Category Archives: Illustrating Children’s Books

Gwen White’s Book of Toys

Book of toys038

While researching for my last post, Gwen White’s Pictorial Perspective, I discovered that she had written and illustrated other books as well. That led to research into whether I could buy any of them. Most were not available or beyond my budget, but I did find one copy of White’s A Book of Toys that was affordable. Gwen White and toys. I bought it based on that combination, and the cover, without knowing anything about the interior contents.

Book of toys037

I am happy to report that the book is as wonderful as I’d hoped. The images are simple and grand at the same time. The writing is straightforward yet playful. This is part of our heritage as children’s book illustrators and authors.

I want to share it with you here and I couldn’t decide what to leave out so I have scanned the entire book. It feels an appropriate companion piece to my earlier posts on A Book of Pictorial Perspective and Folk Toys -les jouets populaires

Book of toys003Book of toys036Book of toys004Book of toys005Book of toys006Book of toys008Book of toys009Book of toys010Book of toys011Book of toys012Book of toys013Book of toys014Book of toys015Book of toys016Book of toys017Book of toys018Book of toys019Book of toys020Book of toys021Book of toys022Book of toys023Book of toys024Book of toys025Book of toys026Book of toys028Book of toys029Book of toys030Book of toys031Book of toys032Book of toys033Book of toys034

I may have to go back to the London Museum and Kensington palace to see if any of the toys White has illustrated are still on exhibit. The museum at Bethnal Green is now the Victoria & Albert Museum of Childhood which I wrote about here.

I hope you have enjoyed reading this little book as much as I have.

(Maybe you figured this out already, but the Penguins on the cover aren’t just toys. The publisher is Penguin and the book is part of a King Penguin Books series)

Book of toys035

Puss in books

 

cat holding reader

No credit found

As some of you know, I collect images of books in art. I now have many hundreds of images I can peruse. And it’s fun to see the themes and motifs that show up over and over with books like birds, clouds, the moon, butterflies, oh, and Cats. Hundreds of cats, thousands of cats, millions and billions and trillions of cats.

Illustration by Emma Block

Illustration by Emma Block

Cats and books just go together like tea and hearths, rain and solitude.

Sometimes the cats are a subtle presence, barely there:

Illustration by Shawn Fields

Illustration by Shawn Fields

Illustration by Christina Tsevis

Illustration by Christina Tsevis

Illustration by Helen Oxenbury

Illustration by Helen Oxenbury

Sometimes it’s all about the cat:

Illustration by Blanca Gomez

Illustration by Blanca Gomez

Illustration by  Charle Vysotsky

Illustration by Charle Vysotsky

Illustration by Yusuke Yonezu

Illustration by Yusuke Yonezu

Illustration by Celestino Piatti

Illustration by Celestino Piatt

 

Sometimes they’re just part of the ambience:

Illustration by Jun Kumaori

Illustration by Jun Kumaori

Illustration by Karen Hollingsworth

Illustration by Karen Hollingsworth

Illustration by Christopher Silas Neal

Illustration by Christopher Silas Neal

No credit found

No credit found

 

But often, it’s the human, cat and reading experience all entwined:

Illustration by Alexander Sokht

Illustration by Alexander Sokht

Illustration by Sultanov Yuriy

Illustration by Sultanov Yuriy

No credit found

No credit found

Illustration by Linda lee Nelson

Illustration by Linda lee Nelso

Probably the most famous cats in literature are T.S. Eliot’s cats from Old Possum’s Book of Practical Cats. I particularly like his “Naming of Cats.”

The Naming of Cats is a difficult matter,
It isn’t just one of your holiday games;
You may think at first I’m as mad as a hatter
When I tell you, a cat must have THREE DIFFERENT NAMES.
First of all, there’s the name that the family use daily,
Such as Peter, Augustus, Alonzo or James,
Such as Victor or Jonathan, George or Bill Bailey—
All of them sensible everyday names.
There are fancier names if you think they sound sweeter,
Some for the gentlemen, some for the dames:
Such as Plato, Admetus, Electra, Demeter—
But all of them sensible everyday names.
But I tell you, a cat needs a name that’s particular,
A name that’s peculiar, and more dignified,
Else how can he keep up his tail perpendicular,
Or spread out his whiskers, or cherish his pride?
Of names of this kind, I can give you a quorum,
Such as Munkustrap, Quaxo, or Coricopat,
Such as Bombalurina, or else Jellylorum-
Names that never belong to more than one cat.
But above and beyond there’s still one name left over,
And that is the name that you never will guess;
The name that no human research can discover—
But THE CAT HIMSELF KNOWS, and will never confess.
When you notice a cat in profound meditation,
The reason, I tell you, is always the same:
His mind is engaged in a rapt contemplation
Of the thought, of the thought, of the thought of his name:
His ineffable effable
Effanineffable
Deep and inscrutable singular Name.

Illustration by Francois Knopf

Illustration by Francois Knopf

 

 

Gwen White’s Pictorial Perspective

Pictorial Perspective cover

My favorite books to find in used book shops are those that are fun to look through, useful, and not easily available. Gwen White’s A Pictorial Perspective is that kind of book. I found it at Foster’s Bookshop (actually a visiting friend found it but didn’t buy it – thank you, Rachel!). It was published by William Morrow and Company in Great Britain in the 1950s. According to the jacket copy, “Miss White” presents all the fascinating tricks of Perspective “in the pleasantest possible way.”

Perspective has never been my strong suit. I learned only the barest basics when studying art in college. I think the style of my work has evolved to avoid perspective. It is still evolving in that direction.

However, sometimes I can’t avoid perspective. This book will be excellent reference.

At first glance, I thought the book was a children’s picture book. The images are colorful and charming, although they did seem oddly placed on the page.

G White-A Street-image

But then I realized their placement wasn’t arbitrary. It corresponded to the line art on the opposite side.

G White-A Street-line

So if you hold the image up against a light source, (like my window), it shows the perspective used to create it.

G White-A Street-both

Each concept has a diagram and explanation,

G White-Birds Flying-line

and an illustration demonstrating its usage,

G White-Birds Flying

which you can hold to the light from either side to see how the perspective works.

G White-Birds Flying-image

Brilliant!

Gwen White writes in her introduction to the book:

Just as a study of verbs is necessary in order to speak a language, … so is a knowledge of Perspective helpful if you wish to convey a feeling of depth. It is not concerned with Flat Design or Decoration, but it enters into outdoor sketching, scenery, film backgrounds, dioramas, and many book illustrations.

For example, if you wanted to illustrate a book about rabbits in moonlight…

G White-Moonlit Rabbits-imageG White-Moonlit Rabbits-line

or pigs in sunshine…

G White-A Pig In Sunshine-imageG White-A Pig In Sunshine-line

Or mice playing…

G White-Mice PlayingG White-Mice Playing-iline

or a variety of other scenes, Pictorial Perspective will help you.

G White-Another BoxG White-Another Box-line

G White-View Through A Window-imageG White-View Through A Window-line

G White-A Street-imageG White-A Street-line

G White-Going Down and Round-imageG White-Going Down and Round-line

G White-A Road With Brows-imageG White-A Road With Brows-line

G White-A Greenhouse-imageG White-A Greenhouse-line

G White-A Lodge With Gables-imageG White-A Lodge With Gables-line

She called this technique of holding the pages to the light her “lift up” idea.

G White-Mice Playing-imageG White-Another Box-imageG White-A Street-bothG White-Going Down and AroundG White-A Long Straight Road-image

Even the endpapers are explanatory.

Gwen White EP2pinkGwen White EP2 blue

I tried to find out more about Gwen White, but there doesn’t seem to be much on her that is easily accessed. She did illustrate children’s books, and authored a book about patterns as well as others about dolls and toys. She was also a painter who exhibited at the Royal Academy and was ARCA (Associate Royal Cambrian Academy). She dedicates this book to her three sons. I hope to find out more with continued research.

In the meantime, I will continue to enjoy learning perspective in the pleasantest possible way.

THE SPELLBINDING MOMENT

The first time it happened I was at Girl Scout Day Camp, in the oak ravines of Tuolumne county. Camp Apalu. I was 11. We were standing in the closing circle, baking in the sun, when I noticed how beautiful Mrs. Walsh and her adopted daughter Donna were, right there beside me. I grabbed my trusty Brownie Starlight camera and turned it on the diagonal to capture this mother-and-daughter image bathed in sunlight.

I was careful to conserve my film, so I only took one photo of Mrs. Walsh and Donna. But I knew the love of a mother and her daughter would shine through with the intensity of thestainedglassma&child Madonna and Child in the stained glass window of the Little Red Church where I’d spent a few Sunday mornings daydreaming.

I was shocked when I opened my envelope of developed prints and saw Mrs. Walsh in curlers. daycampphotoNot at all what I had seen when I snapped the picture.

 Making art is about creating a vehicle that transfers the image in your head into someone else’s head — through photography, music, dance, art, story, film, etc. On that day at Camp Apalu, the yawning chasm between what I thought I saw and what the photograph recorded was disconcerting.

So you can imagine my delight when the spellbinding moment of imagination did come true.

In the process of creating artwork for LITTLE WOLF’S FIRST HOWLING, John and I traveled to Yellowstone last September, scouting locations. I had my sketch dummy in hand, based on images in books and Googled.

We watched for wolves in the LaMar valley during the day,jklamarheard them howl across the ridges in the evening, saw the full moon rise.

lamarnight

Then, driving through the park, I saw a ridge that looked just like the place I imagined Little Wolf first howled. How amazing! Luckily, this time the photo was the same as what I imagined I saw.

LW bench

We walked up and looked around, taking photos of the sage and grasses, the snags of dead trees and rocks. The specificity of these photos has informed the final art.

GHOSTYTREE

 

I have stood on the grassy bench where the Little Wolf of my imagination first howled.

I wonder if any of you have experienced this convergence of imagination and art in a life experience?

 

LISTEN

I spent a lot of time playing the ukulele in 2015, including ukulele camp at Fort Worden where one of my teachers was Aaron Keim. Aaron and his wife Nicole form the duo The Quiet American, picking and singing their way through the folk Americana songbook. He’s a gifted teacher, too. While leading us through his transcription of John Fahey’s Sunflower River Blues, he advised: “By the time you start working on a piece, you should listen to it so much that it is already living in you.”

Screen Shot 2016-01-01 at 12.31.06 PM

The duo called The Quiet American: Nicole and Aaron Keim of Hood River, OR

I like that idea: listen until it is living in you. I know how that feels for a song and also for a story. In fact, I think songs and stories dwell in the same heartful place.

It is a mysterious process, bringing a story into the world. You head out with a few phrases, a character maybe, a situation. You tell yourself your story, imagine it into the world scene by scene. Pretty soon, if you listen closely, that story you are making begins to make itself, you meet anew the story that has been living in you.

I know I am not alone in this way of looking at the writing process. Back in the early 2000s when I was teaching at Vermont College of Fine Arts, Katherine Paterson often came by. She told us that after a certain point in drafting a novel, she feels her attention switch from generating characters and plot etc. to listening to the story that is already on the page, and shaping the book as that material dictates.

My sister Kate McGee, who is a pastel painter in Philomath, OR, is collaborating with me on illustrations for LITTLE WOLF’S FIRST HOWLING. I ran this listening idea by her. She said she comes to a point in every painting where, if she pays attention, it starts bossing her around in its effort to become what it is meant to be.

We talked about this while looking at the black and white layer I’d just painted for one of the spreads. We were both listening and paying attention to what the piece still needs. I will make the changes digitally, then email that layer to Kate so she can add the color. We are new to using Photoshop for our artwork and are swimming upstream – but how fun to work together on a project!

And it’s great to have another pair of ears to listen as we find our way through the woods.

Screen Shot 2016-01-01 at 12.50.24 PM

Final spread for Little Wolf’s First Howling, due out from Candlewick Press in 2017.

(to hear The Quiet American play Sunflower River blues on the ukulele click here)

 

 

 

 

 

Yoko Tanaka – Emotion In Detail

Y Tanaka holding ME 2

Looking carefully at one of Yoko Tanaka’s images rewards you with details that on a quick perusal you could easily miss. They are feather-light, with the delicacy of a dragonfly’s wing.

Yoko Tanaka Magician's Elephant 2 detail

I met Yoko through Rotem Moscovich, an editor at Hyperion Publishing who saw her in New York last Fall and thoughtfully introduced us to each other over e-mail. Yoko has lived in London since 2011 and Rotem knew that I had recently relocated here.

I have enjoyed talking with Yoko and learning a bit about her process and approach to imagery. She was kind enough to consent to my featuring her on this blog, and invited me to her studio.

yoko04_2

There is an ethereal, dreamlike quality to Yoko’s illustrations. Monochromatic in tone, the elements emerge out of shadows as if lit by the moon. Since her paintings are often dark with a limited, earthy palette, she says she receives many jobs whose stories deal with “winter, snow, night, death, witches and magic, and children with problem parents.” She is excited that her next picture book project has “100% happy components.”

Yoko Tanaka with Magician's Elephant Chap 1

There is a sadness in many of the pieces, but there is humor as well. Each face tells a story. There are no abbreviations when it comes to elements that convey emotion. Emotion is a word Yoko uses frequently when talking about her work. It is the element she strives to communicate visually. She succeeds.

Yoko Tanaka Magicians Elephant Chap 1 detail

It surprised me to learn that Yoko first studied Law in Japan, her native country, before moving to California in 2000 to study design. She was then accepted to Art Center College in Pasadena where she changed direction to study painting, intending to become a gallery artist. Her first painting was of a large coffee cup.

She enjoys painting on a bigger scale, but that isn’t practical for reproduction, and her current studio space is small. Her illustration work is done to size or slightly larger (which is tiny for the amount of detail she includes).

It was literary agent Steve Malk who first encouraged her to pursue illustration rather than gallery work. She has been working with Steve since 2005. One of the first book contracts Steve brought to her was to illustrate Kate DiCamillo’s The Magician’s Elephant for Candlewick Press in 2008.

Y Tanaka-ME cover_04

yoko03

Four months is Yoko’s ideal amount of time for a children’s book project; one month to sketch and three months to paint. She doesn’t like projects to go on much longer than that. One project at a time is better for her than overlapping jobs.

yoko02

Yoko says that ideas don’t come to her while she is sitting at her drawing table. Driving a car is where she prefers to do her thinking – in quiet isolation, following a well-known route. In London, she walks instead.

When she gets an idea, it comes to her fully formed, in 3-D, sometimes even with sounds and smells. She then sketches it with pencil and paper as quickly as possible. Revisions are relatively few. She will use Photoshop to add color and value for preliminaries to show clients, but her finished work is usually done in acrylic paints on illustration board.

Y Tanaka-ME CHAP9_01 Y Tanaka-ME CHAP9_02 Y Tanaka-ME CHAP9_03 Y Tanaka-ME CHAP9_04

Yoko recently completed a cover for a new edition of The Magician’s Elephant as part of Candlewick’s reissue of five of DiCamillo’s books in their Fall/Winter 2015 catalog. The publisher wanted a brighter palette with the animal in the center of the composition, in keeping with the rest of the paperback collection.

Y Tanaka-ME new cover

Yoko also showed me the art she created for the first edition of Tiny Pencil, an art-zine “devoted to the lead arts.” These illustrations are done in graphite, not her usual medium. She used stencils and chamois cloth to create the gradations of value. The images have a ghost-like quality that is both poignant and spooky.

Y Tanaka holding Tiny Pencil 1

Y Tanaka Tiny Pencil 1 detail

Y Tanaka Tiny Pencil 2

Y Tanaka Tiny Pencil 2 detail

I am grateful to Yoko for taking the time to welcome me to her studio, and for sharing her ideas and process, as well as her time. I look forward to seeing more of her work in the future, perhaps on a gallery wall as well as in books.

Y Tanaka balcony arrangement

 

 

 

The Museum of Childhood

Museum of Childhood entry

Last Wednesday, I visited the Victoria & Albert Museum of Childhood in London’s Bethnal Green area.

This is not a simply a children’s museum, though many thousands of children visit here each year.  This museum houses the British “national collection of childhood-related objects and artifacts.” The extensive array ranges from the 1600s to modern times.

As you enter the exhibit area, the signage includes this quote from Plato:

“You can discover more about a person in an hour of play than in a year of conversation.”

So, Plato isn’t just talking about children here? He was implying that adults should be observed playing too? Those Greeks.

It would be a hardened and steely adult who would not feel the pull towards play when viewing this collection. No matter what age you are, you will see items that remind you of toys and games you played with as a child, and the rest will make you envious of the children who played with them before they became museum pieces.

Isn’t that writers and illustrators of children’s books are supposed to be able to do –  access the emotions and wonderment of being a child? This museum would be a worthwhile field trip for any of us.

Troll Dolls-Denmark(Troll dolls are what I played with as a child. I spent many hours making clothes for them and styling their luxurious hair.)

Viewing the collection as an illustrator, it was fascinating to see the progression of imagery through time and across cultures.

Game of Goose-Italy-1750The Game of Goose, Italian, 1750.

Cloth toy owlSoft toy owl, designed by Kristin Baybars for Ostrobogulous, England, 1964.

My favorite part of the exhibit was the Optical Toys section. Some of these toys use special visual effects – tricks of the eye – to make two-dimensional pictures appear to be three-dimensional. Others make pictures move, or appear to move.

Below are various views of a teleorama from Germany, circa 1800-1820.  teleorama 1-Germanyteleorama 2-Germany teleorama-GermanyI think making a teleorama of sorts could be a fun project to do with children. If I could figure out the telegraphing part.

P1020361 P1020363Magic lantern slides, 1890 – 1900. Made in Germany by Gebrüder Bing & Planck.

P1020368 P1020367Kaleidoscopic lantern slides, 1850-80. Using a double rackwork mechanism, these slides show a changing pattern of colors by turning a handle.

Le Phenakistiscope discs detail Le Phenakistiscope discDisks for a Phenakistiscope from the late 1800s.

viewing Praxinoscope 1880By looking through slits into a mirror while spinning the disk of a Praxinoscope, the pictures appear to move.

These and other such moving-picture toys led to the invention of modern moving-picture technologies,

Movie Makerwhich then led to the invention of toys like the Movie Maker, 1960-1970, made by the Arnold Arnold Toy Company, USA;

Star Wars slide setthe Star Wars Slide Projector set;

Early computer gameand, eventually, computer games.

And then there were the toys that really do move, like the amazing automata of the French company Roullet et Decamps, 1870-1880.

cat emerges from the hat, sticking out its tongye to the sound of a music boxThis cat emerges from the hat, while sticking out its tongue to the sound of a music box.

Rabbit in a cabbage, French 1870-1880, Roylet et DecampsThis rabbit rises out of his cabbage while wiggling his ears and munching.

plays ‘Rigoletto’ and ‘Carmen’ opera tunesThis French monkey musician, 1870-80, plays ‘Rigoletto’ and ‘Carmen’ opera tunes. This wasn’t a toy for children. Adults got to play with this one.

cuckoo on wheelsThough far less elaborate in mechanism or decoration, this hand-carved and hand-painted wooden cuckoo on wheels is also beautiful. Pressing down on the bird’s tail makes the white-leather bellows create bird-like noises. A traditional toy from Germany, circa 1900.

Lajkonik horsemanThis ‘Lajkonik’ horseman is from Poland, 1958. When pulled along, a wire swings the horseman’s club.

Russian musical bearA clockwork Russian bear plays music on it’s balalaika.

wind-up toy monkeyA Chinese wind-up monkey, circa 1970.

Clockwork bugJapanese clockwork bug that jumps around when wound, circa 1950-70.

1940-ishMarx Company, New YorkTin Plate novelty toy1940s tin plate merrymakers. The Marx Company, New York.

animatronics 2 animatronics 1Lots of robotics. Even some robots.

Of course, an exhibit of toys that move must include toy cars.

Hillman Minx car The Hillman Minx battery operated car, made in the 1960s in England by the Tri-ang company.
Pedal carThe Royal Prince pedal car, also by Tri-ang, England, 1930.

Chevrolet blanc et noirThe sleek Blanche et Noir, made in France by Vilac, 1989.

And other vehicles with wheels.

wire motorcycle-Africa wire bicycle 3 wire bicycle 2-AfricaThese bikes were made in Africa from scrap wire, 1980 – 1983.

Puppets are moving toys that have taken to the stage.

PuppetsYellow Dwarf theatre, 1868The Yellow Dwarf theatre, 1868; a theatre made for one family and designed to perform one play, The Yellow Dwarf. The story comes from fairy tales published in France in 1697 by the Clountess D’Aulnoy.

St George and the Dragon puppet-1920-30A Saint George and the Dragon puppet, circa 1920-30.

paper puppetsA shadow puppet theatre, 1850s.

1963-70, EnglandAnd finally, one more toy that moves, as if by magic. England, 1963 – 70.

What I like so much about all the toys that move, or seem to move, or move with us, is the ingenuity and inventiveness involved on the part of the creator. The artists and craftspeople that invented these toys knew how to access their childlike imaginations to fill our hearts with wonder, which is something children, and adults, will always be drawn to.

Maybe creativity is really just another form of play. If so, it’s something I never want to grow out of.

Cloth Clown

The Illustration Cupboard

I must say, having to write a post every five weeks is getting me out of the house regularly. Each month I look for something to investigate that will fit into the realm of what Books Around The Table discusses (writing, illustration, children’s books, life…). Sometimes I have difficulty deciding which to choose.

This is more important than you may assume, as I find that as I no longer feel like a tourist here, I no longer head out sightseeing as often as I used to. Even in a city as exciting as London, one gets caught up in the regular, mundane tasks of life. It’s easy to miss out on something that comes to town for only a short while.

Someone in the local SCBWI group here posted on Facebook that Jane Ray was having a show at The Illustration Cupboard. I wasn’t sure if The Illustration Cupboard was a gallery, or someone’s closet, but it turned out to be a bit of both. It started twenty years ago in the spare bedroom of someone’s apartment, but it now occupies a space in the St. James’s art district of London.

Illustration cupboard storefront

I have been a fan of Jane Ray’s work for many years. She has a perceptive eye and a delicacy of detail that I enjoy, and a dark edge to her work that I appreciate, especially in the realm of children’s books.

These pieces are all spot illustrations from the book The Lost Happy Endings. They are exquisite in person. My poor pics do not do them justice.

Jane Ray-Birds in leaves and trees-The Lost Happy Endings

Jane Ray-Grey Squirrel Red Fox-The Lost Happy Endings

Jane Ray-Owl Frog and Other Such Creatures-The Lost Happy Endings

I didn’t realize until going to the gallery that Jane Ray is a London native. The gallery has works on display by other artists that are favorites of mine, as well as many whom I’m not familiar with. I am finding there are a number of children’s book authors and illustrators here in the U.K. that we in the states have seen little or nothing of. Some have made it across the Atlantic, but it would seem to be relatively few. It’s like discovering a library in an alternate universe – one full of wonderful books that I have never seen, yet all in English! We can get so isolated in the U.S.

Illustration Cupboard bookshelf
Here are a few other pieces from the gallery’s walls:

Shaun Tan is an Australian illustrator whose work is fascinating.

Shaun Tan-Bull & Grass

Check out his book of sketches and paintings if you can. It’s wonderful.

Shaun Tan-The Bird King

You will no doubt recognize the style of David Vinicombe from his work with Nick Park at Aardman Animations.

David Vinicombe-Sheep Tower-Big

Brian Wildsmith is another British illustrator whose work I have long admired for it’s vibrancy and exuberance. He builds his images with both collage and paint. It is always a thrill to see works like these up close.

Brian Wildsmith-Tales from Arabian Nights Front Cover Brian Wildsmith-detail from The Arabian Nights front cover Brian Wildsmith-another detail from The Arabian Nights front cover

John Lawrence is a renowned English wood engraver. This piece was created especially for the gallery’s Summer Envelope Exhibition 2013.

John Lawrence-Envelope III

Neil Packer is a British artist whose work is new to me. I am now an enthusiastic fan.

Neil Packer-Odysseus on his way to Ithaca Neil Packer-The Stone Ship Outside the Harbour

Neil Packer-Tiresias the Blind Prophet-The Odyssey Neil Packer-detail from Tiresias the Blind Prophet-The Odyssey

So much to discover here in London. Looking forward to next month’s quest.

An Afternoon at Foster’s

Fosters Books-Master Stephen

Imagine what the quintessential British bookstore might look like. If you picture a little shop in an 18th century building stocked untidily with old and unusual books from floorboards to rafters, then you could be thinking of Foster’s Bookshop in Chiswick, London.

The owner Stephen Foster is a second generation bookseller who bills himself as a purveyor of “outmoded educational tools and antiquated entertainment devices.” He looks the part, don’t you think?

I had stopped in the shop a few times since moving here, and thought it would make a good blog post source, so I made an appointment with Stephen to come in and photograph some of his children’s books – if he wouldn’t mind.

What I had thought would be a half-hour visit turned into the better part of an afternoon, talking and viewing.

The first volume he took down from his shelves was a 1906 (U.S.) edition of Peter Pan in Kensington Gardens, by J. M. Barrie, illustrated by Arthur Rackham.

Rackham-Peter Pan-book coverRackham-Peter Pan-title page

Stephen told me that he grew up near Kensington Gardens and that he and his siblings visited the park often when they were young. Walking through the park where Peter Pan’s stories took place must have been wondrous for a child. Would that not make you believe in fairies, too?

Rackham-Peter Pan-little boatRackham-Peter Pan-hoursRackham-Peter Pan-web

Most Americans think of Peter Pan as Disney portrayed him in the 1953 animated film – an impish young boy in a pea green suit and elf slippers. That is nothing like J. M. Barrie’s original character as shown by Rackham – an infant wandering the park and befriending it’s otherworldly denizens after closing time.

Rackham-Peter Pan-boat under bridge Rackham-Peter Pan-kite Rackham-Peter Pan-swansRackham-Peter Pan-tulipRackham-Peter Pan-flying Rackham-Peter Pan-king Rackham-Peter Pan-Broad WalkRackham-Peter Pan-fairies Rackham-Peter Pan-hidingRackham-Peter Pan-stars

I clearly remember the first time I saw illustrations by Arthur Rackham. It was in a little bookstore owned by a friend of my parents, and she carried a number of publications from Green Tiger Press, which specializes in reproducing antique and vintage illustrations. I was a pre-teen who was still enthralled by fairy tales, and who drew a lot. Rackham was like God.

A few years later I visited London with my parents, and was ecstatic to find whole books about Arthur Rackham that I could purchase and take home with me. I spent hours looking at the illustrations in those books, wishing I could see more of his work, but 19th century picture books were not something a teenager could easily access in the U.S. in the 1970s, at least not in my home town in California. I had to be content with the few images that had been chosen for reproduction.

Until last week.

Next Stephen pulled down a 1905 edition of Rip Van Winkle, by Washington Irving, also illustrated by Rackham.

Rackham-Rip V W-cover Rackham-Rip V W-title page Rackham-Rip V W-intro page

Because there were so many illustrations in each volume Stephen showed me, only a few of which I had seen before, I was determined to take as many pictures as possible to share here. The photos aren’t great – I was taking them under poor lighting on the only space in the shop that wasn’t piled high with books and prints – but I hope they will still give you some of the thrill that I felt turning those pages to reveal so many wonderful images.

Rackham-Rip V W-certain biscuit-bakersRackham-Rip V W-kite Rackham-Rip V W-These fairy mountains Rackham-Rip V W-hen-pecked Rackham-Rip V W-daughter and grand daughterRackham-Rip V W-window Rackham-Rip V W-his knees smote Rackham-Rip V W-Kaatskill MountainsRackham-Rip V W-making friendsRackham-Rip V W-new moon Rackham-Rip V W-postscript

I learned a few things from studying Rackham as a teen that I still keep in mind when I work: Don’t just illustrate what the author describes – imagine scenes beyond the text; if you limit your palette to a only three or four colors, nothing in your image will “clash” with anything else. It is part of why Rackham’s illustrations are so pleasingly quiet, visually.

My favorite image of Rackham’s as a teen was from Undine. The coquettish creature coming up from the sea had a lot of appeal to me then. I wondered what that look in her eyes was about, and what story the other pictures from the book would tell. I had only seen a few.

Rackham-Undine-Undine

And there it was, between Spike Milligan and The Hobbit.

Rackham-Undine-cover of 1912 US edition

Okay, so I went all out here. I took photos of pretty much every image in the book, just in case there was another teenager out there who wondered the same thing about this girl.

The story is similar to The Little Mermaid. Lots of romance and melodrama and a moralistic ending.

Rackham-Undine-frontespieceRackham-Undine-Contents tableRackham-Undine-webbed pair Rackham-Undine-list of illustrations headRackham-Undine-This is the story Chapter I How the knight came to the fishermanRackham-Undine-fearsome forest Chapter IIHow Undine had come to the Fisherman Rackham-Undine-beautiful little girl Rackham-Undine-infancyRackham-Undine-flood Rackham-Undine-Knight Rackham-Undine-false goldRackham-Undine-storm “At length they all pointed thier stained fingers at me” Rackham-Undine-Little niece and KülhlebornRackham-Undine-framed spotCHAPTER X HOW THEY FARED IN THE CITY Bertalda Rackham-Undine-a mark“Bertalda in the Black Valley” “Soon she was lost to sight in the Danube” “He could see Undine beneath the crystal vault” CHAPTER XIVTHE BLACK VALLEYRackham-Undine-Chapter XVIIRackham-Undine-bearded spotCHAPTER XVIIIHOW THE KNIGHT HULDBRAND IS MARRIED CHAPTER XIXHOW THE KNIGHT BULDBRAND WAS BURIED

Even the endpapers are beautiful.

Rackham-Undine-endpaper

I hope this wasn’t too much of a good thing for you.

If you like old books and happen to be in London, you should add Foster’s Bookshop to your sightseeing list. It will be worth the tube ride to Chiswick.

Fosters Books-more books

I plan to go back and peruse the shelves further, and I’m sure another blog post will come of it. At least, that will be my excuse for taking more photos…

 

In The House of Illustration

blake-arrow sign

I have been living in London almost three weeks now. My jet lag has worn off. My post-flight cold is gone. I am settling in and learning how to get around this amazing city.

For my first post as “foreign correspondent” for Books Around The Table, I chose to visit Sir Quentin Blake‘s “Inside Stories”, the inaugural exhibition at the recently  opened House of Illustration gallery space.

House of Illustration was begun in 2002 by a group of UK illustrators, led by Blake, to establish the world’s first “home for the art of illustration.” Over the next decade, the founders worked to raise awareness and garner funding to find a permanent home. In July of this year, they opened its doors in Granary Square, near King’s Cross, London.

House of Illustration’s gallery and education space is the place to see, learn about, and enjoy illustration in all its forms, from adverts to animation, picture books to political cartoons and scientific drawings to fashion design.”

Blake pledged his massive archive of original drawings and illustrated books to House of Illustration, so it is fitting that the opening show be of his work.

I know Sir Quentin Blake’s work best from his illustrations for Roald Dahl’s books, but he has done hundreds of others (not all of them for children) that many of us from the US aren’t as familiar with. It was a wonderful opportunity to see so many of his illustrations at once, but even more valuable to see his thoughts, notes and preliminary sketches included as well.

blake-entry

The entry to the exhibit immediately immerses you in Blake’s world with a floor-to-ceiling drawing of his studio space. The case beneath presents you with insights into how Blake approaches his art.

Blake-What does

(You must excuse the poor quality of these interior photographs, as I was surreptitiously snapping these shots with my smart phone on the sly. I risked admonishment for you, so please don’t turn me in to the authorities).

blake-clown

blake-the essence

Q Blake-sketches for the Twits

Q Blake-Mr & Mrs Twit

One entire room was devoted to Michael Rosen’s Sad Book. This was the part of the show that impressed me most deeply. Blake managed to balance sadness and joy with delicacy and subtlety. Perfect in its gentleness. I’m still thinking about those images.

Q Blake-Happy Sad face

Blake-Sometimes sad

Blake-one candle

Blake-many candles

Blake defines illustration as “drawing with a purpose.” That is the most accurate, least condescending definition that I have heard to date. It doesn’t try to fit it somewhere along a hierarchy between fine art and craft. It just says what it is.

And this is just the beginning at House of Illustration. There are four more exhibitions scheduled through June 2015, and I plan on being here for all of them. Stay tuned!
To view two BBC interviews with Sir Quentin, visit this page, and this one.