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Drawing Words and Writing Pictures: Making Comics: Manga, Graphic Novels, and Beyond

Ebook Drawing Words and Writing Pictures: Making Comics: Manga, Graphic Novels, and Beyond

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Amazon.com Review

Learn to create your own comics with Drawing Words and Writing Pictures, a richly illustrated collection of 15 in-depth lessons that cover everything from crafting your story to lettering and laying out panels. Take a Look Inside Drawing Words and Writing Pictures Three Panels That Move Beyond the Grid This page from Mike Mignola's Hellboy is a beautiful example of creating rhythm and mood. Read more... In Blankets, Craig Thompson tells his story through dramatic and unexpected page layouts. Read more... In David B.'s Epileptic, the shape and orientation of the panel reinforce the storytelling. Read more...

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Product details

Paperback: 304 pages

Publisher: First Second; First edition (June 10, 2008)

Language: English

ISBN-10: 1596431318

ISBN-13: 978-1596431317

Product Dimensions:

7.7 x 0.7 x 12.1 inches

Shipping Weight: 2.8 pounds (View shipping rates and policies)

Average Customer Review:

4.3 out of 5 stars

50 customer reviews

Amazon Best Sellers Rank:

#48,580 in Books (See Top 100 in Books)

95% of artists who completed course this would find themselves improved.The type is indeed too small and the space not always well used.The tone is friendly, personal, non-pedantic. I think the opening section, analyzing what a comic is, and comparing the different names for comics in different languages, IS interesting. More importantly, it gets you thinking--fundamentally--about what it is you're about to get into.If one struggles through that (brief!) opening part, finding it too heady, not entertaining enough, one may not have the optimal mindset for getting the value of this book. Yet still benefit from it.Drawing Words and W;riting Pictures wisely suggests specific ways of "socializing"your comics learning, and does all it can to compensate for the lack of an in-room teacher. Kudos! The material on Character and narrative arc are wonderful and rightly presents those two topics almost in tandem.I love that a section on inking is titled "Softening the Black." That gets at the purpose of almost all the tools and techniques of inking. It's a fundamental insight that I don't think you'd find in any other such book.Abel and Madden guide you in practical matters, like setting up your inking kit and working area, doing exercises, caring for your back.The weakest part I think is the chapter on lettering. Abel and Madden come at comics from a Europhilic, Fantagraphics-y mindset that emphasizes sincerity and sweat over polish and efficiency and urge people to learn hand lettering. Fair enough. The rules of lettering are the same -- or most definitely should be -- but the book's lettering dos and don'ts are near-non existent.Incredibly, some of their illustrations feature the roundly and justly reviled font Comic Sans! Equally bizarre, to anyone with even a semi-professional background, they don't know and don't teach the rule on how to use serifed capital Is. Nothing shrieks "amateur" in work samples like seeing that serifed I in the middle of a word.They say you can get a font made of your hand lettering (a great idea), but don't say where.Another weakness is that--like a million how-tos before-- this book shows you 6 or 7 different mouths, for example, IN ISOLATION and moves on. Faces are way too important to be given this once-over lightly treatment. Here is where the authors should have looked to the world of animation to show how features interact and contribute to an overall attitude/expression. See the immaculate attachment from Disney's Big Hero 6. On the plus side, they do talk about how other parts of the face can affect the shapes of eyes.

I brought an advance copy of this book into a college illustration class I teach. The class was quite impressed. In fact, two students went onto Amazon online and bought it instantly. Usually I discourage shopping during class, but Drawing Words and Writing Pictures is an answered prayer for the aspiring comics artist.This is an ideal text for a 15-week class in comics. It also has guidance for starting an informal collective class. It includes suggestions for the stereotypical solitary artist, who the authors are gracious enough to refer to as ronin. There is a wealth of info on the narrative process, page design, lettering, pens, and even Photoshop scanning advice.The authors' individual web pages present a lot this DIY info, so search out their sites, see if their philosophies appeal to you. The book contains multiple perspectives from two remarkable artists. Matt Madden is into "formalist" styles, working within Houdini-like constraints. Jessica Abel's La Perdida is one of the great masterpieces of the long-form graphic novel.From George Herriman to Robert Crumb, Charles Burns, to Kaz and John Porcillino, the book is crammed with a diversity of styles. Wide-ranging and inclusive, no matter what one's preferred comics style, from manga to superhero to alternative, you will find something to like here.Instructors will find the bibliography alone is worth the price of admission, I teach a seven-week college comics course each fall. My plan is to email the students over the summer, tell them to get this book and get started on the exercises. The ronins will get a head start and their classmates will lose face.Scott McCloud's Making Comics is also a valuable college course text for serious students, who have some background in reading comics and thinking critically about the artform. Drawing Words and Writing Pictures, however, has practical exercises for students at any level. Highly recommended.

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Drawing Words and Writing Pictures: Making Comics: Manga, Graphic Novels, and Beyond PDF

Drawing Words and Writing Pictures: Making Comics: Manga, Graphic Novels, and Beyond PDF

Drawing Words and Writing Pictures: Making Comics: Manga, Graphic Novels, and Beyond PDF

Drawing Words and Writing Pictures: Making Comics: Manga, Graphic Novels, and Beyond PDF