Mary Lim

Friday, February 12, 2016

week 3: children's books?


the sum of a week
This Monday after giving our week 1&2 summary presentation, I think I figured out what I want to do...maybe? I talked with Debbie Pettid and got some insight on how I should approach children's books. I came up with a list of books I could delve into (children's book authors who have previously been designers):

  • Paul Rand
  • Ann Rand
  • Antonio Frasconi
  • Roger Duvoisin
  • Leo Lionni
  • Miroslav Sasek
  • Louise Fatio
  • Andre Francois
  • John Symonds
  • Brian Wildsmith
  • Charles Keeping
  • Raymond Briggs
  • John Burningham
  • Ezra Jack Keats
  • Judith Kerr
  • Miroslav Sasek
  • Maurice Sendak
  • Tomi Ungerer

Some books I have to look into:

  • Cummin’s Children’s Book Illustration and Design Vol.2
  • Evans, J. What’s in the Picture? Responding to Illustrations in Picture Books
  • Lacy, L.E. Art and Design in Children’s Picture Books
  • Nodelman’s Words About Pictures
  • Schwarcz, J.H. Ways of the Illustrator: Visual Communication in Children’s Literature
  • Wintle, J. and Fisher, E. The Pied Pipers: Interview with the Influential Creators of Children’s Literature
  • Kress, G. and Van Leeuwen, T. Reading Images: The Grammar of Visual Design
  • Bland D. A History of Book Illustration: The Illuminated Manuscript and the Printed Book

After talking with Debbie, I realized how wide of a scope of books I chose. There are tons of children's books from the 50s–60s, especially a lot of the classics, like Maurice Sendak's Where The Wild Things Are. Debbie suggested that I look into censorship, and how publishers are starting to take out cigarettes from children's books. Her issue with that is how they're trying to change history, and alter what actually happened/what the time period was actually like. She also mentioned how graphic designers started to use the medium/platform of children's books because it allowed them to do whatever they wanted within a structure. Children's books are usually between 32-48 pages, never more than that, and have a set format. What's interesting is that this structure made these designers from the 50-60s feel like children's books was unexplored, rich terrain.


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