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Comics and Sequential Art PDF, ePub eBook


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Title: Comics and Sequential Art
Author: Will Eisner
Publisher: Published September 28th 2001 by Poorhouse Press (first published 1985)
ISBN: 9780961472818
Status : FREE Rating :
4.6 out of 5

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Eisner presents the principles of graphic storytelling in this guide, which is based on his popular sequential art course at New York's School of Visual Art. Readers will learn the basic anatomy, fundamentals of storycraft and how the medium works as a means of expression.

30 review for Comics and Sequential Art

  1. 4 out of 5

    BigJohn

    Comics and Sequential Art is the first of three books in a series of comic book instructional books written by comics legend Will Eisner. The creator of the widely-popular Spirit comic strip from the 1940s, Eisner wrote one of the earliest (if not THE earliest) books exploring the medium of comic book storytelling, dissecting it and distilling it for would-be creators to consume and enjoy. I first heard of this book when reading Scott McCloud's incredible Understanding Comics, in which he makes m Comics and Sequential Art is the first of three books in a series of comic book instructional books written by comics legend Will Eisner. The creator of the widely-popular Spirit comic strip from the 1940s, Eisner wrote one of the earliest (if not THE earliest) books exploring the medium of comic book storytelling, dissecting it and distilling it for would-be creators to consume and enjoy. I first heard of this book when reading Scott McCloud's incredible Understanding Comics, in which he makes multiple references to this book and how much it influenced him personally. Part of me wishes I would have read this one first, because compared to Understanding Comics, this book falls short on the meta-delivery of the information. In Understanding Comics, the entire book is itself a comic book, which uses comic book and sequential art precepts to communicate the instructional and educational components. In Comics and Sequential Art, the entire book is narrative and extant examples taken from Eisner's own creations (with one or two exceptions). I can see how McCloud was influenced by this book, and how revolutionary and revealing it may have seemed. It still holds up as a book on comics theory, but pales in comparison, depth, delivery and content to McCloud's own books.

  2. 4 out of 5

    Cintia Andrade

    Excelente para quem busca saber um pouco mais sobre teoria de quadrinhos e arte sequencial.

  3. 5 out of 5

    Nicole Janik

    I read this book to assist me in developing a project for my graphic design course. Despite reading a lot of comics, and feeling like I have a vague sense of their history and development, this book caused me to look at the actual composition of comic books in a completely different way. I am legitimately looking forward to picking up my next graphic novel or comic book, since I know that I, thanks to this book, now have the means of looking at its composition critically. A lot of the things dis I read this book to assist me in developing a project for my graphic design course. Despite reading a lot of comics, and feeling like I have a vague sense of their history and development, this book caused me to look at the actual composition of comic books in a completely different way. I am legitimately looking forward to picking up my next graphic novel or comic book, since I know that I, thanks to this book, now have the means of looking at its composition critically. A lot of the things discussed feel like common sense, like the portion that focused on how readers' eyes move across the page, but it was explained in a manner which not only brings the matter to the reader's attention, but forces them to analyze it and comprehend the idea on a much higher level While I had no difficulty reading the book,the style of writing is my only complaint. As I mentioned, it's not difficult to read, but oftentimes things are written with "fifty dollar phrases" when a "fifty cent" one would do. Simple ideas are often phrased using long, extravagantly-worded sentences, and the technicality of the writing surpasses most science textbooks I have read. At several times throughout the book, Eisner recognizes the fact that,many times, comics are not taken seriously by many critics and the general public. This frequent observation makes it appear that Eisner is trying to overcome those stereotypes by treating comics, or "sequential art", as he refers to the genre, as a very, very serious subject, with no room for humor or triviality. This, however, is a minor complaint, since I really don't feel like it negatively impacted my reading of the material. It just made the going a tiny bit slower.

  4. 4 out of 5

    Diz

    This book provides a lot of ideas for reading comics at a deeper level. It is well illustrated with examples from Will Eisner's "The Spirit" series. The only downside is that it tries to cover too much ground, so some sections are very light. If I were the editor, I probably would have cut all of the digital comics stuff, and focused the book more on the structure of comics.

  5. 5 out of 5

    Parka

    (More pictures at parkablogs.com) This is one of the three instructional books written by Will Eisner. The other two are Graphic Storytelling and Visual Narrative and Expressive Anatomy for Comics and Narrative. The book focuses on the creation of comics and the various techniques one can use. Specifically, it talks about the why the techniques work and the concepts behind. The various lessons touch on timing, framing, composition, expressive anatomy, writing for comics and other application of c (More pictures at parkablogs.com) This is one of the three instructional books written by Will Eisner. The other two are Graphic Storytelling and Visual Narrative and Expressive Anatomy for Comics and Narrative. The book focuses on the creation of comics and the various techniques one can use. Specifically, it talks about the why the techniques work and the concepts behind. The various lessons touch on timing, framing, composition, expressive anatomy, writing for comics and other application of comics. Every page of comics included that serve as examples come with captions. They explain the effect to achieve on readers. One example would be to tilt a composition of a moving train to simulate the rocking on the tracks. How Will Eisner uses his panels and framing is amazing. He can use doorways or windows on a plane as frames, and he can so easily blend his panels together using the environment. Paneling and pacing when done right really just enhances the story. You'll see and understand why it works. It's all explained. This book will serve as a very good introduction to comic artists. Professionals might learn some new ways of doing things too. This review was first published on parkablogs.com. There are more pictures and videos on my blog.

  6. 4 out of 5

    Alex Howard

    I went to a local comic book store to buy something for my sister (Fables: Animal Farm--Those of you who like topsy-turvy fairy tale stuff will probably enjoy this) and wanted to pick up a book for myself about drawing (a new, but very engaging activity for me) or a comic with illustrations that I liked. I flipped through a bunch of things at the counter and handed the guy at the counter a stack of things I didn't want and couldn't seem to put back in their protective plastic bags without gettin I went to a local comic book store to buy something for my sister (Fables: Animal Farm--Those of you who like topsy-turvy fairy tale stuff will probably enjoy this) and wanted to pick up a book for myself about drawing (a new, but very engaging activity for me) or a comic with illustrations that I liked. I flipped through a bunch of things at the counter and handed the guy at the counter a stack of things I didn't want and couldn't seem to put back in their protective plastic bags without getting the tape stuck on their covers. In the stack of items I handed to him was this Will Eisner book--still in its plastic cover. Before I got to it I decided that I had already spent too much money and would check this book out another time. He was clearly not pleased that I was putting the Will Eisner back and insisted that I get it. He was so confident that this was the book I needed, he gave me a ridiculous discount. He was right. This book is simple and succinct. Each illustration is amazingly instructive and educational. As silly as it is, I'm working on a short illustrated story (that I am sure will take me forever and be of questionable quality) and I keep going back to this book. I can't thank the guy in the comic store enough...well, I did go back and buy more stuff.

  7. 5 out of 5

    Joel Griswell

    Wow, hmm, I currently feel like the worst comics fan in the world--but I actually didn't like this book at all. In fact, it took me several weeks to read half of it, and then I just stopped. I'm not quite sure why. I found it just hard to read, even though it's a pretty short one. It seemed to be that Eisner wasn't really saying much that was particularly useful, or it just seemed really basic, I also didn't appreciate that every single example was from "The Spirit". I'm sure in it's day, it was Wow, hmm, I currently feel like the worst comics fan in the world--but I actually didn't like this book at all. In fact, it took me several weeks to read half of it, and then I just stopped. I'm not quite sure why. I found it just hard to read, even though it's a pretty short one. It seemed to be that Eisner wasn't really saying much that was particularly useful, or it just seemed really basic, I also didn't appreciate that every single example was from "The Spirit". I'm sure in it's day, it was a groundbreaking book, and I'm very grateful to it for being one of the first to treat comics with academic respect, but I just find it hard to swallow now. I strongly suggest reading Scott McCloud's "Understanding Comics" instead, for a much more useful, comprehensive, and at the same time much more fun read.

  8. 4 out of 5

    N

    "The sequential artist 'sees' for the reader because it is inherent to narrative art that the requirement on the viewer is not so much analysis as recognition." — Is it really, though? My favourite books are often the ones full of unrecognisable elements which beg to be analysed, puzzled together and given new meaning to. Eisner's views are interesting, but they're stuck at a somewhat old-timey, simple perspective on art. All of his examples are from his own work, including some embarrassingly r "The sequential artist 'sees' for the reader because it is inherent to narrative art that the requirement on the viewer is not so much analysis as recognition." — Is it really, though? My favourite books are often the ones full of unrecognisable elements which beg to be analysed, puzzled together and given new meaning to. Eisner's views are interesting, but they're stuck at a somewhat old-timey, simple perspective on art. All of his examples are from his own work, including some embarrassingly racist bits; instead of a celebration of comics, this book comes across as a celebration of himself. He lectures dogmatically, rather than leaving his readers space to make up their own minds. This book offers some really nice insights into the structure of comics, but it's an introduction, not a comprehensive overview.

  9. 4 out of 5

    Sarah Schanze

    I'm beginning to think I'm becoming desensitized to a lot of these drawing books. They all have something solid and good to say about comics and art and what-have-you, but after a while it all starts to repeat. Still, some good stuff in here, especially if someone doesn't know anything about comics. Just try to ignore the blatant racism in some of Eisner's sample comics. They were written in the 40s and 50s, after all.

  10. 4 out of 5

    Lucie

    3.5 stars I read this for class. It wasn't the most interesting book ever but it was enjoyable. I found that some of the example comics were actually a bit confusing because I didn't always understand the story.

  11. 4 out of 5

    Sherif Fattah

    A very inspiring and informative read. It's hard not to recommend this book (and Scott McCloud's Making Comics) to anyone interested in the sequential art field. Reading them has set a foundation to a lot of things that I used to do by instinct. Totally recommended.

  12. 5 out of 5

    Natalia L

    Though I'd say it's more for the artists than the writers of the medium, I found this book interesting and informative. Its contents include imagery, timing, the frame, and writing. I'll definitely be keeping Eisner's pointers in mind. I also enjoyed the examples of comics throughout the book.

  13. 5 out of 5

    Jillian

    I read the 2008 edition.

  14. 4 out of 5

    Mark Johnson

    Якщо ви хочете навчитися створювати комікси, ця книга повинна бути першою до прочитання. Тому що усі книги, які ви прочитаєте після неї, розкажуть вам приблизно те саме, тільки краще. Мені не пощастило і я прочитав Comics and Sequential art після двох книг Скотта Макклауда (власне, саме з рекомендацій Макклауда я і дізнався про неї). Уроки, які дає Айснер - це основне, що треба знати і на жаль, я уже це проходив. Варто також зауважити, що уроки ці ілюструються на прикладах коміксів 40-их років і Якщо ви хочете навчитися створювати комікси, ця книга повинна бути першою до прочитання. Тому що усі книги, які ви прочитаєте після неї, розкажуть вам приблизно те саме, тільки краще. Мені не пощастило і я прочитав Comics and Sequential art після двох книг Скотта Макклауда (власне, саме з рекомендацій Макклауда я і дізнався про неї). Уроки, які дає Айснер - це основне, що треба знати і на жаль, я уже це проходив. Варто також зауважити, що уроки ці ілюструються на прикладах коміксів 40-их років і треба розуміти, що медіа досить змінилося з тих часів. Усе це в жодному разі не означає, що книга не заслуговує на увагу. Особисто мені здався цікавим і корисним розділ WRITING & SEQUENTIAL ART, у якому Айснер розмірковує про взаємодію сценариста і художника. Крім того, у останньому розділі йде мова про технічну сторону видання коміксів, що цікаво для розуміння деяких тенденцій в їх історії. Загалом, отримати задоволення і максимальну користь від ці книги можна за умови, що це ваша перша книга з теорії коміксів - це хороша стартова точка для розуміння цієї художньої форми, після якої можна переходити до більш поглибленого вивчення (наприклад, Making Comics того ж Скотта Макклауда). Якщо ж ні, то як на мене, вона несе виключно історичний інтерес.

  15. 4 out of 5

    Charles

    This is a book where a master of the comic artform explains how to tell a story in images and a few words. Several different expressions of a specific scene, such as a backshooting in an alley are given and the differences explained. No artistic ability is needed to understand why if the figure getting shot in the back is depicted the proper way, there needs to be no text telling the reader that he was shot in the back. Emotional expressions are also compared and contrasted, several different This is a book where a master of the comic artform explains how to tell a story in images and a few words. Several different expressions of a specific scene, such as a backshooting in an alley are given and the differences explained. No artistic ability is needed to understand why if the figure getting shot in the back is depicted the proper way, there needs to be no text telling the reader that he was shot in the back. Emotional expressions are also compared and contrasted, several different facial expressions are demonstrated and how different they are in depicting the same emotion. My favorite section of the book is another expression of the Shakespearean story of Hamlet. The main character is a male in a hippie attire on the rooftop of an urban building. It opens with the classic lines, “To be, or not to be. That is the question.” He goes through the lines, expressing alternate forms of melancholy and anger, finally going down the stairs carrying a knife and a lot of anger. This is Shakespeare that the modern teen can relate to. Whether you are an aspiring comic artist or are just interested in how they are created, this book will pique your interest.

  16. 5 out of 5

    James Hold

    DNF. Will Eisner is one of those names one risks accusations of sacrilege when criticizing. My only exposure to him were some Spirit reprints followed by a few interviews in comic fans magazines. And because I'm interested in succinct story-telling I felt I might pick up a hint or two to help me with my own writing. Only something about this didn't hit a chord with me. Maybe it was a wrong impression on my part but Eisner's personality came across as too authoritative, a kind of my-way-or-no-way DNF. Will Eisner is one of those names one risks accusations of sacrilege when criticizing. My only exposure to him were some Spirit reprints followed by a few interviews in comic fans magazines. And because I'm interested in succinct story-telling I felt I might pick up a hint or two to help me with my own writing. Only something about this didn't hit a chord with me. Maybe it was a wrong impression on my part but Eisner's personality came across as too authoritative, a kind of my-way-or-no-way approach. That and his absolute insistence that word balloons must always be the first thing done before anything else. I'm sure he has a good reason for feeling this way, but it came across as too crotchety to me. I'll give the man props for what he accomplished, except for the Ebony White character, but otherwise I didn't feel like I'd enjoy spending time alone with him.

  17. 4 out of 5

    John

    Read in preparation for the 24-Hour Comic Readathon This is a very technical looking at what makes the comic reading experience so unique, and some techniques so you aren't just doing an illustrated novel or motion picture without sound. It's got a lot of practical knowledge and has quite an academic slant to it. It's got a fair amount of application and "things to consider", as well as plenty of examples from Will Eisner's oeuvre. While Eisner is a pioneer and master--there is a slight risk that Read in preparation for the 24-Hour Comic Readathon This is a very technical looking at what makes the comic reading experience so unique, and some techniques so you aren't just doing an illustrated novel or motion picture without sound. It's got a lot of practical knowledge and has quite an academic slant to it. It's got a fair amount of application and "things to consider", as well as plenty of examples from Will Eisner's oeuvre. While Eisner is a pioneer and master--there is a slight risk that his style becomes dates as time comes on--it's definitely not involving digital computer use nor thinking about the dynamic/cinematic style that's employed so much in comics today. That being said--many of todays current creators could probably use a little more thinking, creativity and planning in their panels rather than the impressive splash pages.

  18. 4 out of 5

    Nihal Vrana

    For someone so steeped in comics it is weird (read stupid) that I have read this book this late. Eisner was a genius but this book showed me beyond his artistic ingenuity; he was an educational genius also. I have seen this in some very high-end scientists too: their craft is so clear to them they can really distill it for you in understandable yet mind-blowing bits. It is a definite must read and a great help for anyone who likes comics. Although they are so ingrained in the current rules of thu For someone so steeped in comics it is weird (read stupid) that I have read this book this late. Eisner was a genius but this book showed me beyond his artistic ingenuity; he was an educational genius also. I have seen this in some very high-end scientists too: their craft is so clear to them they can really distill it for you in understandable yet mind-blowing bits. It is a definite must read and a great help for anyone who likes comics. Although they are so ingrained in the current rules of thumb of making comics it might all sound obvious; the way the whole book makes a statement about how to handle sequential art still invokes a lot of thinking (at least on my part).

  19. 5 out of 5

    L

    3.5. Un libro sobre teoría del cómic. Se centra en la composición de este y ayuda a que el lector aprenda a tener una mirada más profunda al leer este medio. Lamentablemente, estaba contrarreloj mientras lo analizaba para mi tesis, pero aún así me dejó varios puntos en los cuales reflexionar, principalmente sobre los elementos que lo conforman. Es una guía corta y didáctica para quien quiera ir un poco más allá en su lectura de cómics, a la que se puede volver siempre que uno quiera recordar o c 3.5. Un libro sobre teoría del cómic. Se centra en la composición de este y ayuda a que el lector aprenda a tener una mirada más profunda al leer este medio. Lamentablemente, estaba contrarreloj mientras lo analizaba para mi tesis, pero aún así me dejó varios puntos en los cuales reflexionar, principalmente sobre los elementos que lo conforman. Es una guía corta y didáctica para quien quiera ir un poco más allá en su lectura de cómics, a la que se puede volver siempre que uno quiera recordar o continuar aprendiendo.

  20. 5 out of 5

    Dirck de Lint

    This book will not take an undistracted person two months and a day to finish. I honestly wish I had sat down and given it the evening's concentration that it requires, because it is a very useful work for anyone interested in storytelling, even if they're not particularly focused on a visual medium.

  21. 5 out of 5

    Matthew

    An excellent and surprisingly technical and conceptually rich take on sequential art. Marketed as a how to book for aspiring comic artists, I enjoyed it as a contemplation of the art of representation in general. Eisner's passions and strong opinions come through despite the 'how to' feel of the format. Deceptively dense.

  22. 4 out of 5

    Gerard de Souza

    Written by the master comic book pioneer. Valuable for anyone who wants to tell their story visually; illustrators, storyboard artists and directors. As a comic book artist and pioneer of the Graphic Novel, Eisner articulates analytically why certain choices work and thinks cinematically as well. Highly recommended. A classic.

  23. 5 out of 5

    M.L. Walker

    A seminal work that explores and dissects the language and intent of graphic prose. Eisner borders on the academic, yet manages to keep things flowing in a manner that illustrates his points with precision.

  24. 5 out of 5

    Rafa

    Interesante estudio sobre la creación de cómics, bastante útil para los que quieran dedicarse o quieran intentar hacer un cómic, ya que da claves que hay que tener en cuenta.

  25. 5 out of 5

    Vasilis Voulinos

    The most academic book on comics, a nice effort!

  26. 5 out of 5

    Ricardo Baptista

    Prejudicada pela tradução, a mensagem essencial transmitida é a da "gramática visual" - compreender e representar fácil, clara e sinteticamente os gestos e as emoções humanas.

  27. 4 out of 5

    Bill Sikes

    One of the most comprehensive looks on the subject by one of its greatest practitioners.

  28. 4 out of 5

    Michael

    The simplicity and elegance of this book is astonishing. It is exemplary of distilled analysis and understanding of the medium, and gives worth to its author's eminence.

  29. 5 out of 5

    Christopher Bassett

    Dry.

  30. 5 out of 5

    Marcus Gilfert

    Great overview of the media.

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