Design is a Dandelion

by Janice Lovoos

{published 1966, by Golden Gate Junior Books}

I was in Seattle a few weeks ago. You remember the library, right?

I went to Pike Place Market, because of course, but also because flying fish and dudes in galoshes are a spectacle worth checking out. And I also wanted to get up close and personal with some bluefin tuna eyeballs.

There’s a real reason for that, trust me. But they didn’t have any tuna, so this happened: Screen Shot 2013-05-17 at 11.51.46 AM

There’s not a real point to that story except that I adore that tweet (and those two Favoriters) and it’s what I did just before I wandered into Lamplight Books.

It’s like I stole something. Fifteen dollars? Sixty quarters? It still has that magical, musty smell of hidden secrets. And it was mine in a fraction of a split second. That fast.

Because…behold:

 I’m in love. From the texture of a porcupine, to the form of mountains and weeds, to the repetition inside a squash, design is everywhere.

Design is a Dandelion ends like this, with truth and a charge:

Design is everywhere. It is for everyone. All you have to do is to learn to see it. Open your eyes and take a big, long look.

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Take Me Out to the Yakyu

byAaron Meshon

{published 2013, by Atheneum Books for Young Readers, and imprint of Simon & Schuster}

When I first heard of this book at SCBWI LA last summer, it was some art on a slide at the front of the room. I was in the back row, and I was hooked. I’ve been waiting for it ever since, and I love that its release was in eager anticipation of baseball’s opening days.

{Sidenote: Cano + Jay-Z? Interesting collaboration. I’ll always be a Chipper Jones girl myself. Middle school scrapbooks and everything. Really.}

But this book. It’s a visual juxtaposition of baseball traditions in America and Japan. A global pastime.

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On the left, a kiddo goes to the park with his Pop Pop, and on the right, he hangs out with his ji ji.

{Sidenote again: I had the world’s greatest Pop Pop – no offense to our bright eyed young’n in this book. He always called that Chipper Jones fella Skipper.}

The sweet story arc socked me in the gut a little, because of my own fondness for family trips to the baseball stadium. Aaron Meshon’s saturated colors that are full of life vibrate with the energy of a game. The American blues and the Japanese reds contrast beautifully on each spread, too.

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One of the reasons I love baseball so much is its balance of sheer intensity and quiet, and the roar of a rallied-up crowd. The composition of the illustrations echo that rise and fall – some are fully rendered to the edge, color spilling off the page. Some are contained in a quieter space, bordered by white.

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And I love this – a subtle repetition of a circle, the stitched up sphere of a baseball. It even shows up on the back of the title page. I’m blanking on my librarian vocabulary – the verso, is it? That part where all the important cataloging information lives.

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It’s here, too. Those cheeks!

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And this – baseball is exhausting.

So get this book. It’s a home run. (And a slam dunk, too – even though that’s the wrong sport.)

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Penguin and Pinecone

by Salina Yoon

{published 2012, by Walker & Company, an imprint of Bloomsbury}

And! Penguin has a very cute blog!

I’ve been meaning to write about this book ever since I met Salina at an event in December. December!

2013 has been a time warp, but at least I’ve been surrounded by lots of great books.

I love that tiny Penguin and his dapper orange scarf Salina drew for me. (She’s just as adorable, too.) And this might be one of my favorite title pages of all time. The bed of pine needles, the heart…sweet, sweet foreshadowing.

Salina’s compositions are all striking, with a calming sense of space and subtle mood-building color palettes.

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Remember the Rule of Thirds? Salina’s ground to sky ratio is a beautiful example of it. And I love that she chose the cool and crystal clear sky to be the dominant feature. It’s a wide open space, but Penguin still feels chilly and at home.

Every shivering pinecone needs an orange scarf right? Which is certainly a lovely thing to use as clothing for a penguin, but doesn’t it also magnify how freezing Penguin’s world is? It makes sense, but it also plunges the reader into that arctic blast.But since pinecones don’t live in the frigid air, Penguin sets off with his friend on a sled to return him home.And this spread. So pretty, and so sweet. There’s that bed of cozy needles from the title page, see? The contrast in worlds here is magnified by the color. Penguin’s home was cool and blue, and Pinecone’s neighborhood is warm with yellows, browns, and greens. Later, Penguin returns in search of his friend, and this left hand side of the most perfect spread is a mashup of their two worlds’ color. And I can’t show you the right. Cause, spoiler alert! But it’s spectacular and you just have to see for yourself. Trust me.

It’s easy to fall in love with Penguin and Pinecone, and since you probably already have, be on the lookout for two more of their adventures! Penguin on Vacation is coming in April, and Penguin in Love is coming before the end of the year. So dear, so perfect, so chilly.

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Dangerously Ever After

DangerouslyEverAfterby Dashka Slater, illustrated by Valeria Docampo

{published 2012 by Dial Books for Young Readers}

I’m not usually too keen on princess books. I just…don’t get the appeal? And the pink? And the super sweetness?

Princess Amanita is my kind of girl, though. She’s prickly and fearless, and she has a killer hairdo. (I’ll overlook her love for cats. They still make me nervous.)

Remember Dashka Slater? She’s the brain behind a story full of words like stink lilies, heckle-berries, and sentences like ‘It sounded like a troop of monkeys playing tubas.’

Fun, lively, and funny, much as l imagine her to be.

And Valeria Docampo has a sweeping style that evokes a monster sense of wonder in me. This illustration that welcomes you to her website is breathtaking.

Her pictures are a perfect frame for Princess Amanita.

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Shape is just any space that is enclosed by a line. They can be defined and pointy triangles, or round and comforting circles. Or perhaps just the space that’s left behind, in between two lines.

Princess Amanita is thorny on the outside, interested in danger and sharp things. So her hair resembles a scorpion tale, and her dress is outfitted in what looks like metal. Even her garden is prickly.

But she is sweet and friendly underneath it all, so the softness in the curves of her face and dress serve as a subtle reminder to us.

I love this spread. Gradually from left to right, the vines grow from pointy triangular thorns to the muted and organic lines of the Prince’s kingdom. Similar shapes tell a very different story.

And I adore these tiny frames that are dotted through the pages. The shape for these spot illustrations is bound by both curved and straight lines. She’s not all sweet, but she’s not all danger either.

Because really, aren’t we all a bit like that?

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Oh No, Little Dragon!

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by Jim Averbeck

Remember him? When I asked him what he would be if he wasn’t an author/illustrator, he said “extraordinarily irritable.” Ha.

Oh No, Little Dragon! is an endearing little book. Just look at his eyes! So sweet. That’s a little dragon with a spark in his heart, no question about it.

This is a story about fire, love, and kisses from a mama. And Jim Averbeck’s pictures capture the magnitude of this childlike search for sparkle.

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When I teach, one of my favorite things to show students is this little video. Not only does it visually define the fundamentals of design, but it is also a tiny piece of art itself. Pay close attention to the bit on line. (And also the adorable accent of the narrator!)

From the video: “Line has direction, weight, gesture, spirit, gestalt, life.”

And that’s what I think about when I look through the pages of Oh No, Little Dragon! — the life and spirit of the lines.

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See how the foreground and background lines are weighted the same? They are approximately the same width and texture, but the background lines recede because they are more transparent. Similar lines in different spirit create space in the illustration.

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The lines of phooooooshing on these pages have a clear direction and sense of animation across the spread. Love that. Can’t you just hear and feel Little Dragon sputtering through this book?

I won’t even tell you how much I love the soot-colored line drawings on the endpapers.

Nope.

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A Penguin Story

{by Antoinette Portis}

I heard Antoinette Portis speak this summer at SCBWI in LA and she was a sheer delight — funny, smart, and so willing to share her creative process. I missed an opportunity to pick up a signed copy of this book earlier this summer at Once Upon A Time in Montrose, and have been kicking myself ever since. I’d say soaking up her picture book brain in person was a worthy replacement.

Take note of these bright, beautiful endpapers. We’ll be back for these.

Edna, our penguin heroine, sees endless white, black, and blue. She doesn’t complain or act like a brat about it, but she is convinced there is something else. And off she goes in search of it.

I LOVE LOVE LOVE this illustration. She’s been shimmying up and down icebergs and sliding long distances through the Antarctic snow, and she won’t give up. And here, you, the reader, can rally for her because SHE’S RIGHT! She doesn’t know it yet, but you do, and even though you loved her before, you love her a billion times more now.

Can we talk about color again? I know we just went all tetradic-fancy-color-scheme-boom last time, but I just can’t help myself.

Ok, so after Edna flies through the air with some fish bones, she lands face first in a snow drift. NEXT TO THE SOMETHING ELSE. (Sorry for yelling, it’s just so…something else!) The page turn here is out of control amazing, so I’m not gonna spoil it for you. But trust me, when she digs her little penguin head out of this bank and realizes where she is and what she sees? Exhilarating.

This something else is orange. ORANGE. Of course! Antoinette Portis could have made it red or yellow or green, but orange! The Antarctic scientists have orange gear, orange planes, and orange homes.

Colors in a complementary color scheme exist directly opposite one another on the color wheel. Here, blue and orange. Edna’s real world and her something else. Design schemes utilizing complementary colors are especially vibrant and strong, because when paired together, each makes its complement appear brighter. And isn’t this Edna’s realization? That her world is brighter because she knows of the something else? What Antoinette Portis did visually to carry this story is nothing short of dazzling.

But why is this endpaper green? No spoilers. Read this one, watch this one, experience this one.

Iggy Peck, Architect

Iggy Peck, Architect is my new favorite-must-be-on-top-of-the-book-pile picture book. I’m four years late to the Iggy Peck party, but better late than never, right? Maybe they saved me some leftovers. Written in lilting and whimsical rhyme by Andrea Beaty and illustrated by the quirky and grin-inducing David Roberts, Iggy Peck is now up there on my favorite character list. Ramona Quimby is at the top of that list, and I think she and Iggy would be mischievous rascally pals.

I discovered that the book designer is Chad Beckerman, the Art Director at Abrams Books for Young Readers and Amulet Books. He has an fascinating blog, Mishaps and Adventures, where he blogs about his book design process. There is a section devoted to the evolution of a book cover, where he takes you through the process from beginning to end, and it is so very interesting. I would like to have coffee with Chad Beckerman. I would ask him a million billion questions and be hopped up on the high test fuel. Or tea, and I would daintily hold out my pinky finger and try to be quieter. Maybe I would even listen to him instead of spewing out my own book design obsessions.

Maybe. But I’m getting ahead of myself.

Young Iggy Peck is an architect and has been since he was two,

When he built a great tower – in only an hour-

With nothing but diapers and glue.

On the illustration to accompany this first page? Iggy’s round and rosy booty cheeks. Always good for a chuckle, even at 33 years old. Iggy’s poor parents have no idea how to contain his artistic expressions, and allow him to play and dream and construct all of the dreamlike things he can. When Iggy hits second grade and meets his nemesis teacher, Miss Lila Greer, she stifles his love for architecture. Why? Poor Miss Greer had a slightly unfortunate experience at a tall, tall building when she was younger. {Being stuck in an elevator with a French circus troupe did nothing to comfort her from this.} But on a class field trip to Blue River Pass, a footbridge collapses, and Iggy Peck and his architecture skills are needed (and wanted) to save the day.

     

Element of design: CONCEPT

Concept is a big and amorphous design notion to describe. It is the look and feel, the overall direction, and the abstract point hanging out behind the main point. Concept is related to unity. In visual arts, concept is conveyed to the viewer through mood and meaning. Every graphic element throughout a piece conveys SOMETHING. That something is the concept. In Iggy Peck, Architect, every small detail of the illustration and design presents just a little more of Iggy’s love for architecture and order.

The crane lifting the word Iggy right up over the word Peck.

Architecture tools as skyscrapers on the title page. Grid lines, reminiscent of blueprints.

Typography as structure on the title page.

Even Iggy’s parents are structural and statuesque.

And though shorter, so are his classmates. Note Iggy in the background, standing on his chair. (See…BFFs with Ramona. Easily.)

A dejected Iggy, surrounded by imposing white space, after he was told to squash his architecture dreams by Miss Greer.

The texture of the creek makes it feel rigid and strong, just how Iggy likes, while retaining its watery look.

The typography collapses on the page to reflect the action of the footbridge collapsing. Smart. Clever. Fun.

Spoiler Alert. Miss Greer walking to safety on Iggy’s bridge, reimagined as one of the greatest engineered bridges rather than the sticks and stones and underpants that they really used. Perhaps this is what Iggy sees in his architecture, perhaps it is what Miss Greer sees as her valiant rescue. I like to think they both see the same.

Dear Iggy Peck, surrounded by his heroes. And quite happy about it.

The Red Book

The Red Book is a 2004 Caldecott Honor book by Barbara Lehman. Despite being an incredible honor, I picked this image of the cover unmarred by the regal silver medal. It is so bare and yet so rich, which is exactly what you can expect to find inside.

Plus, how adorable is she all bundled up and ready to run? Don’t you want to know why she has such a hop in her skip in her jump?

The Red Book is entirely told in pictures. Wordless books are such a unique platform from which to tell a story. I find that my impatient and anxious self slows down immensely in order to breathe in the life of each and every page. Each page alone is a work of art, and when connected together, they take you, the picture-reader, on a journey. A little girl finds a red book buried in the snow while journeying to school, and upon close inspection, realizes she is seeing a boy far far away…reading a red book…about HER. Prepare to get your Inception on in a sweet and childlike way when you read this book. {Spoiler Alert: Leo DiCaprio does NOT appear in The Red Book. You can leave your totem in your pocket.}

Element of design: Color

This is an obvious choice, right? I mean the book is called THE RED BOOK after all. So…duh. But let me back up for a minute because one of the things I love most about the design of this book is the window motif. The geometric skyline on the title page shows a cluster of buildings with an endless pattern of windows. Each illustration is also contained in a pane, leaving white space surrounding it. It’s really designed brilliantly to enhance the wordless-book-in-a-wordless-book concept.

But, color. The Red Book. It’s visible on nearly every page, and clearly the unifying subject throughout. Let’s go back to Psychology 101. {Or not really. That means sophomore year at William and Mary, when I had enormous eyebrows and way too many Dunkin’ Donuts.} The infamous psychologist Carl Jung said, “colors are the mother tongue of the subconscious.” While that may be a tad too heavy for your morning-coffee-blog-reading-routine, let’s just consider color psychology for a moment. Understanding even a little of this branch of color theory is helpful as a designer. The question to consider is whether colors affect our emotions as a result of their cultural or societal meaning, or whether there is a direct and more intrinsic link. Say what? This: traditionally, red is associated with danger, anger, passion, power…STRONG feelings. Similarly, color diagnostic tests have been used since the 1940s to determine how personal color preferences affect an individual’s personality traits. Crazy, right? People who choose red as their favorite color are most likely defiant and aggressive, but warm and exciting.

So do the blah-blah-blah-important-words-about-color-psychology even matter? Maybe. Probably, even. What if this was The Blue Book? Or The Black Book? You might have very different feelings towards it. But, red! Bright, warm, inviting red!

I want to crawl inside that book.

Black and White

Two Caldecotts in a row? Why not?! I am no one to argue with the people who pick the best of the best. There’s just one thing I dislike about David Macauley’s book: It’s too tall. In my library days {Go Lions}, my shelves were too short for it to fit correctly. With the spine facing up towards the top of the shelf, it always got lost in the stacks. Kids passed right by the magic. Solution: permanent residence on top of the shelf. You know, where all the brand-new-shiny books are staged and beg you to grab them and take them home? I replaced the mylar protection {nerdy librarian speak} many, many times. I guess my kids just had good taste.

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Who doesn’t love a deal? Four stories for the price of one? Wait a minute, are those people waiting for this train? Wait a minute, is that a cow or that guy? Wait a minute, how do they know how to make newspaper hats, too?

Wait a minute, why are these pictures colliding?

Element of design: Negative Space

David Macauley’s nonlinear storytelling must rely on design to communicate, because his visuals are as necessary as his words. So many principles of graphic design are at play in the layout of this book. I particularly love the complex lines that both constrain and connect the four quadrants. {The gutter serves as one of the lines. So cool.}

Black and White jostles your reading experience and forces you to examine both what is there and what is not there. Just like negative space.

Negative space refers to the area around an explicit form in an image. Often, the space left behind is just as important to the image and becomes the main compositional element. The play between positive and negative space allows the eye to both rest and travel in a picture.

Surely you have seen images like these:

What are we ‘supposed’ to see? Are multiple interpretations of an image ok in art? If we are confused and intrigued and surprised, kudos to the designer.

The vase or the face? The robber or the holstein?

Good question.

Princess Hyacinth (The Surprising Tale of a Girl Who Floated)

Welcome!  Since my intention here is to celebrate the design of the picture book, I thought I would start with a favorite.  Molly Leach, who is married to illustrator Lane Smith, is the designer of my all time favorite, The Stinky Cheese Man.  She designed this quirky and sweet story written by Florence Parry Heide, and illustrated by Lane Smith.

Princess Hyacinth floated.  Unless she was attached to something, or weighted down, she just floated — up, up, up.

The King and Queen sew weights into her gowns and pebbles into her socks so that she stays put on the ground.  But when she isn’t royally dressed in her heavy, heavy crown, up she floats.  And she’s slightly bored because of all the time she spends tethered to the ground.  She outwits a ballon man and flies high in the sky, but she floats up a bit too far.  Can she be rescued?  And if so, will she be tethered to the ground forever?

Element of design: LINE SPACING

Unequal spacing between lines creates a dynamic layout.   What would otherwise be evenly spaced out lines can be static and oftentimes boring.  Consciously spacing lines in interesting ways can add action and further support the story.

This story is perfect for utilizing line spacing.  Princess Hyacinth floats up, and up, and up.  The way the lines are laid out on the page add to the feeling of floating up.

This spread is so beautiful and successful because the layout of the text perfectly matches the illustration of Princess Hyacinth floating high above the King and Queen.

Even though Princess Hyacinth is floating up, the text is at the very bottom of the page.  She is just as tiny as a balloon, and the sky is so expansive.  We are able to feel the scale and how high she is because of the layout of the text on the page.  The details of line spacing in this book add to the visuals of this story.  Princess Hyacinth doesn’t float in an orderly or structured manner, so the words to describe her shouldn’t either.  The spatial relationships of the words to the pictures adds so much beauty and interest.

I’ll leave you with this interview with Lane Smith and Molly Leach.  Such top notch creatives, and so inspiring!