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The Definitive Desktop Production Guide
by Kevin Tinsley
w/ Tim Smith, Scott Koblish, & Greg Schigiel
Paperback: 208 pages
Stickman Graphics
ISBN: 0967542308
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This book is the ultimate reference used by professionals throughout the industry. With over 300 illustrations, and detailed instructions, this manual will provide the answers and solutions you will need to successfully print a magazine.
 Whether you are planning to publish your own comics, or want to provide the best reproducable art possible, this item is a must have for your professional library.

Computer Publishing magazine 01/2000
"Recomended for anyone working in comics." Four star rating.

The Book Reader Spring/Summer 2000
"An extraordinarily knowledgeable guide for getting your cartoon pages off of the drawing board and onto a computer disk"

Comics Corner April 2000
" It is a must have book- well written, easy to understand and filled with examples."

About the Author
Kevin Tinsley is considered to be the leading expert on desktop comic book publishing. With over a decade of experience, he has played a major role in the transformation of the entire industry. He currently works as a prepress consultant and separator for several major companies.
Click here to order BARRY WINDSOR-SMITH: OPUS
OPUS:Volume One
by Barry Windsor-Smith
Hardcover: 176 pages
Fantagraphics Books
ISBN: 1560973676
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The art of comics legend Barry Windsor-Smith is collected in this stunning hardcover volume.

Barry Windsor-Smith has been a pop culture icon since his fantastic and meticulous drawings brought Conan the Barbarian to life in the pages of Marvel Comics beginning in 1970. Over a thirty year period since, he has continued to forge new channels of personal expression in the storytelling arts.

With this first volume of BWS: OPUS, the acclaimed artist and writer of romantic, witty and heroic fantasies pulls hard on the rudder of Reality to turn back against the course of Time. But this is no "time-travel" caper, it is the real thing. Barry Windsor-Smith has a past; a history to tell of Extraordinary Experiences that are no less exciting or bizarre than any of his literary or painterly creations.

The true story of BWS, as a lone soul caught up in the transcendent phenomena of Cosmic Experience begins here, in his autobiography called OPUS.

Robert Anderton from Nottingham, England:
A book of beautiful images and cosmic revelations. 'Cosmic' isn't a word usually associated with the work of Barry-Windsor Smith, and is more often used in connection with his 70's contemporaries Jack Kirby and Jim Starlin. But in 'Opus', he even manages to outdo Carlos Castaneda with his eloquently-told tales of mind-bending transcendental insights. It's not easy for a writer to reveal himself in this way (and BWS is certainly leaving himself open to ridicule), but it's clear that the experiences he relates have left a sincere and lasting impression upon him, and by implication, upon his work. Was Barry Windsor-Smith simply the victim of a flux in the Space-Time Continuum during 1973, or was someone at the local deli spiking his coffee with LSD? I don't know, but his tales certainly made interesing reading. On the other hand, most people will be buying this book primarily for the artwork, and they won't be disapointed. The emphasis is more on portfolio-style single images than pages of graphic narrative, and there really are some stunning images here. So what if some of the plates run across the spine of the book? Mr Windsor-Smith is presenting his life's work here, and if he's happy with the layout then who are we to complain?
The Transformation of Youth Culture in America
by Bradford W. Wright
Hardcover: 352 pages
Johns Hopkins University Press
ISBN: 080186514X
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"Congratulations to Bradford W. Wright for penning one of the most comprehensive and readable accounts of the pervasive effect that comic books have had upon generations of readers throughout America, and indeed—the world."
—Stan Lee
Dennis Drabelle, Washington Post Book World:
"...Trenchant, crisply written and absolutely jargon-free, with plenty of enthusiasm but no idolatry-- and great fun to read."

From Publishers Weekly
Pow! Bam! Crash! Analysis! According to this insightful and highly entertaining political and cultural history of comic books, Superman was not just "fighting for the American way"--he was inventing it. Comic books, perhaps the central staple of U.S. youth culture, have been fundamental in both shaping and reflecting the country's political, social, ethical and even sexual mores ever since Superman made his first appearance on the cover of Action Comics in 1938. Wright, a faculty member at the University of Maryland's University College, charts how these popular pulp stories (over 100 million comics were printed in 1949) mirrored myriad, often conflicting, political positions: Superman's first enemies were corrupt politicians and slum lords aligned against the New Deal; '50s books reflected national anticommunist hysteria as well as mixed messages about the Korean War; violent "crime comics" of the 1950s reflected the decade's social unrest; Iron Man in the 1960s found his earlier anticommunist politics shaken by the war in Vietnam. Wright explores how the politics of the writers and artists, usually liberals and often Jewish, were reflected in their work, while at the same time they had to conform to frequently more conservative cultural standards that often led to a backlash against the genre. By the late 1940s, comics were at the center of a full-fledged cultural war; claims that they corrupted youth and caused crime and juvenile delinquency, resulted in congressional hearings and laws that banned the books. Carefully placing comics in their broader social contexts and weighing seriously their critics' charges, Wright creates an intelligent study not only of comics but of shifting attitudes toward popular culture, children, violence, patriotism and America itself.
Copyright 2001 Cahners Business Information, Inc.

From Booklist
The comics, like jazz, is an American popular art that has been enthusiastically adopted worldwide, and the comics' brash sibling, the comic book, is even more quintessentially American. Wright's readable study traces the history of comic books during the past six decades and demonstrates the interaction between politics, social trends, and popular culture in them. Early comic books adopted Depression-era values; hence, Superman's first battles were against greedy capitalists as well as criminal masterminds. In the early 1940s, comic-book heroes fought Nazis and the Japanese and reflected wartime jingoism and racism. After the war, crime and horror comic books came to be apprehensively regarded by some as "harbingers of a degenerate and disturbingly confrontational youth culture," and there was widespread censorship of the medium. Wright points out that comic books preceded rock 'n' roll as an entertainment marketed to youngsters rather than parents and thus were a key in developing teenagers as consumers. Solid though seldom revelatory, Wright's book is more a well-documented comics-industry chronicle than a penetrating social study.
Gordon Flagg
Copyright © American Library Association. All rights reserved 
From Library Journal
At last, a substantive book studying the effect of comic books on American culture and vice versa. Wright (Univ. of Maryland's University Coll., European Division) departs from the tired formula of celebrating comics' golden age in the 1940s or focusing on one company's experiences. Instead, his extremely well-organized book traces the genre's birth, expansions, and retractions from the 1930s to the present. The fascinating result highlights an increasingly intriguing interaction between pressing events in American society and what was written and published on colorfully paneled pages. Wright's style is intellectual but not lecturing, informed but not boorish, and he maintains an admirable balance between minute detail and breezy highlight. Recommended for all public and academic libraries looking to offer a truly worthwhile study of comics as part of American culture rather than in the usual vacuum.
Chris Ryan, New Milford, NJ
Copyright 2001 Cahners Business Information, Inc.

As American as jazz or rock and roll, comic books have been central in the nation's popular culture since Superman's 1938 debut in Action Comics #1. Selling in the millions each year for the past six decades, comic books have figured prominently in the childhoods of most Americans alive today. In Comic Book Nation, Bradford W. Wright offers an engaging, illuminating, and often provocative history of the comic book industry within the context of twentieth-century American society.

From Batman's Depression-era battles against corrupt local politicians and Captain America's one-man war against Nazi Germany to Iron Man's Cold War exploits in Vietnam and Spider-Man's confrontations with student protestors and drug use in the early 1970s, comic books have continually reflected the national mood, as Wright's imaginative reading of thousands of titles from the 1930s to the 1980s makes clear. In every genre—superhero, war, romance, crime, and horror comic books—Wright finds that writers and illustrators used the medium to address a variety of serious issues, including racism, economic injustice, fascism, the threat of nuclear war, drug abuse, and teenage alienation. At the same time, xenophobic wartime series proved that comic books could be as reactionary as any medium.

Wright's lively study also focuses on the role comic books played in transforming children and adolescents into consumers; the industry's ingenious efforts to market their products to legions of young but savvy fans; the efforts of parents, politicians, religious organizations, civic groups, and child psychologists like Dr. Fredric Wertham (whose 1954 book Seduction of the Innocent, a salacious exposé of the medium's violence and sexual content, led to U.S. Senate hearings) to link juvenile delinquency to comic books and impose censorship on the industry; and the changing economics of comic book publishing over the course of the century. Comic Book Nation is at once a serious study of popular culture and an entertaining look at an enduring American art form.

About the Author
Bradford W. Wright is on the faculty of the University of Maryland University College, European Division.
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