Little Nemo in Slumberland: Many More Splendid Sundays

Author:   Winsor McCay ,  Peter Maresca
Publisher:   Fantagraphics Sunday Press Books
ISBN:  

9780976888550


Pages:   128
Publication Date:   02 September 2008
Format:   Hardback
Availability:   In Print   Availability explained
This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us.

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Little Nemo in Slumberland: Many More Splendid Sundays


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Full Product Details

Author:   Winsor McCay ,  Peter Maresca
Publisher:   Fantagraphics Sunday Press Books
Imprint:   Fantagraphics Sunday Press Books
Dimensions:   Width: 43.40cm , Height: 3.20cm , Length: 52.10cm
Weight:   3.912kg
ISBN:  

9780976888550


ISBN 10:   0976888556
Pages:   128
Publication Date:   02 September 2008
Audience:   General/trade ,  General
Format:   Hardback
Publisher's Status:   No Longer Our Product
Availability:   In Print   Availability explained
This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us.

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Reviews

This second volume is every bit as charming and magic as the first. -- boingboing.net boingboing.net Praise for the first volume in the centennial celebration: I've waited forever to see Nemo as it should be seen. It's just amazing! -- Matt Groening Matt Groening


Praise for the first volume in the centennial celebration:<p> I've waited forever to see Nemo as it should be seen. It's just amazing! -- Matt Groening Matt Groening


Author Information

Zenas Winsor McCay (c. 1867–71 or September 26, 1869 – July 26, 1934) was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905–14; 1924–26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend. In his drawing, McCay made bold, prodigious use of linear perspective, particularly in detailed architecture and cityscapes. He textured his editorial cartoons with copious fine hatching, and made color a central element in Little Nemo. His comic strip work has influenced generations of cartoonists and illustrators. The technical level of McCay's animation—its naturalism, smoothness, and scale—was unmatched until Walt Disney's feature films arrived in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that were to become standard.

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