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Artigos de revistas sobre o assunto "Artists' books – england"
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Bodman, Sarah. "Book arts at the Centre for Fine Print Research in Bristol". Art Libraries Journal 32, n.º 2 (2007): 15–20. http://dx.doi.org/10.1017/s0307472200019143.
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This article describes some of the research projects investigating contemporary artists’ books at the Centre for Fine Print Research at the University of the West of England in Bristol. As part of its remit, the Centre explores and promotes many aspects of the book arts including contemporary creative processes and outputs. Some recent projects include the Arcadia id est touring exhibition of 118 artists’ books on the themes ornature and the landscape; Bookmarks: infiltrating the library system; and the Regenerator altered books project. The Centre also works with artists, academics, curators, institutions, galleries and bookshops to promote the book arts to a wider community. In addition it publishes reference information, guides and critical essays on artists’ books through its Impact Press imprint; these include the Artists book yearbook and The blue notebook, a journal for artists’ books.
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Dietze, Horst. "Arthur Segal: picture lending and an artist’s life". Art Libraries Journal 15, n.º 2 (1990): 10–14. http://dx.doi.org/10.1017/s0307472200006696.
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For much of his life the Rumanian-born artist Arthur Segal championed the cause of picture lending for the benefit of the public and as a means of helping artists to earn a living. In Germany in the mid-1920s, Segal put forward his plans for lending institutions for works of art, akin to lending libraries for books. Widespread support was not forthcoming, and an experimental scheme organised by an artists’ association in Berlin ceased in 1927. Segal could give only qualified support to an alternative concept of hire purchase. Arthur Segal settled in England in 1936; some years after his death, his ideas contributed to the devising of an art loan scheme, launched by the London Borough of Holborn public library, which featured the work of local artists. Segal deserves to be remembered; his life and achievements have been celebrated by exhibitions in Berlin and Cologne, and the following article has been translated into English so that his ideas and endeavours can be more widely appreciated.
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Clarke, Ami, Lozana Rossenova e Gustavo Grandal Montero. "The Digital Archive of Artists’ Publishing (DAAP): An email conversation with Ami Clarke and Lozana Rossenova". Art Libraries Journal 46, n.º 1 (janeiro de 2021): 13–22. http://dx.doi.org/10.1017/alj.2020.32.
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Gustavo Grandal Montero (ALJ):Could you give an overview of the main aims and context of the project?Ami Clarke (AC): The Digital Archive of Artists’ Publishing (DAAP) is an interactive, user-driven, searchable database of artists’ books and publications, that acts as a hub to engage with others, built by artists, publishers and a community of creative practitioners in contemporary artists’ publishing, developed via an ethically-driven design process, and supported by Wikimedia UK and Arts Council England. The project is inspired by the site of Banner Repeater's public Archive of Artists’ Publishing on Hackney Downs train station, with 11,000 people passing a day, in response to the need for a similarly dynamic approach to archiving in an online context.
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Price, Sally, e Sally Price. "Artists in and out of the Caribbean". New West Indian Guide / Nieuwe West-Indische Gids 73, n.º 3-4 (1 de janeiro de 1999): 101–9. http://dx.doi.org/10.1163/13822373-90002581.
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[First paragraph]Caribbean Art. VEERLE POUPEYE. London: Thames and Hudson, 1998. 224 pp. (Paper US$ 14.95)Transforming the Crown: African, Asian and Caribbean Artists in Britain, 1966-1996. MORA J. BEAUCHAMP-BYRD & M. FRANKLIN SIRMANS (eds.). New York: Caribbean Cultural Center, 1998. 177 pp. (Paper US$ 39.95,£31.95)"Caribbean" (like "Black British") culture is (as a Dutch colleague once said of postmodernism) a bit of a slippery fish. One of the books under review here presents the eclectic artistic productions of professional artists with Caribbean identities of varying sorts - some of them lifelong residents of the region (defined broadly to stretch from Belize and the Bahamas to Curacao and Cayenne), some born in the Caribbean but living elsewhere, and others from far-away parts of the world who have lingered or settled in the Caribbean. The other focuses on artists who trace their cultural heritage variously to Lebanon, France, Malaysia, Spain, China, England, Guyana, India, the Caribbean, the Netherlands, the Philippines, and the whole range of societies in West, East, and Central Africa, all of whom meet under a single ethnic label in galleries in New York and London. Clearly, the principles that vertebrate Caribbean Art and Transforming the Crown are built on the backs of ambiguities, misperceptions, ironies, and ethnocentric logics (not to mention their stronger variants, such as racism). Yet far from invalidating the enterprise, they offer an enlightening inroad to the social, cultural, economic, and political workings of artworlds that reflect globally orchestrated pasts of enormous complexity.
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M. Bayer, Thomas, e John Page. "The ingenious marketing of modern paintings". Journal of Historical Research in Marketing 6, n.º 2 (13 de maio de 2014): 211–33. http://dx.doi.org/10.1108/jhrm-04-2013-0023.
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Purpose – This paper aims to analyze the evolution of the marketing of paintings and related visual products from its nascent stages in England around 1700 to the development of the modern art market by 1900, with a brief discussion connecting to the present. Design/methodology/approach – Sources consist of a mixture of primary and secondary sources as well as a series of econometric and statistical analyses of specifically constructed and unique data sets that list nearly more than 50,000 different sales of paintings during this period. One set records sales of paintings at various English auction houses during the eighteenth and nineteenth centuries; the second set consists of all purchases and sales of paintings recorded in the stock books of the late nineteenth-century London art dealer, Arthur Tooth, during the years of 1870/1871. The authors interpret the data under a commoditization model first introduced by Igor Kopytoff in 1986 that posits that markets and their participants evolve toward maximizing the efficiency of their exchange process within the prevailing exchange technology. Findings – We found that artists were largely responsible for a series of innovations in the art market that replaced the prevailing direct relationship between artists and patron with a modern market for which painters produced works on speculation to be sold by enterprising middlemen to an anonymous public. In this process, artists displayed a remarkable creativity and a seemingly instinctive understanding of the principles of competitive marketing that should dispel the erroneous but persistent notion that artistic genius and business savvy are incompatible. Research limitations/implications – A similar marketing analysis could be done of the development of the art markets of other leading countries, such as France, Italy and Holland, as well as the current developments of the art market. Practical implications – The same process of the development of the art market in England is now occurring in Latin America and China. Also, the commoditization process continues in the present, now using the Internet and worldwide art dealers. Originality/value – This is the first article to trace the historical development of the marketing of art in all of its components: artists, dealers, artist organizations, museums, curators, art critics, the media and art historians.
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Dennison, Lynda. "An Illuminator of the Queen Mary Psalter Group: The Ancient 6 Master". Antiquaries Journal 66, n.º 2 (setembro de 1986): 287–314. http://dx.doi.org/10.1017/s0003581500028092.
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This study traces the career of a single illuminator (the Ancient 6 Master) who was active in England from c. 1310 to 1335. For much of this time it can be shown that he worked in collaboration with the artist of Queen Mary's Psalter, one of the most profusely illustrated English manuscripts in existence Although a large number of books have been grouped under the heading of the ‘Queen Mary’ style, they have never received a proper classification, nor has any detailed attention been given to the problem dating. This paper attempts both to isolate the works in which the two artists participated and to propose a sequence ofproduction. Since most of these manuscripts are devoid of internal documentary evidence for dating, a chronology has been devised on the basis of the Ancient 6 Master's artistic development; this has involved an investigation of minor aspects of style. As a result, it has been possible to learn about the career of the Queen Mary Artist, and by virtue of the few firmly datable manuscripts, viewed in the light of the chronology proposed, dates have been suggested for the others within this group.
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Nees, Lawrence. "Ultán the scribe". Anglo-Saxon England 22 (dezembro de 1993): 127–46. http://dx.doi.org/10.1017/s0263675100004348.
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According to Aediluulf's poem De abbatibus, written in the early ninth century, the Irish priest Ultán was ‘a man called by a famous name’ (preclaro nomine dictus), who ‘could ornament books with fair marking’ (comptis qui potuit notis ornare libellos). Active during the first half of the eighth century in Aediluulf's otherwise unknown monastery located most probably in the area of what is today southern Scotland or northern England, Ultán has also won growing renown in modern art-historical writing, on the basis of Aediluulf's text, our only source for his life and work. Several of the older general reference works for artists include his name, Thieme-Becker terming him ‘Kalligraph und Miniator’, Bénézit ‘enlumineur et calligraphe’ and Bradley more cautiously ‘calligrapher’ while repeating the statement of the sixteenth-century antiquary John Leland, that Ultán was scriptor et pictor librorum optimus. In other words, these early sources agree in making Ultán not only a scribe but also a painter or illuminator.
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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, n.º 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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James-Maddocks, Holly. "Illuminated Caxtons and the Trade in Printed Books". Library 22, n.º 3 (1 de setembro de 2021): 291–315. http://dx.doi.org/10.1093/library/22.3.291.
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Abstract This article suggests that the illuminated initials and borderwork added to ten early printed books in England are attributable to a single illuminator, the ‘Incunables Limner’, an individual for whom there is circumstantial evidence that he specialized in the illumination of printed books. Five of these books are copies of William Caxton’s Golden Legend (Westminster, 1483–84), while the other five are Continental imprints (two from Strasbourg, and one from each of Basel, Verona, and Parma) printed between 1476 and 1484. In addition, a second illuminator can be identified in a sixth copy of Caxton’s Golden Legend, working to the same design as that employed within the five copies decorated by the Incunables Limner. The possibility is considered that books illuminated by the Incunables Limner were products of Caxton’s overseas trade, and that it was through acting in this capacity that the artist’s specialization was viable. The Continental books are explored for what they might imply about Caxton’s wider book-selling strategies, and three with evidence for early English ownership are selected for particular attention.
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Romashina, Ekaterina Yu. "Text and Image: Conversation in Different Languages (Oscar Pletsch’s Book Graphics in Germany, England, and Russia)". Tekst. Kniga. Knigoizdanie, n.º 24 (2020): 113–33. http://dx.doi.org/10.17223/23062061/24/6.
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In the second half of the 19th century, children’s picture books became a mass phenomenon in European book publishing practice. The development of printing technology, the formation of psychology as scientific knowledge, the improvement of methods of educational interaction between adults and children led to the appearance of children’s books not only for reading them aloud, but also for looking at pictures in them. However, the connections between the textual and visual narratives of books were not yet strong. Often, for economic reasons, the same illustrations were used in combination with different texts, and translations and reprints added discrepancies. In the article, this is illustrated by materials from the analysis of German, Russian, and English editions with drawings by Oscar Pletsch: Die Kinderstube (Hamburg, 1860), Gute Freundschaft (Berlin, 1865), Kleines Volk (Berlin, 1865), Allerlei Schnik-Schnak (Leipzig, 1866); Malen’kie Lyudi (St. Petersburg, 1869), Tesnaya Druzhba (St. Petersburg, 1869), Pervye Shagi Zhizni (St. Petersburg, 187?), Yolka (St. Petersburg, 1874); Child- Land (London, 1873). The plots Pletsch created are compared with the texts in three languages. As a result of the analysis, significant differences between the texts and the visual range of the editions were revealed. The article identifies the options of transforming meanings and interpreting drawings, reveals the tendency of their use for didactic purposes. The album Gute Freundschaft (initially containing only short captions to the drawings) acquired detailed poetic texts—monologues or dialogues of depicted children—in the Russian translation. The English publisher “scattered” the visual series: in Child-Land, the same drawings were placed randomly and mixed with other illustrations without observing any logic. The London edition contained prosaic texts, many of which did not coincide in meaning with the storyline of the original. The author (translator) sometimes interpreted the images “taken out of context” in a neutral way and sometimes added other (including sharply negative) characteristics to children’s postures, gestures, and movements. In a number of cases, the texts emotionally “loaded” the images in a completely different way than the artist conceived: a gesture of greeting turned into a threat, expectation turned into boredom, and so on. It should be stressed that the Russian publisher Mauritius Wolf treated the German originals more carefully than his English colleagues from S.W. Partridge & C°. The analysis of publications and the comparison of their verbal and visual plots allowed identifying the nature of the interrelation of text and image as a “conversation in different languages”. The reason for the “discord” could be translation problems, general changes in the functional tasks of the publication (for example, towards a didactic purpose), the mismatch of cultural codes in the system of different European languages, and technical difficulties in printing. All this led to the emergence of new senses and meanings—sometimes unexpected, but always important, interesting and never accidental.
Livros sobre o assunto "Artists' books – england"
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Press, Coracle, ed. Catgut and blossom: Jonathan Williams in England. London: Coracle, 1989.
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National Gallery of Art (U.S.). The Patricia G. England Collection of fine press and artists' books. Washington [D.C.]: National Gallery of Art, 2000.
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Chapter, Guild of Book Workers New England Regional. Created space: An exhibition by the New England Chapter of the Guild of Book Workers, 1995. [United States]: The Chapter, 1995.
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Ngaio, Marsh. Artists in crime. Oxford: ISIS Large Print, 2006.
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Ngaio, Marsh. Artists in crime. London: HarperCollins, 1994.
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Ngaio, Marsh. Artists in crime. New York: Felony & Mayhem Press, 2012.
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Guild of Book Workers. New England Regional Chapter. 10th anniversary exhibition of the New England Chapter of the Guild of Book Workers: Museum of Our National Heritage, Van Gorden-Williams Library ... Lexington, MA ... March 9 through May 2, 1992 : Round Top Center for the Arts ... Damariscotta, ME ... May 15 through June 15, 1992. Montpelier, Vt: The Leahy Press, 1992.
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Ewan, Ruth. Liberties of the Savoy. London: Co-published by Book Works and CREATE London, 2012.
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Toledo, Laureana. The Limit: Laureana Toledo : unretouched = sin retoques. [London]: Trolley, 2009.
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Fothergill, John. An innkeeper's diary: Being the Spreadeagle section of 'My three inns'. Oxford: Inky Parrot, 1987.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Artists' books – england"
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Hunnisett, Basil. "The artists". In Steel-Engraved Book Illustration in England, 106–34. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003090861-7.
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Evans, Dorinda. "1. A Secret Inheritance". In William Rimmer, 1–22. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0304.01.
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Chapter one gives an overall view of William Rimmer's life, how he was perceived, and the impact of family mental illness on his life and reputation. Not only was Rimmer a bipolar artist but also his father mistakenly claimed to be the heir to the French throne, the missing Dauphin. Rimmer tried to make a living as a printmaker, a painter, and a sculptor. He also became a physician and an instructor in art anatomy. This last occupation provided his chief source of income. Self-taught and a Bostonian, he strayed outside of New England only to teach in New York at the Cooper Union School of Design for Women of which he became director. Although he achieved fame internationally as a sculptor and author of two books on art anatomy, he exhibited rarely and created most of his artwork for family and friends.
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Iyengar, Sujata. "Conversations about Time and Space". In The Oxford Handbook of the History of the Book in Early Modern England, 510—C27P65. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780198846239.013.37.
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Abstract This chapter defines and describes ‘bookness’, the phenomenology of codices and material texts as they encounter human bodies in time and space, through a sustained comparison between contemporary artists’ books and early modern books about counting, calculating, and identifying objects in the real world (field guides, including abecedaries), and imagining the universe (astronomical books). It foregrounds the functions of bookness in space, both private and public, historically and in the present by contrasting early modern, flexible uses of the codex form with contemporary artists’ books—limited edition, artisanal, or fine art print objects that, in Johanna Drucker’s phrase, consider the codex as ‘a form to interrogate’ rather than as ‘a vehicle for reproduction’. It concludes by suggesting that the deliberately archaic form of the printed book and the arguably elitist and certainly rarefied commodity of the artists’ or fine-press book highlights the beauty, fragility, and human-inflicted damage of the natural world.
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Lebedev, Dmitry. "Dispute of Canons: Book Design Traditions at the Beginning of the 20th Century England vs France". In Taking and Denying Challenging Canons in Arts and Philosophy. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/012.
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The end of the 19th century in England and France was a time of active growth for publishing houses, newspapers, magazines, and printed materials in general. This contributed to the emergence of a huge number of artists who specialised and occasionally participated in the design of books. These artists won their places through constant competition based on the quality of their drawings. England and France were the centres of the new art of the book, but the views and approaches of representatives of this type of graphics differed from each other in these countries. Thus, the purpose of this report is to demonstrate the difference between the canons and principles of English and French book design at the turn of the twentieth century.
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Golden, Catherine J. "Caricature and Realism". In Serials to Graphic Novels. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062297.003.0005.
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At the fin de siècle, the Victorian illustrated book experienced what some critics consider a decline and others call a third period of development. “Caricature and Realism” examines the validity of both viewpoints. Publishing trends and intertwining economic and aesthetic factors led to the decline of newly released, large-circulation fiction during the final decades of the nineteenth century in England. These include the waning of serial fiction, cost factors, a rise in literacy, the changing nature of the novel, new developments in illustration, and competition from other media. However, the Victorian illustrated book thrived in several areas—certain serial formats, artists’ books, children’s literature, and the U.S. market—and in some of these forms of material culture, we witness a reengagement with the caricature tradition as well as a continuation of the representational school. This chapter surveys late Victorian illustrated fiction marketed to different audiences according to social class, age, gender, and nation. This chapter also foregrounds two fin-de-siècle author-illustrators—Beatrix Potter, best known for The Tale of Peter Rabbit, and George Du Maurier, who gained fame with Trilby—to demonstrate continuity in the arc of the illustrated book and a media frenzy of Pickwickian magnitude.
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Scott, Kathleen L. "LIMNER-POWER: A BOOK ARTIST IN ENGLAND c. 1420". In Prestige, Authority and Power in Late Medieval Manuscripts and Texts, 55–76. Boydell and Brewer, 2000. http://dx.doi.org/10.1515/9781846151378-005.
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Wootton, Sarah. "John Keats and Scottish Artists". In John Keats and Romantic Scotland, 188–210. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198858577.003.0012.
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The aim of this chapter is to widen the compass of Keats’s visual legacy and to refocus attention from the painters of Southern England to the book illustrators and designers of Scotland. What follows seeks to recalibrate our understanding of the reception of Keats’s poems in art by addressing hitherto unexplored aspects of the poet’s afterlives. This chapter is divided into two sections, each focusing on a Scottish city where artists engaged with Keats’s poems within a regional context of cultural and commercial rejuvenation. The first section considers the Scottish Pre-Raphaelites, Joseph Noël Paton (1821–1901) and William Bell Scott (1811–90), both of whom had strong connections with Edinburgh and its surrounding areas. The second section focuses on artist-craftworkers, such as Talwin Morris, who self-consciously identified with a particular Scottish city at a specific historical moment, pioneering and popularizing what is now known as the Glasgow Style of the late nineteenth and early twentieth centuries.
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Öhrström, Lars. "Graphite Valley: IT in the Eighteenth-Century Lake District". In The Last Alchemist in Paris. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199661091.003.0012.
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Lake Windermere in the north-west of England perhaps makes you think of poets, or of adolescent adventures less concerned with wizards and vampires and more with Swallows and Amazons if you have grown up with English children’s books. Anyhow, people who lived by their pencil. Or should that perhaps be the pen? We don’t see the serious author in her study hard at work with a pencil. Pencils are generally considered to be mostly for children doing their homework, or others who frequently need to erase their mistakes. There has never been a lack of ink, traditionally a mixture of iron salts, water, and tannins—the bitter tasting compounds in tea and red wine. Always plenty of the black stuff to write poems and sign death sentences with. But the pencil, that is a different story. Far from being just for children, it was, and is, an essential tool for artists, engineers, carpenters, and architects. At engineering school in the late 1980s we still made (some of us did anyway) beautifully crafted pencil drawings of double-mantled stainless steel reactors. And in the army, close to the polar circle four years earlier, did we write out orders and decipher incoming radio messages with ballpoint pens? We certainly did not—in fact, this was forbidden because the ink in a pen may easily freeze. The ‘lead’ in the pencil (which is obviously not lead as in the element 82, but something else) brings us to these green valleys of the Lake District and Cumbria, England—as unlikely a place for an information technology hub as the orange orchards around Palo Alto. The different is that in California in the 1970s it was the dedicated people that mattered, not any local silicon mines. In Borrowdale in the late sixteenth century, it was the inside of the mountain itself that made the difference, for there you find the stuff from which to make pencil lead. Not that the people were unimportant. Entrepreneurship thrived in different forms. ‘Black Sal’, for example, working out of the small town of Keswick close to Borrowdale, was allegedly running a pencil-lead smuggling network in the early eighteenth century.
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Long, Jonathan. "Book Design". In The Edinburgh Companion to D. H. Lawrence and the Arts, 320–37. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456623.003.0022.
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Much may be learned about Lawrence’s aesthetics from his involvement and preferences in the design of dust jackets, boards, and illustrations in published editions of his own works. Many readers of Lawrence know his work from rather dull uniform editions, some published in England during his lifetime by Martin Secker. However, Lawrence’s main publisher in the USA, Thomas Seltzer, published much of his work in a variety of eye-catching dust jackets. In addition, a good number of Lawrence’s other works were published in expensive limited editions or privately published, some beautifully illustrated. This chapter traces how Lawrence, as an author of increasing standing, came to influence the appearance of his books, while often promoting the talents of artistic friends. It is beautifully illustrated by thirteen monochrome and twenty-one colour images from first and other editions of his books, some not reproduced in colour before
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Kilgour, Frederick G. "The Greco-Roman World". In The Evolution of the Book, 34–47. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195118599.003.0004.
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Abstract THE GREEKS PRODUCED an outburst of human creativity in the fifth and fourth centuries B.C. such as the world had never before seen, nor was to see again until at least two millennia had passed, which was expressed in all manner of intellectual activity from fine arts to science. In the Greek city-states of that time, a new form of government, a government of many participants, was created and reached its first climax. Western artistic expression, historiography, literature, medicine, philosophy, politics, and science have developed continuously from those centuries. The period produced three intellectual giants: Socrates (c. The Roman genius for administration and military action enabled Rome to over whelm the twenty-seven Greek city-states by 146 B.c.; and before the end of the Roman Republic, in 44 B.c., Rome had conquered lands from the Atlantic Ocean to Asia Minor and from North Africa to England and Germany. The Romans, while absorbing Greek art and learning, made their own contributions to both.
Trabalhos de conferências sobre o assunto "Artists' books – england"
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Rocaciuc, Victoria. "Book graphics in the creation of the plastic artist Liudmyla Kozhokar". In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.11.
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The fine arts artist Liudmyla Kozhokar had professional studies in Ukraine: the Arts Studio in Kherson (1975–1978) and the Ukrainian Polygraphic Institute „I. Fyodorov” in Lvov (1978–1983). Since 1984, Liudmyla Kozhokar participates in fine art exhibitions in Chisinau and abroad. Since then, the artist has collaborated with various Moldovan publishing houses, combining publishing with teaching in the field of fine arts. Since 1999 Liudmyla Kozhokar is a full member of the UAP of the Republic of Moldova, and since 2001 – a member of the A.I.A.P. UNESCO, Paris, France. Liudmyla Kozhokar’s works are in the collections of the National Art Museum of Moldova and in private ones in Romania, the Republic of Moldova, France, USA, Iraq, Italy, Germany, Japan, England, etc. The graphic designer illustrated books of different kinds: ABC books, textbooks, children’s stories, encyclopedic literature, etc. Liudmyla Kozhokar perceives each graphic book separately, finding new plastic formulas and stylistic methods, delving into the text and studying it to the last sentence.