Jack Davis arrived on the illustration scene in the euphoric post-war America of the late 1940s when consumer society was booming and the work force identified with commercial images that reflected this underlying sense of confidence and American bravado. Advertising agencies were looking for new ways to tap a rich and expanding market, and there was a vast array of media that needed illustrations. Davis’ animated and exuberant images possessed a sense of spontaneous energy that proved to have universal appeal in every medium he worked in.
Beginning with his masterful pen and ink cartooning at EC Comics, he quickly forged a reputation as one of the most versatile artists in comics, drawing humor, horror, and war stories. In Harvey Kurtzman’s MAD, especially, Davis made a mark as a master of caricature, composition, and wild, anarchic crowd scenes, practically vibrating with energy.
After stints at MAD, Trump, and Humbug — three humor magazines that defined the satirical zeitgeist of the ’50s — Davis went on to become the most successful commercial illustrator of his generation, illustrating movie posters, magazine articles, magazine fiction, LP jackets, and more.
Jack Davis: Drawing American Pop Culture is a gigantic, unparalleled career-spanning retrospective, between whose hard covers resides the greatest collection — in terms of both quantity and quality — of Jack Davis’ work ever assembled! It includes work from every stage of his long and varied career, such as: excerpts of satirical drawings from his college humor ’zine, The Bull Sheet; examples of his comics work from EC, MAD, Humbug, Trump, and obscure work he did for other companies in the 1950s such as Dell; movie posters including It’s a Mad, Mad, Mad, Mad World, The Bad News Bears, Woody Allen’s Bananas, The Party, and others; LP jacket art for such musicians and bands as Hans Conreid and the Creature Orchestra’s Monster Rally, Spike Jones and Ben Cooler; cartoons and illustrations from Playboy, Sports Illustrated, Time, TV Guide, Esquire, and many others; unpublished illustrations and drawings Davis did as self-promotional pieces, proposed comic strips that never sold (such as his Civil War epic “Beaureagard”), finished drawings for unrealized magazine projects — and even illustrations unearthed in the Davis archives that the artist himself can’t identify!
Much of the material will be scanned directly from original art, showing the painterly brush strokes and black and white pen work with far greater fidelity than any previous reproduction ever has. Many paintings and illustrations are accompanied by preliminary drawings that demonstrate the evolution of Davis’ drawing process.
In the back of the book you'll find a biography of Davis by Gary Groth, as well as tributes and testimonals written by a spectrum of Davis's cartoonist contemporaries and fans including Sergio Aragonés, Peter Bagge, Coop, Bob Fingerman, Drew Friedman, Bill Griffith, Al Jaffee, Joe Kubert, Peter Kuper, Tony Millionaire, Nate Neal, Spain Rodriguez and Jim Woodring.
Download a PDF excerpt (33.2 MB) with a smattering of 22 pages from the book.
Rolling Stone presents 10 of Tony Millionaire's best drawings of musicians from 500 Portraits and, what's more, the magazine's Matthew Perpetua got Tony to talk about each one — both the musicians themselves and the experience of drawing them. Check it out unless you hate wonderfulness.
Carl Barks's Donald Duck and Uncle Scrooge comics are considered among the greatest artistic and storytelling achievements in the history of the medium.
After serving a stint at the Walt Disney studios as an in-betweener and a gag-man, Barks began drawing the comic book adventures of Donald Duck in 1942. He quickly mastered every aspect of cartooning and over the next nearly 30 years created some of the most memorable comics ever drawn — as well as some of the most memorable characters: Barks introduced Uncle Scrooge, the charmed and insufferable Gladstone Gander, the daffy inventor Gyro Gearloose, the bumbling and heedless Beagle Boys, the Junior Woodchucks, and many others.
Barks alternated between longish, sprawling 20- or 30-page adventure yarns filled with the romance of danger, courage, and derring-do, whose exotic locales spanned the globe, and shorter stories that usually revolved around crazily ingenious domestic squabbles between Donald and various members of the Duckburg cast. Barks’s duck stories, famously enjoyed equally by both children and adults, are both evanescent celebrations of courage and perseverance and depictions of less commendable traits — greed, resentment, and one-upmanship.
Our initial volume begins when Barks had reached his peak — 1948-1950. Highlights include:
• The title story, “Lost in the Andes” (Barks’s own favorite). Donald and the nephews embark on an expedition to Peru to find where square eggs come from only to meet danger in a mysterious valley whose inhabitants all speak with a southern drawl, and where Huey, Dewey, and Louie save Unca’ Donald’s life by learning how to blow square bubbles!
• Two stories co-starring the unbearably lucky Gladstone, including the epic “Race to the South Seas,” as Donald and Gladstone try to win Uncle Scrooge’s favor by being the first to rescue him from a desert island.
• Two Christmas stories, including “The Golden Christmas Tree,” one of Barks’s most fantastic stories that pits him and the nephews against a witch who wants to destroy all the Christmas trees in the world.
• In other stories, Donald plays a TV quiz show contestant and ends up encased in a giant barrel of Jell-O, a truant officer who matches wits with his nephews, and a ranch hand who outwits cattle rustlers.
Lost in the Andes also features an introduction by noted Barks scholar Donald Ault, and detailed commentary/annotations for each story at the end of the book, written by the foremost Barks authorities in the world.
These new editions feature meticulously restored and re-colored pages in a beautifully designed, affordable and accessible format. Discover the genius of Carl Barks!
Walt Kelly started his career at age 13 in Connecticut as a cartoonist and reporter for the Bridgeport Post. In 1935, he moved to Los Angeles and joined the Walt Disney Studio, where he worked on classic animated films, including Pinocchio, Dumbo, and Fantasia. Rather than take sides in a bitter labor strike, he moved back east in 1941 and began drawing comic books.
It was during this time that Kelly created Pogo Possum. The character first appeared in Animal Comics as a secondary player in the “Albert the Alligator” feature. It didn’t take long until Pogo became the comic’s leading character. After WWII, Kelly became artistic director at the New York Star, where he turned Pogo into a daily strip. By late 1949, Pogo appeared in hundreds of newspapers. Until his death in 1973, Kelly produced a feature that has become widely cherished among casual readers and aficionados alike.
Kelly blended nonsense language, poetry, and political and social satire to make Pogo an essential contribution to American “intellectual” comics. As the strip progressed, it became a hilarious platform for Kelly’s scathing political views in which he skewered national bogeymen like J. Edgar Hoover, Joseph McCarthy, George Wallace, and Richard Nixon.
Walt Kelly started when newspaper strips shied away from politics — Pogo was ahead of its time and ahead of later strips (such as Doonesbury and The Boondocks) that tackled political issues. Our first (of 12) volume reprints approximately the first two years of Pogo — dailies and (for the first time) full-color Sundays.
This first volume also introduces such enduring supporting characters as Porkypine, Churchy LaFemme, Beauregard Bugleboy, Seminole Sam, Howland Owl, and many others. And for Christmas, 1949, Kelly started his tradition of regaling his readers with his infamously and gloriously mangled Christmas carols.
Special features in this sumptuous premiere volume, which is produced with the full cooperation of Kelly’s heirs, include a biographical introduction by Kelly biographer Steve Thompson, an extensive section by comics historian R.C. Harvey explaining some of the more obscure current references of the time, a foreword by legendary columnist Jimmy Breslin, and more.
Download and read a 29-page PDF excerpt (7.7 MB) including the Editors' Notes and Table of Contents; 16 pages of daily strips; and 4 Sunday strips.
The hardcover reprint and new softcover edition of Jim Woodring's The Frank Book are headed to comic shops this week (and the hardcover print run is already sold out from the distributor — and from us — so grab it if you see it!), and PREVIEWSworld presents a 7-page sneak peek from the book!