He's one bad hit away from blowing his career. She's one heartbreak past trusting again. Declan Murphy: The ice used to be the only place I felt steady-where I could hit hard, keep my head down, and pretend the past wasn't catching up. But now I'm one bad decision away from losing it all. My spot on the team. My place in the league. My grip on who I'm becoming. And the one person I can't seem to avoid? Avah Johansson-my teammate's sister and the woman who sees straight through me. Sparring with her used to be harmless. Safe. But when everything starts to unravel, it's Avah who ends up in the middle of my mess... in more ways than either of us planned. Avah Johansson: After my world shattered, I ran to New York for a fresh start. I didn't expect to find myself stuck in emotional limbo-or spending half my time snapping at one of my brother's teammates just to feel something again. Declan Murphy is loud, infuriating, and everything I swore I didn't want. But when circumstances force us into a marriage of convenience, I begin to wonder if God's using the most unlikely person to bring me back to the healing I've been avoiding. Now, stuck between pretend and something real, we're facing more than just a fake marriage-we're facing the truth. About pain. About forgiveness. And maybe... about grace we both still need to find. *From Ice to Grace is a closed-door, christian, hockey romance. It blends faith, grace, and big heart moments into a story you wouldn't be able to put down. It's the second book in the series, but can be read as a stand-alone.
Take five or ten. Take the moments in between tasks in a busy day, at the end of the day, as evening falls. Do nothing, but do it with purpose and meaning. Do nothing to become fully awake and remember who you are. Allow the important things in life to come back into focus.Moments In Between is a book of meditations, reflections, and wise guidance that reminds us that the "spaces in between" the big events of our lives aren't meant to be forgotten, or worse, fill us with anxiety.
A study of the art of cartoonist Wally Wood. It includes Wood's "Fireball XL-5" designs as well as production art for his unfinished collaboration with "Fritz the Cat", "Wizards", "Lord of the Rings", and "Cool World" film-maker Ralph Bakshi. There is an interview with Wood, along with insights from his closest colleagues; Mad Associate Publisher Joe Orlando; "Star Wars" and EC artist, Al Williamson; and more.
Author of the instructional volume "How to Draw Comics the Marvel Way", John Buscema is a highly-regarded comic-book illustrator. He has influenced several generations of artists and remains, even in semi-retirement, in demand. He was born on 11 December 1927 in Brooklyn, New York, where his earliest artistic influences were Hal Foster's "Prince Valiant", Alex Raymond's "Flash Gordon", and Burne Hogarth's "Tarzan" newspaper adventure strips. Buscema attended the High School of Music and Art in Manhattan where his interest shifted to fine art and Monet, Renoir and Van Gogh. While still in high school, he spent evenings studying life drawing and design at Pratt Institute. In addition to his formal training, he frequented museums, assaying the works of the Old Masters, including Michaelangelo, Rubens, Da Vinci, and Raphael. As a young professional, he was influenced by Al Dorne, Dean Cornwell, Norman Rockwell and Robert Fawcett, the famous illustrators of the 1940s and 1950s. During that period, as he struggled to earn a living, he turned to the newly-emerging comic-book industry as a source of revenue. Buscema began his career at Marvel (then known as Timely) Comics in 1948, working side by side with many notable artists, including Syd Shores, of "Captain America" fame, and Carl Burgos, creator of "The Human Torch". He stayed on staff for a year and a half, afterward, freelancing for a variety of publishers. This sketchbook presents a collection of the artist's personal drawings and studies. Done for his own enjoyment, practice or self-expression, the art offers an appreciation of his draftsmanship and creativity on a variety of subjects. The accompanying text by Buscema addresses both his career and his technique. There is also an essay by Steranko covering Buscema's entire career.
Heroic drawings and spirited animations have earned Frank Brunner a reputation as an illustration powerhouse. Influenced as much by the celebrated fantasy painter Frank Frazetta as by "Weird Science" legends Wally Wood and Al Williamson, Brunner carved his own niche, earning a reputation as an illustrator who could combine heroics, eroticism and whimsy in a single brush stroke. This is a showcase of classic and new art produced by this master of fantasy illustration.
Alex Schomburg produced the most dazzling array of high-quality comic book covers in the Golden Age of American comics (1933-1955). This book collects, for the first time, a host of tantalizing Schomburg treasures in one volume. Superheroes, jungle girls, robots, wild animals, and space travelers abound in these romantic and nostalgic pop art icons of the bygone WWII era.
In Hakomi with Internal Family Systems and Focusing: A Deeper Look at Mindfulness-Centered Therapies, Hakomi certified therapists J. David Cole and Carol Ladas-Gaskin bring together three revolutionary approaches to body-mind healing and personal growth therapy. Hakomi's mindful, body-centered approach to deep work and its emphasis on compassion, emotional attunement, and presence offers an open foundation that can be seamlessly extended and blended with enhancements from Internal Family Systems and Focusing. Internal Family Systems, developed by Richard C. Schwartz, holds that the personality does not comprise the totality of a human being but is a modular multiplicity of sub-personalities (called "parts") whose first purpose is to respond reactively to protect the whole. This "reactive" personality is imbued with an aware Self that acts creatively to provide compassionate leadership for the whole person including its family of internal parts. Recognition, acknowledgment of, and identification with this Self provides a person with a wider, more grounded perspective within the healing practices of Hakomi. Focusing distinguishes a kind of inner experience that therapist and philosopher Eugene T. Gendlin discovered and called "felt sense." It is an intricate, implicit, relatively subtle but information-rich form of inner experience. "Felt sense" experiences blend emotions, body sensations, and what might be called the ineffable seeds of thought and action into a single sensate presence in the body that often underlies a hunch, intuition or "gut feeling." Learning to become aware of this realm of experience requires mindfulness and patience, but finding and naming the "felt sense" can lead to insights and powerful shifts in perspective enabling creative action steps and self-discovery. This book shows how these game-changing discoveries are now blended into a single method of body-centered therapy based on Hakomi.
In his 60-year career, Carmine Infantino practised nearly every job in the field of comics, for a "Who's Who" list of publishers. But Infantino will always be remembered as the personification of DC Comics' Silver Age. Infantino helped to resurrect a dying comics industry in 1956 as the artist who launched the Silver Age with his co-creation, the Flash, and remains the best remembered Flash artist of all-time. Infantino proved one of the all-time, great sci-fi artists with his elegant, cityscaped Adam Strange. The only sci-fi comic to rival the sales of Adam Strange was Star Wars, to which Infantino also contributed. In 1964, Infantino became indispensable to the Batman legacy. He, with editor Julius Schwartz, saved the Caped Crusader's comics from impending cancellation with the "New Look Batman." Infantino also redesigned the Batmobile and with Schwartz, created Batgirl. In 1971, Infantino became Publisher and ultimately, President of DC Comics. Infantino's brave corporate moves include: comic books of pulp characters; the Shadow and Tarzan; the Neal Adams/Denny O'Neil Green Lantern-Green Arrow series; Jack Kirby Fourth World saga; the revival of Captain Marvel; pay raises, royalties, and the return of originals to artists. This is Infantino's own history of comics with co-author J. David Spurlock, through Infantino's experiences, from the industry's primordial, Golden Age, through his artistic achievements, corporate years at DC Comics, and post-corporate years including his animation work, teaching, return as a top artist to DC, and Batman newspaper strip. Foreword by Joe Kubert. Afterword by Jim Steranko.
In his 60-year career, Carmine Infantino has practised nearly every job that there is in the field of comics, for a "Who's Who" list of publishers. But Infantino will always be remembered as the personification of DC Comics' Silver Age. Infantino helped to resurrect the dying comics industry in 1956, as the artist who launched the Silver Age with his co-creation, the Flash, and remains the best remembered Flash artist of all-time. Infantino proved one of the all-time, great sci-fi artists with his elegant, cityscaped Adam Strange. The only sci-fi comic to rival the sales of "Adam Strange" was "Star Wars", to which Infantino also contributed. In 1964, Infantino became indispensable to the Batman legacy. He, with editor Julius Schwartz, saved the Caped Crusader's comics from impending cancellation with the "New Look". Infantino also redesigned the Batmobile and with Schwartz, created Batgirl. In 1971, Infantino became Publisher and ultimately, President of DC Comics. Infantino's brave corporate moves include: comic books of pulp characters; the Shadow and Tarzan; the Adams/O'Neil Green Lantern-Green Arrow series; Jack Kirby Fourth World saga; the revival of Captain Marvel; pay raises, royalties, and the return of originals to artists. This is Infantino's own history of comics, through his experiences, from the industry's primordial, Golden Age, through his artistic achievements, corporate years at DC Comics, and post-corporate years including his animation work, teaching, return as a top artist to DC, and Batman newspaper strip.
Echoes collects drawings from the myriad periods of Kaluta's notable career and reveals the artist's unique passion for historical accuracy and unbridled fantasy, traits that have inspired more than one generation of artists and aficionados. Michael William Kaluta has been referred to as the artist's artist. He has earned that reputation by immersing himself in the worlds he draws, offering up his visions with painstaking detail -- from Robert E. Howard's Hyborian Age through the noir era of The Shadow to the delightfully retro sci-fi worlds of Starstruck, and all places in between. Commontary by the artist, Paul Chadwick, Neil Gaiman and compilers Dean Motter and J. David Spurlock.
Echoes collects drawings from the myriad periods of Kaluta's notable career and reveals the artist's unique passion for historical accuracy and unbridled fantasy, traits that have inspired more than one generation of artists and aficionados. Michael William Kaluta has been referred to as the artist's artist. He has earned that reputation by immersing himself in the worlds he draws, offering up his visions with painstaking detail -- from Robert E. Howard's Hyborian Age through the noir era of The Shadow to the delightfully retro sci-fi worlds of Starstruck, and all places in between. Commontary by the artist, Paul Chadwick, Neil Gaiman and compilers Dean Motter and J. David Spurlock.
After a noteworthy career with "Superman", "Indiana Jones" and "Deadly Foes of Spiderman", the work of well-known, veteran, comic-book artist Kerry Gammill mysteriously disappeared from the pages of "Superman" and "X-Men". This volume reveals the reason for Gammill's exodus - to fulfil a life-long desire to work on monster films. He has been working as a conceptual artist on film and television projects which include "Stephen King's Storm of the Century" TV mini-series, "Virus" (1999), "Species II" (1998), "Can of Worms" (TV 1999), Dean Koontz's "Phantoms" (1998), "Stargate SG-1" TV series, and "The Outer Limits" TV series. In this volume Gammill takes us behind the scenes on the very important but little-known world of film conceptual art with a focus on designing creatures for action films. This is not just a "how to" book, but also Gammill's autobiographic career retrospective, filled with art and anecdotes about his years at Marvel, DC and Hollywood.
