Journal articles on the topic 'Illustration of books'
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1
Lord, John Vernon. "‘Mere’ illustration." Journal of Illustration 10, no. 2 (December 1, 2023): 385–405. http://dx.doi.org/10.1386/jill_00080_7.
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John Vernon Lord is an author, illustrator and teacher. He began his career in freelance illustration in the early 1960s and has carried out commissions for books, magazines and advertising. His books include a number of editions for the Folio Society. As a university professor, Lord has lectured for over sixty years in the United Kingdom and abroad. Here he presents a personal view of the historic and contemporary roles of the illustrator, particularly the book illustrator, examines the distinctions between fine art and illustration, and gives a passionate defence of illustration in the face of often dismissive attitudes, epitomized by the use of the term ‘mere illustration’.
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Bel'skaya, Anna O. "FEATURES OF COMPOSITION IN THE ART OF CHILDREN’S BOOKS BY ARTHUR RACKHAM." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2020): 131–49. http://dx.doi.org/10.28995/2073-6401-2020-3-131-149.
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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
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Agah, Masoud Mojaveri. "The Structure of Discourse: Visual Semiotic in Picture book of "Creation" by Wolf Erlbruch." European Journal of Interdisciplinary Studies 4, no. 1 (March 2, 2018): 43. http://dx.doi.org/10.26417/ejis.v4i1.p43-48.
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Illustration of children's books, such as the concept of childhood, has been shaped by a wide range of different choices, and each Illustrator finds a way to link and communicate with the text through the discourse device. Discourse means applying the language through individual action, illustration, also depicts the discourse of the work in the type of function and language manifestation; A language that in expression has a function different from that of a particular language which leads to a kind of active search in collective cultural visual memory. Although both the writing material and the image due to the use of the form of expression are text (a system of signifier relationships), their relationship complicates this point of view. Now the Illustrative Objective turn to make choice with a high responsibility. So the major questions are: 1. what is the process of illustrative discourse? 2. What is the design and process of semantic-signs of illustrated books? 3. Is there any certainty in imaging discourse for making meaning? This article sought to understand the shape and process of sign-semantics in illustrating children's books, and found that the relationship between text and image creates a semantic play that does not have semantic certainty, instead, an expert illustrator is trying to effectively shape this relationship to become dynamic. The main purpose of the article is to find the important semantic-sign features in the latent process of making meaning in the illustration, so the formation of semantics is more important as a result of the relationship between text and image. In this article, the spiritual theme of creation in illustrating has been studied in a work of Wolf Erlbruch as a sample of semantic study.
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Sutanto, Shienny Megawati, and Marina Wardaya. "How to Use Iconic Image Illustration to Increase Selling Value of Fiction Works." Winners 18, no. 2 (September 30, 2017): 49. http://dx.doi.org/10.21512/tw.v18i2.4008.
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This research aimed to find out how to use iconic images illustration to increase selling value of fiction works. The theoretical basis of this research was visual communication design, illustration, color, and semiotics. The method used in this research was qualitative research by doing interviews with experts who are experienced in publishing and illustration field. Another method used was observing children and fiction books which use iconic image illustration to attract consumer’s interest in order to increase books sales. The results of this study show that fiction books with iconic image illustration images have the positive response from consumers who show their interest and desire to buy them. Moreover, these results are expected to be useful for the creative industry, especially the sub-sector publishing industry when designing illustrations to be used in a book.
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Ferdian, Rahmat, Hendra Afriwan, and Syafwan Syafwan. "PERANCANGAN BUKU EDUKASI BAHAYA MAKAN MAKANAN JUNK FOOD UNTUK ANAK ANAK." DEKAVE : Jurnal Desain Komunikasi Visual 10, no. 1 (February 14, 2020): 82. http://dx.doi.org/10.24036/dekave.v10i1.108121.
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The purpose of designing an illustrated book on the dangers of junk food for children as an educational and interactive media in the delivery of the dangers of junk food meals so that children reduce to avoid consuming junk food foods and prefer to eat healthy foods, vegetables and fruit that is useful for health and for the development and growth of children. This illustrated book was chosen as one of the educational media for children because it presents stories and illustrations of characters that make children enthusiastic to read it, so learning is more fun.The data analysis method in the 5W + 1H technique is (what, where, who, why and how) to find a solution to the problem at hand. Data collection was carried out using interview and documentation methods. Illustration, typography, and layout are designed using visual communication design theory, child psychology, media, books, illustrations, colors, layouts and typography. In addition to designing illustration books as the main media, this design has supporting media such as posters, x-banners, stickers, coloring books, notebooks, tote bags, and food supply boxes.Keywords: Book, Illustration Education, Junk Food, Children
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Skibińska, Elżbieta. "Le traducteur et son image. Étude des couvertures d’ouvrages de traductologie." Studia Romanica Posnaniensia 48, no. 4 (December 22, 2021): 161–72. http://dx.doi.org/10.14746/strop.2021.484.012.
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The front cover of a book usually contains the title, the authors’names, the publisher’s logo and an illustration. All these elements announce the content of the book, and the paraverbal elements (illustration, typographical arrangement…) can also be used to awaken the curiosity of the potential reader. This article deals with the reproductions of art works chosen by the editors for the front covers of Translation Studies books. Cover illustrations are treated here as a kind of “definition of translator’s work through a pictorial metaphor”, i.e. as a representation of how translation can be understood or as an indication of its important features. The analysis of these illustrations shows the various means used by the publishers of Translation Studies books to define translation through pictures.
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Bendová, Eva, and Vilma Hubáčková. "Kresba nebo fotomontáž pro děti? Příklady inovativních přístupů ilustrace dětské knihy v meziválečném Československu." Acta Musei Nationalis Pragae – Historia litterarum 68, no. 3-4 (2024): 23–34. http://dx.doi.org/10.37520/amnpsc.2023.0022.
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The aim of the paper has been to show the plethora of innovative approaches to the illustration of books for children in the interwar period in Czechoslovakia (1918–1938). In a journal focused on education and literature (Úhor [Fallow]), the first synthetic text devoted to the aesthetics of children’s books was published as late as 1935, written by Josef Novák. His text perceives the illustrations of children’s books as an important and distinctive artistic expression dependent on the drawing conception of a form. It highlights the most modern examples in the form of the book of Zdenka Marčanová and Toyen, Náš svět [Our World], but not without reservations; it provides another modern example in Karel Čapek’s Dášeňka, on whose typography Karel Teige worked in 1933. The artistic potential of illustration is thus dominated by the individual approaches of particular authors. As early as 1918, the anthology Nůše pohádek [A Basketful of Fairy Tales] brought some unconventional illustrations, adopting elements from progressive art movements. Jeníkovy pohádky [Jack’s Fairy Tales], written and illustrated by Jan Zrzavý in 1920, enriched the visual appearance of children’s books with variations of dream imagery and with the interconnection of image and text according to the author’s concept with the involvement of a visually dominant and aesthetically modified typeface. In particular in Milada Marešová’s drawings published at the turn of the 1930s, it is possible to observe a new way of working with traditional means of expression. Her drawings were a reaction to the contemporary foreign approaches of the New Objectivity. In the early 1930s, Josef Čapek’s book graphics and illustrations were characterised by a shift towards multimedia. The involvement of the avant-garde painter Toyen in children’s book illustration proceeds from Civilism to Surrealism. A distinctly avant-garde form was given to the experimentally conceived popular-educational book by J. V. Pleva Kapka vody [A Drop of Water] in the graphic design of Zdeňek Rossmann, who creatively combined typography with photomontage. Photomontage was used by Augustin Tschinkel in his popular-educational books, either together with Ladislav Sutnar, for instance in Malá vlastivěda [A Little Civics Reader]), or on his own in the book Zeměpisné rebusy [Geographical Rebuses]. The works of the last three mentioned avant-garde artists are typical examples of the progressive graphic design where graphic symbols have been replaced by illustrations. These publications were created within a new model of cooperation – collaboration between a typographer, designer and illustrator in an authorial whole. Significantly radical experiments applying constructivist aesthetics and involving photography were unique in children’s literature in Czechoslovakia.
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Titiany, Titiany, and Syafwan Syafwan. "PERANCANGAN BUKU CERITA BERGAMBAR KISAH ORANG RANTAI DI KOTA SAWAHLUNTO." DEKAVE : Jurnal Desain Komunikasi Visual 10, no. 2 (February 17, 2020): 249. http://dx.doi.org/10.24036/dekave.v10i2.108162.
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Sawahlunto City is a tourism city that presents historical tourism of former mining. The city holds a bitter story experienced by prisoners who are employed like slaves called Chain People to dredge coal. The purpose of this design is to produce a design book illustrated by the story of PEOPLE CHAIN in Sawahlunto City as a source of knowledge for high school students and tourists. To create an interesting picture book, the designer uses illustration theory, book design theory, and picture story book theory. The designer conducts research and collects data by observing and studying literature. The data will be used as reference data in making illustrations and text stories. The designer uses the concept of glassbox as a design method.In addition to illustrated story books as the main media, in the design of this final work the authors use supporting media such as e-books, backdrops, posters, bookmarks, notebooks, totebags, brochures and stickers.Keywords : Illustration book, illustration, Orang Rantai , Sawahlunto
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Liu, Jinmiao, and Binbin Huo. "On the Diversified Performance of Modern Picture Book Illustration Design." International Journal of Education and Humanities 12, no. 3 (February 28, 2024): 119–23. http://dx.doi.org/10.54097/75ntnp31.
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Picture books, as a form of cultural communication in daily life, have subtly influenced all aspects of people's lives and all walks of life. People also continue to research, develop and innovate in the creation of picture books. Picture books have opened up a more diversified way of reading for today's society, which helps people have a clearer understanding of graphic expressions. In today's daily life, there are many details that people do not pay attention to in the design of picture book illustrations, can be a good design element, can make the picture book creation closer to daily life, better portray the appearance of things, to give people a sense of immersive experience. Both can convey the author's thoughts and ideas, but also can increase the affinity and beauty of the picture. The development of modern picture book illustration design requires the efforts of countries all over the world. In the face of the problems of domestic picture book design, the illustration design methods of foreign modern picture books can also provide certain inspiration and help.
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Forest, James J. "Amount of Information on Case Illustrations in Self-Help Psychology Books." Psychological Reports 83, no. 3_suppl (December 1998): 1147–52. http://dx.doi.org/10.2466/pr0.1998.83.3f.1147.
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40 books on self-help psychology were examined in a 2 × 2 multivariate analysis of covariance design for the number of case illustrations, number of lines of text about case illustrations, and average number of lines per case illustration. The covariate was pages per book and the independent variables were status of the book (bestseller or nonbestseller) and decade of publication (1970–1979 or 1980–1989). It was hypothesized that bestsellers would contain more case illustrations and lines of text describing case illustrations than nonbestsellers. Case illustrations per book in nonbestsellers increased significantly in number over the two decades when compared to bestsellers.
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Širiņa, Ieva, and Aina Strode. "DESIGN TRENDS IN CHILDREN'S BOOK ILLUSTRATION - AN EXAMPLE OF LATGALIAN ABC DESIGN." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 705–15. http://dx.doi.org/10.17770/sie2021vol4.6255.
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Children's book illustrations have always been an area that allows artists to make the most of their creative potential. Modern design trends for children's books are changing both in the world and in Latvia. The most relevant of these are minimalism and color purity, simplicity and quality. Research also highlights the choice of illustration and font style in favor of retro style and handwriting. Picture books on the topics of kindness and love are popular in terms of content. Activity books are useful for interactive communication. The aim of the article is to develop the concept of graphic design of the ABC of Latgalian language by studying design trends in children's book illustration and the supply and demand of children's Latgalian literature in Latvia. Research methods: theoretical - research and analysis of literature and Internet resources, empirical - questionnaire, analysis of analogues.
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Hladíková, Hana. "Children’s Book Illustrations: Visual Language of Picture Books." CRIS - Bulletin of the Centre for Research and Interdisciplinary Study 2014, no. 1 (January 1, 2014): 19–31. http://dx.doi.org/10.2478/cris-2014-0002.
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Abstract High-quality picture books that merge text and illustration together in order to tell a story are eminent for healthy mental and social growth of children. This paper is to outline the benefits picture books bring to children between the ages three to eight, determine functions of its illustrative language, examine the process of its production, and point out a set of elements that, according to number of professional children's book illustrators, significantly contribute to the success of a picture book
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Pinheiro, Marta Passos, and Sabrina Ramos Gomes. "Os "novos" contos de fadas: tradição e inovação em A Bela e a Adormecida, de Gaiman e Riddell." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 71, no. 2 (June 5, 2018): 35–56. http://dx.doi.org/10.5007/2175-8026.2018v71n2p35.
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In this article, we investigate tradition and innovation in the work Beauty and the Sleeping by analyzing the construction of the narrative, considering the important role of graphic design and illustrations. In this way, we approach the collaborations between two important British authors: the writer Neil Gaiman and the illustrator ChrisRiddell. As a theoretical reference we give priority to studies on illustration and graphic design of children's books - Nikolajeva and Scott. Moraes, Linden and Ramos -, dialoguing with studies on fairy tales - Betelheim, Corso and Corso, Coelho and Propp. We could observe that even if it is not an illustrated book, according to the English conception of picturebook, the narrative is told not only by the written text, but also by illustrations and graphic design. The dialogue between writer and illustrator and the freedom he had to present his point of view were fundamental for the success of the work.
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Panina, Nina L. "Illustrations in Children’s Educational Books in Russia in the Late 17th – Early 19th Centuries." Tekst. Kniga. Knigoizdanie, no. 23 (2020): 82–99. http://dx.doi.org/10.17223/23062061/23/5.
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The aim of this article is to analyse the transition period in the history of illustrating children’s educational books on the material of Russian-language publications. It is the period in which the function of an intermedial representation gradually develops from emblematic to encyclopedic and narrative-figurative images. This process is related to the literary history of children’s books and their genre transformations. In the last third of the 18th century, children’s literature in Russia was formed as an independent direction with its special goals, and the basis for further search for specific methods of children’s book design, including educational ones, was laid. In the first quarter of the 19th century, the children’s book had a typical European visual design and continued the trends inherited from the 18th century: translations, borrowings, and revised texts in publications often copied illustrations rather than made new ones. A new stage came at the end of the 1820s, when Russia was actively developing independent children’s literature, and professional authors and criticism appeared. It was the time of the pedagogical experiments of Vasily Zhukovsky. This article does not claim to analyse Zhukovsky’s pedagogical activity comprehensively, but this activity is significant for the subject-matter of the study. In his pedagogy, Zhukovsky went to a new level when searching for intermedial ways of transmission of the universal coherence of phenomena, the systemic representation of knowledge about the world, and the ideas of the world as a system. The search, though much slower, was also observed in contemporary children’s books. The integration of cognitive and didactic functions in the Russian-language children’s book of the 18th century resulted in a mix of different principles of illustration in one publication. These principles are: (1) emblematic: the title, image, and text form a three-part structure; (2) encyclopedic: the sheet contains separate numbered images of the same type of objects excluded from the visual context; (3) narrative: the plot, expressive and figurative, including caricature, illustrations are readily used in an educational book due to their persuasiveness. Each of these principles has its own ways of displaying coherence. An encyclopedic illustration shows an object in a series of similar ones, in an enumeration, shows the structure of the object. An emblem gives its symbolic and allegorical interpretation. A narrative illustration shows its functions and its involvement in causal relations, depicting the environment of events and objects. The children’s book of the studied period tends to integrate all these ways. While the emblem as an independent intermedial genre degrades, certain elements of the emblematic tradition are actively borrowed by new forms of publications. The emblem gives the European book of modern times the most important intermedial tools for displaying universal coherence, the world as a system. The change of the epochs leads to an inevitable blurring of the meaning of the emblematic sign. The transitive nature of the analysed period is expressed in the search for a new intermedial form of coherence, similar to the lost emblematic bimediality of the text and illustration in terms of effectiveness. In the search for such a form, encyclopedic publications that claimed to be all-encompassing use the emblematic and narrative principles of illustration. In turn, the narrative illustration, driven by a similar desire for inclusiveness, consistency, and universality, absorbs the emblematic and encyclopedic principles.
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Kusumawati, Yudhistya Ayu, and Victor Adiluhung Abednego. "Heritage of East Java: Konsep Visual pada Buku Ilustrasi Anak Tentang Pengenalan Pariwisata di Jawa Timur." JADECS (Jurnal of Art, Design, Art Education & Cultural Studies) 4, no. 2 (December 19, 2019): 73. http://dx.doi.org/10.17977/um037v4i2p73-77.
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Abstract: Tourism in Indonesia, especially East Java, has huge potential. For this reason, it needs to be introduced to the wider community. Introduction of tourism can be done early on through learning activities both formal and informal. Therefore, we need media that can be utilized and can be reached by all groups. One alternative media that can be applied is through illustration books. Books are media that can be interesting for children, especially because they are equipped with interesting illustrations. This research method uses descriptive qualitative method to explain the Heritage of Java design process. It is hoped that this book can increase user knowledge of tourism in East Java.Key Words: children book, illustrations, tourism, east java
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Lee Bowen, Karen. "Newly discovered Wierix prints for Plantin's books of hours." Quaerendo 24, no. 4 (1994): 275–95. http://dx.doi.org/10.1163/157006994x00027.
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AbstractAmong the illustrations used for a 4to Missale Romanum published by Christopher Plantin in 1585 are five prints by Jan Wierix and four anonymous copies of his work, none of which are in Marie Mauquoy-Hendrickx's extensive catalogue, Les Estampes des Wierix (Brussels 1978-83). This new group of religious prints and an already known group of comparably scaled Wierix engravings appear formerly to have been part of a single series of images. A consideration of both the subjects represented and archival evidence suggests that the series had been commissioned for the illustration of books of hours and not the missals in which the engravings are seen today. Finally, a similar examination of the subjects represented in two other sets of Wierix plates catalogued by Mauquoy-Hendrickx (but not part of any known book) suggests that they may also have originally been intended for the illustration of books of hours.
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Miao, Jianzhong, and Natal'ya Aleksandrovna Fedorovskaya. "Autobiographical motifs in the "silent books" of contemporary Chinese artists (using the example of Sean Tan and Guojin)." Культура и искусство, no. 6 (June 2024): 100–113. http://dx.doi.org/10.7256/2454-0625.2024.6.70913.
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The object of the study is “silent books” – books without text; the plot and author’s position are revealed exclusively through a sequential series of illustrations. The subject of the study is the graphic novels of young but already internationally recognized authors - Sean Tan and Guojin. "Silent books" are a relatively new direction in children's book illustration. The prototype of “silent books” - comics - was distinguished by rather primitive graphics, so although they were popular, but they were considered a “low genre” in the professional community. Then the comic went beyond kitsch culture and became an element of middle-class culture, and at the end of the century the comic was reinterpreted in pop art and included in the formation of neo-elite culture. The individuality of the authors is manifested in the choice of a plot related to personal and family history, as well as in the choice of a character of a certain psychological make-up - “silent heroes”, endowed with a rich imagination, the ability to empathize and equal friendly relationships. The technique in the “silent books” of Sean Tan and Guojin has the syncretism and dualism of Western and Chinese traditions. It can be interpreted both in terms of Chinese writing with “dry” ink, and in the European style of “chiaroscuro”; in all cases we had clearly defined contour and a sharp contrast of light and shadow. The author's self-expression in a graphic novel is very specific to book illustration. “The Quiet Book” can be considered as a special type of author’s utterance, similar to improperly direct speech in literature. All this distinguishes the graphic novels under consideration from other forms of children's book illustration, as an example of new paths in art, as well as an original and modern interpretation of social problems of society.
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Gilang, Lalita, Riama Maslan Sihombing, and Nedina Sari. "Pengaruh Konteks pada Ilustrasi Buku Pendidikan Karakter terhadap Perilaku Disiplin Anak Usia Dini." Scholaria: Jurnal Pendidikan dan Kebudayaan 8, no. 1 (January 16, 2018): 41–50. http://dx.doi.org/10.24246/j.js.2018.v8.i1.p41-50.
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This research aims to describe and explain: (1) the difference of influence in disciplinal behavior of the early ages in learning using character education books containing congeniality between context and illustration in the form of story, activity, and activity-comparative; (2) the strongest influence between story, activity, and activity-comparative books containing congeniality between context and illustration to disciplinal behavior of the early age. This research was conducted in TK Kristen Kalam Kudus Surakarta. This research was done with experimental quantitative method. Before the experiment was carried out, early analysis of character education books containing congeniality between context in illustration was done, continued by determining books that fit the criteria in congeniality between context and illustration based on the early analysis and experts’ opinions. The experts including book authors who are proficient in the psychological development of the early age, and teachers of kindergartens. Data retrieval was done using instruments. Instruments and data have been validated theoretically and contextually. The results conclude that there is a significant influence of congeniality between context and illustration to disciplinal behavior of the early age in kindergartens. The strongest influence among the books containing congeniality between context in illustration is activity-comparative books.
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Bulduk, Banu. "Contemporary illustration methods and new application areas on illustrations: Interaction induced animated illustrations." Global Journal of Arts Education 6, no. 3 (June 29, 2016): 77–84. http://dx.doi.org/10.18844/gjae.v6i3.1699.
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Illustration can be defined as a sub-discipline of graphic design enabling the realization of visual communication which mediates to the description of ideas and thoughts in a formal way. From the past to the present, illustrations find various areas of usage as visual elements in communication environment and it can be used as a design element for many graphic products ranging from product designs to children’s books. Over time, stylistic differences in illustration languages have also turned into structural differences in design and production process and concepts such as interaction, user control and animation have developed an alternative language to the traditional illustration techniques. Contemporary form-languages of these illustrations are examined in the scope of this study. Formal analysis of illustrated graphic products and their delivery to new media environments are considered in this process. Animated illustrations and three dimensional design, among those application techniques, are at the active position to intensify the perception of viewers/readers via illustration. In this study, method included the usage, design and application processes of animated illustration applications, also current and proposed examples and alternative languages’ search of illustrations are discussed.
Keywords: illustration, contemporary illustration, animated illustration, three dimensional art design, interaction design.
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Wardani, Kemala Pintaka. "“CINDELARAS” KIDS ILLUSTRATION AS A MORAL LEARNING MEDIA FOR CHILDREN." Arty: Jurnal Seni Rupa 9, no. 2 (August 18, 2020): 169–80. http://dx.doi.org/10.15294/arty.v9i2.40372.
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Moral learning can be taught through stories, which act as orientations and role models to stimulate understanding which then becomes the habituation and personal character of the child. In this study project moral learning is presented in stories in the form of comic books, with Cindelaras's story as example. The comic book creation process goes through several stages of the creative process namely the pre-production process, the production process and the post-production process. The main work produced was a dummy form from a comic book titled "Cindelaras: A Boy with Rooster" and several merchandise works as supporters such as bookmarks, key chains, art prints and stickers. All the sequences pages of this comic are visual illustrations that tell the story of Cindelaras' journey in fighting for justice. In this comic also illustrated how Cindelaras behaves to parents, people who need even those who are evil to him. This comic has the main message that every good or bad deed will return to the culprit. This work is analyzed from the technical aspects, aesthetic aspects and illustrative aspects. Technically, the entire work is done in digital format and techniques with Adobe Photoshop CS5 applications, while viewed from an aesthetic aspect, it highlights visual elements that are depicted such as colors, lines, drawing styles, and so on. The illustrative aspect explains how illustrations play an important role in communicating stories in this comic book. Through this comic book illustration creation it is hoped that it can add to children's reading recommendations as a medium of moral learning as well as a means of promotion to introduce native Indonesian folklore.
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Rosier, Bart. "Katholieke Propaganda En Protestantse Polemiek in Zestiende-Eeuwse Bijbelillustraties." Nederlands Archief voor Kerkgeschiedenis / Dutch Review of Church History 72, no. 2 (1992): 129–47. http://dx.doi.org/10.1163/002820392x00013.
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AbstractAn illustration at the beginning of Deuteronomium 18 in the French bible published at Atwerp by Martinus de Keyser in 1530 shows the burning of a book in the background. This picture has been interpretated as an expression of the propagandistic value which catholic imagery acquired with the growth of the Reformation. The illustration, however, has its forerunners in earlier bible illustrations, the earliest of which appeared in 1490. Moreover, the editions in which the woodcut appeared cannot be regarded as catholic bibles. Though they were at the time presented as based on the Vulgata, they were placed on the Louvain Index in 1546. Furthermore, the subject depicted does not deal with the burning of religious books; Deuteronomium 18:10-11 contains a prohibition against sorcery, and the book shown in the woodcut
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Attar, Karen. "Illustration, book history and research facilitation: some observations." Art Libraries Journal 37, no. 3 (2012): 8–14. http://dx.doi.org/10.1017/s0307472200017545.
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What role does book illustration play in teaching book history, and how can libraries best support it? This article looks briefly at the lack of interest in book illustration as part of traditional historical bibliography and its increasing importance in the wider field of book history. Using the example of the London Rare Books School, an international summer school, it outlines the nature of the books needed and the extent to which a teaching collection may supply them. It further discusses how and why librarians and teaching staff can collaborate fruitfully to satisfy demand.
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Junfikar, Fajri, and Syafwandi Syafwandi. "PANDUAN GERAKAN DASAR PENCAK SILAT MELALUI MEDIA BUKU ILUSTRASI." DEKAVE : Jurnal Desain Komunikasi Visual 10, no. 2 (February 17, 2020): 307. http://dx.doi.org/10.24036/dekave.v10i2.108165.
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The purpose of writing this article is to make a martial arts guidebook with language and illustrations that are easily understood by the target audience, namely children. This guidebook is also a supporting medium in the implementation of martial arts activities that are suitable for children because they are in their growth and development. The reason why this book was made is in the available pencak silat books, which are still dominated by written forms which are not very effective for children to learn pencak silat. Approach to the design of the basic pencak silat manual book design covers the design of books, pencak silat, illustrations, colors, layouts, and typography.The design method used to design the Pencak Silat Basic Movement Guidelines is a glass box method based on data obtained through observation, interviews and literature studies on books and pencak silat. Data were analyzed using the 5W1H method, which are what, who, where, why, when and how.The article output of the Pencak Silat Basic Movement Guidance Book produced a primary medium in the form of a conventional guidebook. The supporting media produced were Poster, Sticker, Pin, X-Banner, Tumbler, Totebag, T-Shirt, and E-Book.Keywords: Book, Illustration,Pencak Silat
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Swarsa, I. Putu Yayan Praditya, Ida Bagus Ketut Trinawindu, and Cokorda Alit Artawan. "PERANCANGAN BUKU ILUSTRASI DIGITAL TARI BARIS CINA SEBAGAI MEDIA EDUKASI UNTUK REMAJA DI KOTA DENPASAR." AMARASI: JURNAL DESAIN KOMUNIKASI VISUAL 2, no. 02 (July 30, 2021): 177–82. http://dx.doi.org/10.59997/amarasi.v2i02.248.
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Denpasar City is an urban area that is synonymous with pluralism. This is inseparable from the past history of Denpasar City, one of the acculturation of Balinese and Chinese culture, which is a form of non-physical culture, namely the Baris Cina dance which is still preserved by the Desa Pakraman Adat Renon and is included as one of the ten Balinese dances listed in UNESCO last year 2018. In correlation to cultural preservation to increase public knowledge, especially teenagers in Denpasar City, the form that can be used is a digital illustration book. The purpose of research is to find out how the design process behind the Baris Cina Dance digital illustration book. This research method uses qualitative analysis, with an approach through observation, interviews, documentation and review of relevant literature. Results and discussion: The illustration book media for the introduction of Baris Cina Dance will be designed with a size of 28cm x 21cm for print and digital formats packaged in e-book and PDF formats with 300 dpi quality. The type of illustration book that is designed belongs to Picture Books for Olders Readers. Conclusions and suggestions: that the author will design an illustration book, where the illustration book is a book that contains information in the form of text and images so that readers can more easily understand the information presented in detail. As well as getting an overview of the narrative stories presented by the author to build imagination and understanding for the younger generation.
Key words : Illustration books, Denpasar Cultural, Education
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Li, Shangyang, and Ye Chen. "The Application and Research of Illustration Art in Brand Image." Highlights in Art and Design 3, no. 3 (July 20, 2023): 115–16. http://dx.doi.org/10.54097/hiaad.v3i3.11308.
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Illustration, as a more direct image expression than text communication, has spread from ancient times to the present, broadly speaking, from the stone age murals to the patterns on bronze heavy objects, and then to the New Year pictures posted by every household in ancient times. It is the best way to explain the information by image processing. However, in modern business, the application of illustrations developed and expanded with the changes of newspapers and books in the early 19th century. With the variety of illustrations becoming more and more abundant, and the differences in painting methods and painters' values and artistic concepts, there is the art of illustration. The most important point of illustration art is that it can visually express the information conveyed in the text, and it is more direct and vivid. Since the evolution of illustration, the visual emotional design and content communication in brand image are becoming more and more irreplaceable. This paper will focus on the role and significance of illustration art in brand image, and give examples with my graduation design and "Free" hot pot series of illustrations to provide a certain theoretical basis for the study of art in brand image.
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Magalhães Naves, Ludmila, and Ilsa do Carmo Vieira Goulart. "PHOTOGRAPHY: THE POTENTIAL OF IMAGE AS ILLUSTRATION TOOL IN CHILDREN'S LITERATURE BOOKS." Revista Interdisciplinar Internacional de Artes Visuais 9, no. 1 (June 28, 2022): 19–33. http://dx.doi.org/10.33871/23580437.2022.9.1.19-33.
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From the conception of photographic art as a visual text, which narrates, informs and promotes interactions, this article aims to reflect on the potential of photography as an illustrative tool. Thus, it is understood that a literary work illustrated from photographic images allows the expansion of interpretative and dialogical limits between the reader and the work. Adele Enersen's work When my baby dreams was chosen for the investigation, a narrative composed of scenarios created manually using homemade artifacts and captured through the photographic record. Under a qualitative approach, the bibliographic research methodology was chosen, which took place through an interpretative analysis that allowed us to observe the means and instruments used in the composition of the work. As a theoretical basis, it relies on the studies of Santaella (2012), Flusser (2000) and Manguel (2001) on materiality, photography and literature as well as other authors that contemplate the themes. In this perspective, we seek to expand the principles of photographic materiality and identify the potential of its use as a literary illustration. It is concluded that storytelling combined with photographic illustrations contributes significantly to the reading comprehension and involvement of the reader, highlighting the materiality of the photographic image as an important characteristic of the literary illustration technique.
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Berenbaum, May, and Laurent Saintonge. "Défense et illustration du bourdon." Books N° 57, no. 9 (September 1, 2014): 53–61. http://dx.doi.org/10.3917/books.057.0053.
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Pitenina, Valeriia. "THE HISTORY OF CREATION AND DESIGN FEATURES OF THE BRITISH SERIES OF CHILDREN’S BOOKS “BOOKS FOR THE BAIRNS” (1896–1912)." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 130–35. http://dx.doi.org/10.33838/naoma.28.2019.130-135.
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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.
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Eken, Begüm. "Book as an object: conceptual illustrations in Edgar Allan Poe’s books and a sample study." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 303–9. http://dx.doi.org/10.18844/prosoc.v2i1.312.
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Today, when the future of the book is discussed, the main question is whether it has one. Information age transformed ongoing traditional features of a book. It has been foreseen by the critics that printed books, libraries and book stores are doomed to lose their values on the ground of developing technologies. As James O’Donnel cited from Pulitzer winner author E. Annie Proulx in his paper, “Nobody is going to sit down and read a novel on a twitchy little screen. Ever." (Nunberg, 1996). Although printed books are less popular in this digital age, there are still readers and book lovers who always get fascinated by the feeling of flipping pages of a book. According to a research done with readers, they would prefer to have a reading experience with a printed book rather than a screen especially if it is a classic literature book. Two of the main components of verbal and visual dimensions of imagination are illustration and literature. Aim of this paper is to try and find a way to maintain the tradition of a printed book and to explore the relation between these principals in one medium through narrative illustrations of Edgar Allan Poe literature. Also the purpose of this paper is finding the similarities of the two disciplines, as both reveal ideas in unexpected and innovative ways in one’s mind. A selection of his short stories and poems will be illustrated and designed to engage the two areas, literature and illustration to reach readers in a more different way than usual in order to communicate with them more effectively.Keywords: Edgar Allan Poe, book as an object, illustrations, conceptual narrations, book design
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Zhang, Shibang, Xuanchen Shi, and Dingwen Wang. "The Application of Graffiti Style Illustration in Fashion." Highlights in Business, Economics and Management 1 (November 28, 2022): 307–12. http://dx.doi.org/10.54097/hbem.v1i.2671.
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Graffiti art originated in New York in the 1960s and 1970s, when young people began to create images on the surface of buildings and subway trains with paint and other materials. Bright graphic images and stylized letter combinations can be the expression of graffiti art. This art form has unique emotional expressiveness and artistic characteristics. Illustrations, originally referring to all kinds of pictures attached to books, play a supplementary role in explaining the text information in books. Up to now, the role of illustration has long been not limited to the supplement and interpretation of books, but widely used in clothing design, cultural and creative products, commercial advertising, film and television works, and game industry. In order to cater to the current market, it has become a trend to combine graffiti illustration with fashion design. This paper investigates the existing brand "WANAB" online stores, and applies graffiti style illustration to product design to carry out a series of design practices for the brand's clothing. It will provide reference and basis for the diversified expression of clothing design in the future, and satisfy consumers' aesthetic taste and consumption experience.
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Boldyreva, Irina S. "Thomas Bewick — Engraver, Publisher, Innovator." Observatory of Culture 20, no. 5 (November 2, 2023): 526–35. http://dx.doi.org/10.25281/2072-3156-2023-20-5-526-535.
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The article is devoted to the problem of revising assessment of the work of the outstanding British engraver and publisher Thomas Bewick. Traditionally, it is considered in the context of the general history of engraving development, mostly not connected with either animalistics or scientific editions. In this regard, T. Bewick’s works of artistic significance belong to natural-scientific illustrations and are used in popular science editions. The erroneous assessment of his works is associated with a widespread stereotype in which scientific illustration is considered as something of low artistic value. The purpose of this research is to study the genesis of T. Bewick’s creativity by analyzing his main works. Of particular interest is the research of the artistic features of woodcut technique, which, thanks to T. Bewick, has found a new life. It is traced the evolution of the engraver’s work from his early period to mature one. The complexity of Bewick’s talent is noted not only as an engraver of book illustrations, but also as an engraver of bookplates. The characteristic of the technique of cutting a design into hardwood cut across is given, the innovative methods thanks to which Bewick has brought this type of an engraving to a new level of book illustration are revealed. Based on the memoirs of Bewick, the author traces the history of the creation of his main books — “A General History of the Quadrupeds” and “A History of British Birds”. It is noted that illustrations by G. Buffon and H. White served as additional sources for “A History of British Birds” despite the use of his own sketches. The author analyses the illustrations and engravings from these books, which are kept in the collections of the Research and Scientific Department of Rare Books (Museum of Book) of the Russian State Library. The structural features of the brief descriptions of “A General History of the Quadrupeds” are considered. Particular attention is paid to the style of the vignettes, which present an integral part of Bewick’s creative credo. Such features of Bewick’s illustrations as realism, as well as the depiction of humorous genre scenes and jokes are revealed. The author notes that at a late stage of Bewick’s art work he rarely uses black cross-hatching, using instead combinations of the wide fields and carefully engraved white spots. The most essential features of Bewick’s engraving are revealed: the principle of “white line”, hatching with crossed and parallel lines, creation of halftones with very thin strokes and tiny dots. It is emphasized that although Bewick’s illustrations have been published in popular scientific publications, they have influenced the development of scientific illustration through their highly artistic execution. It is concluded that woodcut technique allowed to simulate the volume of an image by means of a white stroke.
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Fọlárànmí, Stephen, and Eyitayo Tolulope Ijisakin. "Re-Inventing African Literature through Visual Arts." Mediterranean Journal of Social Sciences 10, no. 4 (July 1, 2019): 76–89. http://dx.doi.org/10.2478/mjss-2019-0054.
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Abstract Evidence abounds of the synergy that exists between literature and visual arts in Africa. Illustrations are known to have given more meaning to books, while the text plays the role of the storyteller, the illustration acts out the story or scene on the pages of the book. Illustrations also make readership very easy and appealing to children and the uneducated people in our local communities. In recent times however, studies have shown a sharp decline in the inclusion of very good, insightful and inspiring illustrations into African literary text. When included, it is often poor and limited to the cover page of the book. This paper examines the merits derivable from the inclusion of visual arts into African literature as well as the reason for its decline with a view to suggesting how it can be used to reinvent African literature. It is expected that by so doing, publishers and authors will see the need and importance of using more illustrations in their books. This will, in turn, generate more interest in the culture of reading among the youths of the 21st century as well as the development of literature directed towards children and the unread.
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Garashchenko, L., and S. Kondratyuk. "DEVELOPMENT OF COMMUNICATIVE COMPETENCE OF CHILDREN OF SENIOR PRESCHOOL AGE BY MEANS OF MODERN PICTURE BOOKS." Pedagogical education: theory and practice. Psychology. Pedagogy, no. 35 (2021): 63–70. http://dx.doi.org/10.28925/2311-2409.2021.359.
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The article analyses the features of modern picture books (wimmelbooks, storybooks, sketchbooks, etc.). An integrated approach to working with a children picture book is demonstrated in order to develop the communicative competence of a senior preschool child, which takes into account two vectors (psychological and speech) and is based on the system of work on creating an independent story by a senior preschool child and includes three types of classes: comprehending the content of the picture book; creating a story based on the plot of the book (based on the model of the educator); creating a story based on the illustrative material of the picture book. A modified methodology for teaching the perception and comprehension of the material of the picture book by children is proposed, which assumes the presence of two structural parts in each of the three types of activities: encouraging children in perception, examining illustrations by children and teaching the story based on the illustration content. It is indicated that the effectiveness of the second part of the lesson is directly proportional to the effectiveness of the first. The article discusses the formation of the dialogical component of communicative competence, which is based on the ability to put questions correctly. The types of question systems are considered: Bloom’s Taxonomy Questions, Quintilian questions, “reflexive questions”, Larry King’s Soft Questions. A lesson with the use of picture books should begin with the formation of thematic book sets by the teacher, considering illustrations and the teacher’s emotional story. It has been proved that a picture book is an effective means of the the development of a preschool child’d desire to communicate, and the age period of preschool childhood is sensitive for the development of communicative competence
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Donlon, Pat. "Artful Books: Illustration in Irish Children's Books." Lion and the Unicorn 21, no. 3 (1997): 402–14. http://dx.doi.org/10.1353/uni.1997.0019.
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Sheng, Keren. "The Watercolor Technique in Illustrations of Children’s Books of the 1980s—2020s by Soviet and Modern Russian Artists." Observatory of Culture 18, no. 6 (December 21, 2021): 648–61. http://dx.doi.org/10.25281/2072-3156-2021-18-6-648-661.
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The article analyzes the technique of watercolor in illustrations of children’s books of the 1980s—2020s by Soviet and modern Russian artists. There is traced the influence of modern technologies on children’s book illustrations made in the watercolor technique. In the context of current artistic trends, the article examines the connections of social processes and book graphics; the features of the technical development of book design; the combination of various visual materials with the technique of “watercolor” in the conditions of information technology; new technological and technical approaches; the author’s vision of an illustrated work. The main method used is the analysis of the works of Soviet and modern illustrators of children’s books: V.V. Pertsov, N.E. Popov, A.V. Kokovkin, V.G. Britvin, V.V. Pavlova, A.A. Koshkin, E.A. Silina, Ya.M. Sedova, A.A. Desnitskaya, O. Demidova, V. Pomidor, A.Ya. Lomaev. The relevance of this topic is determined by the intensive introduction of digital technologies into book art and the transformation of the traditional watercolor technique, and the topic’s novelty is based on the lack of formulation of the mentioned issues in the context of children’s book watercolor illustration. Modern technologies make it possible to implement any creative idea of the artist, who, being able to freely interpret the literary work, is now an active participant in the creation of a book image. Absence of censorship imposes a certain responsibility for the quality of illustrations on the artist, since it affects the perception of the child. Thus, forming the aesthetic taste of the younger generation, the artist becomes a participant in the educational process.The analysis of the watercolor illustration showed that the artist is faced with a difficult task, which is associated not only with the ability to use technological and technical innovations, understand the principle of modern computer programs, reinforce the visual series with knowledge of the historical context, but also to know and understand how children’s consciousness works and how to instill good taste in a child.
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Tursunmurotovich, Sobirov Sarvar. "Illustration and the Influence of Illustrator on Children’s Understanding of Fairy Tales and Works of Art in Books." International Journal of Psychosocial Rehabilitation 24, no. 5 (April 20, 2020): 3526–33. http://dx.doi.org/10.37200/ijpr/v24i5/pr202063.
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Marsudi, Udhi, and Jovita Nanda. "ANALISA DESAIN ILUSTRASI BUKU CERITA ANAK TEMA SAINS BIOLOGI BERJUDUL “LASKAR BAKTERI BAIK”." Narada : Jurnal Desain dan Seni 7, no. 2 (September 11, 2020): 169. http://dx.doi.org/10.22441/narada.2020.v7.i2.003.
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In addition to school textbooks, children's storybooks can also be a source of additional knowledge for children. From children's storybooks, the information in the form of knowledge and moral messages can be conveyed. Certainly, the role of visuals such as illustrations also plays an important role in conveying the message. This analysis was made aiming to understand and study the designs used in children's biology-themed science books especially in the field of illustration. The method used in this research is: Reviewing theories about design and illustration. Observing one of the children's storybooks on the theme of bacterial biology and other children's storybooks as a comparison. Interviewing several experts in the field of illustration children's storybook. The desired result of this research is to understand things about the illustration design used in children's storybooks in Indonesia.
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Pitenina, V. "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." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 193–99. http://dx.doi.org/10.33838/naoma.27.2018.193-199.
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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.
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Flynn, Martin. "Illustrating the illustrators: the V&A Illustration Awards." Art Libraries Journal 35, no. 3 (2010): 45–50. http://dx.doi.org/10.1017/s0307472200016540.
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The Victoria and Albert Museum has been running an illustration awards competition for nearly 40 years. This aims to recognise and reward the best quality illustration in books, newspapers, magazines and comics. However, the awards have suffered from being extremely labour-intensive, had a very low level of awareness in the industry amongst publishers and artists and produced minimal permanent records of the quality and range of their annual output. Recently the museum has begun addressing these issues.
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Dori, Nitsa. "The Evolvement of the Israeli Grandmother – As Reflected in Children’s Book Illustrations." Asian Journal of Social Science Studies 6, no. 5 (December 1, 2021): 1. http://dx.doi.org/10.20849/ajsss.v6i5.957.
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Gender and ageism as mirrored in illustrations of grandmothers in Hebrew children’s books (1930-2020), shed light on the Israeli reality, which shows the world’s portrayal of grandmothers as sometimes empowering and sometimes discriminatory. This article draws from the fields of the visual arts, gender studies, sociology, and culture, and emphasizes the power of illustration in children’s literature as an activistic tool for changing social and familial awareness among young receivers. The grandmother (and, recently, also the grandfather) is a popular character in children’s literature. The article will present models which shape the consciousness of children’s book illustrators regarding old age with the aid of many visual examples. This article will enable deeper understanding of the gender-based messages and effects of visual interpretation. This study can serve as a tool for educators and parents, to help children develop critical, independent, and value-based thinking. The article concludes that in today’s books, grandmothers appear more connected to advanced technology than ever. The illustrators of today’s children’s books connect with the model of the new grandmother and draw her wearing jeans and without wrinkles. In parallel, we also see traditionally-portrayed grandmothers in certain illustrations in recent books, from a post-feminist, rather than stereotypical, approach.
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Higton, Hester. "Instruments and Illustration." Early Science and Medicine 18, no. 1-2 (2013): 180–200. http://dx.doi.org/10.1163/15733823-0007a0007.
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Books on scientific instruments have always made extensive use of illustration, whether in the form of detailed reproductions of objects, schematic diagrams to explain the use of instruments, or allegorical embellishments for title pages. This article looks at the use of images in a single text on instruments: Edmund Gunter’s De Sectore et Radio (On the Description and Use of the Sector and the Cross-Staff) of 1623. This work contains a remarkable variety of diagrams and illustrations, thus allowing study of the ways in which both woodcuts and engravings, and both simple and complex images were used to illustrate instrument texts in the early modern period.
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Štefan, Jan T. "The Illustrations of the Balzer and Rybička Families in Books Published Outside of Prague." Acta Musei Nationalis Pragae – Historia litterarum 63, no. 3-4 (2019): 90–95. http://dx.doi.org/10.2478/amnpsc-2018-0012.
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The article provides information on two families of engravers that were involved in book illustrations in Bohemia over a hundred years beginning in the 1760s. Jan Jiří Balzer and his brothers (František, Matyáš and Řehoř) and sons (Jan Karel and Antonín Karel) significantly contributed to the development of engraving craft and graphic art in Bohemia. His international business activities in the area of graphic arts are known. After the death of Jan Balzer, the engraving and printing workshop was managed by his wife Kateřina and the mentioned brother Řehoř. At the beginning of the 19th century, Balzer’s daughter married an engraver in Balzer’s workshop, Karel Rybička. Their son Josef, thus a grandson of Jan Balzer, subsequently became a significant steel engraver. Both families, of Balzer and Rybička, were engaged in book illustration. This work discusses their illustrations, realised fully by or in cooperation with publishing houses in various towns of the Austrian monarchy other than Prague as well as outside the monarchy. The graphs in the article show the frequency of these illustration activities in dependence on time for the families of both Balzer and Rybička (whose father could have been involved in the steel-engraving illustrations as well).
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Calè, Luisa. "Extra-Illustration and Ephemera." Eighteenth-Century Life 44, no. 2 (April 1, 2020): 111–35. http://dx.doi.org/10.1215/00982601-8218624.
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In “A Friendly Gathering: The Social Politics of Presentation Books and their Extra-Illustration in Horace Walpole’s Circle,” Lucy Peltz plays with the technical and metaphorical senses of “gathering” to reflect on the materiality and sociability of altered books in the Strawberry Hill set. The practice of extra-illustration consisted in unbinding the book, cutting loose the gatherings of leaves that make up its quires, in order to interleave them with additional pages, or to inlay each page into windows cut through larger sized paper. The process is captured in Walpole’s correspondence: “Mr Bull is honouring me, at least my Anecdotes of Painting, exceedingly. He has let every page into a pompous sheet, and is adding every print of portrait, building, etc., that I mention and that he can get, and specimens of all our engravers. It will make eight magnificent folios, and be a most valuable body of our arts.” Specimens collected and collated with the text anchor, document, and illustrate the words on the page. As a result, an identical multiple in a print run was turned into a unique object. Through the art of extraillustration, the extra-illustrator Richard Bull “erected for himself a monument of taste.” In its monumentalizing aims and dimensions, extra-illustration could be considered an antidote against ephemera, yet transience is inherent in its attempt to document the text with reproductions that might be dispersed. The concept runs the gamut, from Walpole’s paratexts—his title Fugitive Pieces in Verse and Prose (1758), which he presents as “trifles” and “idlenesses”—to his supposedly “diminutive” house, which he called “a paper Fabric and an assemblage of curious Trifles, made by an insignificant Man.” In this essay, I will read the practice of extra-illustration against the grain to recuperate the ephemeral side of “the pompous sheet,” the composite object unbound from its gatherings, and alternative forms of the page as a detached piece, a scrap, a caption appended to objects in the house. I will focus my discussion on two complementary book collections produced by Richard Bull: his extra-illustrated copy of Walpole’s Description of Strawberry Hill, now at the Lewis Walpole Library, and his curious compilation of occasional publications bound with the title-page A Collection of the Loose Pieces printed at Strawberry-Hill, and the alternative title Detached Pieces Printed at Strawberry Hill, now at the Huntington Library.
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Yi, Seong-Yong. "A Study on the Analysis of Mathematics Textbook’s Illustrations in Special Elementary School." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 8 (April 30, 2023): 247–66. http://dx.doi.org/10.22251/jlcci.2023.23.8.247.
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Objectives It is to systematically analyze the mathematics textbook’s illustrations of special education elementary schools and present basic data on textbook’s illustrations related to future textbook development.
Methods The subject of analysis is six books of special education elementary mathematics textbooks developed according to the 2015 special education curriculum. A total of 1,586 pages were analyzed using an analysis tool. The analysis tool is an analysis framework consisting of formal parts (number of illustrations, type, size, arrangement, clarity) and content parts (illustration role, suitability, and content consistency) of textbook illustrations.
Results First, the average number of illustrations was 1.65 per page, and paintings were the most common type. As for the size, “2/3” was the most common in the 1st-2nd grades, and “1/2” was the most common in the 3rd-4th and 5-6th grades. By placement, “center” was the most common in the 1st-2nd graders, while “above” was the most common in the 3rd-4th graders and 5-6th graders. The clarity was very high. Second, as for the role of illustration, “activity guidance” was the most common in the 1st-2nd graders, and “data provision” was the most common in the 3rd-4th and 5-6th graders. Illustration suitability had the most essential functions. Content consistency was very high.
Conclusions This study can be used as useful basic data for mathematics textbook’s illustrations being developed in accordance with the 2022 special education curriculum. In this study, it was suggested to increase the budget related to illustrations, present various illustration types, improve clarity, and provide training.
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Hanisha, Febrina, and Yusuf Affendi Djalari. "Bahasa Visual , Gambar Anak, dan Ilustrasi Pada Buku Cergam Anak." Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain 1, no. 1 (November 1, 2018): 63. http://dx.doi.org/10.25105/jsrr.v1i1.3878.
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<em>Abstract</em><br />Visual Language, Children’s Drawing, and Illustration of Children’s Picture Book. To create illustrations that can encourage children to interact with books is by applying visual approach appropriate to the children’s imagination and development. To understand the children’s imagination can be done by observing their drawings. Children’s drawing is the result of senses what they felt. This phenomenon is called the children’s visual language. The application of children’s visual language to illustrations can be found in contemporary children’s picture book. For example, the series of picture book “Kerlip Bintang di Langit”. Through a study of children’s drawings and illustrations of “Kerlip Bintang di Langit”, this paper is intended to analyze how the visual language correlates between children’s drawings and illustrations of children’s picture book. Also, its appropriateness to the psychology development of contemporary-children based on the periodic development of children’s visual language.<br />Keywords: visual language, children’s drawing, illustration, picture book<br />Abstrak<br />Bahasa Visual, Gambar Anak, dan Ilustrasi pada Buku Cergam Anak. Salah satu cara untuk menciptakan ilustrasi yang mampu mendorong anak berinteraksi terhadap buku adalah dengan menerapkan pendekatan visual yang sesuai dengan imajinasi dan perkembangan usia anak. Cara memahami imajinasi anak dapat dilakukan dengan mengamati hasil gambarnya. Apa yang digambar oleh anak merupakan hasil kerjasama indera-indera yang mereka rasakan. Fenomena ini disebut dengan bahasa visual anak. Penerapan bahasa visual anak pada ilustrasi dapat ditemui pada buku cergam anak kontemporer. Contohnya, buku cergam “Kerlip Bintang di Langit”. Melalui kajian terhadap hasil gambar anak dan ilustrasi pada buku cergam “Kerlip Bintang di Langit”, penulisan ini dimaksudkan untuk menganalisis bagaimana korelasi bahasa visual antara gambar anak dan ilustrasi buku cergam anak. Serta, kesesuaiannya terhadap perkembangan psikologi anak-anak kontemporer berdasarkan periodesasi perkembangan bahasa visual ana
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Saletta, Meredith, and Jennifer Winberg. "Leveled Texts for Adults With Intellectual or Developmental Disabilities: A Pilot Study." Focus on Autism and Other Developmental Disabilities 34, no. 2 (October 4, 2018): 118–27. http://dx.doi.org/10.1177/1088357618803332.
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There is a dearth of appropriate reading material for adults with intellectual or developmental disabilities (IDDs). Often, a book’s content is relevant to younger audiences, or its reading level is inaccessible. In this pilot study, we determined which factors facilitate reading accuracy and comprehension for this population. We wrote and tested leveled texts that manipulated three variables: (a) complex versus simple words and syntax, (b) a single illustration versus symbols accompanying each word, and (c) engaging single versus multiple modalities when answering comprehension questions. Twenty adult readers with IDD participated. Readers made more errors while reading the complex and the symbol support books. Our manipulations did not facilitate reading comprehension. These results support the use of straightforward text and illustrations in books for adults with IDD. Following up on this pilot study through more focused research will help us to create material that is accessible and enjoyable to this community.
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Cista, Luh Putu Ayu Cista, and Taufik Murtono. "Buku Ilustrasi Banten Prayascita Gaya Flat Design Sebagai Sarana Pelestarian Budaya Bali Pada Parisada Hindu Dharma Indonesia Bekasi." CITRAWIRA : Journal of Advertising and Visual Communication 4, no. 1 (July 25, 2023): 1–18. http://dx.doi.org/10.33153/citrawira.v4i1.5296.
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This Illustrated Book as a Means of Preserving Balinese Culture was designed after seeing traditions and culture that are slowly being abandoned by the Balinese Hindu community, especially teenagers who are outside the island of Bali. Data collection through observation and interviews with sources from Hindu religious leaders in Bekasi who know about Banten Prayascita. The visual design process for illustration books using the Design Thinking and Style methods in flat design illustrations is taken for its modern, minimalist nature. The illustrations in the book refer to the original form of Banten, Serati Banten as a reference for supporting illustrations, and the color palette is taken from one of the components in Banten such as flowers, leaves, incense and coconut leaves, supergraphics designed from Banten components such as shrimp paste, thread, and so on. The design of promotional media using the work method uses the AISAS method. By designing this Illustrated Book, it is hoped that the Banten Prayascita tradition will be reintroduced to the young Balinese Hindu community and help preserve and inherit the Banten Prayascita tradition.
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McKitterick, Rosamond. "Women in the Ottonian Church: an Iconographic Perspective." Studies in Church History 27 (1990): 79–100. http://dx.doi.org/10.1017/s042420840001202x.
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Although the principal relationship observable in an early medieval manuscript illustration is that between the artist and his or her text, the interests of the reader, and in many cases the first owner or commissioner of an illustrated book, could to some degree determine the extent and the elaboration of the illustrations, and, possibly, aspects of the iconography. The incidence of women in the illustrations of Christian books of the Carolingian and Ottonian periods, therefore, is a potentially fruitful source for examining the attitudes towards women’s role in the Church in the early Middle Ages. It may be possible to see, firstly, whether the prominence of women in the New Testament, and in the Gospels in particular, is enhanced and elaborated in ninth- and tenth-century visual interpretations of these Christian texts, or, secondly, whether there are any other innovations in Carolingian or Ottonian illustrations which shed light on the religious work of women within the Church. But to what extent is this potential realized? Are omissions as significant as inclusions? Can we conclude much from the relative dearth of pictures of women in Carolingian books, as opposed to the greater number of women portrayed in Ottonian books? It is the purpose of this paper to examine this phenomenon and its context and thereby to suggest some preliminary explanations.
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Echauri Galván, Bruno. "Multicolor Translation Shifts: An Analytical Model for Studying Text-Picture Intersemiotic Translation." Hermēneus. Revista de traducción e interpretación, no. 21 (December 20, 2019): 149–64. http://dx.doi.org/10.24197/her.21.2019.149-164.
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The present paper is based on the concept of intersemiotic translation coined by Jakobson and its application to translations from text into illustrations. On this basis, the paper seeks to establish a model of analysis that relies on Leuven-Zwart’s comparative model and applies some of its tenets to intersemiotic translation processes. The framework suggested here firstly splits both text and illustration into small units of meaning that will facilitate an ensuing contrast between them. This comparison will lead to a second stage where possible shifts of meaning will be spotted and analyzed. It is expected that the results of this stage will help determine the dynamics between a text and its corresponding illustration. Eventually, the aforementioned analytical model will be tested on a series of illustrations from two different picture books: Titch and A Couple of Boys Have the Best Week Ever.
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Xiao, Jie. "Taking Late Ming Dynasty Printmaking as an Example to Analyze the Influence of Consumption on the Development Direction of Art." Learning & Education 9, no. 3 (December 29, 2020): 160. http://dx.doi.org/10.18282/l-e.v9i3.1606.
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From the end of the 15th century to the beginning of the 16th century, great changes have taken place in the history of the world, called the “Great Navigation era”, which has gradually opened the prelude to “globalization”. China in the late Ming Dynasty was just in this division point, from economy to thought, all blooming in the elegance of an empire, and the book publishing industry in Ming Dynasty developed rapidly and brightly with the blessing of the Ming Taizu’s “imperial edict except book tax”. Book illustration is inspired by the original function of reading picture interpretation and on essential means of participating in market competition. Illustration books are very popular, almost to the point that there is no book without intention. At the same time, the illustration transitioned from narrative to decorative. This change relates to the fact that the illustration has changed from narrative to decorative. It is because of the change in their demand that the citizen class has become the key customer group to have a great relationship, which has led to a change in art illustration in the late Ming Dynasty.