The Exhibitionist Part Two: Yet another crack at galleries

So I was in the middle of combating my mistrust of art galleries.

I was doing it in the laziest way possible, don’t get me wrong, by only attending events of illustrative relevance, but I was still doing it.

Having spent the early afternoon in a whirlwind tour of the contemporary illustration scene, by way of the AOI World Illustration Awards at Somerset House, I decided to kick it up a notch with an exhibit that cost real life pennies. Commitment ahoy! This big spender headed to the House of Illustration.

Safe bet? Yeah definitely but whatever, I was still paying to look at walls so I consider it a victory.

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So, I am in love with the House of Illustration. Tucked behind the bustle of Kings Cross, if you can fight your way through the Potter-ites to find it, do it. Not only does it have a tiny yet really nice little shop of all things illustration, (I forget I have no use for postcards every time I enter) it also regularly holds events, talks and lectures by some of the industry’s finest. I’ve many a fond memory of various events in those walls held by editorial artists, to kids book creators, comics artists and beyond, all of which have been top quality. It’s genuinely a great place to get yo’self an education in all things drawn so if you’ve not already, do head it up.

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What made this venue a great counterpart to the AOI exhibition, is that the HOI not only champions the contemporary, but regularly pays great homage to the history of illustration. It didn’t let me down on my visit either, where, on paying my affordably £7.00 ticket price, I was treated to a charming, unexpected exhibition of Quentin Blake originals.

I suppose it’s not that surprising, given that this goliath of British children’s illustration IS the founder, but even so the short and sweet collection was a bit of a delight. Seven Kinds of Magic, is a collection of Blake pieces in which he approaches themes of surrealism and magic. In all honesty, Blake’s work doesn’t tickle my fancy on too frequent a basis, but it’s truly impossible to deny the life and charm of his scrawled characters and bonkers scenarios. I also firmly believe that any insight into the workings of a practitioner and acknowledgement of how they approach a given subject is all of great relevance. Especially when they have been rather a large part of your childhood experience of pictures. And especially when they are so joyfully mad.

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On top of this emporium of scribbled musings, another small room housed yet more Blake magic, this time in lieu of the BFG‘s contemporary comeback. Having spent many a sleepless night, terrified I would be consumed by an unfriendly giant (well, what’s any British childhood without a bit of Dahl related trauma?) this did result in a pang of nostalgic excitement. hoi_16

This small collection housed originals from the book, as well as previously unseen images that were cut from the end product. A sneak peek into the production and alternative results of something we’ve all become so familiar with. I’m not the kind of gal who is hugely fussed by the idea of seeing ‘The Original’. For me, if illustrations  were made for a book, those printed pages in their intended context ARE the real versions. Authenticity of ink on a page matters not in my eyes, BUT new images I’ve not seen before? Illustrator interpretations of scenes I was previously left to imagine myself? Well that is something worth taking a peek at.

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And it is a bit of a joy, even on a wall. It’s around until October, so if you were/are/could be a fan of the book, you really should stop in.

BUT, these surprise delights from an illustration wizard were not actually what had drawn me to the HOI that sunny, August afternoon.

Instead an exhibition of Soviet children’s books, the aptly named A New Childhood had caught my interest hook, line and sinker.

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You offer me a chance to compare story, illustration style and subject of historical children’s books to that of the contemporary, I’m there. (#booknerd) You invite me to take a look at the picture books of another culture, particularly those in a time of historical poignancy I’m THERE. You invite me to observe the impact of political unrest on the children’s book market I am ALL OVER THERE. And you appease my love of classic, European and Russian design, casually throw out names like El Lissitzky and charge me less than a tenner? My friend, you got yo’self a date.

It was one of those events that made me sad I wasn’t still in education and having to write a dissertation any time soon. I was mortified the taking of pictures was forbidden, it was a fabulous collection of incredible design work. Stylised illustration in glorious synergy with typography that screamed history.

Given it’s historical relevance, it’s not surprising that the arrangement of the exhibition felt like a classical museum format. The glass topped tables and large, formal information cards gave the collection a treasured, ‘getting cultured’ vibe that took me back to being a kid in a museum. That knowledge that you were, in NO WAY going to EVER be trusted to touch such relics. It’s so strange then, to imagine the pre and post revolution children of Russia, pouring over this very collection I stared at through four inch thick glass, in their beds and with their parents; in the same, slouched manner you see kids on beanbags in Waterstones, sinking into Charlie and Lola with the corners folded in and their imaginations racing.

I understand, and in this case totally appreciated, the serious tone of such a valuable collection being treated with this respect. I liked that I felt I was in a museum. I felt I was being taught. I felt I was really Getting History, but it was so apparent how many millions of miles away from the real world of kids books it was. I wasn’t a reader here, I was an observer.

Yeah okay, the fact I can’t read Russian probably had something to do with that too, I can’t deny it.

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And I learned a lot. Aside from the joy I found in discovering the artistic impact of the curious rules of such a strict regime; the banning of all things folklore, the mistrust of anthropomorphism and the, almost comical differences this appears to have with our contemporary, Western picture book climate, I learned facts. I followed the roots of contemporary illustration, the way style and content spread throughout nations, the impact such poignant work has on my current market. The transition of design. The movement of character. It was a delight to see and compare where things came from, to where they are. And, importantly as always; context. Society changes, and the creative output moves too.

To ban fantasy, to encourage production, function and mechanism and place importance on becoming USEFUL adults, is a far cry from the values explored in plenty of picture books today. Such a no-nonsense regime had to drill function into young minds. I suppose for many, it’s brainwashing. To remove a child’s imaginative capability by way of focusing on the reality. The list of banned, damaging or unsuitable children’s output then, seems so obscure to us now.

But that obscurity to our society, is of course where the lesson lies. Call it brainwashing if you will, but children’s books do shape minds, which, in turn, shape people.

We may not like to consider it brainwashing now, perhaps because the societal scenario is not nearly so extreme, perhaps because one political body is not perceived to be outwardly in charge of the entire output, perhaps, and most importantly, because we don’t disagree with the topics of discussion. Either way, we must always be aware that picture books are significant in shaping thoughts, societal codes and values. All works of fiction, media and art in all  their forms, impact directly on the belief system of a person.

I don’t think this is necessarily negative. This is how cultures are formed. We have to define and express shared values to an extent, in order to co-exist without pandemonium. Without getting too pretentious, children’s books, along with all other entertaining consumables, help to define the core of societies.

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A New Childhood was a brilliant collection of texts spanning across a foreign period of revolution. It, as all museums do, celebrated and examined a point in history, be it within or outside of our cultural code of conduct. It was an extreme reminder that context is everything and to always be aware of the power of judgements communicated in all media; specifically those intended for the young. First impressions, after all, can be hard to renegotiate.

The House of Illustration is a good place for picture loving yet gallery-wary people like me to explore these, white-walled environments. It takes things I love, like illustration; imagery designed for a purpose, for a brief, for a text and displays it out of it’s original context. The intent is to perhaps elevate it to something more cultured than it is? To remove the dirty, money aspect, and witness the creation as an example of higher art?  It’s a mark of true acceptance of commercial artists, once looked down on by the community of higher artists, into the realms of something greater.

I appreciate the notion, because I (obviously) appreciate the illustrator. I think they SHOULD be appreciated. I do think they should get credit for the work they do. Cover artists of novels should have their name on their work, and picture book artists should be acknowledged as co-authors. In my, humble opinion, that is.

Where I think I fall away from the idea of an exhibition space, is that I don’t view it as any more valuable. I don’t like looking at things on a wall or displayed on a grey floor. I still don’t really rate the experience, even after the array of, frankly, phenomenal collections I experienced. I suppose I personally, don’t really feel it does the illustrator that many favours.

I like to see things, not in their original state, not to appreciate solely the mark on the page or the craftmanship of the line (although there’s no doubt it can be sensationally impressive) in a blank environment where all that matters is its existence. I’m more excited by it In situ. I want to see an illustration next to the text it was made for. I want to see the design of the spread as a whole and how that designer has impacted on the illustration. I want to see the results of every stage of production working their respective magic to create the final output. Arguably of course, that’s why it’s important to see the illustration alone, in a case; to truly experience how it’s placement has changed. That’s why I’ll continue to check out places like this, to get a rounded experience of what illustration is, why it is more than simply drawing.

But don’t expect me to be as excited. I still prefer my pictures printed in pages, tangible, touchable, smellable. Interacting with spine and paper stock and text in the musty library, in the messy play room, in the classroom that smells like pencil shavings.

This is my kind of illustration, and my kind of design. I loved my visit to the HOI, it was an enlightening and beautiful museum and I know I’ll return. Thanks for trying to appease my inner gallery lover, but if you need me, I’ll be on the floor, elbows deep in a beanbag.

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The Exhibitionist Part One: Another crack at galleries

I’ve said it once, I’ll say it again. I don’t really like art galleries. Sorry.

I am just not the kind of “artist” who feels at home in white walled spaces. They feel contrived to me, simply rooms full of art stuff, created for the sake of art stuff. They just feel a bit…I suppose pointless; an exercise in self indulgence in it’s purest form. Sorry, that’s the designer and commercial artist in me, but I’m just not comfortable there. Give me a comfortable chair, give me a library, a bookshelf, a store front, a magazine. Give me a space that has it’s own purpose, adorned perhaps with relevant, beautiful things and that’s quite a different matter. But art displayed just as art? I struggle.

But I was in London, I had time to kill and I had a plan. Time to try again. To make friends with the gallery, the home of aesthetic culture. The home of ART.

So I did.

Let’s not get carried away or anything, I started small. I decided on two locations of contemporary illustration. Illustration is my passion. Illustration usually has a brief. Illustration is safe.

Baby Steps.

So I hit up the AOI World illustration Awards, currently on display in Somerset house. I do actually love this venue so already we were in a good place.

And it was free. Winner.

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I have to say, there was a lot of great talent to explore there. And by that, I mean there was a lot of book illustration and drawings that look like things 🙂

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The exhibit was probably what I’d consider the perfect size, two and a bit, uncluttered rooms of nicely spaced work, one central strip of glass cabinets. Easy and digestible and not at all so large it dragged. It wasn’t overwhelming, it didn’t make my heart sink and it didn’t remind me I am a failure of an “artist” for getting bored in an environment I should, by association, consider home.

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The work all had a chance to breathe, which felt relevant in a collection like this, because everything on display HAD been created for a purpose, be it a book, an advert, a poster or jacket; it meant you could take each item in and consider it in the context for which it was made. I like a bit of snappy analysis of a work’s strengths. I think this is my downfall with fine art. I can’t assess it because I don’t understand why it’s been made.

Sorry, I’ll stop moaning.

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For a collection of contemporary illustration, the AOI exhibit was a really nice one. It reminded me of Pick Me Up back in the day, before it got a bit tired (the last few years have not impressed me so much- I WILL STOP MOANING NOW) and I noted a good few new gems to keep an eye on, as well as simply enjoying the work of those I already admire. Yes, I noted the works of many already adorn my shelves.

I know it’s a bit of a cop out in my exploration of galleries, but the highlights for me were mainly book and design based illustration. Big talents like John Burton showed up and the lovely works of the brilliant Lesley Barnes, Alex T Smith and Chris Haughton were as  enjoyable as ever, both in browsing and poster forms.

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I actually liked the repetitive set up of the show a lot, in which the same pieces were encased on walls, in cabinets and on shelves. It gave it a ‘catering for all’ kind of vibe; the work in it’s raw form, the work as a ‘work of art’ and the work in the context of other work next to it. Each variant allowed the illustration to speak in a new context.

With the book being the best one. Obviously.

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I liked a lot of the work on display, both by the known and the unknown. I can’t say I think it was a broad collection in terms of the style of work, which did surprise me given that is was a collection from all over the world. Even across cultures and geography, a lot of the drawing styles, use of shapes, colour spoke in a similar language; but realistically I suppose it was unlikely to be anything else. This exhibition was always meant to be a snapshot of contemporary illustration which, like anything, is at the mercy of fashion. With so much exchanging of cultures, information and products through the magic of the internet, I suppose it’s very reasonable that fashions are less confined by borders than ever before. It was a shot of the trendy world of illustration in the here and now. And I, personally, really liked it!

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If you are hankering for a bit of tasty, picture based joy and are in the area, I would suggest checking it out. It won’t take your whole afternoon, it won’t cost the earth and it likely will inspire you, even just that teeniest bit to go and make some nice things. Or at least look at them.

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Hat’s off to you Somerset House, the AOI and all your contributers. The awards were well deserved, there was very little that I felt fell short of acclaim; naturally not all to my personal taste, but I suppose that is, in part, the joy of the visual arts.

And I really do appreciate, support and have enjoyed the hard work from those working to champion the humble illustrator. There’s an awful lot of talent on this earth and events like this do their bit to try and push those, often fresh faced, creators into the limelight they really do deserve.

So, was I cultured yet? I decided I wasn’t. I’d really enjoyed my speedy mosey through the contemporary illustration scene, but it wasn’t quite enough. Onward to part two of my afternoon exhibitioning…

 

Book Club Review – Footpath Flowers

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Author: JonArno Lawson

Illustrator: Sydney Smith

Publisher: Walker Books

Those of you who have touched base on this blog before, may remember my comparatively recent, tentative steps into social media and the resulting fun I was having finding my feet on Twitter. Well this weeks review is a refreshing wildcard, courtesy of this digital exploration. Basically I won a thing! Horray!

Yep the Gods of the internet randomiser were kind to me, and have landed me (via the very good -incredibly generous- people at the review site; PictureBooksBlogger) today’s lovely little number from Jon Arno Lawson and Sydney Smith; Footpath Flowers.

I was delighted to win, having spied the quirky, inked artwork somewhere on the web before and found then that I was immediately drawn to it’s comic-book esque format.

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A keen observer and participant of both the indie comic and picture book scenes myself, I’m always intrigued to see the style of comics that make it into the hands of the mainstream UK publishers. In recent years comics have well and truly risen from niche market or weekly funnies, right up to the ranks of ‘established art form’ and I’m delighted to see how often they’re now employed within the children’s market to tell all manner of stories; not simply those featuring pants and tights.

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Sidewalk Flowers is a perfect tale to utalise the format of sequential art. Wordless and serene, the book follows a simple journey of a girl and her father. Narration without the fall back of words is no mean feat, yet the simplicity of the tale allows the little nuances and characterisation of Smith’s artwork to really shine, bringing the subtle beauty of Lawson’s tale to life.

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During their stroll, as Dad goes about his business, we see our own Little Red Riding Hood gathering flowers and weeds from all the available avenues of the city setting, distributing them as she deems fit.

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It feels wonderfully reminiscent of my own, and – no doubt – many other, past and present, childhoods; gathering sticks on walks with the family and finding hidden games and treasures in between the act of walking. It captures that childlike focus on the minutia and their, often surprising attentiveness to their surroundings.

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The joy of this childhood freedom is highlighted by the father, who is unaware of his daughter’s growing treasure trove and little acts of kindness; he sees only the tasks at hand – caught up in the world of adult errands and the day to day.

 

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Smith’s art is beautiful. Full stop.

Told from the eye level of our keen-eyed protagonist, the story captures the land of a child’s city through cropped compositions. We don’t know what dad is up to particularly – that’s just boring adult stuff, the real joy is way below eye level.

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This monotone, city setting is a stunning visual juxtaposition to the wild garden Little Red builds as she unearths her surprising bouquet from all around her. The urban palette of black and white with the splash of vibrancy from our little gardener’s jacket begins to fill with the whole inky, spectrum as the bouquet grows and the innocent delight of childhood generosity is distributed around the city.

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The joy of giving breathes life into the monotone city.
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Lucky recipients of the wild flowers of Red’s gatherings. The joy of giving has spread into a full colour world by the time she returns to her own, warm garden.

Now I’ve said it before that I am in no way adverse to the use of digital means in creating children’s books; and art in general. However, I am more than happy to admit that there is something refreshing in Smith’s seemingly unedited art style. Ordinarily a fan of collage and texture, here is nothing but ink, and the scanned traces of the watercolour blotting paper beneath it. It has a traditional charm as a result and feels almost vintage; perhaps in part due to the subject matter causing me to reminisce so much about my own errand-adventures!

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The story is enclosed by a set of beautiful, garden end papers.

Either way, it’s a good reminder of the increasingly artistically-inclusive picture book market. Both traditional and contemporary approaches to art are finding their way into our children’s hands, offering more and more of a comprehensive understanding of imagery. For little eyes still making sense of things, this access to such a expansive and varied gallery within the bookshelf seems pretty exciting to me.

Print is dead? Give over.

But the joy of this book, certainly for me, isn’t as shallow as pretty pictures. As ever in picturebooks, the narrative within the image is the battery of it all and Sidewalk Flowers is a beautiful celebration of discovering just that: the narratives and hidden joys found within the little things.

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For little kids it’s a reaffirmation of the world’s hidden games, and for us, older kids, it’s a reminder to stay observant. Errands are boring. But they don’t have to be, I for one would like to spread a little bit of colour.

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Book Club Review – Never Tickle a Tiger

 

Welcome back to book Club! And by book club, I mean let’s-all-listen-to-what-I-have-to-say Club!

With books!

But seriously, if anyone has any comments on any of these reviews, be it agreements, disagreements, analyses of their own, or criticisms of my thoughts, I’d really, seriously love to hear them. You can leave a comment below, or you’re welcome to contact me via email, twitter or facebook.

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Author: Pamela Buchart

Illustrator: Marc Boutavant

Publisher: Bloomsbury

 

So, this time we have the colourful cautionary tale from Pamela Buchart and Marc Boutavant: Never Tickle a Tiger. I’m really not trying to play favourites here, but this is yet another gem brought to you buy Bloomsbury. Hat’s off to those guys who have been really busting out a cracking number of great titles in the past few years that are clearly right up my street! I promise to diversify more in the future, but this one really does need a mention!

A charming and vibrant cautionary tale, Never Tickle a Tiger opens with our introduction to Izzy; a fidgeting, wiggling, jiggling little girl who just CAN’T sit still! Warned and chided by jut about everybody around her, Izzy is that well-meaning but incomprehensibly over excitable little person we are ALL only too familiar with.

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Her character is brilliantly identifiable to children and parents alike, brought to life with Buchart’s lyrical and whimsical writing style.

Cascading lists of alliterative, onomatopoeic adverbs capture the bounding lightness of our little protagonist, the text and images dotted around the page in an erratic layout that brings movement and life to the spread.

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So what’s a girl to do when she simply can NOT sit still, no matter how many times she’s told? The story explores the angel and devil complex in near-on every kid’s head. The trained desire to be good and do as you’re told, VS the often much stronger curious NEED to explore the scenario in question yourself, learning your own lessons – for better or for worse – first hand. Because would it REALLY be so bad…to tickle a tiger…?

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What’s so wrong with fidgeting anyway?

The page design of the pivotal moment is inspired. Short, snappy lines of text and sequential images capture and build Izzy’s sneaky, creeping movement to the forbidden enclosure, only to stop it dead with one full spread on her arrival.

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Boutavant’s illustration here is perfect. The drama of discovery is communicated through the uncharacteristically bare enclosure, the focus being on the majestic, sleeping beast within. Izzy is poised mid-movement in a comically ‘rabbit in headlight’ pose as she gazes up, feather in hand at the forbidden tiger.

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As in all good cautionary tales, the fallout from Izzy’s failure to heed her warnings is rewarded with a hilarious domino effect of chaos; throwing the entire zoo into utter disarray.  The pull out, quadruple spread format here echoes the expansive explosion of madness and offers a great bit of novelty tactility and you open out the full extent of Izzy’s mistake.

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The vibrancy of character we’ve come to expect from Boutavant’s work really emphasises the fun of this bright and whimsical tale. Although less neon in palette than previous illustrations we’ve known him for, each animal in the zoo has a real attitude and life that compliments and enhances the madness.

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Their reactions to Izzy’s unquenchable curiosity are delightfully humorous and  cheeky details such as a little, hidden hedgehog give every scene a little added magic, independent of the main story.

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Small and adorable, find the hedgehog adds an additional game to the reading experience.

Ultimately, Never Tickle a Tiger is a great bit of fun. I love Buchart’s lyrical text and the life and hart it brings to such simple narrative format and Boutavant’s bright and playful illustrations really capture the sense of quirky madness. A brilliant cautionary tale for all those little Izzys thinking of embarking on some tiger tickling any time soon.

… not that they’ll listen anyway, of course.

 

 

Book Club Review – Have you seen Elephant?

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Author & Illustrator: David Barrow

Publisher: Gecko Press

 

I happened across this little number while meandering through the web on an unrelated mission. I was drawn in to the, seemingly quite small, release by the curious nature of Barrow’s illustrations. He too has joined the ranks of the dirty digital army, utalising thick and organic looking textures and splatters into a digital landscape.

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As I’ve said in previous posts, purists flying the flag of ‘authenticity’ may scoff at this process, but let’s get real. The results are still beautiful and times have changed. FOR THE BETTER.

The illustrative possibilities are endless with the mouse at your fingertips, and I think Barrow has done a cracking job of proving that the digital pencil case is more than capable of capturing the heart, charm and ‘happy accidents’ (however contrived) of any paintbox.

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In it’s entirety, Have you seen Elephant is a story about finding elephant. Job done.

‘Would you like to play hide and seek?’

In the enigmatic manner we expect and embrace from children’s tales, Barrow makes no attempts to establish or formulate the origins of our curious playmate’s visit. And rightly so, the logic and reason behind why or how is joyfully irrelevant. This is about a game, be it real or imaginary…or even somewhere in the middle.

All that matters is that we, alongside our un-named seeker, have been very kindly invited to play in the very first spread. So who are we to decline?

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Singing to the same tune as the talented  and oh so trendy Klassen et al, Barrow’s approach to narrative is one of ‘less is more’. The short narrative follows a classically simple procedure as our seeker explores room to room of his house, hunting desperately for the cunning elephant, eluded by the creature’s hide-and-seek prowess.

‘Not under here…’

As ever, the richness of humor is what keeps this simplicity fresh, and Barrow keeps the hand-scrawled text sparse, instead building our little character’s personality visually, with the pleasing offset of image against word.

Offering a delightful frustration for readers, the incompetence of our seeking protagonist is developed through his mutterings of clueless asides, establishing his oblivion to the, very clearly positioned, elephant in the room.

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Our dear little seeker searches in entertainingly improbable places. There’s a really innocent charm about searching for a large elephant in a small plant pot. Not sure I could get away with it though.

The addition of a silent, clued in mutt, the classic device of the underappreciated sidekick, emphasises our protagonist’s inability even more, boosting the funnies through a little sub narrative for the keen eyed reader to decipher. Similarly, the latter introduction of animals, hidden in the minutia of the environment deliver more seeking opportunities for readers.

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‘I can’t find elephant’

I would have loved to have seen this quality developed further, with background creatures and interactions turning each page into it’s own game of hide and seek. As it stands, a lot of the spreads push the less is more approach a little too far, with only the base components of our hider and seeker and simple environmental touches.

For me, this dilutes the humor of the search when little more other than the core joke is offered from spread to spread, again and again.

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The invitation spread is a favourite of mine. I love the little, background  suggestions of family life that set the scene perfectly, while offering snippets of detail about our seeker’s life.

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That said, the art IS beautiful. Those textures bring a coarse, accidentally-on-purpose mess to the environments and an inspiring set of sunset colour palettes that don’t fail to delight as every page turn reveals a new one.

While the palettes are vibrant, the simplicity of content in every spread create a quietness that carries through the book. Environmental calmness is not at all a bad thing, although here there’s almost an overarching feeling of darkness within the artwork that seems to lean towards lonesome.

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The scenes feel quiet, almost a tad morose and there’s a suggested lack of interest from our seekers family in him or his activities. Heavy lighting in the artwork create dark, almost sinister shadow work which, while beautiful, seem to extract the ‘fun’ from the game.

Even the opening invitation from the elephant, drawn with a   very close positioning of elephant’s face as he warns us ‘[he’s] very good’, does have an almost cautionary air to it.

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‘I must warn you though, I’m VERY good.’

Don’t get me wrong, I’m in no way against a darker quirk in children’s books.

My position is that children are pretty hardy and more than capable of deciphering and enjoying more ‘grown up’ looking art styles, a bracket in which I would place Barrow’s work .My only concern in the context of this book, is that I can’t tell if it’s supposed to feel quite so lonely or if the heavy colours and sombre emptiness are simply a slight misjudgement.

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Either way, it is still a joy to look at. And any sense of the macabre are certainly circumvented by the book’s delightful close. Elephant is a gracious playmate and and the tale remains a great example of good, clean fun of children’s games.

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Perhaps if you were desperate to attribute a deeper moral to the tale, you could expand on the lonesome family unit. The lack of human companionship that drives you towards animals.

You could spend your time getting caught up in the perception of elephant’s surprising, opening boast that ‘[he] is very good’. You could assert not to judge a book by it’s cover, that even thought he is large, perhaps he IS good at hiding.

You could say a lot of things.

You, know. If you wanted to.

Personally, I wouldn’t trouble yourself with it. For me I can’t find Elephant is most enjoyable when seen as exactly what it should be. A  good bit of old fashioned, nonsensical fun.

And isn’t that what being a kid is about?

Book Club Review – Kiss it Better

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Author: Smriti Prasadam-Halls

Illustrator: Sarah Massini

Publisher: Bloomsbury

 

I think it’s important to begin here by noting that a book with the word ‘kiss’ in the titles, adorned with hearts and cuddly bears is not my usual choice when browsing the shelves of the kids section.

It’s pretty fair to say I am not the saccharine type, and tend to learn towards picture books that come with a sense of quirk, adventure, humour or, dare I say it, even a touch of darkness?

That said, I was drawn to this one initially by the beautiful, elegantly drawn characters on the cover. The quality finish on the thick, textured paperback, coupled with the tasteful touch of the title foil, made it feel like a product of real quality when I then came to pick it up. I was sold on the cover, and began to flick through it.

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Kiss it Better is exactly book you expect it to be. Classically inoffensive, tender, loving and heart warming throughout, its what I tend to think of as the perfect grandparent book. Prasadam-Hall’s cutesy poem, champions the power of  family and love in conquering the day to day perils of young childhood in a series uplifting and feel-good couplets. From bruises and bumps to the fears of leaving mum and the playground gates, Prasadam-Halls  captures a number of common fears for little ones, reassuring readers that strength and comfort is always found the family unit.

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Geared up towards the 2-4 age bracket, I think Prasadam-Halls does a great job at tackling the most relevant problems for children of this age, taking the first steps towards independence. Personally, I’m not quite sold on the use of poetry, catching one or two slightly forced rhymes that, for me push the limits of sweetness just a little too far into the diabetic danger zone. It’s, naturally, a thing of taste, but I can’t help but think of the parents reading this one at bedtimes, and feel it could be something of a one sided relationship. Completely relevant for the child, yet potentially not quite such a pleasure for the adult of the bedtime routine.

But of course, heartwarming tales of reassurance ARE most necessary for children who do worry, and Kiss it Better  does a great job at preemptively tackling young-perils with Mumma bear’s aresenal of types of kisses for every occasion.

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Its also important to note that, while a touch on the ‘safe’ end of things, I enjoy this book. I really enjoy it, for the very same reasons I picked it up that afternoon in that bookshop in Bath, against all my cynicism.

Massini’s illustrations are utterly delightful. Her anthropomorphised characters are charmingly animated protagonists, filled with character. Their faces are simple, yet so elegantly drawn that they effortlessly communicate all the genuine love of Prasadam-Halls’s tale. In a book where the poem gives nothing away as to the character specifics, Massini’s interpretations seem to perfectly capture the heart of the story.

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Their charmingly vintage wardrobe and soft palette gives a real personality to the book that elevates it visually to something a little more interesting than classical cuteness. Or I’m just a sucker for a bear in a hat.

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Similarly, texture and rough painterly marks give the images a real depth and bite that set them aside from the more classical, painterly illustrations you may associate with a traditional children’s book. The rough and ready touches add a quirky, offbeat life to the pages and the clearly considered-to-look-unconsidered scatterings of hearts bring it all together into an image that’s contemporary while still drawing from suitably, classic influences, all in the soft, pastel palette.

The location of our story are also moved along within the visuals, as we follow our family from the fairy tale, forested home, to the schoolyard to family holidays away at the beach. This seems a really strong visual device for the book, not only to allow for Massini to emphasise her retro styling (these bears know how to ROCK that rockabilly bathing suit look) but more importantly to allow the strength of the family unit to shine. Childhood woes can appear anywhere, but wherever they may be, a kiss from Mum, a hug from Dad or a bit of generosity from your sister will save the day.

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On top of the strength of the illustrations, I think the design overall is equally well executed, with a good combination of full page imagery interspersed with spot, sequential images. The flow of the book is kept well without pages becoming too samey and the fluid layout of the text gives creates a real movement in the reading that carries you through the poem with ease and grace.

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Sure, Kiss it Better may not be my cup of tea entirely, but it’s a beautiful and heart warming read without a doubt. The prefect ‘safe’ book for the picture book traditionalists and romantics among us, this title knows it’s audience and I think the dependence on family values is something we can all appreciate.

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While there are increasing numbers of boundary-pushing, quirky and, dare I say, post modernist picture books gracing the contemporary market, I think it’s really important that more classic, uplifting reads like this one remain on our shelves. The world of the picture book market is vibrant and versatile and it’s vital it continues to offer something for every taste. Especially when the quality it this high.

Well I’m suitably warm and fuzzy, who’s for a hug?

 

Emotional Animal ABC gets its first customer review on Amazon!

I love the customer review function on Amazon. I use it all the time when I’m buying and researching things and I ESPECIALLY love it when it’s all about ME!

Having only gone live a short time ago, I’m super pleased to say that the very first (and I do hope not the last!) review has come in for the Emotional Animal ABC book I illustrated for the psychologist, Renee Jain, Published by GoZen Ltd.

It is SUPER positive and really is a great first response for the little book, so a huge well done to everyone involved (including me!) involved in the project! I really hope more people enjoy the book as much as our first fan did!

Read the full review here!