Showing posts with label books. Show all posts
Showing posts with label books. Show all posts

Friday, May 20, 2016

Collectable Illustrations for Children's Books


In 1863, publishers Adam and Charles Black sold Sir Walter Scott’s Waverley Novels in five editions – ‘The People’s Illustrated Edition’ in 5 volumes with 100 wood engraving illustrations and one prited from a steel printing-plate; ‘The Cabinet Edition’ in 25 volumes with one wood and one steel engraving in each volume; ‘The ‘1847’ Edition’ in 48 volumes in large type with 96 illustrations (each novel in two volumes for ease of use); ‘The New Illustrated Edition’ in 48 volumes printed in a new type-font with 1600 illustrations drawn by a range of artist members of the Royal Academy …and ‘The Library Edition’ bound in extra-gilt cloth in 25 volumes with 204 engravings by the most eminent artists of the time. They are advertised in this small Almanac (about half the size of a postcard) created and distributed by the publisher, along with description of other books by Scott with multiple editions:

 
 



With what delectation would prospective purchasers of Sir Walter’s books have surveyed the choices available! How eagerly they must have anticipated reading pleasure when they placed their order. 

The engravings for the volumes were printed on quality paper and with generous margins and sold separately . Would purchasers keep them safely hidden away, frame them or engage a hand-bookbinder to add them into the text and create volumes with sumptuous covers?

 

 

Mini-Posters of Quentin Blake's illustrations of Matilda are currently available for $12 Australian - or less in special deals.


I wonder if the ability to collect affordable copies of illustrations from a wide range of children's books would encourage book sales, reading and creativity? 

Peter Taylor
www.writing-for-children.com 

Friday, April 29, 2016

The Pioneer Spirit, The Scandal and Somewhere to Read



After years in the stationery, food and retail trades in Chertsey, outer London, my grandfather, Ernest Taylor, decided to abandon all that he knew to become a farmer - for which he had zero knowledge or experience. He was going to be a pioneer, and in 1912 he took a 100 year lease on 14 acres of land on the outskirts of Letchworth Garden City, a New Town that mainly only existed on the plans and 50 miles from the family home.

He invited two others to join him. One was Thomas Flaws, the son of the editor of the Bedfordshire Times newspaper, who also had 'limited' farming experience, to say the least. The other was Gertrude Matilda Beaumont, the daughter of the owner of the grocery store where he worked. Though Ernest asked her to marry him so that they could set up this venture together, she declined. She would live unmarried with them both first, to see if she liked the lifestyle.
This is Gertrude and Ernest on their Ner-a-car motorcycle.

Was this 'small-holding' going to be viable? Was it a wise decision, in 1912, for an unmarried young lady to move in with two men in an isolated house on the edge of civilization? The scandal! What did her parents say? What did the neighbours in London say? What was Erent and Gert's reputation in Letchworth? …And what a big change to leave a comfortable home with a maid to find that, at her new home, there was no flushing toilet, no bath, no hot water, no income, no mechanisation - just 14 acres of untamed land.

Gertrude eventually did marry Ernest. Ernest died when he was 95, and Gert at 99, in 1982. During the whole of their married life they never had a day when they were not sharing their house with someone else. Thomas Flaws lived there until he died - but in the meantime, on her death-bed, Gert’s mother had said to her, “Look after your sister, May”.

When May arrived on the doorstep of ‘Camp Holdings’, as the property was called, Ernest thought she was coming for a holiday, but she never left, never had a proper job and outlived them all.

The small holding never generated much income. Ernest visited the local auction each week and bought things as cheaply as he could – bits and pieces from which he could make his own cultivating equipment and old picture frames to rip apart for the glass to construct cloches ...plus curtains and furniture. At the end of the day, the auctioneer would say, “Will you give me a shilling for the bath full of rubbish, Taylor?” and Ernest usually did – more often than not it contained a bag of nails or something that would ‘come in handy one day’. The sheds increased in number. I remember the oil shed; the incubator shed; the goat shed; the egg shed; the wood shed; a workshop shed; the machinery shed; a shed for the horse; my father’s shed; and number 42 shed – yes, there had been more over the years that had fallen down.

Ernest and Gert grew rows of Mrs Simpkins pinks (carnations) that were picked and sent by train to the Covent Garden flower market, strawberries, vegetables and a large apple orchard with loganberry and blackberry bushes between trees, and they bred chickens. When I was a child they must still have had a good number of hens because there were often 20 - 30 dozen  eggs on stacked trays, though one client was noted for cycling miles to the property to buy just a single egg.

Up until the 1950s my grandfather delivered eggs, fruit and vegetables to some families in the immediate neighbourhood by horse and cart, when he would hoist me on to the seat next to him. Most customers had kept food scraps for him to feed to the chickens, some of which were enclosed in a special run, while others roamed the orchard, along with geese - the subject of a picture book story I'm writing for children.

For the majority of families just after WW2, eating chicken was a Christmas or Easter treat, and for the week leading up to the celebrations, the birds would be killed, cleaned, plucked by hand until the shed was waist high with feathers and trussed – tied up with string to enhance their appearance and help them cook evenly. All transactions were by cash, and a box was kept on the window ledge – the money from sales being put into the box, and whenever anyone wanted to buy anything, they just took whatever they needed.

But Gert liked her independence and some money of her own, had a greenhouse built, developed close to half an acre of immaculate flower beds around the house and sold bunches of blooms to passers-by en route to the cemetery which bordered the land.

 
Gert and Ernest leased the right-hand half of the house

She also bred Angora and other rabbits for their fur, and prepared some of the pelts and sold them to the glove factory. If born in the present era, I’m sure she would have been an internet marketer or some kind of entrepreneur.

In the days before TV and especially in the winter, May and Gert spent their evenings either doing embroidery or studying bulb and plant catalogues - most of Gert’s income was given away or used to buy plants. As soon as spring arrived, she spent her time gardening, but it was nice to relax, too - lazing in deck chairs on the lawn or snug in the summer-house she constructed – but then one day a Romany gypsy parked her caravan on the road outside the house. It wasn’t long before a deal was done. And just like the Jeep adverts of today, all her friends and family said “She’s bought a what?”, but nodded in approval.

Gert soon added all the essentials – books and magazines in the cupboards, a wicker chair and plenty of plump pillows – and we all pushed and pulled the caravan to the edge of the orchard, overlooking the flower garden and house. The house had become redundant.


The caravan soon became my favourite place to read, too.

Peter Taylor
www.writing-for-children.com

Sunday, November 25, 2012

Unforgettable - but not now

Here's Stonehenge without a fence or sanitized path. You could touch the stones, lie on the altar slab and imagine all kinds of things in 1959. What an unforgettable experience!


I took these photos with the latest design Kodak Brownie 127, a 10th birthday present. 

Have you taken photos from viewpoints that are now forbidden? I often wonder if we really need to protect so many sites from visitor interaction. I'm told they have also fenced off areas in Carnarvon Gorge in Queensland where I once sat and let my imagination run wild. 


I mean, in these days when celebs can be photographed from five miles away, it can't be that hard to unobtrusively monitor to make sure people don't do something regrettable.

When I make school visits to talk about 'The History of Books', students can handle a Mesopotamian sales docket from 1800BC...





read Gregorian chant from a page written in 1280...


unwrap a land document written on vellum, complete with King George III's wax seal...




and handle many other treasures.

Are the risks of something being damaged worth taking? Absolutely!


'Peter's workshop was, without a doubt, the highlight of our library year!'
Ormiston College, August 2012 

Many thanks to staff and students!

All children and adults need rich experiences to savour.

Peter Taylor



Tuesday, May 22, 2012

Book Cover Design Ideas

There are many ways to bring children to love books and reading.

In my workshops on ‘Book Cover Design’, attendees re-design covers of books to create added impact and interest, and the children are often very creative and come up with stunning ideas which are not limited by traditional expectations. As this is fun and the design has to reflect the text, reading is necessary - often works that they would not otherwise have chosen. If they enjoy reading the book, they may read more. Participants also browse library or bookstore shelves to help them gain a recognition of the importance of the design of the spine to tempt potential purchasers to take a book from a shelf.

Here’s a section of children’s books on a shelf in my studio.

Which ones stand out most to you?


For me, it’s those with stripes of colour, and the bright yellow ones (or having a significant portion of yellow/orange), and yellow script on a black background. 


'Wombat Went A Walking’, illustrated by Lachlan Creagh, is only 24 pages with a wrap around cover, but his clever positioning of the characters that flow from the front to the back cover, with white space between them, produces the eye-catching stripes on the narrow spine. (It’s also superbly illustrated inside and a book that children love - published by Lothian in 2011.)

 

My pick for the all time 'most effective, most memorable cover design in the history of the book'?


It's the highly contrasting black and yellow stripes of ‘for Dummies’ guides. You may not agree, but I’m sure it's contributed enormously to making the series highly profitable.

(Publishers - you must realise that a high percentage of males are colour-blind and will never see a contrast between red and green.)

Readers also have expectations for cover and spine design, and typography. The spines of fantasy novels are usually ‘of a similar kind’ – so if you are a fantasy author, you want your book to stand out from the pack ...but it should still have the appearance of 'a fantasy book' (and the same for other genres).

Nowadays, when so many books are purchased from internet stores, an impressively designed front cover is also vital to maximise sales – but that’s a subject for another day.

But not all bookshelves are the same. I’ve seen some that are constructed as a series of diagonally arranged boxes so that books are supported on sloped surfaces.

Why are books generally lined up from side to side on a horizontal shelf? Certainly it makes it easy to remove a single volume, but they don’t necessarily take up less space that way round. Here are some book stacks that have been created by artist Mike Stilkey, who paints the spines and covers of already published books with ink and acrylic and also works on them with coloured pencils to create acclaimed artworks.


     


Perhaps publishers should more often consider incorporating designs that flow from cover to cover across all books in a series so that they can be displayed like this, either on their own shelf or alongside those in a traditional arrangement. It would surely encourage readers to purchase the whole set - and as you see above, it is possible to use as few as three books.

Or why not display books with covers facing outwards, with designs that fit together? 'Book walls' do not have to be this large:



Many thanks, Mike, for giving me permission to share these images – I hope readers of this blog will check out your complete website at http://www.mikestilkey.com/ and your facebook page and images of your work at https://www.facebook.com/pages/Mike-Stilkey-official/271560459538235 ...and I look forward to seeing what you show at your forthcoming exhibition in Times Square, Hong Kong in July.

Here are two of Mike’s larger installations:





Time to be creative...
Peter Taylor
http://www.writing-for-children.com/




Wednesday, April 11, 2012

The New Future of Printed Books?

Have you discovered Blippar yet? http://blippar.com/  

It’s established in the UK and used by supermarkets, Cadbury, newspapers and more. You just point your smart phone loaded with the Blippar app at the poster, building, product wrapper or page and something happens (you don’t have to take a photo, tap the screen or do anything, as required when scanning one of those QR codes made up of little squares, and you don’t get taken to a landing page).

Your phone may immediately show you a building tour, give you vouchers, a video of a chunk of chocolate leaving the package and aiming towards your mouth (I made that up, I’ve no idea what happens when you aim at a Cadbury’s product – it’s getting late and I’m running low on energy), or for those people who are impatient, deliver the answers to today’s crossword. Of course, as an alternative, you could be sent to a website or provided with other useful information, if that’s the initiator’s choice. Point your phone towards a picture of a watch in an advert and automatically on screen you get shown all the colour varieties, finishes, strap designs, price and a 3D view of the product that you can explore.

And if you are enjoying your Blippar experience, tap the logo on your screen and you will have automatically Tweeted it and sent it to your Facebook followers.



Could this technology be the future of print books – hold your phone over the page and get an interaction with a character, a game, 3D tour or extra action, background information or a video of a craft technique while you still have the whole print page in view? Or hold the phone near to a book’s cover or a picture of it, or your business card, and the phone user immediately gets shown a trailer, given a buying incentive, or taken to your website or a bookstore’s site...

Count me in – I hope it’s soon in frequent use here in Australia and throughout the rest of the world.

Peter Taylor
http://www.writing-for-children.com/ 

PS I understand that at present, Blippar techno-folk build the actions as instructed by the product owners, but plans are being made to enable publishers and self-publishers to build features into their own works.

Friday, February 17, 2012

Inspirational - Donkey Library


There’s no need to explain this one. Please just watch, enjoy and be inspired as books are taken by ‘donkey travelling library’ to children in Colombia.




I also recommend that you check out this link to other travelling libraries - eg by camel in Kenya - and different ways of delivering books:

http://librarymine.wordpress.com/2010/03/05/libraries-in-transit-locations/

 

Sunday, February 05, 2012

1880’s Print Run

Randolph Caldecott not only illustrated songs and poems, such as ‘John Gilpin’s Ride’ and ‘Come Lasses and Lads’, but also provided cartoons for ‘Punch Almanack’, works for ‘The Graphic’ magazine and illustrations for books by other authors - travel books and stories. He illustrated 3 books written by Julia Horatia Ewing:

 ‘Jackanapes’ in 1883

‘Daddy Darwin’s Dovecot’ in 1884



‘Lob Lie-by-the-Fire’ in 1885
  The advertising on the back cover of ‘Daddy Darwin’s Dovecot’ gives printed copies of ‘Jackanapes’ as ‘Thirty-fourth Thousand’ and on the back of Lob Lie-by-the-Fire as ‘60th Thousand’ with Daddy Darwin’s Dovecott as ‘40th Thousand’. They sure were popular!

I’m very curious to discover how many copies were printed in an average first print run of a children’s book in these times. One has to remember, however, that many English colonies did not have well established publishers of children’s books, so a large quantity would have been exported (less than 50 children’s books were published in Australia before 1890), and America was also a ready market. These books were published in London by the Society for Promoting Christian Knowledge and E. And J.B.Young and Co in New York, but were all engraved and printed by Edmund Evans in London.

I always love drawings which are used for, or incorporate, capitals to start chapters, as Caldecott provided in ‘Daddy Darwin’s Dovecot’:




Here's the Frontispiece from ‘Daddy Darwin’s Dovecot’:




and an illustration from ‘Lob Lie-by-the-Fire’:



Don’t you love the rich ink colour on off-white paper?

You'll find more images of elderly books on my Writing for Children website in the History of Books section, and I've also provided some pictures and an account of the work of Sir John Tenniel - illustrator of 'Alice in Wonderland' and Punch www.writing-for-children.com/Tenniel.

Peter Taylor
http://www.writing-for-children.com/

Saturday, February 04, 2012

From Past Experience

One of the nineteenth century’s early authors and illustrators of coloured children’s books can still teach us a marketing lesson or two. Kate Greenaway took favourite pictures from her books ‘Under the Window’, ‘Mother Goose’, ‘A day in a Child’s Life’ and provided the outlines from the pictures in ‘The Marigold Painting Book’, for children to colour.




The original picture and poem that goes with this one come from 'Under the Window':




The finest, biggest fish, you see,

Will be the trout that’s caught by me;

But if the monster will not bite,

Why, then I’ll hook a little mite.



Here's another one in 'Under the Window':



Tommy was a silly boy,

“I can fly,” he said;

He started off, but very soon,

He tumbled on his head.



His little sister Prue was there,

To see how he would do it;

She knew that, after all his boast,

Full dearly Tom would rue it!



That’s nice, isn’t it? His sister, Prue, knew he’d hurt himself but she didn't try to stop him – she wanted to see what method he’d use. Still, that's typical of kids.

For this one, she only provided a detail in 'The Marigold Painting Book':

 

‘Scraps’ of her pictures were also created to stick into albums, clothes designed to match the illustrations, a Birthday Book, another painting book...

Here are some of her painting tips - for watercolours, I presume, but the same would apply if using gouache paint (ie artists’ quality opaque poster paint, which can be diluted until it’s transparent):

A good paint box should contain the following colours:

Ivory Black, Sepia, Vandyke Brown and Burnt Sienna.

Crimson Lake, Vermillion, Light Red and Yellow Ochre.

Gamboge, Emerald Green, Prussian Blue, Ultramarine Blue


The brushes must be washed clean, rinsed and dried after use. Never leave the brushes in water, and never lay them flat on the table. Take plenty of colour in your brush. Try first on a piece of spare paper to see that you have the right shade, and that your brush is not too wet or too dry.

Always begin at the top and colour downwards, from left to right (if you are right handed).

The edge of a colour may be softened with a clean damp brush.

For purple, mix red and blue. (My paint collection has Alizarin Crimson that I mix with Ultramarine Blue to make purple.)
For green, mix yellow and blue.
For orange, mix red and yellow
For grey, mix Prussian Blue, Crimson Lake and Sepia

Ultramarine Blue is the purest blue, but it doesn’t mix as well as Prussian Blue. It is useful for skies and for the grey shades in flowers.

All cold colours which are to serve as shadows to warmer colours should be laid on first, and generally warm colours over cold should be the rule. Blue is a very cold colour. Crimson Lake is a colder red than Vermillion or Light Red, and Gamboge is a colder yellow than Yellow Ochre. Orange is the warmest colour in nature, and blue the coldest.

If you are an illustrator, please tell us what other colours you think should be in a paint box.

Peter Taylor



Monday, January 30, 2012

Why Most Books Have Rectangular Pages




Yes, this is the cover of my new book due to come out in June, and the book is rectangular - just like most books. Why this shape?


• Print off and cut out the ‘animal skin’ (below) from paper. You can enlarge it to any size you wish – or just imagine it’s been cut out.


• Trim off the remains of its legs, neck and tail to give the largest possible rectangle of skin to be made into pages.

• Fold the rectangle in half lengthwise, then in half again and again at right angles to make a group of pages.



Yes it’s the cow’s fault!

Books were written on paper or skin from 1000AD onwards until skin became too expensive and not available in sufficient quantity. However, for a few centuries, even though writing and printing on paper was performed, the most ‘important’ books were always written on pages made of skin. Some books and documents are still written on skin.

Only in recent times have square and landscape format books been published or produced. For nearly two thousand years, books were always rectangular and ‘portrait’ – hinged on the long side.

Today, many books are printed with 8 pages to a side of large sheets of paper, which are then folded to make a gathering and sewn with others, and then trimmed perfectly to construct a book block ready for covering.

This method was used for the earliest books, too - folding sheets of vellum in half, then centrally at right angles, then in half again. Vellum (parchment means the same thing), made from cow or calf skin, was expensive in early times, so book creators always wanted to get the optimum number of pages from one hide, with no waste. When the remains of the neck, leg and tail had been removed, and the sides trimmed straight, the shape that remained for use was a rectangle, so the pages formed by folding were rectangular – and the tradition continued.

This method of folding was replicated for books with paper pages, and the sheets of paper were made in the same proportions as animal skins – and still are. Though no early instructions for folding have been found, study of ancient books from the first century AD onwards proves that this was the standard method of production. All medieval vellum books, without exception, had facing pages alternately ‘hair side together’ then ‘flesh side together’, no matter if they were precious or scruffily written and bound with little care. The same when paper was used, ‘wire marks from the mold (on which the paper was formed)/watermark sides’ together alternated with ‘non-embossed sides’ together.

You can test the outcome for yourself, similarly folding a sheet of paper that is printed on one side only. Facing pages are always the same, and alternate plain and printed – but the nature of the outer surfaces depends on whether you make the first fold with the printing facing you, or the plain side. There were traditions for vellum use. From the late Roman Empire and the Greek Orthodox world, the outer surfaces were flesh side, and this was revived in fifteenth century Italy for non-religious texts. But for the rest of Europe, from the pre-Carolingian to high Gothic periods, the first and last sides of the vellum were always hair side.

Skins were not always folded to make 8 pages (16 sides) in a gathering. In Spain, in particular, enormous 'antiphonal' vellum choir books were produced in the 16th century. I have a single page from one of them:


Antiphonal Page

This one measures 85cm x 55cm.

Some books were smaller than a matchbox. This is the smallest one that I own. It was written in 1460:

A vellum page from a Book of Hours

As well as from cow and calf hides, vellum was also made from sheep, deer, goat, rabbit and squirrel skins – in monasteries, probably the remains of whatever was served for dinner – but these other animals all produced a rectangular sheet for folding, too, and therefore rectangular pages.

There are a few large sheets of vellum in existence that show that pages were sometimes written prior to folding, as a book would be printed today, but it’s uncertain how many early books were created in this way. Illuminations in manuscripts depict monks writing in folded sections and complete books. One scribe was responsible for writing a complete gathering, but multiple gatherings could be written by multiple scribes.

Just in case monks lost the plot of which page to write where on a large sheet, prior to folding, it’s thought the folding was usually done first, the front (fore-edge) slit through, and the folds along the short edge cut but leaving just enough remaining to hold the gathering together but still allow the scribe to turn the pages.

By the 15th century, at the latest, stationers were selling pre-folded and ruled gatherings of vellum and paper, ready for writing.

When I do school visits and workshops, students and attendees can handle these vellum pages and many more items from my collection. It can bring history and books alive - please check out the 'Visits' page on my Writing For Children website, and the 'History of Books'.

Peter Taylor
http://www.writing-for-children.com/