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Tips and insights from other working writers, artists, and editors are also included providing an extensive look behind the creative curtain of the comics industry. The book contains script samples, a glossary of must-know business terms for writers, and interactive comics-writing exercises.
In Foundations for Comic Book Art, the Savannah College of Art and Design (SCAD) enlists one of its top instructors, John Paul Lowe, to provide aspiring comic book makers with a thorough primer for creative comics, featuring must-know concepts like contour drawing, mastering perspective, using photo-reference, and adding digital patterns.
The master of comic book writing shares his thoughts on how to deliver a top-notch script. The main essay was originally written in 1985 and appeared in an obscure British fanzine, right as Moore was reshaping the landscape of modern comics, and had been lost. Avatar brings it back in print, collected for the first time as one graphic novel.
Comics writer and SCAD instructor Mark Kneece gives aspiring comic book writers the essential tools they need to write scripts for sequential art. He provides a practical set of guidelines favored by many comic book publishers and uses a unique trial and error approach to show would-be scribes the potential pitfalls they might encounter when seeking a career in comics writing.
Additional Resources:Comic Writer Services is a resource for aspiring and experienced comic book writers.The aim of the website was to improve on, and update, a similar resource that Caleb Monroe had compiled many years ago for aspiring comic book writers.The idea is to list every notable article and resource on the art and craft of comic book writing.
Using his experiences from working in the comic book industry, movie studios and teaching, Marcos introduces the reader to a step-by-step system that will create the most successful storyboards and graphics for the best visual communication.
A great how-to on everything from basic inking materials to storytelling techniques, this sourcebook is packed with a wealth of tested techniques, practical advice, and professional secrets for the aspiring comic artist.
This unique work is loaded with amazing art and pointers on observational methods, composition, and other techniques. In addition to interviews with Alcala, the book features pages from his groundbreaking masterwork, Voltar, which was hailed as a new concept in comic book form, an epic in narrative art, and a milestone in sequential art illustration.
Alfredo Alcala's lifelong interest in comic books began in childhood. He dropped out of school in his early teens to pursue a career in art, initially as a sign painter and commercial artist. Subsequently he took employment in an ironworker's shop, designing lamps and household furniture, as well as a church pulpit. During the Japanese occupation of the Philippines in World War II he drew revealing pictures of their gear and position for the American forces.
Inspired by the work of Lou Fine and other cartoonists, Alcala commenced his comic book career in October 1948, beginning with an illustration in Bituin Komiks (Star Comics). By the end of the year he was drawing for Ace Publications, the Philippines' largest publishing company. Ace was the publisher of four titles (Filipino Komiks, Tagalog Klassiks, Espesial Komiks, and Hiwaga Komiks), each featuring his work. Ukala (1950) was one of his first major comics.
He eventually became a star of the Filipino comics scene, so famed that a periodical bore his name, the Alcala Komiks Magasin. In 1963 he created the comic book Voltar whose titular character predated Frazetta's interpretation of Conan the Barbarian which bore a more than passing resemblance. Voltar became an award-winning success at home and abroad. Alcala's mature artistic style reflected his interest in the woodcuts and etchings of Renaissance master Albrecht Dürer and the drawings of Australian illustrator Walter Jardine and U.S. illustrator Franklin Booth which bore the look of engravings. He has also cited the work of British artist Frank Brangwyn as a major influence.
In writing of the deck from which the four cavaliers (jacks) here reproduced were taken, William Andrew Chatto notes: \"Some of the specimens of Portuguese cards given in the 'Jeux de Cartes, Tarots et de Cartes Numérales' have very much the appearance of having been originally suggested by, if net copied from, an Oriental type; more especially in the suits of Danari and Bastani,--Money and Clubs. In those cards the circular figure, generally understood as representing Danari, or Money, is certainly much more like the Chakra, or quoit of Vichnou [Vishnu], as seen in Hindostanic drawings, than a piece of coin; while on the top of the Club is a diamond proper, which is another of the attributes of the same deity.\" Also worthy of note are the Rosicrucian and Masonic emblems appearing on various mediæval decks. As the secrets of these organizations were often concealed in cryptic engravings, it is very probable that the enigmatic diagrams upon various decks of cards were used both to conceal and to perpetuate the political and philosophical arcana of these orders. The frontispiece of Mr. Chatto's books shows a knave of hearts bearing a shield emblazoned with a crowned Rosicrucian rose.
This does not dispose of the problem, however, for efforts to assign a Hebrew letter to each Tarot trump in sequence produce an effect far from convincing. Mr. Waite, who reedited the Tarot, expresses himself thus: \"I am not to be included among those who are satisfied that there is a valid correspondence between Hebrew letters and Tarot Trump symbols.\" (See introduction to The Book of Formation by Knut Stenring.) The real explanation may be that the major Tarots no longer are in the same sequence as when they formed the leaves of Hermes' sacred book, for the Egyptians--or even their Arabian successors--could have purposely confused the cards so that their secrets might be better preserved. Mr. Case has developed a system which, while superior to most, depends largely upon two debatable points, namely, the accuracy of Mr. Waite's revised Tarot and the justification for assigning the first letter of the Hebrew alphabet to the unnumbered, or zero, card. Since Aleph (the first Hebrew letter) has the numerical value of 1, its assignment to the zero card is equivalent to the statement that zero is equal to the letter Aleph and therefore synonymous with the number 1.
The second numbered major trump is called La Papesse, the Female Pope, and has been associated with a curious legend of the only woman who ever sat in the pontifical chair. Pope Joan is supposed to have accomplished this by masquerading in malt attire, and was stoned to death when her subterfuge was discovered. This card portrays a seated woman crowned with a tiara surmounted by a lunar crescent. In her lap is the Tora, or book of the Law (usually partly closed), and in her left hand are the keys to the secret doctrine, one gold and the other silver. Behind her rise two pillars (Jachin and Boaz) with a multicolored veil stretched between. Her throne stands upon a checker-hoard floor. A figure called Juno is occasionally substituted for La Papesse. like the female hierophant of the Mysteries of Cybele, this symbolic figure personifies the Shekinah, or Divine Wisdom. In the pseudo-Egyptian Tarot the priestess is veiled, a reminder that the full countenance truth is not revealed to uninitiated man. A veil also covers one-half of her book, thus intimating that but one-half of the mystery of being can be comprehended.
Many interesting examples of early playing cards are found in the museums of Europe, and there are also noteworthy specimens in the cabinets of various private collectors. A few hand-painted decks exist which are extremely artistic. These depict various important personages contemporary with the artists. In some instances, the court cards are portraitures of the reigning monarch and his family. In England engraved cards became popular, and in the British Museum are also to be seen some extremely quaint stenciled cards. Heraldic devices were employed; and Chatto, in his Origin and History of Playing Cards, reproduces four heraldic cards in which the arms of Pope Clement IX adorn the king of clubs. There have been philosophical decks with emblems chosen from Greek and Roman mythology, also educational decks ornamented with maps or pictorial representations of famous historic places and incidents. Many rare examples of playing-cards have been found bound into the covers of early books. In Japan there are card games the successful playing of which requires familiarity with nearly all the literary masterpieces of that nation. In India there are circular decks depicting episodes from Oriental myths. There are also cards which in one sense of the word are not cards, for the designs are on wood, ivory, and even metal. There are comic cards caricaturing disliked persons and places, and there are cards commemorating various human achievements. During the American Civil War a patriotic deck was circulated in which stars, eagles, anchors, and American flags were substituted for the suits and the court cards were famous generals.
Darth Plagueis (pronounced /'pleɪɡ.əs/) was a Force-sensitive male Muun Dark Lord of the Sith and the Sith Master of Darth Sidious. Plagueis lusted for immortality, believing the secret laid in science. To that end, he worked with his Sith apprentice, conducting research into bioengineering and experimenting with his ability to influence the midi-chlorians to create life. In