scholarly journals Artistic and stylistic peculiarities of the graphic work of Petro Lapyn, illustrator of the children's books in the first third of the 20th century

2019 ◽  
pp. 193-199
Author(s):  
V. Pitenina
Keyword(s):  
20Th Century ◽  
Fairy Tale ◽  
Children's Books ◽  
Children’S Books ◽  
Artistic Process ◽  
Black And White ◽  
Children's Book ◽  
Publishing Houses ◽  
Characteristic Features ◽  
High Level

The beginning of the 20th century is a period of creative and printing experiments in the Ukrainian art. New generation of Ukrainian books was born in this period. The illustration of the children's books was a significant part of this process. Famous Ukrainian graphic artists, such as H. Narbut, M. Zhuk, O. Sudomora, V. Kononchuk, took part in the creation of a new Ukrainian children's book. Some little-known artists also worked with them, and their creativity was an important part of the artistic process. Petro Lapyn was one of those artists. From 1917 to 1929, he worked with the famous publishing houses, such as Vernyhora, Derzhavne Vydavnytstvo, Proliski, Knyhospilka and Rukh. Children's books, illustrated by P. Lapyn, are kept in the funds of the Pedagogical Museum of Ukraine, the National Library of Ukraine for Children, Ivan Fedorov Book Chamber of Ukraine and private collections. We have found about 30 of his projects. But the information about the artist himself and his life is quite limited. One of the first books he illustrated was the poem of S. Rudanskyi «Vovk, Sobaka ta Kit» («The Wolf, the Dog, and the Cat»), published in black and white in 1918. This early Petro Lapyn's work revealed his artistic outstanding peculiarities: vibrant linear drawing, harmonious combination of text and illustrations, variety of graphic techniques and skills in the representation of characteristic features. The high point of the artist's career is the illustration of «Crows and Owls», I. Franko’s fairy tale, printed in 1926 (Kharkiv, Rukh). It demonstrates the animalistic works of the artist. There are typical structural elements in fairy tale books: vignettes, drop caps. P. Lapyn uses decorative handwritten fonts and silhouette drawings for them. His graphic creations are full of emotions. Specific features of his work are: humour, emotionality, anthropomorphism, careful attitude towards literary material, and consistently high level of drawing.

scholarly journals THE HISTORY OF CREATION AND DESIGN FEATURES OF THE BRITISH SERIES OF CHILDREN’S BOOKS “BOOKS FOR THE BAIRNS” (1896–1912)

2019 ◽  
pp. 130-135
Author(s):  
Valeriia Pitenina
Keyword(s):  
Children's Literature ◽  
Western Europe ◽  
Children’S Literature ◽  
Literary Translation ◽  
Children's Books ◽  
Children’S Books ◽  
Victorian Era ◽  
Series Books ◽  
Children's Book ◽  
Characteristic Features

The 19th century is called the “golden age” of a children’s book. At this time, a variety of children’s literature appeared, first of all in Britain. The model of a decorated book are the books of Kelmscott Press. However, it was precisely at this time that a series of children’s books with a modest design at affordable prices, such as the so-called “one-penny” series “Books for the Bairns”, emerged. Ideologist and permanent editor of Books for the Bairns William T. Stead was a well-known journalist, founder and editor-in-chief of periodicals, public figure, child rights defender and a fighter against child prostitution. In 1912 he was nominated for the Nobel Peace Prize, but scandalous reports, imprisonment, and his interest in spiritualism made W. Stead’s im- age controversial. The concept of the series, created by Sted, is based on a combination of an adapted simplified literary translation and a detailed step-by-step visual story that accompanies the text. The chief illustrator and visual co-author of W. Sted was the Irish artist B. Le Fanu (Brinsley Le Fanu, 1854–1929). For B. Le Fanu, the illustration of the series was the biggest art project. At his time, B. Le Fanu was known for the illustrations to the works of his father — Sheridan Le Fanu, one of the founders of the Irish mystical novel. They have the characteristic features of the Victorian era. Making illustrations for children’s books, B. Le Fanu does not lose their fantastic nature, but combines them with a realistic drawing. Each cover of the series represents one of the main characters of the book. A simple but vivid picture, one or two characters on the cover, a landscape or interior outlined by several elements — that’s what the covers by B. Le Fanu were like. None of them are decorated with patterns or ornamental details. The artist consistently implemented the concept of simplicity and clarity suggested by W. Sted, but not primitiveness. The best volumes in the series are his illustrations of L. Carroll’s “Alice’s in Wonderland” and M. Servantes’s novel “The Adventures of Don Quixote”. The “Books for the Bairns” series, although not exquisitely designed and illustrated, has become a model for children’s literature publishers for half a century and inspired the appearance of similar series of cheap children’s books in Western Europe and also Russia and Ukraine.

scholarly journals The Noise Level Measurements of Children’s Sound Books

2021 ◽  
Vol 17 (4) ◽  
pp. 371-379
Author(s):  
Seok-Hee Joo ◽  
Eun-Yeong Shin
Keyword(s):  
Hearing Loss ◽  
External Auditory Canal ◽  
Noise Level ◽  
Sound Intensity ◽  
International Standards ◽  
Children's Books ◽  
Children’S Books ◽  
Hearing Rehabilitation ◽  
Children's Book ◽  
International Standards Organization

Purpose: It was intended to measure the sound intensity of children's sound books and to compare them with the standards of Korea and the International Standards Organization (ISO).Methods: The loudness of 15 children’s sound books was measured at a distance of 25 cm (child’s arm length), and 2.5 cm length of external auditory canal. Measurements taken three times with each book were performed, and the overall sound intensity of the sound books and the sound intensity of each button were measured and compared.Results: Compared with the Korean standard, all the buttons of all books exceeded the standard for the sound volume of the children’s book measured at a distance of 2.5 cm. When comparing the maximum sound intensity measured at a distance of 25 cm with 85 LAmax, a total of 168 buttons of these, 25 (14.88%) were recorded as exceeding the maximum loudness. According to the standards of the ISO, all buttons in all books were below the standard 85 LAeq.Conclusion: Several children’s books are loud enough to cause noise-induced hearing loss, especially when they are placed close to the ear. Strict standards for sound children’s books are required, and it is important to put a warning on the cover of the book. It is expected that the sound intensity of the children’s sound book presented in this study can be referenced when referring to the loudness during hearing rehabilitation in children.

scholarly journals Children's book in Siberia: a historiographic review

Bibliosphere ◽  
2017 ◽  
pp. 35-40
Author(s):  
E. V. Engalycheva
Keyword(s):  
Children's Literature ◽  
Children’S Literature ◽  
Book Publishing ◽  
Educational Process ◽  
Design Activity ◽  
Children's Books ◽  
Children’S Books ◽  
Children's Book ◽  
History Of ◽  
Childhood Reading

The article is devoted to the history of Siberian regional children's book publishing. The author has collected theoretic-practical opinions of historians, bibliologists, publishers and booksellers, librarians and bibliographers, psychologists and sociologists, which purpose is to generalize and reveal regularities of books' flow for children. V. G. Belinsky, L. N. Tolstoy, F. G. Tol’, N. V. Chekhov developed the first concepts of children's book. N. K. Krupskaya, V. A. Sukhomlinsky studied the «core» of the children book repertoire. V. G. Sopikov, B. S. Bondarsky reviewed children's literature of the 19th century in their bibliographic works. The author allocated some organizational components using formal-logical, comparative-historical and structural-typological methods. The first block is related to studying such definitions as «children's book», «children's literature», «editions for children», «a circle of childhood reading», «the repertoire of children's books», their typological signs. The presented concepts are investigated according to tasks, which children's editions solve. S. G. Antonova and S. A. Karaichentseva touched issues of children's literature typology in their publications. The second block of literature reveals the children's book development in Russia in various periods of its formation. I. E. Barenbaum, A. A. Grechikhin, A. A. Belovitskaya studied general fundamentals of the book's history, while A. Ivich, L. Kohn, I. Lupanova considered the history of children’s books. The third block is devoted to printing and art features of the children's book design, activity of universal and specialized publishing houses to distribute literature for children. The fourth block explains such category as «reader - library», considers techniques of work with children's book, offers methodical recommendations for teachers and tutors. Readers’ activity is examined as well. The author analyzes interests, factors, incentives and aims influencing childhood reading. Dissertation researches disclose the regional specifics of children's book publishing in 1980-2013, confirm the considered subject relevance. The historical, comparative, formal and logical analysis carried out by the author will be useful both the specialists in publishing and editorial affairs, researchers studying the history and development of the children's book, historians, and teachers in the educational process of such courses as «Publishing and Editing», «Children's Literature», «Book Science». The author concludes that the children's book has been studied in different periods of its development in the context of numerous aspects, directions and components, which makes it possible to reveal the special patterns of its existence.

scholarly journals Avant-Garde Children’s Magazines and Newspapers of the 1920s – 1930s in Siberia

2019 ◽  
Vol 14 (2) ◽  
pp. 84-105
Author(s):  
Ksenia V. Abramova
Keyword(s):  
20Th Century ◽  
Children And Youth ◽  
Children's Books ◽  
Self Presentation ◽  
Avant Garde ◽  
Black And White ◽  
Children's Magazines ◽  
New Type ◽  
The Times ◽  
Design Techniques

The purpose of this article is to analyze the magazines and newspapers for children and youth issued on the territory of Siberia in 1920s – 1930s. A great many children’s books were issued that years, moreover, the approach to design of that books and to the contents of writings for children changed significantly: the topics had to be actual, associated with the construction of the new society. At the same time, exactly in children’s press in 1920s, the new principles of book graphics were formed. There are a large number of magazines and newspapers aimed at youth audiences were published in Siberia in the 1920s and 1930s, but they did not have a long history. Some of them appeared only once or twice, after that they closed. But all the more interesting is the study of these rare publications as experiments that influenced how the Soviet children’s and youth magazine was formed. Viewing magazines and newspapers allows you to observe how the rubrication and the genre system of Soviet publications for children evolved, as well as identify trends that have become a definite “sign of the times”. The article explores archive materials and examines the contents of printed issues, peculiarities of the approaches to the inner composition of the material and design techniques, discovers the features of the “Soviet avant-garde” development in children’s and youth periodicals. It indicates that the majority of the Siberian Children’s and youth magazines issued within that period has demonstrated a strongly demonstrated ideological overtone, claiming its purpose raising the new type of human and orientation on the “iterature of fact”. The article covers the peculiarities of the illustration techniques in Siberian post-revolutionary magazines. The article marks that up to the mid – late 1920s, the children’s and youth periodicals design became composed of such elements as insets, plane drawings based on a contrast combination of black and white, photography and photographic compilation. Furthermore, it describes a number of self-presentation techniques, developed exactly by the avant-garde art. As can be seen from the above, it can be stated that Siberian children’s and youth journalism acquired the avant-garde trends of the first third of the 20th century, however, they haven’t been gradually and fully realized.

Publishers’ Spring

2018 ◽  
pp. 43-58
Author(s):  
Sophie Heywood
Keyword(s):  
Case Studies ◽  
Book Production ◽  
Children's Books ◽  
Children’S Books ◽  
Avant Garde ◽  
The Social ◽  
Publishing Houses ◽  
May 68

The years around May ’68 (c. 1965 – c. late-1970s) are widely understood to represent a watershed moment for children’s books in France. An important factor was the influence of a new fringe of avant-garde publishers that attracted attention across their trade in and beyond France. Using archives and interviews and accounts of some of the books produced and their reception, this article presents case studies of the most influential publishing houses as a series of three snapshots of the areas of movement in the field. At the same time, it evaluates the extent to which the social, cultural and political upheavals in France in the wake of May ’68 helped to alter the shape of book production for children and to bring about a ›radical revolution‹ in the children’s publishing trade.

FEATURES OF COMPOSITION IN THE ART OF CHILDREN’S BOOKS BY ARTHUR RACKHAM

2020 ◽  
pp. 131-149
Author(s):  
Anna O. Bel'skaya ◽  
Keyword(s):  
20Th Century ◽  
Research Interest ◽  
Early 20Th Century ◽  
Children's Books ◽  
Art Nouveau ◽  
Children’S Books ◽  
Book Design ◽  
Book Illustration ◽  
Medieval Manuscripts

The article studies the book illustration by the English artist Arthur Rackham (1867–1939), the features of his work in the context of time and the experience that can be used in the process of teaching the book design and illustration. Here, research interest is focused on six main techniques that the artist actively used when illustrating in the children’s books in England in the late 19 – early 20th century. The name of A. Rackham and his graphics, are entirely associated with the English Art Nouveau. Having studied the graphic heritage of A. Rackham, on the example of his seven illustrations for children’s books, one can trace how A. Rackham’s creative credo was formed. The artist managed to move away from imitation of the English Victorian style, the Eastern and Western charts, medieval manuscripts and came to his own version of the Neo-Gothic in the art of the English book

How Buckinghamshire’s Early Children’s Book Collection found a place in cyberspace: Florence Nightingale would be amazed

2002 ◽  
Vol 103 (7/8) ◽  
pp. 267-272
Author(s):  
Michael Ryan
Keyword(s):  
Project Management ◽  
International Project ◽  
Children's Books ◽  
Children’S Books ◽  
Children's Book ◽  
Florence Nightingale ◽  
Technical Issues ◽  
The Way

This article uses a narrative to describe the way in which one project, centred round the restoration of a collection of historic children’s books, developed into a much wider international project. It looks at the managerial issues and some of the technical issues concerned and draws a number of conclusions about how such projects can be developed. In particular it looks at the role of partnership, project management and the frequently under‐appreciated role of publicity and promotion. It examines the ways in which project partners need to agree criteria and methods of working, as well as the key role played by specialist staff and various supporting organisations.

scholarly journals Biscuit and Peter and George—Oh My! Tales of a Children’s Book Doll Collector

2017 ◽  
Vol 15 (4) ◽  
pp. 27
Author(s):  
Stephanie Bange
Keyword(s):  
Elementary School ◽  
School Library ◽  
First Year ◽  
School Librarian ◽  
Children's Books ◽  
Children’S Books ◽  
Children's Book ◽  
Shopping Basket

My name is Stephanie, and I am a collector. What are my favorite things to collect? That’s easy—dolls! I bought my first Barbie when I was six years old. I was given a doll from Morocco at age seven. To this day, I continue to collect both Barbies and international dolls, but my third collection now numbers eight hundred dolls. During my first year as an elementary school librarian in 1979, I began to collect dolls based on characters from children’s books.I wanted to add some zip and zing to class visits at my school library. The previous school librarian had plugged boys and girls into listening stations with worksheets each time they came to the library. I felt my students were missing out by not hearing fantastic tales from exotic places and visiting magical worlds of wonder.Bottom line, I wanted them to experience the joy found within the covers of books. That’s when the first dolls from children’s books—Corduroy, Curious George, the Cat in the Hat, and Winnie-the-Pooh—found their way into my shopping basket and my storytelling repertoire.

scholarly journals MODERN CHILDREN’S BOOK AS AN ARTISTIC AND GAME MATERIAL FOR THE PRESCHOOLERS’ CREATIVITY FORMATION

2021 ◽  
pp. 79-84
Author(s):  
L. ZIMAKOVA ◽  
V. KRAMARENKO
Keyword(s):  
Information Source ◽  
Book Publishing ◽  
Educational Process ◽  
Interactive Narrative ◽  
Young Generation ◽  
Children's Books ◽  
Children’S Books ◽  
Children's Book ◽  
Artistic Activity ◽  
Illustrative Material

The article is devoted to the study of trends in the development of modern children’s books, its impact on the formation of creativity as one of the main competencies. The basis for the development of the visual and plot components of the children’s book in the middle of the 20th century and their influence on the formation of the psycho-emotional component of the young generation of those times are retrospectively covered. Possibilities of modern book publishing for authors-writers are presented. Perspective directions of publishing business development both abroad and in Ukraine are covered. The study revealed qualitative changes in the content, artistic, and architectural content of modern children's books, which are reflected in the latest plots, visual images, design, and creative approaches to putting out books. With the help of certain modern children’s books, we have proved the effectiveness of pedagogical methods of forming preschoolers’ ability to be creative in various life situations, their readiness for non-standard, original solutions, ability to be independent and choose freely, curiosity, development of imagination, courage, flexibility, mobility, etc. These are so-called “quiet books” for children which are popular nowadays. The story is told exclusively by means of illustrative material, which has its own unique author’s visual language and non-standard presentation. It develops children’s imagination and forms their tastes, non-standard thinking, ability to improvise, and encourages preschoolers’ to play. Books with an interactive narrative are of great interest to children. These are toy books, which stimulate children to create games or to become an author of a book with the help of an interesting story and illustrative material. It is offered to consider a modern children’s book not only as an information source but also as a means of stimulating preschoolers’ artistic and play activities. It is emphasized that the modern children’s book is a symbiosis of three artistic practices and might be used as artistic and game material in the educational process of PEI. The influence of books on the preschoolers’ psycho-emotional, personal-behavioral, artistic-activity development, as well as their creativity formation, is clarified practically.

scholarly journals Black, White, Colourful, Gray: Visual Effects in the Children’s Book Mimi & Liza

Ars Aeterna ◽  
2021 ◽  
Vol 13 (3) ◽  
pp. 30-41
Author(s):  
Gabriella Petres Csizmadia
Keyword(s):  
Unique Feature ◽  
Children's Books ◽  
Children’S Books ◽  
Visual Effects ◽  
Visual World ◽  
Guiding Principle ◽  
Visual Elements ◽  
Children's Book ◽  
The World ◽  
The Common

Abstract The study presents the reader with an intermedial interpretation of the storybook Mimi & Liza written by Katarína Kerekesová – Katarína Moláková – Alexandra Salmela (2013). The storybook follows the story of the friendship of two little girls, Mimi, who sees the world proliferating in mad colours, and the blind Liza, who is immersed in inner seeing. The two girls are presented as each other’s opposites through the semiotics of two counterpointing colour schemes. The analysis is based on Mitchell’s conception of media (Mitchell, 1994), that is, it sets out by acknowledging the intermedial state of the culture of children’s books, and then it follows the unfolding of the visual elements up through the investigation of expressive visual effects created by the text’s rhetoric. The visualization happening with the help of language is the condition of the common worldview of the blind and seeing characters as well as the guiding principle and goal of the volume; therefore besides the visual representation characteristic of children’s books, an emphasized role is given to the validation of the ekphrastic perspective in the analyzed work. The ekphrases of the text are presented as intermedial references (Rajewsky, 2010) based on Irina O. Rajewsky’s interpretation of intermediality. A unique feature of the interpretation is that the ekphrases of the volume read as sort of imaginary/imagination ekphrases which create the special, children’s book version of ekphrasis. It is characteristic for this imagination ekphrases that the order of the imaginary image and its linguistic description create an undecidable symbiosis. These images, however, can also be interpreted as inverted ekphrases, since they function not merely as descriptions of imagination ekphrases, but also as the visual world representations of linguistic imagination. Through several examples the study introduces and analyzes the mechanisms of the visualization happening with the help of language as well as the scenery painted with words.

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