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Filled with creative exercises, art prompts, templates, and step-by-step projects, The Little Book of Rock Painting encourages interactivity for immediate results, while teaching beginners the fundamentals of the medium in an engaging and fun way. In the new The Little Book of ... series from Walter Foster Publishing, artists and art hobbyists alike will delight in learning a variety of fun and interesting art topics in a portable format boasting a fresh, contemporary design. In The Little Book of Rock Painting, aspiring artists will discover how to gather and prepare their rocks to create masterpieces that are truly one with nature. Written and illustrated by three talented rock-painting artists, the book features a range of contemporary designs to experiment with, from patterns and animals to mandalas and dots. The instructions are easy to follow and invite creativity and originality. Grab your colors, head outside, and start painting beautiful works of art on stones!
A #1 New York Times bestseller, this innovative and wildly funny read-aloud by award-winning humorist/actor B.J. Novak will turn any reader into a comedian—a perfect gift for any special occasion! You might think a book with no pictures seems boring and serious. Except . . . here’s how books work. Everything written on the page has to be said by the person reading it aloud. Even if the words say . . . BLORK. Or BLUURF. Even if the words are a preposterous song about eating ants for breakfast, or just a list of astonishingly goofy sounds like BLAGGITY BLAGGITY and GLIBBITY GLOBBITY. Cleverly irreverent and irresistibly silly, The Book with No Pictures is one that kids will beg to hear again and again. (And parents will be happy to oblige.)
NOW A NEW YORK TIMES BESTSELLER! Publisher's Weekly "Best Summer Books of 2013" The Daily Beast's "Brainy Summer Beach Reads" The classic literary canon meets the comics artists, illustrators, and other artists who have remade reading in Russ Kick's magisterial, three-volume, full-color The Graphic Canon, volumes 1, 2, and 3. Volume 3 brings to life the literature of the end of the 20th century and the start of the 21st, including a Sherlock Holmes mystery, an H.G. Wells story, an illustrated guide to the Beat writers, a one-act play from Zora Neale Hurston, a disturbing meditation on Naked Lunch, Rilke's soul-stirring Letters to a Young Poet, Anaïs Nin's diaries, the visions of Black Elk, the heroin classic The Man With the Golden Arm (published four years before William Burroughs' Junky), and the postmodernism of Thomas Pynchon, David Foster Wallace, Kathy Acker, Raymond Carver, and Donald Barthelme. The towering works of modernism are here--T.S. Eliot's "The Love Song of J. Alfred Prufrock" and "The Waste Land," Yeats's "The Second Coming" done as a magazine spread, Heart of Darkness, stories from Kafka, The Voyage Out by Virginia Woolf, James Joyce's masterpiece, Ulysses, and his short story "Araby" from Dubliners, rare early work from Faulkner and Hemingway (by artists who have drawn for Marvel), and poems by Gertrude Stein and Edna St. Vincent Millay. You'll also find original comic versions of short stories by W. Somerset Maugham, Flannery O'Connor, and Saki (manga style), plus adaptations of Lolita (and everyone said it couldn't be done!), The Age of Innocence, Siddhartha and Steppenwolf by Hermann Hesse, "The Negro Speaks of Rivers" by Langston Hughes, One Flew Over the Cuckoo's Nest, Last Exit to Brooklyn, J.G. Ballard's Crash, and photo-dioramas for Animal Farm and The Wonderful Wizard of Oz. Feast your eyes on new full-page illustrations for 1984, Brave New World, Waiting for Godot, One Hundred Years of Solitude,The Bell Jar, On the Road, Lord of the Flies, The Wind-Up Bird Chronicle, and three Borges stories. Robert Crumb's rarely seen adaptation of Nausea captures Sartre's existential dread. Dame Darcy illustrates Cormac McCarthy's masterpiece, Blood Meridian, universally considered one of the most brutal novels ever written and long regarded as unfilmable by Hollywood. Tara Seibel, the only female artist involved with the Harvey Pekar Project, turns in an exquisite series of illustrations for The Great Gatsby. And then there's the moment we've been waiting for: the first graphic adaptation from Kurt Vonnegut's masterwork, Slaughterhouse-Five. Among many other gems.
Music defines us. To return the favor, we’ll stick up with zealous passion for the performers and bands that we love . . . and heap aspersions and ridicule upon people who dare to place their allegiances above our own. In Rock and Roll Cage Match, today’ s leading cultural critics, humorists, music journalists, and musicians themselves take sides in thirty of the all-time juiciest “who’s better” musical disputes. Marc Spitz on the Smiths vs. the Cure: “If the Smiths are its James Dean, the Cure are the Marlon Brando of modern rock.” Mick Stingley on Van Halen vs. Van Hagar: “Eddie Van Halen single-handedly (sometimes quite literally) conjured rapturous sounds, and reinvented the idea of what could be done with a guitar with his sleight of hand. . . . As for the lyrics . . . Where Roth had been nuanced and clever, relying on double entendres and sexual innuendo, Sammy was ham-fisted and cloying and just downright embarrassing. Gideon Yago on Nirvana vs. Metallica: “Here is why Nirvana will always be a better band than Metallica. It’s not because they hit harder (they do). It’s not because they are tighter (they’re definitely not). . . . It’s because Metallica is fundamentally about respecting rules—of metal, of production, of technicality—and Nirvana is about breaking those rules down in the pursuit of innovation. Metallica was metal. Nirvana was something else.” Touré on Michael Jackson vs. Prince: “[Prince] was the wild son of Jimi, the younger brother of Rick James and Richard Pryor, the ultrasexual black Casanova who told you up front that he had a dirty mind . . . Michael held the opposite appeal. His music was often about escaping through dance or being hopeful about the world.” Russ Meneve on Bruce Springsteen vs. Bon Jovi: “I really, truly mean it when I say, Mr. Springsteen, no disrespect . . . you are a legend. But in the Battle a da Jerz, when that thick chemical-waste smoke clears and the overly sprayed mall hair parts, the Jov man is the last man rockin’.” Whitney Pastorek on Whitney Houston vs. Mariah Carey: “Frankly, dry recitations of figures are just too easily negated by simple things like, say, bringing up someone’s horrible taste in choosing movie roles. Watch, I’ll do it right now: Yes, Mariah has seventeen number one singles, and Whitney only eleven. But Whitney made The Bodyguard, which is basically a classic, and Mariah starred in Glitter, a colossal suckfest of crapitude that should disqualify her on the spot.”
Inspired by Art Spiegelman's groundbreaking comic anthology Raw, with all the artists either former Raw contributors or fans, the art here runs the gamut from surprising to shocking to surreally beautiful. Captured in full-colour reproductions (as well as a fair amount of black and white), this book showcases some of the most important comics and comic-themed art being created today.
A guide to programs currently available on video in the areas of movies/entertainment, general interest/education, sports/recreation, fine arts, health/science, business/industry, children/juvenile, how-to/instruction.
What-?! Zippy hijacked!? And by marauding speech balloon appropriators, no less!? This shocking turn of events, and more, is chronicled in th latest collection of the Zippy the Pinhead daily comic strip, Zippy: Walk a Mile in My Muu-Muu. In the aforementioned storyline, all of the strip's dialogue is usurped by balloons taken directly from old comics like Beach Blanket Bingo, Rusty Riley, UFO Comics, Mutt and Jeff, and Steve Roper. Will Zippy get his voice back? And will he remember being abducted from a Kansas cow-lot by little gray aliens?