, what you convey to an inker in the way you block in forms and indicate depth, shadow (which reveals your form, light only helps with color), and the infinite variety of line work. The necessity of knowing anatomy, light and perspective and how to use them effectively in a comic format.
Haven't read the entire book, so I can't say if the reasons for the amount of inked examples are ever spelled out, but I had to keep looking at the cover/title of the book to be sure I was holding the volume dedicated to pencils...

A review from a fan....
I'm a huge fan of Klaus Janson, and this book gives me incrediable insight as to how he creates thes amazing works of art.

Great concepts, though not a "how-to" book
This book is really split into two major parts: figure drawing and storytelling. The former is treated very lightly and only hits the high points of anatomy, but there are some tremendous illustrations within. Buy Elliot Goldfinger's "Human Anatomy for Artists" if this is what you're looking for.

The storytelling section is the real core of this book, however. Janson really doesn't present particularly new or revolutionary ideas (for that see Will Eisner's Comics & Sequential Art), but he does clearly explain the concepts of composition, balance, contrast and reader eye movement. Honestly, I felt like there was so much more that could have been said on each of these and the dozen other topics within. Clearly Janson knows what he is talking about as each subject is supported by actual DC comic book examples (covering a lot of genres over the last 30 years, so this is not just aimed at current comic book styles).

There is a third section called "Pencilling", but it is more of an appendix of notes such as how to talk to editors and present your portfolio. Janson also breaks down a short Batman story he wrote and illustrated, showing thumbnail sketches and reference photos along the way - very insightful.

Klaus Janson is a tremendous artist with an energetic style, which is exemplified by his inking (see Frank Miller's Daredevil or The Dark Knight Returns as examples). There are over 200 illustrations within, about one third are Janson's. ... Read more

Book Description

America's leading comic book publisher brings its superstar creators and classic characters to the fourth in an authoritative series of books on how to create comics. Acclaimed comic book illustrator Mark Chiarello and award-winning letterer Todd Klein demonstrate dozens of surefire strategies, practical techniques, and professional secrets for dynamic comic book coloring and lettering. They use DC's world-famous characters to demonstrate an array of techniques, covering such topics as the pros and cons of lettering by hand or by computer, creating balloons and fonts, logo designs, working with color, and creating special effects. The animated step-by-step instructions are informative, stimulating, and clear enough for even beginners to follow. In addition, every technique shown in this guide conforms to up-to-date industry standards. The perfect how-to on everything coloring and lettering, this one-stop sourcebook is packed with a wealth of tested techniques, practical advice, and professional secrets for the aspiring comic artist. ... Read more

Reviews (7)

A Definite Must For Any Artist's Library!
Christopher Hart has truly done an excellent job with this book. Filled to the rim with illustrations, techniques, explanations and inside information, if you've ever wanted to learn about humorous illustration or cartooning, put this on your list. You'll be glad you did. :o)

For any type of artist
Great book. He displays how to cartoon men, women, children, elderly and many types of animals. He does it in an extremely visual way that even a child could follow along. This book is packed with 95% illustrations and 5% text. To me, that's a winner. The 5% text that is in there is invaluable. The print is nice and large and easy to read. I am very happy I bought this book. It is a keeper.

From the Beginning
From the beginning of this book to the end, it is filled with (finally) basic, step-by-step instructions on drawing cartoon people, body parts, the "action line", body language and style. And then it starts all over again with animals! Mostly dogs, cats, and different fowl, it also includes less common animals, like beaver, porcupine, raccoon and many sea animals. Can't forget the great alligators and dragon. Finally, the book spends time on placing the characters, reference lines and specialty shots and the all-important "balloon". Another great one by C. Hart. I think I own most of his books and they are all worth great merit, better than the other books I've seen out there by far.

My Drawing Bible
A few years ago, on a whim, I decided to start drawing. I didn't know where to begin so I bought this book. I really believed I couldn't draw. The techniques in this book were so easy to learn that soon I went from drawing stick figures to expressive cartoon characters. My confidence went up and I took on more complicated projects. Now, I work part-time doing illustrations and it all started here!

First-rate!
This is an excellent book for any beginning artist or anyone else wanting to learn cartooning. Chris Hart publishes some of the best books on art that I've ever seen. This book gives good details on drawing that is easy to follow and understand. All in all, this is one book that should be in every artist's library. ... Read more

Book Description

While one would think undergarments are standard fixtures on manga characters, they can be unexpectedly tricky for artists to draw. This book includes more than 4,000 illustrations showing details of these garments worn on a figure in addition to a detailed history of intimate apparel. Moreover, it enables the reader to make practical use of the illustrations provided to create easily their own fantasy costume designs. This volume is chock full of ideas ready for use! ... Read more

Book Description

In this series, the author who has helped new talent to develop, including GHIBLI and MAD HOUSE, explains character design step by step using his own expertise and teaching materials.In the second volume, learn to master character's emotions and facial expressions! ... Read more

Reviews (10)

Expression both face and body
I own the Japanese text version of this book, but the language barrier matters little. How to Draw ''Anime'' & ''Game'' Characters: Expressing Emotions, it full of self-explanatory drawings. A series of six different characters (both men and women) are used to show facial expressions of almost every conceivable emotion. The same sets of character are also use to display a wide variety of body language that express emotion. A must have resource for anyone wanting to draw anime/manga. Those interested in drawing superheroes and realistic; this is a great companion book to when pair with a facial anatomy book.

Another top title from Ozawa
For anyone interested in drawing characters (not just Manga style), the Tadashi Ozawa books are a real find. Volume one of the Anime and Game Characters (Basics for Beginners and Beyond) series was an amazingly useful book on drawing the human figure in many styles. Now he follows it up with Expressing Emotions.

As with the first book, he walks you through the techniques he's featuring for a range of different character types, from the very simple to the very realistic. He also includes extensive annotations with most of the drawings explaining why things work and pointing out the small but important details he's used. He focusses both on facial expressions and using the whole body to effectively convey feeling.

And again, he's included a section of drawings that don't quite work, with full annotations alongside revised drawings that fix the problems. While not as extensive as in volume one, it's still a great resource for the learning illustrator. Once you study these "before and afters", you wonder why more books on drawing don't use this technique. It allows you to spot your own flaws more easily, while encouraging you by showing you how to repair the problems through practice.

This book is definitely a 5 star read if you already have Volume 1 of this series (currently a bit hard to get, but keep checking for the reprint that's scheduled for release sometime). If you're already quite competent at drawing figures, this book will be of great use. If not, you'll still find it useful, but it doesn't cover how to draw figures, only how to give them more life and emotion.

If you're interested in drawing, especially Anime and Manga, grab this book while you can. And watch for the release of volume 3 (Bringing Daily Actions to Life), tentatively scheduled for this Summer 2001.

This book helps!
Yes, the cover may not appeal to much becuse it didnt at first to me and my brother. I was soon looking at it in a store and saw how good it was. The book vol. 2 goes into detail about emotions and it is very helpful. Also there is a guy who looks much like Herro Yuy from gundamwing.

Excellent book
The second book in the series, this one goes into detail on how to bring your characters to life through their facial expressions and body position. They show many different facial types for various types of characters and genders; many emotions that they go through including joy, anger, smug, embarressment, and much more; and the positions their bodies would be in while executing these emotions. At the end of the book there is a chapter on perspective and how to choose the right perspective to convey the emotion your character is going through. An excellent book for any anime artist.

excellent character designer's crib book
This book focuses directly on character design. Its best feature is that it shows various features and demonstrates precisely how, in the stylistic language of anime, these features interact to form believable character traits. Invaluable for those times when your generic cute girl character needs just a touch more strength, or needs to express a little more shyness.

It's possible to complain that the archtypes they show are too generic, but I feel that's one of the book's strengths. It explains the rules and conventions, using neutral characters so that the lesson shows clearly. It expects you, the character designer, to apply these lessons with whatever degree of subtlety you prefer.

The book is somewhat expensive for its content (especially compared with such great values as /the animator's survival kit/, by richard williams,) but it's quite useful, and still recommended. ... Read more

Book Description

As a unique, one-volume encyclopedia of more than 1,000 characters created by DC Comics, this is the book that all comic book fans have been waiting for! Featuring some of DC's most creative artists and heroes and villains from the world famous to lesser known one-offs, this thrilling, one-of-a-kind guide has comic book history exploding off every page. ... Read more

Reviews (2)

A Comics Pro Gives It The Thumbs Up
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 professionals in comic book illustration. In that case I always enthusiastically recommend any of Eisner's instructional books as essential reading for anyone serious about their craft and dreams of getting into the industry.

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 "Comics & Sequential Art".

- Darick Roberston

When you need help - ask the professional!
Whether you just love comics or intend to start writing some yourself, you'll probably need a helping hand. Will Eisner might just be the right hand for you. As a true pro, who's been in the field since 1930, he might just have the kind of hints, tips and interesting details you need to know as a beginner. Graphic Storytelling will reveal to you the world of telling a story in drawings and words combined, the art of comics and caricature. In my very humble opinion, this book is one giant step forward for you, on the way of expressiong yourself on paper. And hei, if Neil Gaiman recommends it, who am I to say anything else? ... Read more

Book Description

Aspiring cartoonists of all ages can begin drawing a repertoire of characters from the moment they follow the wide-ranging yet simplified lessons that fill these instructive pages, written and illustrated by an all-time best-selling artist/teacher.

This complete course, covering both comic strip and animation techniques, begins with lessons on basic cartoon body shapes and facial features. Included are helpful comparisons between the real versus the cartoon head, a smile chart, and various ways to draw the most popular and expressive cartoon eyes and mouths. Next come lots of typical body poses, how to draw action lines, slow/fast movement, cartoon hands, fun hair and clothing styles, backgrounds, and cute cartoon pets. Excellent directions also focus on helping beginners to find and develop their own cartoon style. ... Read more

Reviews (7)

Great basics in cartooning
I am an aspiring comic artists. First, a word of note to beginners in cartooning or art -- drawing is HARD. Not everybody have the gift or the vision to make professional style art. If you are a beginner, I highly advise you to take a drawing course in a local college. The face-to-face interaction and feedback is invaluable. You *can* learn to draw from reading a book, but not at a very fast pace.

I picked up this book because I was really bored and wanted to learn something new. I mainly draw in the Marc Silvestri and Top Cow studio style. This is a good book that starts you off with the basics, using simple geometrical shapes and then altering the shapes. Then it slowly adds the details. This is as SIMPLE as it can get! If you cannot even get a good feel from the get-go of reading the first couple of pages, you will have a hard time finishing this book or moving on into other drawing style.

Mastery of this book can give you a good boost in moving on to other drawing fields such as anime, comics, and realism. If you have a fairly good grasp of art, this book is not necessary, unless you want to try dabbing in cartoons. The basics are pretty much there if you want to draw your own comic strips. The rest is just practice.

This is an excellent reference, beginner or not
I found this to be an excellent learning tool and reference for cartooning / animation. He clearly states step by step with many examples, and almost all the art in the book has the rough "circle" sketch going to the full cartoon final (in color). The color illustrations are excellent, the perspective and clothing tutorials are well-done and easy to understand.

A reviewer below stated that he didn't even specify how to erase the guide lines, and was confused and didn't think that this book was for a beginner. I highly disagree. Page 10 "Creating a face from a basic head shape" specifically states at the bottom to erase your guide lines at the end. If you can follow instructions, you can learn from this book.

I use this book to supplement the Flash cartoons I've been working on, and in fact, instead of taking pencil to paper, I have followed all his guidelines drawn directly into Macromedia Flash (with a Wacom Intuos2 graphics tablet). When it says to "stretch" a ball shape, no problem, all done digitally, all quite simple. Even someone who can't draw a straight line can benefit from this book if they use it in conjunction with Macromedia Flash to learn to create cartoons.

Excellent reference and learning tool, I'm going to the store today to purchase three more of his "how-to" books.

Plenty of drawing concepts and techniques inside one book!
I'm impressed with all the information that one book like this covers. This book doesn't teach you how to put your pencil to the paper to draw shapes other than explaining the concept of what needs to be done, but there isn't a substitute for practice.

I too started cartooning as a hobby(not too far from 29 years of age myself) and have always been frustrated and gave up whenever I attempted to learn because it seemed too hard. This book is excellent! If you aren't worried about "how" to draw the basic shapes and want to know "why" and "what" is needed so that you can practice the "hows", this is the book to be without.

I had immediate results after only practicing for a couple of hours. You have to take the time to practice and use your eraser (can't get lazy). The human mind is fussy with drawings. It's never a challenge to spot badly-looking art, but learning what you did wrong when you finally get it right is what teaches you how to be a good drawer. Practice! Practice! Practice! Your eraser is going to be your best friend, better get used to it. This is the book to have if you want to learn as much as you can about cartooning in the shortest time. The coloured illustrations are fun to learn from as well.

The more advanced parts of the book dealing with more detailed drawings will also be a good transition if you ever want to go into comic book style drawings.

NOT a beginning book at all
I bought this book as a "non-artistic" person who decided to try and "learn to draw" at the age of 29. I never was really into drawing (since I was always so horrible at it I never enjoyed trying.) When I asked an artistic friend, he mentioned that "anyone could learn". OK. I thought I would give it a try. I bought "CARTOONING FOR THE BEGINNER". Guess what? After spending HOURS trying to do a "basic toon head" and giving up I asked my artistic friend. One sentence and a 10 second description told me. (Add lines to the circle, erase the old instead of trying to free-hand draw the shape). Instead of sound advice, and TELLING the person HOW to draw, you are met with a set of "toon hands" stretching the drawing, with no mention of any further instruction other than "start with a circle, stretch it out, squash it" without the details on HOW to do it the easiest way. This book is more of a "Look what I've done!" to other artists than an instruction book. The artwork looks nice, but I have to wonder if the author REALLY wants to teach drawing (or knows HOW to teach) or just sell dozens of "how-to draw XYZ books" with have few differences than the pictures in the book being displayed.

If I were the author I would be embarrassed at this extremely poor attempt (if thats what it was) to teach drawing.
The only reason I give this book a "2" rating is because of the interesting pictures inside. But I'll spend my money elsewhere and find a REAL book on how to draw next time.

This book isn't really for beginners.
Although this book was somewhat helpful, it seemed to be a mere summary of knowledge, and not exactly in the proper order; if you were to follow this book from front to back, you would get lost pretty quick. Hart doesn't go into detail, nor does he explain anything. He just assumes you "get it," so if you truely are a beginner, this book won't help you much as far as drawing cartoon characters. ... Read more

Reviews (14)

The shame to the "How to Draw Manga" series
I feel that I'm a decent manga artist, but unfortunely I am unable to link to my artwork as a demonstration due to guidelines. I have 3 other books which are How to Draw manga for Male Characters, Female Characters, and Bishoujo Around the World. I was impress with all three of them, but with Bodies and Anatomy I was extremely disappointed.

First of all, other than a very few anime pictures, it does not even feel like an manga book at all. Like what someone else mentioned, it doesn't even have manga proportions. The book might as well not have manga in the title and I still wouldn't be able to tell that this was a manga book.

I was completely fooled by the cover of the book. The drawings inside do not even match the quality of the cover. The bodies on the cover are manga, the bodies within the book are not!