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Visual Symbolism as Meaning-Making

Cheri Anderson, University of Arizona, Tucson, Arizona

Book Cover for My Little Round HouseThe final book we will share is My Little Round House written and illustrated by Bolormaa Baasansuren with an English adaption by Helen Mixter, published by Groundwood Books, 2009. Boloramaa Baasansuren graduated from the Institute of Fine Arts in Mongolia and also studied children’s book illustration in Italy and Russia. She has won numerous awards including Distinguished Best Book of Mongolia and prizes at the International Competition of Illustration (Teario/UNICEF) for her illustrations in Tales on Horseback, the Grand Prize at the international book competition of the National Cultural Festival in Fukuoka, Japan for The Legend of Wives’ Hair, and The Grand Prize at the Noma Concours for the Japanese edition of My Little Round House. She lives in Ulaanbaatar, Mongolia. Boloramaa Baasansuren’s extensive firsthand knowledge of Mongolian culture radiates throughout her extraordinary illustrations.
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Conveying Meaning through Visual Elements

Cheri Anderson, University of Arizona, Tucson, Arizona

Book Cover from The Imaginary GardenThis week we want to share the picture book, The Imaginary Garden, written by Andrew Larsen, illustrated by Irene Luxbacher, and published by Kids Can Press, 2009. The author and illustrator are both from Toronto where the illustrator lives in an art-filled apartment, an important context for this Canadian picture book. Reviews of this book need to discuss the use of color and texture as connected to the themes of imagination and relationships.
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Cultural Issues in Reviewing Illustration

Cheri Anderson, University of Arizona, Tucson, Arizona

Book Cover from Alego

Our focus this week is a picture book from Canada, Alego, written and illustrated by Ningeokuluk Teevee and published by Groundwood Books/House of Anansi Press, 2009. Ningeokukluk Teevee is an interesting young artist from Kinngait (Cape Dorset), home to the great tradition of Inuit art. The book provides an authentic introduction to the life and world of an Inuit child. Our analysis of the illustrations in this book raises issues about illustration styles that are specific to a particular cultural group and how those styles might be read by viewers outside that cultural tradition.
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Evaluating Illustrations in Reviews of International Picture Books

Cheri Anderson, University of Arizona, Tucson, Arizona

This July blog highlights the need to include more in depth discussion of the illustrations within picture books in published book reviews. The blog entries will each discuss an award-winning international picture book as an example of the kinds of discussion that should be occurring more frequently in reviews.

Illustrations create a depth of meaning within picture books that are essential to the reading experience for that book. Unfortunately most picture book reviews give only basic information about the illustrations, usually just the medium or technique. Although the medium used by illustrators and the techniques for how they create the art is important, many other visual aspects elements are equally as interesting. The complexity of illustrators’ decisions as they go about their creative processes is fascinating. Some of these decisions are also made by the art directors at the publishing companies. Visual decisions such as the book format, size of the book, font selection, and scale add to meaning making for the reader. Through skillful use of visual elements, such as color, line, space, and perspective, the illustrator engages the emotions of the reader and directs the reader’s attention. Just as important as the written text in establishing authenticity in picture books is a close examination of the illustration style and whether it indicates a particular location of where the story takes place and whether the style and the details in the images are authentic to the culture depicted in the book. Further, the illustrations need to be examined for possible stereotypes or inaccuracies.
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