Comics & Sequential Art

Rating:
Summary: Professor Eisner explains comic books as sequential art
Review: "Comics & Sequential Art" is based on a course Will Eisner taught at New York's School of Visual Art although originally this work was written as a series of essays that appeared randomly in "The Spirit" magazine. Eisner provides a guide book to the "principles & practice of the world's most popular art form, and while it is of interest to those of us who read comic books it is clearly intended to be of use to aspiring comic book artists (and writers, albeit to a lesser degree). One way of measuring the book's success is to note that I have the 24th printing of a work that was first published in 1985 (and expanded in 1990 to include print and computer), but then the fact that the book was written by Eisner and uses dozens of examples of his own art work to evidence his points, as well as drawings down specifically for the book, is enough to tell you this is something special.

There are eight lessons in Professor Eisner's syllabus: (1) Comics as a Form of Reading looks at the interplay of word and image in comic books that has created a cross-breeding of illustration and prose, including the idea of how text can be read as image, which shows the sense of detail Eisner brings to his subject. (2) Imagery begins with the idea of letters as images and develops a notion of how the "pictograph" functions in the modern comic strip as a calligraphic style variation. The key subject here is that of images without words. (3) "Timing" considers the phenomenon of duration and its experience as an integral dimension of sequential art, with Eisner drawing (literally) a distinction between "time" and "timing." This chapter looks at framing speech and framing time, with Eisner making his points in the textual part of the chapter and then providing a series of comic book pages evidencing different features he wants to emphasize. (4) The Frame is a major chapter that examines in detail the sequences segments called panels or frames, with Eisner emphasizing the idea that these frames do not correspond exactly to cinematic frames because they are part of the creative process and not the result of the technology. Eisner examines encapsulation, the panel as a medium of control, creating the panel, the panel as container, the "language" of the panel border, the frame as a narrative device, the frame as a structural support, the panel outline, the emotional function of the frame, the "splash" page, the page as a meta panel, the super-panel as a page, panel composition, the function of perspective, and realism and perspective. This chapter is not half the book, but it is close, and it basically tells you everything you ever wanted to know about a panel in a comic book. When you are taking into account the meaning of the border of the panel, then you know this is a comprehensive examination of the subject under discussion.

The rest of the book deals with what you put in those panels: (5) Expressive Anatomy provides a micro-Dictionary of Gestures before covering your options in drawing the body, the face, and the body and the face. As an extended example Eisner provides his complete "Hamlet on a Rooftop," which does the "To be, or not to be" soliloquy. (6) Writing & Sequential Art talks about the relationship between the writer and the artist (whether they are two separate people or not), and various story telling elements. There are several choice examples on the application of words and the various ways then can add meaning to a series of panels, and practical examples of how writers and artists work together to create comic book stories. (7) Application (The Use of Sequential Art) makes a distinction between the functions of sequential art as instruction and as entertainment. This leads to a discussion of not only the graphic novel and technical instruction comics, but story boarding for commercials and films as well. (8) Teaching/Learning, Sequential Art for Comics in the Print and Computer Era lays out the range of diverse disciplines involved in comic books, laid out in a structured typology (categorized under psychology, physics, mechanics, design language and draftsmanship). Eisner also briefly shows what adding a computer to the process means for creating comic books.

There is an inevitable comparison to be drawn between Eisner's "Comics & Sequential Art" and Scott McCloud's "Understanding Comics: The Invisible Art," but I really see the two books as being complementary. Although you obviously can shift back and forth between perspectives, McCloud is looking at the medium from the reader's point of view and Eisner is more concerned with the creative process. Eisner has praised McCloud's book as "a landmark dissection and intellectual consideration of comics as a valid medium," which is a fundamental assumption of Eisner's work here. The primary value of "Comics & Sequential Art" is for professional and amateur artist, but students and teachers, and even mere comic book fans, can benefit from a serious and comprehensive examination of the art of funny books.

Rating:
Summary: Professor Eisner explains comic books as sequential art
Review: "Comics & Sequential Art" is based on a course Will Eisner taught at New York's School of Visual Art although originally this work was written as a series of essays that appeared randomly in "The Spirit" magazine. Eisner provides a guide book to the "principles & practice of the world's most popular art form, and while it is of interest to those of us who read comic books it is clearly intended to be of use to aspiring comic book artists (and writers, albeit to a lesser degree). One way of measuring the book's success is to note that I have the 24th printing of a work that was first published in 1985 (and expanded in 1990 to include print and computer), but then the fact that the book was written by Eisner and uses dozens of examples of his own art work to evidence his points, as well as drawings down specifically for the book, is enough to tell you this is something special.

There are eight lessons in Professor Eisner's syllabus: (1) Comics as a Form of Reading looks at the interplay of word and image in comic books that has created a cross-breeding of illustration and prose, including the idea of how text can be read as image, which shows the sense of detail Eisner brings to his subject. (2) Imagery begins with the idea of letters as images and develops a notion of how the "pictograph" functions in the modern comic strip as a calligraphic style variation. The key subject here is that of images without words. (3) "Timing" considers the phenomenon of duration and its experience as an integral dimension of sequential art, with Eisner drawing (literally) a distinction between "time" and "timing." This chapter looks at framing speech and framing time, with Eisner making his points in the textual part of the chapter and then providing a series of comic book pages evidencing different features he wants to emphasize. (4) The Frame is a major chapter that examines in detail the sequences segments called panels or frames, with Eisner emphasizing the idea that these frames do not correspond exactly to cinematic frames because they are part of the creative process and not the result of the technology. Eisner examines encapsulation, the panel as a medium of control, creating the panel, the panel as container, the "language" of the panel border, the frame as a narrative device, the frame as a structural support, the panel outline, the emotional function of the frame, the "splash" page, the page as a meta panel, the super-panel as a page, panel composition, the function of perspective, and realism and perspective. This chapter is not half the book, but it is close, and it basically tells you everything you ever wanted to know about a panel in a comic book. When you are taking into account the meaning of the border of the panel, then you know this is a comprehensive examination of the subject under discussion.

The rest of the book deals with what you put in those panels: (5) Expressive Anatomy provides a micro-Dictionary of Gestures before covering your options in drawing the body, the face, and the body and the face. As an extended example Eisner provides his complete "Hamlet on a Rooftop," which does the "To be, or not to be" soliloquy. (6) Writing & Sequential Art talks about the relationship between the writer and the artist (whether they are two separate people or not), and various story telling elements. There are several choice examples on the application of words and the various ways then can add meaning to a series of panels, and practical examples of how writers and artists work together to create comic book stories. (7) Application (The Use of Sequential Art) makes a distinction between the functions of sequential art as instruction and as entertainment. This leads to a discussion of not only the graphic novel and technical instruction comics, but story boarding for commercials and films as well. (8) Teaching/Learning, Sequential Art for Comics in the Print and Computer Era lays out the range of diverse disciplines involved in comic books, laid out in a structured typology (categorized under psychology, physics, mechanics, design language and draftsmanship). Eisner also briefly shows what adding a computer to the process means for creating comic books.

There is an inevitable comparison to be drawn between Eisner's "Comics & Sequential Art" and Scott McCloud's "Understanding Comics: The Invisible Art," but I really see the two books as being complementary. Although you obviously can shift back and forth between perspectives, McCloud is looking at the medium from the reader's point of view and Eisner is more concerned with the creative process. Eisner has praised McCloud's book as "a landmark dissection and intellectual consideration of comics as a valid medium," which is a fundamental assumption of Eisner's work here. The primary value of "Comics & Sequential Art" is for professional and amateur artist, but students and teachers, and even mere comic book fans, can benefit from a serious and comprehensive examination of the art of funny books.

Rating:
Summary: good book for aspiring comic artists
Review:

More info about his book, along with a useful reading list for aspiring artists of the comic genre, available at Amazon.com, is available for your perusal at: --This text refers to an out of print or unavailable edition of this title

Rating:
Summary: A Comics Pro Gives It A Thumbs UP!
Review: 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 "Graphic Storytelling".

- Darick Roberston

Rating:
Summary: INDISPENSIBLE HOW-TO BOOK THAT REALLY STUDIES THE MEDIUM
Review: Before this book came out, most "how to draw comics" books were mostly concentrated on big, muscular heroes and action poses. There was very little emphasis on comics as a storytelling medium. Will Eisner has been drawing comics since God invented dirt and has explored almost every way a story can be told. One of his biggest contributions is using every element of the medium to tell the story. This book expounds heavilly on this.

Written years before Scott McCloud's "Understanding Comics," Eisner expounds upon how comics are a visual, reading experience using both words and pictures. He instructs the reader in how words and pictures can be used together to tell a story. The author must lead the reader with visual clues to each sequential immage. Mood, emotion, even time can be expressed visually in a comic. Camera angles, panel borders, typefaces, all play a part in the effectiveness of a story.

Eisner gives plenty of examples of his work to illustrate his ideas. Most significant are his "Hamlet," "Life on Another Planet," and several "Spirit" works. Looking at this really helps the reader see how creatively a story can be told.

Also included in this book are examinations of the various types of work a comic illustrator can do, including storyboards and instruction manuals.

This book, and its sequel "Graphic Storytelling," are must reading for anyone who wants to create comics, and good reading for anyone who wants to understand them better. Don't settle for mediocrity, read the best!

Rating:
Summary: INDISPENSIBLE HOW-TO BOOK THAT REALLY STUDIES THE MEDIUM
Review: Before this book came out, most "how to draw comics" books were mostly concentrated on big, muscular heroes and action poses. There was very little emphasis on comics as a storytelling medium. Will Eisner has been drawing comics since God invented dirt and has explored almost every way a story can be told. One of his biggest contributions is using every element of the medium to tell the story. This book expounds heavilly on this.

Written years before Scott McCloud's "Understanding Comics," Eisner expounds upon how comics are a visual, reading experience using both words and pictures. He instructs the reader in how words and pictures can be used together to tell a story. The author must lead the reader with visual clues to each sequential immage. Mood, emotion, even time can be expressed visually in a comic. Camera angles, panel borders, typefaces, all play a part in the effectiveness of a story.

Eisner gives plenty of examples of his work to illustrate his ideas. Most significant are his "Hamlet," "Life on Another Planet," and several "Spirit" works. Looking at this really helps the reader see how creatively a story can be told.

Also included in this book are examinations of the various types of work a comic illustrator can do, including storyboards and instruction manuals.

This book, and its sequel "Graphic Storytelling," are must reading for anyone who wants to create comics, and good reading for anyone who wants to understand them better. Don't settle for mediocrity, read the best!

Rating:
Summary: "Comics and Sequential Art" is a fantastic book.
Review: Eisner is an acknowledged genius in the field of Sequential Art. His graceful and knowledgeable approach to his craft make this text emminently readable, and you never forget for a moment that you're learning from a master. Filled with fantastic and dramatic pages of his own comic work, the book effectively imparts the technical understanding you need... with concrete examples that are FUN to read. I've been drawing seriously for over 15 years now, and found this book tremendously helpful. I think anyone would.

Rating:
Summary: pretty good for beginners...
Review: I rank this book at the same level as Understanding Comics. Both are good texts for the novice or someone with little knowledge of how panels, pacing, etc. function. However, for someone really serious about getting into comics I would suggest books such as The Five C's of Cinematography (as well as books dealing with the understanding of basic storytelling from scriptwriting to crafting short stories) and any of the reprints of Alex Toth's various comics work. What these influences add are both a better understanding of specific types of shots and framing (both Eisner and McCloud strike me as too vague) and an understanding of how and why comicbooks adhere to certain principles of filmaking (both in terms of layout and storytelling) and still must adhere to the limitations and advantages of the printed page, which Toth handles masterfully.

Rating:
Summary: INDESPENSIBLE EXAMINATION OF THE ART OF COMICS
Review: INDISPENSIBLE HOW-TO BOOK THAT REALLY STUDIES THE MEDIUM Reviewer: Zorikh Lequidre from Brooklyn, NY Before this book came out, most "how to draw comics" books were mostly concentrated on big, muscular heroes and action poses. There was very little emphasis on comics as a storytelling medium. Will Eisner has been drawing comics since God invented dirt and has explored almost every way a story can be told. One of his biggest contributions is using every element of the medium to tell the story. This book expounds heavilly on this.

Written years before Scott McCloud's "Understanding Comics," Eisner expounds upon how comics are a visual, reading experience using both words and pictures. He instructs the reader in how words and pictures can be used together to tell a story. The author must lead the reader with visual clues to each sequential immage. Mood, emotion, even time can be expressed visually in a comic. Camera angles, panel borders, typefaces, all play a part in the effectiveness of a story.

Eisner gives plenty of examples of his work to illustrate his ideas. Most significant are his "Hamlet," "Life on Another Planet," and several "Spirit" works. Looking at this really helps the reader see how creatively a story can be told.

Also included in this book are examinations of the various types of work a comic illustrator can do, including storyboards and instruction manuals.

This book, and its sequel "Graphic Storytelling," are must reading for anyone who wants to create comics, and good reading for anyone who wants to understand them better. Don't settle for mediocrity, read the best!

Rating:
Summary: INDESPENSIBLE EXAMINATION OF THE ART OF COMICS
Review: INDISPENSIBLE HOW-TO BOOK THAT REALLY STUDIES THE MEDIUM Reviewer: Zorikh Lequidre from Brooklyn, NY Before this book came out, most "how to draw comics" books were mostly concentrated on big, muscular heroes and action poses. There was very little emphasis on comics as a storytelling medium. Will Eisner has been drawing comics since God invented dirt and has explored almost every way a story can be told. One of his biggest contributions is using every element of the medium to tell the story. This book expounds heavilly on this.

Written years before Scott McCloud's "Understanding Comics," Eisner expounds upon how comics are a visual, reading experience using both words and pictures. He instructs the reader in how words and pictures can be used together to tell a story. The author must lead the reader with visual clues to each sequential immage. Mood, emotion, even time can be expressed visually in a comic. Camera angles, panel borders, typefaces, all play a part in the effectiveness of a story.

Eisner gives plenty of examples of his work to illustrate his ideas. Most significant are his "Hamlet," "Life on Another Planet," and several "Spirit" works. Looking at this really helps the reader see how creatively a story can be told.

Also included in this book are examinations of the various types of work a comic illustrator can do, including storyboards and instruction manuals.

This book, and its sequel "Graphic Storytelling," are must reading for anyone who wants to create comics, and good reading for anyone who wants to understand them better. Don't settle for mediocrity, read the best!