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Amazon.com
This title pairs the most talented postmodern comic artist alive (Chris Ware, author of the justly lauded Jimmy Corrigan: The Smartest Kid on Earth with perhaps the best writer on contemporary comics, Daniel Raeburn. So little decent writing exists on comics that Raeburn, editor of the fanzine The Imp,has to go back to the very birth of the form to get started, and his writing is always fluent and accessible (with the exception of his insistence on using silly terms like "comixscenti"). Raeburn clearly loves Ware's work with an infectious intensity and it's not bothersome that he is obviously close pals with the subject. To adhere to the strictures of the series, the book seems at times forced to emphasize Ware's graphic design. Ware is first and foremost an insanely adept pillager of early 20th century advertising and comics forms; but it's as a story-teller that Ware is known and celebrated. Raeburn emphasizes Ware's "emotional" use of color and form and decries an art museum's placement of a single page of comic art taken from a larger work on its walls as tantamount to "cutting a paragraph from a short story and framing it." But his book does the very same thing throughout. The book is excellent, although slightly maddening. If only there were more illustrations and Raeburn did not feel such an insistence on staking claims on the very tired highbrow vs. lowbrow divide, this would be a perfect work. --Mike McGonigal
From Booklist
More proof that artist Ware, best known for Jimmy Corrigan (2000), has escaped the comic-book ghetto comes in this entry in Yale's series on eminent graphic designers, Monographics. Raeburn celebrates Ware's versatility by reproducing some 70 examples of his strikingly innovative work: comics pages, of course, but also paintings, posters, sketchbook pages, kinetic sculptures, toys, and even a sign for a bookstore and a lunchbox. Impressively knowledgeable about the comics medium, Raeburn contributes an invaluable essay revealing the autobiographical elements in Ware's work and demonstrating the influences on it of old-time newspaper strips and turn-of-the-century graphic design. Raeburn also insightfully annotates the individual works, explaining Ware's visually complex, postmodern style and his experimentation with narrative and graphic forms. The only fault of Raeburn's commentary is that there isn't enough of it. And while Ware's work itself is brilliant, the book's relatively small pages don't do it justice (much of the comic-strip dialogue is nearly illegible).Still, as a concise introduction to an important artist, it is ideal, especially for comics nonenthusiasts. Gordon Flagg
Copyright © American Library Association. All rights reserved
Copyright © American Library Association. All rights reserved
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Einleitungssatz
In the 1820s, a Genovese school teacher and essayist named Rodolphe Topffer began to write in an unspoken and unnamed language. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Rückseite
In the 1820s, a Genovese school teacher and essayist named Rodolphe Topffer began to write in an unspoken and unnamed language. Lesen Sie die erste Seite
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17 von 19 Kunden fanden die folgende Rezension hilfreich
Lacking somewhat in depth and imagery
3. Februar 2005
Format:Taschenbuch
I am a big fan of the work of Chris Ware, so I thought this book would really give me a greater depth of understanding of his work.
What is there is quite good, but it is also very short. Only the first 30 or so pages have text that discusses Ware. The rest of the book features images of Ware's work; the great majority of it has already been published in his semi-regular comic, and is familiar to anyone who buys that regularly.
Many of the images try to fit a full huge Ware piece of art, often 11 x 17 inches or so onto the size of this book's page, much smaller, so you can't even read the words or make out the details. Also, the book uses huge white margins, so the images could have easily been made larger and more legible.
There are some unusual images of Ware's work, including a remarkable wedding invitation he designed for friends of his. But again, it's rather small, and details are lost.
Ware's own hardcover datebook does a better job at looking behind the scenes of Ware's published work.
This is by no means a bad book, and it has worth, but I wish it had been longer and designed with a little more care.
What is there is quite good, but it is also very short. Only the first 30 or so pages have text that discusses Ware. The rest of the book features images of Ware's work; the great majority of it has already been published in his semi-regular comic, and is familiar to anyone who buys that regularly.
Many of the images try to fit a full huge Ware piece of art, often 11 x 17 inches or so onto the size of this book's page, much smaller, so you can't even read the words or make out the details. Also, the book uses huge white margins, so the images could have easily been made larger and more legible.
There are some unusual images of Ware's work, including a remarkable wedding invitation he designed for friends of his. But again, it's rather small, and details are lost.
Ware's own hardcover datebook does a better job at looking behind the scenes of Ware's published work.
This is by no means a bad book, and it has worth, but I wish it had been longer and designed with a little more care.
3 von 4 Kunden fanden die folgende Rezension hilfreich
A Must for Chris Ware fans!
12. September 2005
Format:Taschenbuch
This monograph was chock full of finely reproduced Ware art not just stuff from his comics, including some photos of his sculptures I had not seen before. The copy the author included as a comentary on the art helped translate the pathos of Chis Ware's art. I think you will enjoy this monograph if you are a Chis Ware enthusist or just a casual fan.
2 von 4 Kunden fanden die folgende Rezension hilfreich
Elevating the Medium
4. April 2005
Format:Taschenbuch
This book focuses on the evolution of comics, where Chris Ware fits into that evolution, and especially Ware's proficiency as a graphic designer. Working with a medium still ignored by most and cast off as a childish one, Raeburn gives us a view of Chris Ware's work from a professional design standpoint, and proves that it is well-deserving of such an analysis.
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