Illustrator Of Children Research Articles

Design of Educational Media for Endangered Animals and Extinct Animals Endemic to Indonesia for Grade 4 Elementary School Students in Bandung district

Endemic Indonesian animals are native Indonesian animals that cannot be found in other countries, that’s why their existence must be protected and studied by children, especially those with endangered status. However, the population of these animals is decreasing and even extinct. Not many people know about endangered animals that are endemic in Indonesia and extinct animals in Indonesia, especially in grade 4 elementary school in Bandung who have started to studying these animals. The knowledge about endangered animals and Indonesian endemic animals in schools is still ineffective and boring because the media to used is school textbooks which are dominated by text. Children's illustration books are a solution for elementary school. Data collection techniques used are interviews and questionnaires. The main media for the illustration book is "Ayo!! Mengenal Dunia Hewan" with supporting media : bookmarks, stickers, key chains, puzzles, and posters. The design was made to increase the knowledge of 4th graders elementary school about endangered animals and Indonesian endemic animals.

Manfaat Pemisahan Sampah Organik dan Anorganik Melalui Media Buku Ilustrasi Anak

<p><em>Garbage was defined as the residue of people's daily activities. In the social environment, to facilitate decomposition, garbage was generally grouped into two simple parts; namely organic garbage and inorganic garbage. </em><em>garbage management was needed to reduce the possibility of positive and negative impacts to the environment. Economic value was grouped into positive impact, while the source of odors and disease clusters were grouped as negative impact. </em><em>In this study, the focus of the problem is on the negative group. Because if garbage is allowed to pile up in one place in community settlements, it will become a source of unpleasant odors so that it can then become an area for germs to develop. </em><em>This condition is an indication that the garbage had not been managed properly and could worsen the surrounding environment. Therefore, proceeded from the scientific visual communication design, then at least hazard information and proper garbage processing method needed to be made. Knowledge of garbage separation to reduce environmental pollution would be better if known or understood since childhood. </em><em>The choice of work form for dissemination of this information was children illustration book. The process of realizing this illustration book work used several stages, the first stage was the process of collecting data about garbage and its processing, then data on the type of book that match the target audience. </em><em>The second stage was the process of making books, in this stage it went through several processes from pre-production to production.</em></p><p><em> </em></p><p><strong><em>Keywords:</em></strong><em> Illustration, Children, Health, Garbage</em><em></em></p>

CRIANÇAS NEGRAS NAS ILUSTRAÇÕES DE JOSIAS MARINHO

With the purpose of emphasizing the importance of illustration in children's literature, this article aims to analyze the representativeness of black characters, especially children, in works illustrated by Josias Marinho. He is an artist politically committed to the appreciation of Afro-Brazilian and African culture. Through the analysis of the illustration itself and its relationship with the verbal text, the methodological procedures for the analysis of the investigated works were constituted. In them, the children were portrayed in scenes of affection, receiving family support and care, practicing acts of resistance, as well as getting to know themselves better. Such results point to an advance, as they overcome stereotypes produced throughout the history of Brazilian children's literature.

The Men Who Drew for Boys (and Girls): 101 Forgotten Illustrators of Children's Books 1844–1970. Robert J. Kirkpatrick

<i>The Men Who Drew for Boys (and Girls): 101 Forgotten Illustrators of Children's Books 1844–1970.</i> Robert J. Kirkpatrick

A relação entre literatura e ilustração em ‘História do capuchinho vermelho contada a crianças e nem por isso’, de Manuel António Pina

No presente artigo, analisar-se-á a relação entre literatura e ilustração no conto História do Capuchinho Vermelho contada a crianças e nem por isso, de Manuel António Pina, que inclui seis pinturas a pastel da artista plástica Paula Rego. Analisaremos algumas das semelhanças e diferenças entre o conto do autor português e as versões anteriores, de Perrault e dos Irmãos Grimm. Destacaremos, sobretudo, a importância das ilustrações nos contos infantis, realçando a necessidade de aliar dois tipos de texto — o pictórico e o verbal —, podendo o primeiro auxiliar na descodificação do segundo. Torna-se também necessário pensar em conceitos como “belo” e “grotesco”, tão presentes na obra de Paula Rego.

GANILLA: Generative adversarial networks for image to illustration translation

In this paper, we explore illustrations in children's books as a new domain in unpaired image-to-image translation. We show that although the current state-of-the-art image-to-image translation models successfully transfer either the style or the content, they fail to transfer both at the same time. We propose a new generator network to address this issue and show that the resulting network strikes a better balance between style and content.There are no well-defined or agreed-upon evaluation metrics for unpaired image-to-image translation. So far, the success of image translation models has been based on subjective, qualitative visual comparison on a limited number of images. To address this problem, we propose a new framework for the quantitative evaluation of image-to-illustration models, where both content and style are taken into account using separate classifiers. In this new evaluation framework, our proposed model performs better than the current state-of-the-art models on the illustrations dataset. Our code and pretrained models can be found at https://github.com/giddyyupp/ganilla.

Captains of Illustration ed. by Anita Wincencjusz-Patyna

Reviewed by: Captains of Illustration ed. by Anita Wincencjusz-Patyna Katja Wiebe Translated by Nikola von Merveldt CAPTAINS OF ILLUSTRATION. 100 Years of Children's Books from Poland. Edited by Anita Wincencjusz-Patyna. Translated by Agnes Monod-Gayraud. Adam Mickiewicz Institute / Wydawnictwo Dwie Siostry, 2019, 498 pages. ISBN: 978-83-60263-57-02 CAPTAINS OF ILLUSTRATION. 100 Years of Children's Books from Poland. Edited by Anita Wincencjusz-Patyna. Translated by Agnes Monod-Gayraud. Adam Mickiewicz Institute / Wydawnictwo Dwie Siostry, 2019, 498 pages. ISBN: 978-83-60263-57-02 With almost five hundred pages, the volume Captains of Illustration offers a comprehensive tour of Polish children's book illustration between 1918 and 2018, with short articles in English and nine hundred illustrations. Eleven contributors give brief insights into aspects, trends, and characteristics of Polish illustration art, following one hundred keywords. In addition to editor and art historian Anita Wincencjusz-Patyna, colleagues, illustrators, designers, book historians, and many others contribute their knowledge. The extremely heterogeneous perspectives on the topic highlight the diversity and complexity of the Polish art of illustration and make for a highly readable volume. Some of the contributions, which are each only one or two pages long, are written in a conversational, at times casual tone, while others are more descriptive and analytical. The playfully phrased keywords, which organize the many, well-chosen sample illustrations by 230 Polish artists, cover a wide range of topics. Thus, "Alice in Wonderland", "Elephants on Parade," and "Shopping Trip" are to be found among them, as are "Naked Truths," "Typographic Tricks," and "Pop Art Power." This free mix of themes, motifs, artistic techniques, and stylistic tendencies, as well as art historical epochs and illustrations of children's book classics, creates a broad panorama of illustrated children's literature in Poland. Since illustrations from almost all decades are shown for each keyword, artistic and stylistic lines of development can be traced and comparisons made. Many artists are represented with examples under several keywords, enabling readers to discover the peculiarities and characteristic traits of a particular illustration style. While the motifs from the everyday world of children's experience and life, such as the family, the telephone, the post office, or animals (cat, bird, fish, etc.) are commonplace in children's literature, other chapters focus on specifically Polish motifs, such as the significance and representation of the Polish cities of Gdansk, Cracow, and Warsaw in Polish children's book illustration; the national colors, red and white; and important personalities such as Janusz Korczak, or artists such as Bohdan Butenko and Franciszka Themerson, as well as well-known Polish children's book characters. Furthermore, the chapters "Polish School of Illustration," "Socialist Realism for Kids," "Occupied Poland," and "Watch Out! Bulldozers" take a look at landmarks, special periods, or events in Polish illustration history. "Read to Me, Mummy!" and the "Squirrel Series" present the two most important book series that have been and continue to be published in Poland over several decades. The literary and art historical periods are visualized at the end of the volume in a timeline. [End Page 118] There, Captains of Illustration offers an alphabetical overview of all illustrators presented in the volume, with brief biographical notes, including "classic" artists such as Bohdan Butenko, Adam Kilian, Zbigniew Rychlicki, Janusz Stanny, Jan Marcin Szancer, Franciszka Themerson, and Józef Wilkoń in addition to younger representatives such as Edgar Bąk, Jan Bajtlik, Monika Hanulak, Marta Ignerska, Aleksandra and Daniel Mizieliński, Marianna Oklejak, and Paweł Pawlak. The eleven authors of the keyword contributions are also presented. Katja Wiebe International Youth Library Copyright © 2020 Bookbird, Inc.

Sergei Aleksandrovich Alimov: An Incredible Artist and Creator

Sergei Aleksandrovich Alimov: An Incredible Artist and Creator Alina Lazareva (bio) Translated by Ismail Amirov Sergei Alexandrovich had a beautiful and wonderful life, which began on April 25, 1938. The first thing that Sergei Aleksandrovich Alimov recalled when asked about his childhood was a house on Zubovsky Boulevard, Mum and Dad, a children’s room, the smell of paint, games with his brother, adult conversations, a French nanny, and homework. His mother, Natalya Yakovlevna Gembitskaya, was an illustrator of children’s books. Her illustrated alphabet book was devoured by all first graders of the country. She brought up Sergei and his brother Boris according to all the rules of good form. His father, Alexander Sergeevich Alimov, was an architect and often worked at home. When Sergei was four years old, his father read to him Gogol’s Viy. From that moment, Russian literature entered his life as a source of imagination and creativity and became his eternal love. Click for larger view View full resolution The artist’s grandfather, Sergei Semenovich, was an extremely gifted painter. He taught drawing and sketching at a Bryansk gymnasium and commercial school. In 1919, he swapped the city for rural life. Grandchildren often stayed with their grandfather, who worked a lot. He was the first art teacher to little Seryozha. Click for larger view View full resolution An extraordinary role in the artistic perception of Sergei Alimov was played by his grandaunt, the puppet artist Maria Yakovlevna Artyukhova, a student of Konstantin Korovin. Her magnificent dolls were born in front of her grandchildren, to then “perform” in Leningrad at the famous Demmen Puppet Theater. The dolls have survived to this day and are hanging in the Alimov workshop as his dearest childhood memorabilia. It is not surprising that Seryozha, having absorbed the atmosphere of art from early childhood, dreamed of studying art. He entered the Moscow Secondary Art School, and five years later he was on VGIK’s faculty. VGIK is the Gerasimov Institute of Cinematography, where Alimov taught animation. Animated cinema-tography was for him a “treasure trove of metaphors,” an opportunity to realize fantasies, to work with literature “imaginatively.” At VGIK, Sergei Aleksandrovich met a galaxy of talented painters, artists, cameramen, and directors. The director of the Soyuzmultfilm, [End Page 84] Fedor Khitruk, invited the twenty-four-year-old student Sergei Alimov to work on The Story of a Crime in 1962. Then there was Toptyzhka in 1964 and Man in the Frame in 1966. But it was the cartoon Boniface’s Vacations (1965) that brought Alimov real fame. It is remembered, known, and loved by millions of children and adults. Click for larger view View full resolution Sergei Alexandrovich was an outstanding illustrator. He illustrated more than one hundred works of Russian and world classics by E. Hoffmann, N. V. Gogol, M. E. Saltykov-Shchedrin, A. P. Chekhov, M. A. Bulgakov, and others. He had a preference for masters of the satirical grotesque. Similarly, his illustrations were grotesque and unexpected. In 1999, Sergei Alexandrovich became the principal art director of the S. V. Obraztsov Puppet Theater. Oddly enough, his fate “came full circle” as at the Obraztsov Theater, Alimov became the production designer of Gogol’s Christmas Eve, Pushkin’s The Queen of Spades, Gulliver’s Travels, and many others. Recently, the artist worked hard on sketches of scenery for the immortal Don Quixote. Alimov devoted much time to his students at the Moscow Art Theater School-Studio and at VGIK. He was a strict and caring teacher, and students loved him and treasured his every remark and advice. “Our profession is unique. We are on an equal footing to screenwriters, directors, and cameramen in creating a film or a performance.… What is made by an artist never becomes obsolete.” Sergei Aleksandrovich Alimov supported this assertion with his life and work, leaving an impressive number of works, performances, illustrations, and students. Sergei Alexandrovich passed away on December 17, 2019, after a long illness. This was a tragic loss. But his works, sketches, cartoons, and students persist. The rich legacy of the remarkable artist and person Sergei Aleksandrovich Alimov is an invaluable contribution to Russian culture and art. [End Page 85...

La città che non c'è. Bambini, natura e ambiente urbano nella letteratura per l'infanzia

The so-called ‘classics’ of Children’s Literature – written during the massive process of urbanization in the Western world – almost never have a city as their background. On the contrary, they tend to radicalize the link between childhood and the natural landscape as the only condition for childhood to be such. The Romantic legacy associating the child to nature makes it impossible for us to see children comfortably inhabiting the city and has even brought – in the massively urbanized world of our times – some scholars to theorize the disappearance of childhood. If we want to imagine (and hopefully design) cities that can actually be dealt with by children, we have to become aware of the symbolic projections that, as a culture, we tend to associate to children, and we have to start to ‘naturalize’ their presence also in the urban, as some authors and illustrators of children’s books do.

Textual functions of metonymies in Anthony Browne’s picture books: A multimodal approach

AbstractThe main aim of this article is to study the communicative functions of visual metonymies in a sample of picture books written and illustrated by Anthony Browne, an internationally acclaimed author and illustrator of children’s books. The three tales selected for analysis are Voices in the Park, Gorilla and Piggybook, all of which have been highly praised by critics and become universally accepted as classics. Within the frameworks of visual social semiotics and cognitive linguistics, the strategies available to the illustrator to represent characters in picture books have been identified and analysed in the contexts where they were produced. The results of the analysis show that visual metonymies are used in Browne’s picture books essentially to highlight or minimize a character’s status over another fictional actor, to ascribe negative qualities or attitudes to the main characters and, in turn, to foreshadow what is yet to come in the story.

The Bloomsbury Introduction to Children's and Young Adult Literature by Karen Coats

Reviewed by: The Bloomsbury Introduction to Children's and Young Adult Literature by Karen Coats Lara Saguisag (bio) Karen Coats. The Bloomsbury Introduction to Children's and Young Adult Literature. Bloomsbury Academic, 2018. Students, educators, and scholars who are seeking comprehensive and accessible critical introductions to the study of children's and young adult literature have a few notable titles to choose from. Perry Nodelman and Mavis Reimer's The Pleasures of Children's Literature, originally published in 1991 with a third edition released in 2003, remains an essential introductory handbook on children's literature studies. In the more recent Reading Children's Literature: A Critical Introduction (2013), Carrie Hintz and Eric Tribunella cover a wide variety of forms, genres, and themes and skillfully guide readers in using the lens of age, race, indigeneity, gender, sexuality, and ability to arrive at nuanced readings of texts for young people. It seems fair to expect that a new critical introduction to children's literature studies not only match the scope and accessibility of existing titles but also offer new perspectives and content. The Bloomsbury Introduction to Children's and Young Adult Literature by Karen Coats undoubtedly meets these expectations. This thoughtfully organized, wide-ranging, and innovative book draws from cultural studies, literary studies, and child development studies in its consideration of diverse forms and genres. Chapter 1 deftly illustrates how knowledge of the histories of ideologies of childhood is fundamental to understanding the histories of literature for young people. Chapter 3 works to demystify literary theory, assuring readers that "we are always already theorists" (84); framed by an anecdote in which a teenaged girl and her friends dissect her conversation with her crush, the chapter covers a variety of theoretical paradigms including formalism, deconstructionism, New Historicism, and reader response criticism. Other chapters provide substantial discussions of poetry, picture books, films, folk narratives, nonfiction, realistic fiction, fantasy, and speculative fiction. Each chapter is supplemented by case studies, prompts for writing and discussion, and suggestions for further reading, including Internet sources. These supplements will likely be effective in generating vibrant classroom discussions, increasing student engagement, and helping emerging scholars become confident, independent researchers. The volume is primarily addressed to undergraduate and graduate students, but it will also appeal to educators who are looking for creative approaches to structuring and enlivening their courses as well as experienced scholars who are committed to keeping pace with contemporary debates that are animating children's and young adult literature studies. I do wish that chapter 6, which discusses images in children's literature, did more to clarify the differences between various visual-verbal narrative forms. The chapter certainly enables readers to develop a vocabulary to discuss [End Page 147] pictures in texts for young people. It historicizes the functions of illustrations in children's books and shows how attention to visual elements as well as issues of production and audience can yield varied and rich interpretations of visual-verbal narratives. But some discussion of, say, the different ideological frameworks and histories of picture books and comics may be necessary to illustrate the complex ways pictures in visual-verbal narratives for young people are apprehended by readers across time and culture. As the whole, the book instructs readers to be responsible, inquisitive scholars. And it does so in such an openhearted manner. In her introduction to the volume, the author provides a short biography and invites readers to "call her Karen" (5). As such, Karen not only models the practice of acknowledging one's cultural position; she also deliberately establishes a tone of affability, demonstrating that an intimate, personal approach is not necessarily incompatible with meaningful scholarship. In the final chapter, Karen invites new scholars to "[enter] the professional conversation," providing comprehensive lists of journals and professional associations as well as advice on research, writing, and disseminating one's work. Throughout the book, Karen cracks jokes, shares personal anecdotes, acknowledges questions she continues to wrestle with, and urges readers to disagree with and complicate the points that she makes. In short, she displays how pleasure, uncertainty, and exchange of knowledge are part and parcel of the practice of scholarship. Bloomsbury Introduction pays attention to recent trends in children's...

„Stary Noe” Zuzanny Orlińskiej jako przykład współczesnej książki religijnej dla dzieci

Stary Noe of Zuzanna Orlińska as an example of modern religious care for children The article presents the figure and achievements of the author and illustrator of children’s books Zuzanna Orlińska. Detailed analyzes were book Old Noah awarded in 2016. Kornel Makuszyński price and highlighted by the jury of PS IBBY. Old Noah is an example of modern adaptation of the Biblical story of the flood. Draws attention to the character of Noah and his relationship with God. The author raises many questions about obedience to God’s will and trust.

Profile of Illustration in Children’s Literature Books Based on the Image Preferences of the Youngest Readers

Profile of Illustration in Children’s Literature Books Based on the Image Preferences of the Youngest Readers

Books: Night Shift: Dragons of Depression to Seabirds.

Debi Gliori Hot Key Books, 2017, HB, 32pp, £9.99, 978-1471406232 Night Shift is the story of Debi Gliori’s personal battle with her own dragon of depression. Gliori is well known as a writer and illustrator of children’s books. However, this beautiful little picture book is for adults, to help express what it can be like to suffer from depression. The book itself looks lovely with its rich blue cloth colour and thick cream paper, and the …

The Pedagogic Role of Children’s Literature Walter Benjamin’s Theory in Modern Education

&lt;p&gt;&lt;em&gt;This article focuses on the theory of German philosopher and literature critic Walter Benjamin (1892-1940) on the role of children&lt;/em&gt;&lt;em&gt;’&lt;/em&gt;&lt;em&gt;s literature and the degree by which his aesthetical theory, as expressed in the early 20th century, may be applied in modern education. Particularly in preschool ages, children’s literature plays a defining role in children&lt;/em&gt;&lt;em&gt;’&lt;/em&gt;&lt;em&gt;s development, stimulating learning memory and providing the foundations for the child&lt;/em&gt;&lt;em&gt;’&lt;/em&gt;&lt;em&gt;s perception of the world around him/her. Children&lt;/em&gt;&lt;em&gt;’&lt;/em&gt;&lt;em&gt;s literature and illustrations of children’s books, introduce children in learning and writing. In his theory, Benjamin describes how literature, and in particular the magic perceived by children’s mentality in fairytale, can and should be an integral part of education that does not apply standardized pedagogic norms or psychological interpretations, but promotes the way in which the child observes the world, imagination and intuitive perception.&lt;/em&gt;&lt;/p&gt;

The Pedagogical Importance of Illustrations in Translated and Non-Translated Children’s Literature: An Intersemiotic Approach

&lt;p&gt;&lt;em&gt;In Children’s literature the text is almost always paired with vivid illustration to appeal to children more effectively. For young children, the pictorial code is a more direct means of communication than the verbal code. Such children will look at the pictures and tell the story in their own words. Also, children’s books are used for different purposes at different times. Children’s literature, for example, is a powerful means of educating children, through which they will be exposed to the set of behaviors deemed appropriate. That’s why illustrations in children’s stories are so important. Therefore&lt;/em&gt;&lt;em&gt;,&lt;/em&gt;&lt;em&gt; it is necessary to pay close attention to the illustrations and the relationships they hold with the linguistic texts of the story. The illustrations will serve better if they are educational.&lt;/em&gt;&lt;em&gt; &lt;/em&gt;&lt;em&gt;In the present study a number of translated and original Persian children story books were collected. All the books have illustrations which accompany the texts of the books. Then all the texts were studied carefully, analyzed and compared with their accompanying pictures (or illustrations). Each picture was analyzed based on its educational value. The results of the study revealed that there are significant differences in illustrations in translated and non-translated children story books.&lt;/em&gt;&lt;em&gt;&lt;/em&gt;&lt;/p&gt;

Literature and the Young Child: Engagement, Enactment, and Agency From a Sociocultural Perspective

ABSTRACTAuthors and illustrators of children’s literature bring to life characters and contexts that provide demonstrations of agency as well as resources upon which to build agency. Agency is considered here as making one’s identity and perceptions visible and actively acknowledged by others to enhance and empower the personal, cultural, and social aspects of one’s life. This study examines the responses of one child, age 3 ½ years, to picture books of various genres. Using a case study frame and ethnographic techniques, the data revealed that the child’s responses were embedded in his play and interactions with family and friends. The data were coded into three potential categories representing ways that literature nurtures agency in preschool literacy learners: (1) agency through the discovery of the familiar in stories; (2) agency in the actual engagement of reading—telling a story using the images and inquiring about concepts, events, and vocabulary with an experienced reader; and (3) agency through entering the story and/or becoming a character and extending the story. Further examination across the categories of data led to implications supported by sociocultural insights as to literature’s role in agency development.

Beatrix Potter: A Hundred Years in Translation

This year, 2016, marks the 150th anniversary of the birth of Beatrix Potter (1866–1943), the much-loved author and illustrator of children’s books. Although translation has made a vital contribution to her international success, Potter’s work remains relatively under-researched from a translation studies perspective. This article aims to provide a clearer picture of Potter’s work in translation over the last hundred years. It identifies early translated editions and discusses Potter’s involvement in their preparation, before examining the appearance of her stories in translation around the world and outlining particular trends in Potter translation. This study is based on extensive research using numerous databases, Potter’s published biographies and correspondence, and on an analysis of the first French editions of her tales. The study reveals that the first published translations of Potter’s works are both of an earlier date and more numerous than is recognised in existing scholarship. It also shows that Potter’s preferred approach in the translation of her stories into French was to adapt the tales to their new French readership, rather than staying close to the originals. Her works are found to have been extensively translated during the last century, especially into European languages, as well as into a significant number of Asian languages. Other matters discussed include the involvement of Potter’s official publisher, Warne, in the publication of international editions; the existence of translations based on American editions with new illustrations; and the posting of online translations by Potter enthusiasts.

The jobbing artist as ethnographer: Documenting ‘lore’

Abstract This article focuses on a set of scholarly books published during the period 1920–1960, written and illustrated by women who were also well-known artists and designers, which offer histories and taxonomies of ‘popular’ and ‘folk’ art. I would like to argue that their interest in popular and vernacular culture can be seen as a creative as well as scholarly engagement with the history of their own profession as ‘jobbing artists’ – the phrase Barbara Jones used to describe her wide-ranging and pragmatic creative output Jones was an illustrator of children’s books, a mural painter, as well as a curator, writer and documenter of popular taste. Enid Marx was a printmaker, illustrator and creator of patterned textiles, notably for the London Underground, and a lifelong collector and connoisseur of english folk art, and co-author of English Popular and Traditional Art with Margaret Lambert (1946). Dorothy Hartley was an illustrator, journalist, historian and scholar. They shared an interest in documenting rural crafts, the ‘Lost Worlds’ they represent, and the popular or ‘folk’ culture, which was translated into mass produced forms during the industrial revolution – ‘the things that people make for themselves or that are manufactured in their taste’ (Jones 1972: 5). The authors in question were effective communicators in several types of media, and worked as ‘cultural agents’ – whether creating contemporary visual culture or writing about the material culture of the past.

지리그림책의 삽화를 활용한 문학적 활동이 유아의 지리개념과 언어표현력에 미치는 영향

지리그림책의 삽화를 활용한 문학적 활동이 유아의 지리개념과 언어표현력에 미치는 영향