Category Archives: Illustrating Children’s Books

Butterflies and Books

Illustrations depicting books and reading tend to feature certain animals over and over. Cats, cats and more cats is one motif. Birds show up quite a bit. And, I’ve noticed in my collection of images about books and reading, although insects are a rare element, there’s one insect that is clearly the favorite.

Winged, fanciful and echoing the shape of a book, it’s easy to see why artists choose the butterfly.

This week, I wanted to share some of the images I like. Most are simply pretty:

Illustration by Duy Huhnh

 

Illustration by Marco Palena

No credit found

No credit found

 

But some have a little more to say:

Illustration by Linda Apple

 

And after all that pretty, I like the vigor of my friend and co-blogger Julie Paschkis’s reading acrobat and his butterfly friend.

Illustration by Julie Paschkis

 

This one is intriguing to me because the butterflies are so flat. Were they flattened in the book and now are set free? Are they dead or artificial ideas even if they can fly off the page? Or just the play of thoughts for this absorbed reader?

Illustration by Jannike Vive

 

There’s one illustration I have to include. I say dragonflies are close enough and perhaps, as even their name suggests, they subvert the sweetness of the butterfly imagery. I love the mischief in this young reader’s eyes.

Illustration by Noemi Villamuza

 

 

Concept book, concept book. What do you see?

Some of the simplest picture books are concept books. Books about sound, color, shapes, seasons… ways that we categorize the world that will be new to a toddler. Concept books might often seem like just random lists, but the good ones have an underlying structure that takes more planning than it seems.

A lot has to do with the order in which information is presented. It can be an order is natural to the concept itself such as the passage of seasons or the sequence of the colors in a rainbow, but often the author has to work to impose order. A lot of the pleasure of a concept book is to see how an author and illustrator do this.

A great example is the picture book Buzz by Janet Wong, illustrated by my blog-mate Margaret Chodos-Irving. It’s a book I’ve used in my writing classes long before I knew Janet or Margaret, because what could be a simpler idea than different things that buzz? But it’s far from a random collection of buzzes.

cover-buzz

In this case, author and illustrator explore the different buzzing sounds a boy hears as his household wakes up.

It starts with the single word: “Buzz.” as a boy sleepily looks out his window. Then a page turn.

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“Outside my window a bee eats breakfast in a big red flower.”

It then moves through the boy’s morning. The buzz of the alarm clock in his parent’s room. Dad shaving. The sound of the gardener mowing across the street. There’s one “buzz” sound per page. And they are relatively peaceful, everyday buzzes. The language is mostly simple declarative sentences.

Then comes breakfast and something interesting happens. The activity level picks up and the language gets more complex:

Mommy grinds coffee Buzzzzzzzzzzz while I fly my airplane Buzzzzzzzzz over the oatmeal Buzzzzzzz and past the apple juice Buzzzzzzz—OH NO!

All this activity happens on one page quickening the pace of the story.

On the next page, there are no buzz sounds—just mild chaos. Airplane lands in juice, cup spills, mom runs to catch cup, toast pops up, clothes are tumbling in dryer and then the BUZZZZ of the dryer gets buzzing back into the story, but now with more urgency. Mom is on the move getting ready to go to work. Buzz goes her hairdryer. Grandma buzzes the doorbell to come baby-sit. Boy kisses Mom goodbye…

“so she can fly BUZZ outside”

(page turn and we see Mom hurrying off to work)

“like a busy bee.”

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There’s plenty of structure here. The sequence of the buzzes matches the natural order of a morning’s activities. The pace and urgency of the story gradually escalate into mild chaos in the kitchen and Mom suddenly needs to rush to get out the door—this is the top of the story arc. Then the pace slows somewhat—not as leisurely as the beginning, but down off the peak and gradually we come in for a landing, with the closing image of the bee that perfectly rounds out the story at the same place we came in.

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A consistent pattern or rhyming scheme is another way to add structure to a simple book. I wrote a  concept book Tickly Prickly, illustrated by Shari Halpern (now out of print) about how things feel to the touch. It begins with:

Did you ever have a ladybug crawl across your finger?

How did it feel?

Tickly, prickly. Fly away quickly.

Every stanza that follows asks a question about how it feels to touch a familiar animal and answers that question within a consistent rhyming scheme.

Did you ever have a fish wriggle in your hands?

How did it feel?

Slippery, slickery. Turny and twistery.

Ending with:

Did you ever have a puppy cuddle in your arms?

How did it feel?

Velvety snug. A hugful of love.

Like Wong, I had to find an narrow focus for my book. I picked the feel of  animals—not the feel of a bedtime blanket or a snowball. And I picked familiar animals—bunnies, chicks, a cat’s paw—not a hippo hide or the beak of a stork. But I could have gone in those other directions. The main thing is to have a direction, a reason for the choices.

chick-tickly-prickly(By the way, the symbols at the top of this illustration are from an iTunes app that’s available for this book.)

There’s almost no build to the march of animals in Tickly Prickly, but the middle does feature perhaps the more interesting animals that might be in an average child’s world—a horse, a lake fish, a toad. And, it very deliberately ends with the coziest emotion, snuggling with a dog.

Ending with the coziest emotions is my favorite go-to for most concept books, but there are other ways to make sure you end in a satisfying place, including the ending of a day (a built-in cozy moment with a goodnight tuck-in or hug), the reward or result of that activity (the baked cake) or going full circle.

Taro Gomi’s, Spring Is Here is a perfect example of the circular ending.

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Spring Is Here is so deceptively simple. The prose couldn’t be more straightforward. It begins:

Spring is here.

The snow melts.

The earth is fresh.

The grass sprouts.

Each line is a new, two-page spread.

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But not only is there a lovely trick he plays with the illustrations (you’re going to have to get this one to see what he does. It’s worth it.) he, too, creates a build as we move from flowers blooming and grass growing to a little drama in the middle:

The wind blows.

The storms rage.

And then back down into the quiet harvest, falling snow and a hushed world. Before returning to:

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For more concept books to check out, I like this list compiled by the Contra Costa County Library (plus it’s fun to say all those C-words.)

http://guides.ccclib.org/c.php?g=43934&p=1046403

The Seattle Public Library also has this list:

https://seattle.bibliocommons.com/list/show/73413760__seattle_kids_librarians/85218609_seattle_picks_-_concept_books

And here’s this from Goodreads:

https://www.goodreads.com/shelf/show/concept-books

 

 

 

 

 

Kay Nielsen: An Appreciation

k-nielsen-poltarnees-coverWhen I was cleaning off my parents’ bookshelves, I came across a book, Kay Nielsen: An Appreciation, by Welleran Poltarnees. It was stashed between two larger art books. It must have been my mother’s, although I don’t remember her buying it. It was in a clear plastic bag with her name on it. Was my mother a fan of Nielsen’s work? She must have been. Like mother, like daughter.

I’ve been enamored of Kay Nielsen’s illustrations since I discovered them in my teens at my local bookshop. It was Kay Nielsen, edited by David Larkin (I bought it then and still have it). This was in the 70s, when illustrations of his were being re-popularized along with others of the “Golden Age of Illustration” such as Arthur Rackham and Edmund Dulac.

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Kay Nielsen: An Appreciation was issued by The Green Tiger Press in 1976. It is bound in hand-marbled paper. The interior is printed on heavy stock, with full color images tipped in. Along with both full and single color illustrations, there is commentary on the illustrations by Poltarnees, an autobiographical statement from 1939 and a 1945 interview by Jasmine Britton, the supervising librarian for the Los Angeles school system at that time.

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It is clearly a labor of love. I understand why my mother kept it sealed in a plastic cover.

Although I loved Nielsen’s work, I never bothered to learn more about who he was. In fact, for many years I assumed Kay was a woman. Of course, now such research is simple to do if you have a computer and a blogpost to write.

Kay Nielsen was born in Copenhagen in 1886. He attended art schools in Paris, then moved to London in 1911. He became celebrated and successful for his wondrous, dramatic paintings in books such as Powder and Crinoline and Hansel and Gretel.

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k-nielsen-in-powder-and-crinoline-felicia-or-the-pot-of-pinks

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My favorite book of his is East of the Sun West of the Moon,

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k-nielsen-east-of-the-sun-west-of-the-moon-the-three-princesses-of-whiteland

particularly the image below, which resonated with my angsty teenage soul.

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It surprised me to learn now that the illustrations I so admired were all produced between 1912 and 1925. He published one book in 1930. He moved twice to the United States, first in 1936, and again in the 50s after returning to Denmark. He worked for Disney for a few years, contributing to the “Ave Maria” and “Night on the Bald Mountain” sequences in “Fantasia”, where his influence is clear.

k-nielsen-sketch-for-night-on-bald-mountain

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But his style fell out of favor after the second world war and there were long dry spells where he and his wife had to rely on assistance from friends.

Jasmine Britton arranged to have Nielsen paint a mural for the library of the Los Angeles Central Junior High School in 1941.

k-nielsen-the-first-spring-mural

He painted another for the Wong Chapel in the First Congregational Church of Los Angeles. His final work was a mural for Whitman College in Walla Walla, Washington.

He died in poverty and obscurity in 1957 at the age of 71. Services were held at the Wong Chapel. His wife died little over a year later.

Tastes change. Thank heavens that tastes change back again, and that the work of artists who were once considered out of fashion can be brought back for new viewers to appreciate. I found several sites with information about Kay Nielsen. If you want to learn more and see more wondrous images, I recommend this piece by Terry Windling.

Our Nation’s Library

The Library of Congress is one of those things that you feel you know—because you’ve said the words all your life—but then you realize you don’t really know that much about it.

One of my sisters recently sent me a link that I want to share, but first a bit about the library gleaned from the web. It’s the largest library in the world. According to its website “its collections are universal, not limited by subject, format, or national boundary, and include research materials from all parts of the world and in more than 450 languages. Two-thirds of the books it acquires each year are in languages other than English.”

Officially, it’s the research library for the United States Congress and it’s the oldest federal cultural institution in the U.S. It includes the Center for the Book which supports the Young Readers Center and the Poetry and Literature Center, which promote books, reading and libraries.

And it does lots of amazing things including scanning and posting this wonderful collection of classic children’s books: http://read.gov/books

Most of the books are from the mid to late 1800s and early 1900s. It’s fun to see how kids books have changed.

I love this one–The Children’s Object Book published in the 1880s.

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objects-winter

I instantly thought of Richard Scarry books.

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The objects have changed, the art style has changed, the sheer volume of stuff has changed—but kids still like to look at and identify the objects of their world.

The book collection is heavy on fairy tale and folk tale collections, Mother Goose and lots of rhyming. Some of it pretty tortured.

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rocket-train-set-text

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But it’s fun to see “concept” books like The Rocket Book by Peter Newell, 1912, being played around with early on in children’s publishing. Another concept book, Gobolinks, or Shadow-Pictures for Young and Old, published in 1896, encourages kids to use their imaginations with inkblots.

gobolink-1

Of course, it instantly brings to mind the Rorschach test. So out of curiousity I googled it to see how the dates matched up. The Rorschach test wasn’t developed until the 1960s, but interpreting blobs of ink started much earlier. According to Wikipedia, “Justinus Kerner invented this technique when he started accidentally dropping blots of ink onto paper due to failing eyesight. Instead of throwing them away, he found that intriguing shapes appeared if he unfolded the papers. He elaborated these shapes into intricate cartoons and used them to illustrate his poems.” This was in the 1850s.

The collections features work from some big name illustrators like Arthur Rackham:

sleeping-beauty

Sleeping Beauty, 1920

And N.C. Wyeth

Robin Hood, 1957

Robin Hood, 1957

And W.W. Denslow:

Denslow's Three Bears, 1901

Denslow’s Three Bears, 1901

There are also early versions of what I would call “franchise” books (like Disney’s Winnie the Pooh books.) There’s a long chapter book about Peter Rabbit called Mrs. Peter Rabbit from 1919. They don’t claim this is Beatrix Potter’s Peter Rabbit, but still the name serves its purpose.

In this case, Peter Rabbit, after many adventures finds his true love, gets married and has kids.

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Part of what I love about this on-line collection is the clarity of the reproductions. The pages show the wear and tear of the years and the hands they passed through.

marked-up-peter-rabbitmother-goose

It reminds me of the books I read from my family bookshelves as a kid. Many of them dating back to the turn of the century. I remember the tattered covers, the soft, yellowed pages and their musty smell; the occasional colored illustration on it’s own page of slicker, whiter paper. Sometimes there was onion paper between the illustration page and the next page of text. All of this shows up in the Library of Congress’s collection. So the experience of these books will be saved for generations to come.

If you want to check out the Library itself and all it has to offer you can here: https://www.loc.gov

 

 

Who Was Randolph Caldecott, And Why Do We Have An Award Named After Him? (and a bit more from the V & A Study Rooms)

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Most American illustrators know about the American Library Association’s Caldecott Award, but how many know anything about Randolph Caldecott? I received a Caldecott Honor in 2004, but I knew very little about him myself. My only reference was from Maurice Sendak’s essay in Caldecott & Co. which I read many years ago. There, he writes:

“Caldecott’s work heralds the beginning of the modern picture book. He devised an ingenious juxtaposition of picture and word, a counterpoint that never happened before. Words are left out – but the picture says it. Pictures are left out – but the words says it. In short, it is the invention of the picture book.”

r-caldecott-frog-wooing

I took these words to heart when I first read them. I realized that my favorite children’s book illustrators (of which Sendak is one) do just that – they augment the story rather than just retell it visually. I aspire to do the same. I thank both Sendak and Caldecott for that guidance.

Sendak goes on to state:

“Caldecott is an illustrator, he is a songwriter, he is a choreographer, he is a stage manager, he is a decorator, he is a theater person; he’s superb, simply. He can take four lines of verse that have very little meaning in themselves and stretch them into a book that has tremendous meaning – not overloaded, no sentimentality anywhere.”

r-caldecott-the-dish-ran-away-with-the-spoon

While I was in England I intended to write a post about Randolph Caldecott, but somehow never managed it. People in England are much more familiar with Caldecott’s work than most of us in the U.S. It’s not uncommon to see copies of books illustrated by Caldecott in used bookstores there. On my first visit to Foster’s Bookshop, I found a book illustrated by Caldecott on the sale table. I didn’t buy it, but I snapped a few photos, of course.

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Caldecott was born in Chester, England in 1846. He started working in a bank at the age of fifteen, studying art on the side. In 1872, he moved to London to pursue an art career full time. Five years later, he began his well-known work in children’s picture books.

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His work was also published in novels, travel books, and various periodical publications, and he was commissioned to design the British Afghan war medal.

He had suffered from poor health since childhood, and died in 1886 while visiting the U.S. with his wife. He is buried in St. Augustine, Florida. There is a memorial for him in St. Paul’s Cathedral, London. He was only forty years old.

The image below is a sadly prophetic self portrait from The Babes in the Wood (1879).

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Frederic G. Melcher established the Caldecott Medal for the “most distinguished picture book for children” in 1938, fifty-two years after his death. The medal features a relief of this image from The Diverting History of John Gilpin, an animated tale told in 253 lines of verse by William Cowper (1731–1800). It was printed by Edmund Evans in 1878 (the same engraver who worked with Walter Crane).

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Havoc. Falling babes. The women in Caldecott’s illustrations always look so calm and imperturbable. He isn’t usually so flattering of the men.

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When I went to the V & A drawing and print study rooms I requested to see a sketchbook of Caldecott’s from the mid-1870s.

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I also saw a box of loose drawings and paintings from their collection.

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His drawings of faces and hands are wonderfully expressive. His line and brushwork are both fluid and accurate. He excels at rampant gestures.

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He accomplished much in his forty years. It is easy to see how his work influenced Beatrix Potter and other illustrators as well as Sendak. I recommend The Randolph Caldecott Society UK and the Randolph Caldecott Society of America if you want to learn more about his life and art.

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A long, winding book road

croccover

It began as a ditty in my head over 25 years ago:

There once was a Christmas crocodile

A crocka-a-crocka-a-crocodile

Who said with a wicked and cunning smile

“I shall eat the Christmas tree

unless, you see,

I get exactly what I want.”

Seven years later it had morphed into a prose story about a crocodile who eats up Christmas and begins: The Christmas Crocodile didn’t mean to be bad, not really. Alice Jayne found him on Christmas Eve under the tree. He wore a red bow around his neck. It was lovely. Except he ate it.

A few years later Simon & Schuster bought it. Caldecott-winning artist David Small miraculously agreed to illustrate it and in the fall of 1998 it was published. It got a big glowing review by Judith Viorst in the New York Times; it was read on NPR by Daniel Pinkwater and on the QVC t.v. shopping channel; and it sold out that Christmas season.

Unfortunately, it was also orphaned. My editor, Stephanie Lurie, left Simon & Schuster. And without an in-house champion, The Christmas Crocodile was out of print by 2004.

And that seemed to be that.

banished-crocodile

But I kept hearing from people how much they loved the book. That it was a Christmas favorite, a Christmas tradition at their house. I just knew it was a good book. It was illustrated by David Small, for heaven’s sake. It shouldn’t have died so soon.

So I tried numerous times over the years to get a publisher interested in a re-issue, but it’s an almost impossible goal. Publishers generally don’t like to re-issue some other publisher’s book. If that publisher couldn’t make a go of it, how could they? is the reasoning. For a while, Simon & Schuster even considered reissuing it themselves.

But it seemed like good old Croc was doomed to out-of-print status until I happened to be chatting with Nancy Pearl at an event[i] and she mentioned that she had a new line of “rediscovered” books coming out.

Nancy is probably the best-known librarian in the world. She regularly comments on books on National Public Radio’s Morning Edition. She has written a number of best-selling books, including Book Lust and Book Crush, recommending books she loves. Perhaps her most fun claim to fame is as the model for the Shushing Librarian action figure.

shushing-librarian

She also finds out-of-print books for Amazon that she thinks deserve to be re-issued. A few years ago she set her sights on out-of-print kids books. You can imagine how eager I was to tell her about The Christmas Crocodile. Nancy asked to see a copy; she loved it and it went from there.

So my crocodile lives again re-printed by Two Lions Press, a division of Amazon. The team there, headed by editor Marilyn Brigham, did a beautiful job of it. With David Small’s approval, they developed a new cover for it, and it features a couple pages of introduction by Nancy. But otherwise it’s exactly like the original.

new-crocodile-cover

It just came out this September and here’s hoping the book finds a second life!

By the way, if you have an out-of-print kid’s book and don’t have a chance of running into Nancy Pearl anytime soon, there is one press that specializes in re-issues of out-of-print kids books, Purple House Press.

Also, if you buy the book and would like a signed book plate, just let me know who you’d like me to sign it to and where to send it. You can contact me by leaving a comment here or by messaging me on Facebook.

[i] So this is a pitch for seemingly thankless tasks. Nancy and I were volunteer judges for the University of Washington Bookstore’s annual bookmark contest where kids design a bookmark. We judges pick the winners out of many hundreds of entries and these are printed up by the bookstore to hand out over the year. It’s fun, but one of those things that you don’t expect to further your career.

Is There a Pattern Here?

Rob Gonsalves

Rob Gonsalves

Art is the imposing of a pattern on experience, and our aesthetic enjoyment is recognition of the pattern.
Alfred North Whitehead

I collect images of books in art. And, just as philosopher Alfred North Whitehead noted, I love to find patterns and motifs among them. I imagine that’s the pleasure of most collections.

Recently I was looking at some of my images and noticed a type of illustration that is relatively unusual. I think of it as the surreal image.

There are tons of images focused on books and reading that are fanciful and unreal. They might be charming:

Illustration by Beatrix Potter

Illustration by Beatrix Potter

Or metaphorical:

Illustration by Rafal Olbinski

Illustration by Rafal Olbinski

Or startling.

Illustration by Jacek Yerka

Illustration by Jacek Yerka

But they don’t quite have the quality I’m talking about. I can’t put my finger on it. Maybe the word is “unsettling.”

Perhaps the forest is a little too encroaching, a little too dark.

Rob Gonsalves

Illustration by Rob Gonsalves

Or the vines too silently creeping.

Illustration by Chris Van Allsburg

Illustration by Chris Van Allsburg

Illustration by Nom Kinnear King

Illustration by Nom Kinnear King

With this one, I keep finding myself waiting uneasily for those eyes to open.

Illustration by Frances Cochiacchio

Illustration by Frances Cochiacchio

Although not all that is out of place is ominous.

Illustration by Michael Sowa

Illustration by Michael Sowa

The  most classically surreal image I have (echoes of Magritte for sure) is mostly just amusing.

Illustration by Patrick Desmet

Illustration by Patrick Desmet

Maybe what’s holding these together for me is the thing unnoticed. Something’s odd. Something’s off, but it’s only we, the observers, who are noticing.

Illustration by Rob Gonsalves

Illustration by Rob Gonsalves

In fantasy literature, there’s a type of story that fantasy writer and academic Farah Mendelsohn calls liminal. It’s a type of fantasy that’s a little hard to define, but basically it involves a protagonist who doesn’t quite cross through the portal into fantasy, but stays on the border between the real world and the world of the fantastic. Perhaps these images aren’t so much surreal, as “liminal.”

To pull this post back into the world of writing children’s books, I’ll just add a couple links here. One of the questions that almost invariably comes up when I teach classes in writing fantasy and science fiction is where someone’s story “fits.” Like most of children’s literature, there are defined categories in fantasy that are good to at least be familiar with. As a writer you may choose to match those characteristics or violate them, but it’s good to know what rules you’re breaking.

Here’s a list of 10 good terms to be familiar with if you read or write fantasy. And the other is a link to a little information about Mendelsohn and her books. She’s good to know about if you’re going to go deeply into fantasy writing.

In the meantime, don’t turn too quickly to find out about the rustling from that bookshelf behind you. Perhaps it’s best not to know.

In The Study Rooms at the V & A (Part II)

 

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When I wrote my last post for this blog, I had just moved out of our rented home in London. With most of our belongings headed to Seattle in a shipping container, my husband, daughter and I felt like tourists again.

Until two days ago, when we flew back home. My re-acclimation to American life has begun. But, for my next couple of posts I will be returning to London (in spirit at least) to write more about my visits (I went back a second time before I left) to the Victoria & Albert Museum’s Prints and Drawings Study Rooms.

The V & A has most of the original drawings by E. H. Shepard for A. A. Milne’s Pooh series. My mother used to read to me from Milne’s Now We are Six when I was young (the book made turning six sound very grown up) and I still hear my mother’s voice when I read it now.

Milne-The Good Girl

“Well? Have you been a good girl, Jane?”. . .

I was able to request several boxes of Shepard’s sketches. The drawings are all in pencil on the pages of a 9″ X 14″ sketchbook.

Shepard’s lines are fluid and confident.

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I like to see where he tried different options and erased or crossed out some.

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It’s also interesting to compare these drawings to the finished art from the published books.

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Screen Shot 2016-08-19 at 15.49.06Sometimes Shephard draws many lines till he finds the right ones (I can relate to that).

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On the sketches that were accepted for the final illustrations, you can see that Shepard rubbed a graphite pencil across the back and then traced over the image to transfer it to his drawing board.

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Shepard seems to enjoy drawing trees, especially the grand, gnarled ones.

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And of course, bears.

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THE END

When I was One,

I had just begun.

When I was Two,

I was nearly new.

When I was Three,

I was hardly Me.

When I was Four

I was not much more.

When I was Five,

I was just alive.

But now I am Six, I’m as clever as clever.

So I think I’ll be six new for ever and ever.

 

A New Childhood: Picture Books From Soviet Russia

The New Childhood entry poster House of Illustration

Last week I returned to House of Illustration to see their current show – A New Childhood: Picture Books From Soviet Russia.

It is an excellent, eye-opening exhibit. I snapped a few subversive shots to share with you.

Before the October Revolution of 1917, children’s books were beautifully illustrated but expensive. Only children of the upper classes were regularly taught to read. Children’s books were not for the masses.

bilibin feast cakeIvan Bilibin, 1895

After the end of the Tsarist regime, fairy tales were considered irrelevant. Children were reimagined as “builders of the new egalitarian future.” New children’s books would promote socialist beliefs and give practical instruction.

Galina & Olga Chichagova 1925-posterGalina and Olga Chichagova, poster design with text by A. Galena, 1925.

“The images of old storybooks. Out with the mysticism and fantasy of children’s books!! Give a new children’s book!! Work, battle, technology, nature – the new reality of childhood.

On the positive side, during this time there was a blossoming of creativity in children’s literature. The influence of folk art as well as past art movements and picture books from Europe converged in these new books.

Eduard Krimmer 1926-How The Whale Got His ThroatEduard Krimmer, How the Whale Got His Throat (Rudyard Kipling) 1926.

Illustrators explored new styles and techniques. The Soviet government lifted a Tsarist ban on Yiddish publishing.

Issachar Ber Ryback 1922-In The Forest coverIssachar Ber Ryback for In The Forest (Leib Kvitko) 1922.

Books were considered valuable tools in disseminating new ideals. Publishers flourished.

Eduard Krimmer 1925-NumbersEduard Krimmer, Numbers, 1925

Vera Ermolaeva 1925-Top Top TopVera Ermolaeva, Top-Top-Top (Nikolai Aseev), 1925

Absurdism proved useful in communicating the regime’s ideas.

Iureii Annenkov 1918-The FleaIllustrations for The Flea (Natan Vengrov) by Iurii Annenkov, c. 1918

Konstantin Rudakov’s work was humorous and zany, but considered “bourgeois dregs” by Nadezhda Krupskaya, noted theorist and Lenin’s wife. Some of his books were banned.

Kostantin Rudakov 1926-TelephoneKonstantin Rudakov, Telephone, 1926

Picture books would show children how to build the future.

Evgenia Evenbakh 1926-The TableEvgenia Evenbakh, The Table, 1926

Aleksandr Deineka 1930-ElectricianAleksandr Deineka, Electrician (B. Uralski), 1930

Tevel Pevzner 1931-The Cow ShedTevel Pevezner, The Cow Shed (Evgeny Shvartz), 1931

Tevel Pevzner 1931-The Poultry YardTevel Pevezner, The Poultry Yard (Evgeny Shvartz), 1931

Georgii Echeistov 1930-What It Carries Where It Travels 1 Georgii Echeistov 1930-What It Carries Where It Travels 2 Georgii Echeistov 1930-What It Carries Where It Travels 3 Georgii Echeistov 1930-What It Carries Where It Travels 4Georgii Echeistov, What It Carries Where It Travels, 1930

Unknown 1934-First Counting BookUnknown illustrator, First Counting Book (F. N. Blekher), 1934

The circus was still popular, but the Lion was no longer portrayed as King of the beasts. Instead he was President.

Maria Siniakova 1929-CircusMaria Siniakova, Circus (Nikolai Aseev), 1929

Vladimir Lebedev 1925-CircusVladimir Lebedev, Circus (Samuil Marshak) 1925

Marshak quote

Some illustrators were still determined to show children at play and having fun. Some got away with it.

Vladimir Konashevitz 1925-Unpublished illustration-Pictures For Little OnesVladamir Konashevitz, unpublished illustration for Pictures For Little Ones, 1925

Vladimir Konashevitz 1925-MugsVladamir Konashevitz, Mugs, 1925.

Others delved further into the new reality of childhood.

Aleksandr Deineka 1930-Red Army ParadeAleksandr Deineka, The Red Army Parade, 1930

The atmosphere of experimentation ended in the mid-1930s when “socialist realism” became the assigned aesthetic ideal. Children’s books could only support Soviet approved aspirations. State censorship was enforced. Yiddish publishing was no longer tolerated and high taxes caused many Russian publishers to close. Many illustrators continued to work but ceased experimenting. Some fled to Europe. Others were arrested.

I visited Soviet Russia when I was a child in 1970. What I remember most about Moscow was how bleak it was. Saint Basil’s Cathedral rose like a glorious fantasy out of the concrete. Everything else, including the people, was grey and heavy. Our guide was afraid to answer any of our questions. People spoke to us in whispers if they spoke to us at all. They were the children who had grown up under the Soviet regime.

For those of you who aren’t able to make it to London to see this show before it closes in September, you can look for the book, Inside the Rainbow, Russian Children’s Literature 1920-1935: Beautiful books, terrible times, which inspired House of Illustration to exhibit works from this collection.

Gwen White’s Book of Toys

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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

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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