Joe Kubert is one of the great comic book artists. His career literally traverses the history of comics, beginning in 1938 when he became a professional at age 12, to today as one of the greatest draftsmen working in the field. Kubert is known and respected as much for his sinewy, passionate drawing as he is for his consummate storytelling skills. Over his 70-year career in comics, he has worked as an artist, an editor, a publisher, an entrepreneur, and a cartooning auteur. The Art of Joe Kubert is a deluxe, full-color coffee table book that honors this legendary creator with beautifully reproduced artwork from every phase of his career as well as critical commentary by the book’s editor, comics historian and Kubert biographer Bill Schelly.Schelly’s text parallels the visual evolution of the artist’s work, tracing his life and career from his early days drawing Hawkman in the Golden Age, to his creation of Tor, his involvement in creating 3-D comics in the 1950s, his tour de force stints on DC’s war comics — Sgt. Rock, The Unknown Soldier and the groundbreaking Enemy Ace — in the 1960s, to illustrating the adventures of Tarzan in the 1970s. And before finding a creative safe haven at DC Comics in the ’50s, Kubert drew for many smaller and more obscure companies, including Holyoke, Quality, Fiction House, Harvey, St. John, and others — all of which are represented, including a 50-page section of comic-book stories in the horror, crime, and SF genres from the pre-Comics Code era, reprinted in full color for the first time.Although Kubert is known for his contributions to pop culture icons such as Tarzan and Sgt. Rock, he has also invested his creative energy in more personal projects over the last 20 years, including journalistic and historical graphic novels such as his Eisner Award-winning Fax from Sarajevo and Yossel: April 19, 1943, all of which are illustrated along with Schelly’s insightful analysis that places these later, more mature works in the context of Kubert’s career.

Designed for intermediate-to-advanced builders, this book features detailed projects to tackle, including advanced Miniland figures, a miniscale yellow castle, a deep sea scene, a mini USS Constitution, and more. You Can Build It is a new, ongoing series of instruction books on the art of LEGO custom building, from the producers of BrickJournal magazine! Spinning off from BrickJournal's popular "You Can Build It" column, these full-color books are loaded with nothing but Step-By-Step instructions by some of the top custom builders in the LEGO fan community. Designed for intermediate-to-advanced builders, Book 2 features even more detailed projects to tackle, including advanced Miniland figures, a miniscale yellow castle, a deep sea scene, a mini USS Constitution, and more!

Caldecott Medalist Allen Say presents a stunning graphic novel chronicling his journey as an artist during WWII, when he apprenticed under Noro Shinpei, Japan’s premier cartoonist DRAWING FROM MEMORY is Allen Say's own story of his path to becoming the renowned artist he is today. Shunned by his father, who didn't understand his son's artistic leanings, Allen was embraced by Noro Shinpei, Japan's leading cartoonist and the man he came to love as his "spiritual father." As WWII raged, Allen was further inspired to consider questions of his own heritage and the motivations of those around him. He worked hard in rigorous drawing classes, studied, trained--and ultimately came to understand who he really is. Part memoir, part graphic novel, part narrative history, DRAWING FROM MEMORY presents a complex look at the real-life relationship between a mentor and his student. With watercolor paintings, original cartoons, vintage photographs, and maps, Allen Say has created a book that will inspire the artist in all of us.

A New Yorker contributor and co-founder of RAW traces the creative process that went into his Pulitzer Prize-winning classic, revealing the inspirations for his work while providing on an accompanying DVD a reference copy of The Complete Maus and audio interviews with his father.

Zombies can be funny, zombies can be dangerous, but one thing zombies always are is DEAD! This second Zomnibus collection includes three tales of varying undead terror: Everybody' Dead by Brian Lynch and Dave Crosland; The Last Resort by Jimmy Palmiotti, Justin Gray, and Giancarlo Caracuzzo; and We Will Bury You written by Brea and Zane Grant, with art by Kyle Strahm.

Kawaii is a recognizable art form practiced by artists all over the world and covers the visual gamut from commercial art (stickers, clothing, calendars, pens, pencils, erasers, and video games) to high-brow contemporary art (for example, Takashi Murakami and Yoshitomo Nara). This title collects popular Kawaii art. Kawaii is a word that originated in 1970s Japan when schoolgirls adopted the term to describe everything cute. This word is now understood world-wide and identifies a particular trend of visual aesthetics (Hello Kitty being the most famous). Kawaii is a recognizable art form practiced by artists all over the world and covers the visual gamut from commercial art (stickers, clothing, calendars, pens, pencils, erasers, video games) to high-brow contemporary art (e.g. Takashi Murakami and Yoshitomo Nara). Presented primarily through full page images, Charuca (a Kawaii artist herself) has curated an international collection of the most popular adorable, hilarious, and sometimes dark Kawaii art being made today. Charuca begins each chapter with a small description of the artist and her feelings towards his or her work, creating an artistic dialogue spoken mainly through the loud, brightly full-colored images that flood each page. Some of the artists she selected include: Aranzi Aronzo Bubi Au Yeung Bukubuku Charuca Devil Robots Hiroko Yokoyama Itokin Park Marichan Meomi Paul Shih Ryoko Takidoki Yukiko Yokoo Kawaii is a recognizable art form practiced by artists all over the world and covers the visual gamut from commercial art (stickers, clothing, calendars, pens, pencils, erasers, and video games) to high-brow contemporary art (e.g.

Remember how baffling, terrifying, and sad childhood really was? Now you can laugh at it.In this thematically and narratively linked series of one-page stories originally published in the National Lampoon’s “Funny Pages” section throughout the 1970s, the master of the macabre eschewed his usual ghouls, vampires, and end-of-the-world scenarios for a wry, pointed look at growing up normal in the real, yet endlessly weird world. This is essentially a lost Gahan Wilson graphic novel from the 1970s and '80s.Watch as our stoic, hunting-cap-wearing protagonist (known only as “The Kid”) copes with illness, disappointment, strange old relatives, the disappointment of Christmas, life-threatening escapades, death, school, the awfulness of camp, and much more — all delineated in Wilson’s roly-poly, sensual, delicately hatched line.If you don’t remember what it was like being a child, this book will bring it all back for good or for ill! This new hardcover edition reprints every single “Nuts” story from the Lampoon (rescuing over two dozen pages from oblivion), with a critical essay about the strip by Fantagraphics Publisher Gary Groth.

Sergio Leone’s retooling of classic westerns for his “spaghetti westerns” Stieg Larsson’s striking take on the serial killer/mystery thriller in The Girl With the Dragon Tattoo And for that matter ABBA’s fiendishly catchy appropriation of American pop music. Sometimes it takes Europeans to make gold of tuckered-out American tropes.Add to those instances of inspired global cross-pollination the Spanish cartoonist Martí’s eye-popping The Cabbie, which spins off Martin Scorsese’s sordid urban-justice drama Taxi Driver with a graphic style that unapologetically appropriates and even refines the brutal slabs of black, squashed perspectives, and grotesque approach to human physiognomy (and its ability to withstand punishment) that define Chester Gould’s Dick Tracy.And as Art Spiegelman (who was the first to publish Martí’s work in English, in RAW magazine) notes in his introduction, while “Gould’s graphic black and white precision and his diagrammatic clarity live on in Martí’s work,” he points out that “more interestingly, perhaps, so does Gould’s depravity.” Indeed, if anything, The Cabbie is even more savage than the legendarily brutal Dick Tracy, with its pimps, whores, petty thieves, corrupt businessmen, all swirling around the ingenuously violent “Cabbie” whose self-administered “upstanding citizen” status entitles him — in his view — to even more shocking acts of violence — especially on his quest for the stolen coffin of his father, which he’s told includes his entire inheritance!