2020. 2. 10. 23:57ㆍ카테고리 없음
Drawing characters in action poses is actually one of the hardest things I can think of. Doing it right, however, can be very rewarding. While having a cool character in a standing pose is fine for. Well, character design.
The character can't really come to life unless you can draw it in action. So what is an action pose? It's basically a character DOING something. Don't confuse that with a cool stance, although I'll touch on that later. A real action pose requires movement, force, intent, emotion, and a great deal of artistic knowledge.
Going from just drawing standing poses to drawing action poses can be intimidating, but I'm going to try to break things down to help you create your own dynamic action poses. So ok, here we have two figures.
One is obviously a basic standing pose, and the other is in more of an action pose. I don't want to get too crazy with the pose just yet, but I want to illustrate how mixing up some basic things can really bring a character to life. First of all, I changed the camera angle from a front view to a 3/4 view. We're also looking down at the character, so there are a lot of different surfaces being shown on the body. From there, I exaggerated the position of the arms, bent the torso forward a bit, and bent the legs into a squatting position.
Even for such a simple drawn, there's a lot going on. Here's another pair of figures. On the standing figure, the horizontal lines of the eyes, shoulders and hips are all parallel and level. This is fine for some things, but not for action.
The second figure is showing some body language, and appears in a more natural pose. Notice what happens to those lines now. The opposing angles of the eye line, shoulder line and hip line is visually interesting. The center line of the figure also changes from a straight vertical line to an S-shaped curve.
With these changes, something is actually happening within the figure. When a person views the image, there's more to observe and think about. You want people to look at your drawing for as long as possible, so it's up to you to give them something interesting to look at. Complex angles, curves and body language will do the trick. The torso is pretty much the first thing you should draw when drawing an action pose. The position of the arms, legs and head are totally dependent on the position of the torso.
In the center of this image, I drew a front shot of a simple torso, split between the rib cage and pelvis. In the surrounding shots, I tried to show a variety of ways you can twist and turn the torso to create a more interesting pose. Always remember you can move the camera (so to speak) around the figure, drawing it from above, below, behind or from the side. The ribcage and pelvis don't have to face the same direction. In fact, having them face in different directions creates a lot of movement within a figure. When a person walks, their ribcage and pelvis rarely line up perfectly, so you should actually try to avoid that unless the character is standing perfectly straight on purpose.
Practice drawing these torso shapes. If you have trouble visualizing the movements of the torso, try to picture it like a pillow that can be folded in half. Remember, the center of the torso is soft, so a lot of bending and squishing can go on in there. Here we have two poses. The top figure is walking, and the bottom figure is putting itself on display, almost dancing.
Of course, in the first shot of each pose, there's not much movement going on. These are way too stiff to be called action poses, so what can we do to improve on them? In the second shot for each pose, the main change is that I arched the backs. Putting your shoulders back creates a strong look, and the curve of the torso suggests forward movement.
I also added curves to the arms and legs to give the figures a more natural look. Notice how the bottom figure's side is pinched in a V-shape as she lifts her leg. In the 3rd walking shot, I really exaggerated all the elements of the figure. The head is pointed up, the torso is twisted so the chest faces us and the pelvis faces away. The arms and legs are in more extreme positions, suggesting a big bounce in the character's step. He's basically jogging at this point. You can always overdo a pose, but this is just an illustration of the idea.
In the 3rd lower shot, I again tilted the head upward, and made the limb positions more extreme. Notice how the upper leg attaches to the pelvis. The round attachment gives us a sense of depth. The side pinch is also more extreme here, which makes it appear as if she's just lifted her leg to the side quickly. This pose could be taken further, but then this would become a tutorial on animation.
Something interesting I wanted to mention is the connection between dancing and battle poses. I remember being surprised when I heard guys like Jet Li actually studied ballet. It actually makes a lot of sense. A choreographed fight is a lot like a dance. So if you want to draw a fight scene, or just learn how the human figure works, you might want to put down the action movie and instead watch some stage dancing for reference. Cirque du Soleil is always fun to watch and can give you some great ideas regarding movement in your figure drawing.
When I'm going to start a character illustration, I usually do some kind of exploratory sketches before starting the final image. Some people do tiny thumbnail drawings.
I like to do a lot of messy sketching to feel out the figure and find shapes and lines that look and feel good. These sketches aren't always successful. Actually, more of them are failures than successes, but that's why it's good to explore and experiment before starting the final image. You don't want to commit a lot of time and effort to drawing something you're unsure of.
Do some sketches to get a clear idea of what you're going to draw. You might even stumble upon something better than what you originally had in mind. For this image, I drew some different punching poses.
Notice how the torso position changes from pose to pose. Each punch has a different feel to it, and that's because of more than just the arm position. When you draw a character throwing a punch, the entire body is a part of that punch. Figure out where the force is moving, and the body parts will follow in that direction. Here are some more wire figures, but this time we're going to look at kicking. We have one standing kick, and one jumping kick. I squeezed the jump kick onto the bottom of the image, so I apologize for that.
The two figures weren't intended to be interacting. Anyway, the position of the ribcage and pelvis tell us a lot about the actions taking place here. The top figure has a twist to his torso, which indicates a swinging roundhouse type kick. The lower figure has a straighter torso because it's following the action of the leg. The body is traveling in the direction of the foot.
Notice how the head is turned to look where the attach is aimed. Keep your eyes on the opponent! It's good advice for both fighting AND drawing. More ridiculously large muscles.
The strange thing about action poses is that a lot of the 'cool' parts of the body tend to get covered up or hidden. What's cooler than pectoral muscles, right? Well, in both of these kicking poses, the chest is pretty much covered up by the arms. I think there's a tendency to want to show off the entire body in every pose, but that's not how it works in real life.
Fun Poses For Pictures
Another thing to note is how the lower leg disappears on the lower kicking pose. This drawing is a bit extreme and cartoony, but it's another case of body parts obscuring one another. In some poses an entire arm or leg may not be visible.
Again, it's not intuitive, but if you look around and get some reference, you'll start to see and absorb when it happens and when you can take advantage of that while drawing. Here's a mini tutorial for you. This one deals with foreshortening. It's related to what I was saying about body parts covering up other body parts. In this case, it's objects closer to the camera that cover up objects behind it. Next time you look in a mirror, look at what happens to your arm when it's pointed straight at the mirror.
It basically gets shorter. The hand starts to obscure the forearms. The forearm obscures the upper arm.
The upper arm obscures the shoulder. This is foreshortening.
In this mini tutorial, I've used EXTREME foreshortening for the sake of a cool pose. What we get is a giant claw hand in our face, which covers up the entire arm behind it.
The body position and the size and position of the hand indicate the action of this jerk trying to hit us in the face. There's an illusion of the figure coming straight at us. Other examples of foreshortening here are seen in the right arm and the torso.
The rear forearm covers up most of the hand and one finger. The upper chest covers most of the stomach and pelvis. When drawing something with lots of overlapping body parts and accessories, ALWAYS start with the foremost object FIRST.
Then draw the secondary objects and move your way on to the background objects. In the case of this guy, Step 2 shows us the hand is the first thing to be drawn. Step 3 shows the head as the secondary object.
Step 4 has the torso and rear arm being drawn. Finally, Step 5 has us drawing the legs, which are drawn much smaller than usual in order to push that sense of depth. In the center of this image, we have a little dude in a battle stance. It's not EXACTLY an action pose, but I picture him bouncing around a little bit, maybe like Bruce Lee. In the surrounding four shots, I've drawn the same pose from different angles.
Learning how to draw the body from all angles is difficult and takes a long time to master. I still have a long way to go, but every drawing helps you improve a little more. So basically I've redrawn this pose from the top, bottom, side and back. The camera angle you choose can really affect how your character looks.
Real Action Pose Books Are Functions
Choosing an extreme camera angle can make for a difficult drawing, but it's good to challenge yourself. Notice how different body parts become visible or are obscured when the figure's drawn from different angles. The four corner drawings are there to illustrate the effect of cropping the image when drawing an action pose. I really like the top right and bottom right images. Picking the right camera angle can actually transform a relatively generic pose into an action pose. In the bottom right image, note how the shadows fall on the character. I actually did that as a trick to get out of having to draw the chest details.
Talk about lazy! It turned out nicely, though. Drawing complex action poses can be exhausting sometimes, but using shadows and other tricks to cover up hard-to-draw parts can make it easier. I know it sounds terrible, but sometimes you have to do whatever it takes to make the image work and get the job done.nods. That being said, don't use cheap tricks too often, or else you'll find yourself ten years down the road without knowing how to draw some very important things. No, of course I'm not talking about myself. Ok, enough lecture.
Now let's get to some traditional tutorial action. I didn't want to hit you with anything TOO complex, so I just made this pose up on the fly and I think it works. This is a guy with a magical sceptor.
See the sceptor?.nods. Ok, what I've gone for here is a jumping pose. This guy is sort of coming at us from the far right. His left arm and shoulder will be facing us. The torso is bent forward a bit, but we're drawing it from the side. The head obscures the rear shoulder. One fun trick I did here is crossing limbs in front of one another.
Your drawings can get boring if you're always drawing arms and legs in their standard positions. Crossing an arm in front of a leg, or vice versa, can make for a very interesting pose. In this case, the angles actually create a little geometric shape - a square - framed by the left arm and right leg. I think it becomes a triangle later, but you get the point. The right arm obscures part of the chest, and crosses the right leg in two places. That's why we draw it before everything else. I'm tired of drawing near-naked muscle guys, so I'm going to give this guy a fancy coat cuff thing on his shoulder and a fighting glove.
Notice how the hand tilts back, and the fingers point out in different directions. This is MUCH more interesting than if I'd just drawn a closed fist. Fists are easier, but this is more interesting. Use your own hand for reference if you need to, but challenge yourself to draw the open hand. Hands are extremely expressive and can add a lot of movement to your action pose.
Ok, time for some fabric. Start this step by drawing the collar wrapping around the back of the neck and down the chest, disappearing behind the arm.
The collar extends down and appears again on the other side of the arm, ending at the bottom of the coat/vest. The vest is flapping in the wind a bit, and just that little bit of movement (combined with the direction of the hair) is enough to show us which direction the figure is moving in. Use wrinkles to indicate the shape and angle of the torso. Wrinkles here are wrapping around the back, and bunching together at the back/bottom of the coat. Notice how the wrinkles start and spread out from the armpit area. For the final drawing step, we'll take care of the remaining arm and the headband flapping in the wind.
Since the right arm is in the distance, we'll draw it smaller than the left arm. Look at your own hand for reference when drawing the hand holding the sceptor.
The angle of the sceptor is perpendicular to the left leg, creating a large 90 degree angle. Well, almost.
The point is, it's another fun visual trick that adds to the overall pose. The angle you draw an accessory or weapon in can affect how the entire pose looks, so play around with it and choose whatever you think looks most dynamic. The ribbons of the headband are flapping in the same direction as the hair and back of the coat/vest. This detail really helps add a sense of movement to the character. One of the ribbons actually forms an invisible line with the right arm. Hopefully that makes sense.
It's just another fun visual trick. Actually, the sceptor lines up with the right thigh the same way, and we get another square-ish shape in the negative space under the right arm. I added some color and a few cartoony mountains to frame the figure. All in all, I think it looks pretty good. I hope this tutorial and the lecture steps from early have given you some ideas to keep in mind when drawing characters in action poses. The final piece of advice I can give is that when you've finished drawing a cool action pose, take another piece of paper and try drawing it again, pushing the pose even further, making it even more extreme.
Change the camera angle. Add some accessories. Just try to improve upon what you've already done. Being able to look at your own artwork and make improvements is an important part of being a good artist and creating something visually unique. So I hope this was helpful and entertaining for you. Be sure to post the results of your drawing, and check back for more tutorials soon.
Thanks for viewing!
This article needs additional citations for. Unsourced material may be challenged and removed.Find sources: – ( October 2018) A is a non-existent book created specifically for (i.e. Within) a work of. This is not a list of works of fiction (i.e., novels, etc.), but rather imaginary books that do not exist.Inclusion criteria This is a list of fictional books that appear in literature. Fictional books appearing in other print media, such as comics, are listed in.
Fictional books that appear in other types of media, such as television shows, are listed in. Fictional books used as or as purported support for actual research are usually referred to as.The fictional books on this list are ordered alphabetically under the name of the author who invented them. In:. Philosophiae Naturalis Principia Artes Magicis ( for 'Natural Philosophy Principles of the Magical Arts') by. Unlike Newton's well-known works in other fields, this book - setting out the basic principles of - was never made available to the general public, and its very existence was kept secret. However, copies of Newton's book, as of other books on magic, were kept at a secret section of the in the, and it remained the basic text for practitioners of magic into the twenty-first century.
In:. The Finger of Fate by Effie Andrews. Hand of Fate by Effie Andrews. Mermaids Ahoy! By Effie Andrews.
Pick a Card, Any Card by Effie Andrews. The Wheel of Fortune by Effie Andrews. The Adventures of Anthea by Andrea Garnet. Anthea's Anguish by Andrea Garnet (Booker prizewinner 2001). The Invasion of the Tara-Zanthians by Colin Hardy. The Expanding Prism of J by Archie McCue.
Wards of Love by Philippa McCue. The Balniddrian Conspiracy (in the Chronicles of Edrakonia series) by Kevin Riley. Cherry Picking in Vermont (poetry) by Martha Sewell. Chicken Spirits (poetry) by Martha Sewell. In:.
Lady Oracle by Joan Foster. Escape from Love by Louise K. Delacroix (pen name of Joan Foster). The Lord of Chesney Chase by Louise K. Delacroix (pen name of Joan Foster). Love Defied by Louise K. Delacroix (pen name of Joan Foster).
The Secret of Morgrave Manor by Louise K. Delacroix (pen name of Joan Foster).
Stalked by Love by Louise K. Delacroix (pen name of Joan Foster).
Turrets of Tantripp by Louise K. Delacroix (pen name of Joan Foster). Anne Armstrong, Junior Nurse by Mavis Quilp.
Helen Curtis, Senior Nurse by Mavis Quilp. Janet Holmes, Student Nurse by Mavis Quilp. Judith Morris, Arctic Expedition Nurse by Mavis Quilp. Lucy Gallant, Army Nurse by Mavis Quilp.
Nurse of the High Arctic by Mavis Quilp. Romance in Paradise by Mavis Quilp. In:. North by Night by Butler Hughes. The Cosmopolitans by Logan Montstuart.
The Girl Factory by Logan Montstuart. The Mind's Imaginings by Logan Montstuart. The Villa by the Lake by Logan Montstuart.
Already Too Late by Peter Scabius. Beware of the Dog by Peter Scabius.
Guilt by Peter Scabius. Iniquity by Peter Scabius. Night Train to Paris by Peter Scabius. The Red and the Blue and the Red by Peter Scabius. The Slaughter of the Innocents by Peter Scabius.
Three Days in Marrakesh by Peter Scabius. In:.
Growing Flowers by Candlelight in Hotel Rooms by Ms. Charles Fine Adams.
The Other Side of My Hand by Harlow Blade. Moose by Richard Brautigan. My Trike by Chuck. The Culinary Dostoevski by James Fallon. Vietnam Victory by Edward Fox.
The Quick Forest by Thomas Funnel. Love Always Beautiful by Charles Green. Breakfast First by Samuel Humber.
Pancake Pretty by Barbara Jones. Leather Clothes and the History of Man by S.
Justice. It's the Queen of Darkness, Pal by Rod Keen. Hombre by Canton Lee. My Dog by Bill Lewis.
The Stereo and God by Reverend Lincoln Lincoln. He Kissed All Night by Susan Magar. The Need for Legalized Abortion by Doctor O. Bacon Death by Marsha Patterson. The Egg Laid Twice by Beatrice Quinn. Jack, The Story of a Cat by Hilda Simpson. Printer's Ink by Fred Sinkus.
Your Clothes are Dead by Les Steinman. Sam Sam Sam by Patricia Evens Summers. UFO vs. CBS by Susan De Witt.
A History of Nebraska by Clinton YorkWorks invented by. In the Chalet School series:. In A Future Chalet School Girl: Mystery at Heron Lake by Josephine M. Bettany. In Althea Joins the Chalet School: The Secret of Castle Dancing by Josephine M. Bettany.
In Carola Storms the Chalet School: The Rose Patrol in the Alps by Josephine M. Bettany.
In The Chalet School Goes To It: Gipsy Jocelyn by Josephine M. Bettany. In Gay from China at the Chalet School: Indian Holiday and Nancy Meets a Nazi by Josephine M. Bettany. In Jo Returns to the Chalet School: Cecily Holds the Fort and Malvina Wins Through by Josephine M. Bettany.
In Joey Goes to Oberland: Audrey Wins the Trick and Dora of the Lower Fifth by Josephine M. Bettany. In Lavender Laughs at the Chalet School: Lavender Laughs in Brazil, Lavender Laughs in Cyprus, Lavender Laughs in Libya, Lavender Laughs in Scotland, Lavender Laughs in the West Indies, Lavender Laughs in Turkey, and Lavender laughs in New Guinea by Sylvia Leigh; and The Lost Staircase, Luella was a Land Girl, and The Robin Makes Good by Josephine M.
Bettany. In The Chalet School and the Island: The Sea Parrot by Kester Bellever. In The Chalet School in Exile: Tessa in Tyrol by Josephine M.
Bettany. In The Mystery at the Chalet School: The Leader of the Lost Cause by Josephine M. Bettany. In The New Mistress at the Chalet School: King's Soldier Maid and Swords Crossed by Josephine M. Bettany.
In A Problem for the Chalet School: A Royalist Soldier-Maid and Werner of the Alps by Josephine M. Bettany. In Three Go to the Chalet School: Lavender Laughs in Kashmir by Sylvia Leigh. In Tom Tackles the Chalet School: The Fugitive of the Salt Cave and The Secret House by Josephine M.
Bettany. In Two Sams at the Chalet School: Swords for the King! By Josephine M. Bettany. In Maids of La Rochelle: Guernsey Folk Tales by Elizabeth TempleWorks invented by. In:.
The Story of Dopelle by. Dopelle, the Man - writer's name not given. Dopelle, Hero of Space - writer's name not given. Is the Mistout Worth It?
- writer's name not given. by.
Note: the first nine-tenths of the Wells book are identical to the one in our history, but the last part of this version describes the accidental invention of in 1903, the swift human colonization of the Moon and Mars (the latter involving a harsh war of conquest against the Martians), the expansion beyond the Solar System and the beginning of all-out war with the genocidal Arcturians - still continuing when Wells published the book.Works invented by. In:. poem-cycle by Randolph Henry Ash. verse drama by Randolph Henry Ash. Chidiock Tichbourne by Randolph Henry Ash. Cromwell verse drama by Randolph Henry Ash.
The Garden of by Randolph Henry Ash. Gods, Men, and Heroes by Randolph Henry Ash. The Great Collector by Randolph Henry Ash. The Grecian Way of Love by Randolph Henry Ash. The Incarcerated Sorceress by Randolph Henry Ash. Mummy Possest poem by Randolph Henry Ash. Pranks of by Randolph Henry Ash.
by Randolph Henry Ash. poem by Randolph Henry Ash. St. Bartholomew's Eve verse drama by Randolph Henry Ash.
Complete Poems and Plays of by Randolph Henry Ash, compiled by James Blackadder. Complete Correspondence of by Randolph Henry Ash, compiled by Mortimer Cropper. The Great Ventriloquist, a biography of by Randolph Henry Ash by Mortimer Cropper. The City of Is by Christabel LaMotte. The Fairy epic poem by Christabel LaMotte.
Last Tales by Christabel LaMotte. Last Things by Christabel LaMotte. Tales for innocents by Christabel LaMotte. Tales Told in November by Christabel LaMotte. The Shadowy Portal by Mrs.
Lees. Debatable Land Between This World and the Next by Robert Dale Owen. Christabel LaMotte: A Selection of Narrative and Lyric Poems, Leonora Stern, editor. LaMotte's Strategies of Evasion: A collection of essays Leonora Stern, compiler. No Place Like home by Leonora Stern.
Women Poets, Leonora Stern, editor. Anemones of the British Coast by Francis Tugwell.
Ghosts and Other Weird Creatures by Unknown. Unknown Sex Life of Eminent Victorians by Unknown. White Linen by UnknownWorks invented by. In:. If on a Winter's Night a Traveler, by Italo Calvino.
Outside the Town of Malbork, by Tazio Bazakbal. Leaning from the Steep Slope, by Ukko Ahti. Without Fear of Wind or Vertigo, by Vorts Viljandi. Looks Down in the Gathering Shadow, by Bertrand Vandervelde. In a Network of Lines that Enlace, by Silas Flannery. In a Network of Lines that Intersect, by Ermes Marana.
Books Are Fun Warehouse Sale
On the Carpet of Leaves Illuminated by the Moon, by Takakumi Ikoka. Around an Empty Grave, by Calixto Bandera. What Story Down There Awaits its End?, by Anatoly AnatolinWorks invented by. Attributed to:. The Affair of the Second Goldfish (in Cards on the Table). The Body in the Library (in Cards on the Table; Christie herself later wrote a book with this title.).
The Cat it Was Who Died. The Clue of the Candle Wax (in Cards on the Table).
The Death in the Drain Pipe (in Cards on the Table). Death of a Debutante. Famous Crimes Passionnels (article; in Cards on the Table). The Lotus Murder (in Cards on the Table).
Murder for Love v. Murder for Gain (article; in Cards on the Table). The Tendency of the Criminal (article; in Cards on the Table). The White Cockatoo.
The Woman in the Woods. Main article: Works invented by In:. How to Survive 101 CalamitiesIn:.
Pilgrims of Chapultepec by Harrison W. Shepherd. The Unforetold by Harrison W. Shepherd. Vassals of Majesty by Harrison W. In:. Les Robinsonades (or The Robinsonad) by Marcel Coscat.
Pericalypsis by Joachim Fersengeld. Gigamesh by Patrick Hannahan. Die Kultur als Fehler (or Civilization as Mistake) by Wilhelm Klopper.
Rien du tout, ou la consequence (or Nothing, or the Consequence) by Mme Solange Marriot. Sexplosion by Simon Merrill. Odysseus of Ithaca by Kuno Mlatje. Idiota (or The Idiot) by Gian Carlo Spallanzani. Toi (or You) by Raymond Seurat. Being Inc. By Alastair Waynewright.
Gruppenfuhrer Louis XVI (or Nazi Squad Leader Louis the Sixteenth) by Alfred Zellermann. U-Write-It. Main article: Works invented by In:. Clouds and Shrouds, a memoir by Lois Cook. The Gallant Gallstone, a novel by Lois Cook. Sermons in Stone, a book about architecture by Ellsworth TooheyIn:. The Heart is a Milkman, a novel by Balph Eubank.
The Metaphysical Contradictions of the Universe, a philosophy book by Dr. Simon Pritchett.
The Vulture Is Molting, a nonfiction book by an unnamed author. Why Do You Think You Think?, a nonfiction book by Dr. Floyd FerrisWorks invented by In The Friendly Young Ladies:. By J.O. Flint:.
Pillar of Cloud. Remission. By Tex O'Hara, pseudonym of Leonora Lane:. Lone Stair Trail. The Mexican Spur. Quick on the Draw.
Silver Guns. Yippee-ih!Works invented by In Year One:.
Wizard King by Max FallonWorks invented by (writing as J. Robb) In Dark in Death:. Sudden Dark by Blaine DeLano.
Dark Falls by Blaine DeLano. Dark Deeds by Blaine DeLano (five more books in the 'Dark' series are unnamed). With Prejudice by Blaine DeLanoIn other books of the In Death series:.
The Icove Agenda by Nadine Furst (first mentioned in Salvation in Death)Works invented by This is a list of books mentioned in the series. Titles specifically mentioned as textbooks are listed first, by class, followed by other books listed by general topic. Note that three of the following fictional books have since been written and published in the real world: by Kennilworthy Whisp (2001), by (2001), and (2007, 2008). In:. Neglected Edible Treasures by George Harrison. I to Hercules by Jack MuntingIn:. A Study of Sheridan Le Fanu by Harriet Vane.
Death Twixt Wind and Water by Harriet Vane. The Sands of Crime by Harriet Vane. Gas-Filled Bulbs by Jacqueline Squills. The Position of Women in the Modern State by Miss Barton. History of Prosody by Miss Lydgate.
Passion-Flower Pie by Mrs. Snell-Wilmington. Mock-Turtle by Tasker Hepplewater. Ariadne Adams. Dusk and Shiver. Jocund Day. Primrose Dalliance.
Serpent's Fang. The Squeezed LemonIn:. Murder By Degrees by Harriet Vane.
The Fountain Pen Mystery by Harriet Vane. A Bid for a Throne. The Girl who gave All. The Trial of the Purple PythonIn:. Death in the Pot by Harriet Vane.
Can the Dead Speak?In:. The Suspect by Claude Amery. This Forked Plague by Claude Amery. Gee-up Edward by Mr. In the Demon Princes series:.
Better Understanding of the Institute by Charles Bronstein. The Worlds of Man by the Fellows of the Fidelius Institute. Chronicles of Navarth by Carol Lewis. Civilized Ideas and Civilized Worlds by Michael Yeaton. A Comparison of Mathematical Processes as Employed by Six 'Intelligent' Alien Races by Unspiek, Baron Bodissey. A Concise History of Oikumene by Albert B.
Hall. The Criminal Mentality by Michael Diaz. Dar Sai and the Darsh by Joinville Akers. Encyclopedia of Sociology by B.
Edgar. Everyman's Guide to the Stars. Fauna of the Vegan Worlds by Rapunzel K. Funk. Games of the Galaxy by Everett Wright. Gustations by Michael Weist. The Heham Fjoliot.
Human Institutions by Prade. The Institute: A Primer by Mary Murray. Interplanetary Crime: Causes and Consequences by Karen Miller. The Moral Essence of Civilization by Calvin V. Calvert.
Peccant Souls by Theodore Pederson. Peoples of the Coranne by Richard Pelto. The Sexual Habits of the Sarkoy by B. Edgar. Star Directory.
Studies in Comparative Anthropology by Russell Cooke. The Teachings of Didram Bodo Sime by Didram Bodo Sime. Ten Explorers: A Study of Type by Oscar Anderson.
Tourist Guide to the Coranne by Jane Szantho. In the stories:.
All for Love by Rosie M. Banks. Autumn Leaves by Gwendolen Moon. Blackness at Night by Adela Cream. The Case of the Poisoned Doughnut by Rex West.
The Courtship of Lord Strathmorlick by Rosie M. Banks. Inspector Biffen Views the Body by Rex West. Jenny, The Girl Jockey. Madcap Myrtle by Rosie M.
Banks. Memories of Eighty Interesting Years by Lady Carnaby. Murder in Mauve by Rex West. The Mystery of the Pink Crayfish by Rex West. My Friends the Newts by Loretta Peabody. Only a Factory Girl by Rosie M. Banks.
Pipped on the Post. Recollections of a Long Life by Sir Willoughby.
A Red, Red Summer Rose by Rosie M. Banks. ' Twas on an English June by Gwendolen Moon. The Woman Who Braved All by Rosie M.
Miscellaneous. In Clustering Around Young Bingo: Frank Recollections of a Long Life by Lady Bablockhythe. In Cocktail Time: Cocktail Time by Sir Raymond Bastable. In Leave it to Psmith: Songs of Squalor by Ralston McTodd. In Pigs Have Wings: On the Care of the Pig by Augustus Whiffle. In Sam in the Suburbs: Is There a Hell?
Aubrey Jerningham. In Sleepy Time: Hypnotism As A Device To Uncover the Unconscious Drives And Mechanism In An Effort To Analyse the Functions Involved Which Gives Rise To Emotional Conflicts In the Waking State by Professor Pepperidge Farmer.
In Something Fresh: The Adventures of the Secret Six by Felix Clovelly. In Strychnine in the Soup: Strychnine in the Soup by Slingsby, Blood on the BanistersWorks invented by. In:.
In 'Adam Poor':. A Salted Mine by Adam Poor. Voices Vocable by Adam Poor.
In 'Bernard A. French':. Great Lost Art of Western Europe by Bernard A. French, editor. Perfection Unto Death by Bernard A.
French. In 'Captain Roy C. Mirk, B.A., M.A., Ph.D.' :.
A Post-Modernist Critic Views the Antebellum Middle West by Roy C. Mirk. Poultry as Symbolism in Nineteenth Century American Literature by Roy C.
Mirk. Tea-Time Talk in the Novels of Louise May Alcott by Roy C. Mirk. Washing as a Euphemism in the Works of Jack London by Roy C. Mirk. In 'Gertrude S. 'Spinning Jenny' Deplatta':.
an unknown title by Robert T. Brooks. In 'John Glaskin:'. Brideshead by John Glaskin. You Can't Go Home at All by John Glaskin.
In 'John J. :. Guide to the Public Toilets of America (aka Jon's Guide) by John J. Jons, Jr. Meditation on the Utilitarian Theory of Literary Merit by John J.
Jons, Jr. In 'Kirk Patterson Arthurs, Ph.D.' :. Fiction in Fancy Dress: John Glaskin et al.