Beautiful visual storytelling from the Warli tradition, hand-crafted by local artisans.
From Indian author Gita Wolf and the fine folks at Tara Books, makers of beautifulhandcraftedbooks, comes Do! — a lovely set of action pictures rendered in the elegant minimalism of Warli tribal art. Each page depicts a basic verb (“work,” “play,” “fight”), illustrated in a style that blends the white-paint-on-brown-paper technique we’ve seen in Nurturing Walls, a pictogram-driven visual language reminiscent of the ISOTYPE of the 1930s, and a word-image minimalism akin to Blexbolex’s.
Like all Tara books, his gem is silk-screened by hand in Tara Books’ fair-trade workshop in Chennai. The pages themselves emit the rich earthy smell of artisanal craft, printed on rough recycled craft paper the color of paper bags and painted in a style that mimics the lime and chalk artwork traditionally created by the women of the Maharashtra region on walls washed with cow dung, mud, and paint.
Each image in every copy of Do!, more than an educational introduction to English verbs for young readers, is thus an original print to delight the creatively voracious of all ages.
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From the Periodic Table to Craigslist, or what the greatest graphic designer of all time has to do with Moby-Dick.
After last week’s look at the 11 best illustrated books for (eternal) kids of 2011, this year’s best-of series continues with a look at the finest art, design, and creativity books of 2011 — tomes that capture your imagination and encapsulate the richest spectrum of what it means to be a thoughtful, eloquent visual creator.
Marie Curie is one of the most extraordinary figures in the history of science. A pioneer in researching radioactivity, a field the very name for which she coined, she was not only the first woman to win a Nobel Prize but also the first person to win two Nobel Prizes, and in two different sciences at that, chemistry and physics. In Radioactive: Marie & Pierre Curie: A Tale of Love and Fallout, artist Lauren Redniss tells the story of Curie through the two invisible but immensely powerful forces that guided her life: Radioactivity and love. It’s a turbulent story — a passionate romance with Pierre Curie (honeymoon on bicycles!), the epic discovery of radium and polonium, Pierre’s sudden death in a freak accident in 1906, Marie’s affair with physicist Paul Langevin, her coveted second Noble Prize — under which lie poignant reflections on the implications of Curie’s work more than a century later as we face ethically polarized issues like nuclear energy, radiation therapy in medicine, nuclear weapons and more.
It’s also a remarkable feat of thoughtful design and creative vision. To honor Curie’s spirit and legacy, Redniss rendered her poetic artwork in cyanotype, an early-20th-century image printing process critical to the discovery of both X-rays and radioactivity itself — a cameraless photographic technique in which paper is coated with light-sensitive chemicals. Once exposed to the sun’s UV rays, this chemically-treated paper turns a deep shade of blue. The text in the book is a unique typeface Redniss designed using the title pages of 18th- and 19th-century manuscripts from the New York Public Library archive. She named it Eusapia LR, for the croquet-playing, sexually ravenous Italian Spiritualist medium whose séances the Curies used to attend. The book’s cover is printed in glow-in-the-dark ink.
Full review, with more images and Redniss’s TEDxEast talk, here.
Saul Bass (1920-1996) is one of the most iconic and influential visual communicators of the 20th century — possibly the most famous graphic designer of all time — having broken out of the conformity of the 1950s to shape the aesthetic of generations of designers and animators with his bold and lively film title sequences and graphic design. (His insights on creativity and advice on doing quality work are also a timeless treat for any creator.) Saul Bass: A Life in Film & Design is the first and highly anticipated definitive monograph on the creative visionary. Designed by Bass’s daughter, Jennifer, and written by renowned design historian Pat Kirkham, the formidable 428-page volume features more than 1,400 of Bass’s illustrations, many never before published, that offer an unprecedented look at his legacy and the creative process behind his most celebrated posters, title sequences, and logo designs.
I want everything we do to be beautiful. I don’t give a damn whether the client understands that that’s worth anything, or that the client thinks it’s worth anything, or whether it is worth anything. It’s worth it to me. It’s the way I want to live my life. I want to make beautiful things, even if nobody cares.” ~ Saul Bass
Publisher Laurence King put together this epic video of the making of the book, to give you a sense of the scale and ambition of the project:
From his iconic title sequences…
… to his unforgettable posters…
…to his legendary logos for mega-brands like AT&T, Quaker Oats, and United Airlines, the monograph contextualizes his most significant works and analyzes each film project individually to dissect its graphic elements and motifs.
You might recall Sophie Blackall, known for her distinctive children’s book illustration, as one of the brains and brushes behind these brilliant design makeovers of the mundane. Since 2009, she has been capturing Craigslist missed connections in her delightful illustrations and unmistakable style of Chinese ink and watercolor, brimming with charm, romanticism and soft whimsy. Now, Blackall joins our runninglist of blogs so good they became books: Missed Connections: Love, Lost & Found collects the best of these poetic visual what-if love stories, each told in a shorthand “missed connection” ranging from the lyrical (I Gave You My Umbrella but the Wrong Directions) to the warm-and-fuzzy (We Shared a Bear Suit) to the shared love of the tragicomic (Ice Skating in Central Park We Collided).
Every day hundreds of strangers reach out to other strangers on the strength of a glance, a smile or a blue hat. Their messages have the lifespan of a butterfly. I’m trying to pin a few of them down.” – Sophie Blackall
Both playful and profound, Blackall’s delicate drawings — many of which are available on Etsy as prints — immortalize the ephemeral with a wink and a wand, breathing into these mundane encounters a kind of magic that transforms them into open-ended modern-day fairy tales.
In the book’s fascinating introduction, Blackall explores the history of missed connections, both her personal fascination with them and our larger collective memory across time:
For centuries the lovelorn have carved messages in tree trunks and rolled letters into bottles and cast them out to sea. On the 19th of January, 1862, the following appeared in The New York Times:
‘If the young lady wearing the pink dress, spotted fur cape and muff, had light hair, light complexion and blue eyes, who was in company with a lady dressed in black, that I passed about 5 o’clock on Friday evening in South Seventh Street, between First and Second, Williamsburg, L.I., will address a line to Waldo, Williamsburg Post Office, she will make the acquaintance of a fine young man.’
Some of the illustrated messages were written by their smitten authors moments after the encounter took place, and others decades later. Some are written to an impossible love interest, a person famous or dead or forbidden for one reason or another, and some lament the loss of a familiar lover. Hopeful, pensive, lonely, drunken, optimistic — they span the entire spectrum of human emotion.
These days, news of the Middle East is a frequent staple of our daily media diet, but these media portrayals tend to be limited, one-dimensional, and reductionist. We know precious little about Arab culture, with all its rich and layered multiplicity, and even less about its language. Cultural Connectives, a fine addition to my favorite books about language from my friends at Mark Batty, aims to bridge this gap though a cultural cross-pollinator in the form of a typeface family designed by author Rana Abou Rjeily that brings the Arabic and Latin alphabets together and, in the process, fosters a new understanding of Arab culture.
Both minimalist and illuminating, the book’s stunning pages map the rules of Arabic writing, grammar and pronunciation to English, using this typographic harmony as the vehicle for better understanding this ancient culture from a Western standpoint.
The book jacket unfolds into a beautiful poster of a timeless quote by Gibran Khalil Gibran, rendered in Arabic:
We shall never understand one another until we reduce the language to seven words.” ~ Gibran Khalil Gibran
Let’s be clear: I want this book to be useful to you. There are many great how-to books and biographies out there, and even more gorgeous collections of current and classic work to awe and inspire. But looking at catalogs of artistic success won’t make you a better artist any more than looking at photos of healthy people will cure your cold. You’ve got to take action!” ~ Stefan G. Bucher
Though Bucher designed the book as a sequence, it also works choose-you-own-adventure-style and, as Bucher is quick to encourage, asks for hands-on interaction — dog-earing, marginalia, doodles. “If you keep this book in mint condition, I’ve failed,” he says.
We are all different people, but we face a lot of the same questions. The point of this book is to give you lots of questions you can use to look at your life — in a new way, with a different perspective, or maybe just in more detail than you have before — so you can find out how you work, what you want to do, and how you can get it done in a way that works for you. Specifically.” ~ Stefan G. Bucher
Data visualization is a running theme of visual literacy here, and Manuel Lima has been one of its biggest champions since 2005 when, shortly after graduating from the Parson School of Design, he launched VisualComplexity — an ambitious portal for the visualization of complex networks across a multitude of disciplines, from biology to history to the social web. This year, Lima released the highly anticipated Visual Complexity: Mapping Patterns of Information — a rigorously researched, beautifully designed, thoughtfully curated anthology of the world’s most compelling work at the intersection of these two relatively nascent yet increasingly powerful techno-cultural phenomena, network science and information visualization. It’s a winsome addition to these essential books on data visualization and a powerful tool in your visual literacy arsenal for navigating the Information Age.
Philipp Steinweber and Andreas Koller
Similar Diversity, 2007
A visualization of the similarities and difference between the holy books of five world religions: Christianity, Islam, Hinduism, Buddhism, and Judaism.
Knowledge Cartography, 2008
Screenshots taken from ATLAS, an application developed to explore the possibilities of applying cartographic techniques to mapping knowledge. ATLAS allows users to list their biobibliographic references and to map them according to four main rendering modes: semantic, socio-relational, geographic, and temporal.
From the sacred meaning of trees and their age-old use as classification systems to the science behind network thinking to the stunning and visually expressive products of cutting-edge digital visualization, Lima — author, designer, and deep thinker — not only explores the multiplicitous allure of networks, but also crafts an important analog artifact to contain these rapidly vanishing digital ephemera. (You know, in case you were wondering why computational creativity should belong in a book.)
As the book gained shape, it quickly became clear that it was not just about making the pool of knowledge more accessible, but also saving it for posterity. As I reviewed projects to feature in the book, I was astounded by how many dead links and error messages I encountered. Some of these projects became completely untraceable, possibly gone forever. This disappearance is certainly not unique to network visualization — it is a widespread quandary of modern technology. Commonly referred to as the Digital Dark Age, the possibility of many present-day digital artifacts vanishing within a few decades is a considerably worrying prospect.” ~ Manuel Lima
From the Bible to Wikipedia edits to the human genome, the gorgeous and thought-provoking visualizations in the book will make you look at the world in a whole new way, and the insightful essays accompanying them will vastly expand your understanding of the trends and technologies shaping our ever-evolving relationship with information.
Brain and Body
Alesha Sivartha, The Book of Life: The Spiritual and Physical Constitution of Man, 1912
Density Design: Mario Porpora
The Poverty Red Thread, 2008
A map of the poverty line in Italy organized according to family typologies (number of family members), and further categorized by location (the north, center, or south of Italy).
Writing Without Words, 2008
A chart of the structure of part one of Jack Kerouac's On the Road (1957). Each splitting of the branch into progressively smaller sections parallels the organization of the content from chapters to paragraphs, sentences, and words. Each color relates to one of eleven thematic categories created by Posavec for the book (e.g., travel, work and survival, sketches of regional life).
A rendering of the relationships between Baker and individuals in his address book generated by examining the to, from, and cc fields of every email in his in-box archive.
Visualizing the Bible, 2007
A map of the 63,779 cross-references found in the Bible. The bar graph on the bottom represents all of the books in the Bible, alternating between white and light gray for easy differentiation. The length of each bar, representative of a book's chapter and dropping below the datum, corresponds to the number of verses in that chapter. Each arc represents a textual cross-reference (e.g., place, person), and the color denotes the distance between the two chapters where the reference appears -- ultimately creating a rainbowlike effect.
I began painting maps to invent my own complicated narrative about the way I see and feel about the world. I wanted to list what I know about the world from memory, from impressions, from media, and from general information overload. These are paintings of distortions.” ~ Paula Scher
A foreword by Simon Winchester contextualizes Scher’s maps as cultural objects, and an introduction by Scher herself offers a peek inside the mind and personal history that sprouted her cartographic creativity.
A Paula Scher map is both detached from reality and yet at the same time becomes an entirely new reality, one that manages to be useless and essential all at once. What follows here is cartography as living art — fun and whimsical, obsessively made, and knowingly offered, lovingly, to be read… Maps such as these are never ever to be replaced by the cold blinking eyes of the GPS. Use them, enjoy them, glory in their madness.” ~ Simon Manchester
Cherry on top: The cover jacket folds out into her legendary colorful map of the world.
The World, 1998
NYT Transit, 2007 (left); Manhattan at Night, 2007 (right)
Originally featured, alongside Scher’s fantastic 2008 Serious Play talk, here.
“We now live in a world where information is potentially unlimited. Information is cheap, but meaning is expensive. Where is the meaning? Only human beings can tell you where it is. We’re extracting meaning from our minds and our own lives.”
It would be ridiculous to try to express by curved lines moral ideals, the prosperity of peoples, or the decadence of their literature. But anything that has to do with extent or quantity can be presented geometrically. Statistical projections which speak to the senses without fatiguing the mind, possess the advantage of fixing the attention on a great number of important facts.” ~ Alexander von Humboldt, Political Essay on the Kingdom of Spain, 1811
Visual Storytelling: Inspiring a New Visual Language, from the fine folks at Gestalten, gathers the most compelling work by a new generation of designers, illustrators, graphic editors, and data journalists tackling the grand sensemaking challenge of our time by pushing forward the evolving visual vocabulary of storytelling.
Vahram Muratyan: Paris vs. New York: L’obsession
Peter Ørntoft: Information Graphics in Context, a project illustrating a ranked list of social concerns in Denmark
Gregory Ferembach: The Movies Flowcharts
Carl Kleiner's 'Homemade Is Best' IKEA cookbook
Road Map of the Eye, part of Katja Günther's Cartographic project visualizing information by mapping relevant elements
From hand-drawn diagrams to sophisticated data visualization, by way of graphic design, illustration, photography, and information architecture, this magnificent volume of contemporary and experimental visual storytelling explores what it means to convey information with equal parts clarity and creativity, speaking with remarkable aesthetic eloquence about the things that matter in the world today.
Every field has some central tension it is trying to resolve. Visualization deals with the inhuman scale of the information and the need to present it at the very human scale of what the eye can see.” ~ Martin Wattenberg in The Economist, 2010
Wataro Yoshida: Composition of Mammals, a fictional exhibition using fictional places to study the anatomy of mammals with displays of taxidermy and skulls and accompanying informational posters about the complex structure of each mammal's body
Lucas Van Vuuren: Lunch, a thorough decision tree
David Garcia Studio: MAP 001 Antarctica, part of MAP (Manual of architectural Possibilities), a publication that aims to merge science and research with architectural design
Originally featured, with plenty more images and excerpts, here.
THE MAD FOLD-IN COLLECTION
Al Jaffee’s magnificent anti-authoritarian fold-ins, gracing the inside covers of every MAD magazine since 1964, have been a longtime favorite around here. For the past half-century, Jaffeee, just as brilliant today at 90, has been poking fun at the established political order with his clever satirical cartoons that made no topic, ideology, regime, politician or pop star safe from skewering as the reader simply folds the page to align arrow A with arrow B and reveal the hidden gag image. Now, from Chronicle Books comes The MAD Fold-In Collection: 1964-2010 — the definitive treasure trove of Jaffee’s genius, a formidable four-volume set featuring 410 fold-ins reproduced at original size, each thoughtfully accompanied by a digital representation of the folded image so you wouldn’t have to actually fold your lavish book.
Sudoku (July 2007)
Second place (October 1969)
The first Super Bowl was in 1967, and it gave football a new visibility, threatening baseball's pre-eminence.
Covering up Whitewater (September 1994)
The Whitewater scandal haunted the Clinton White House for years.
On the campaign trail! (December 1968)
A nasty campaign, with Hubert Humphrey against Richard Nixon, in the midst of a nasty war.
The smell of dead meat (July 1995)
Another election looming another bunch of hopefuls.
Stop Art - Empty frame is big improvement (September 1965)
The art world was full of new ideas in the mid-1960s, not all of them resonating with everyone.
Essays by Pixar animator Pete Docter, New York Times cultural critic Neil Genzlinger and Pulitzer-Prize-winning cartoonist and author Jules Feiffer contextualize Jaffee’s work and the tremendous influence it has had on generations of artists, comedians and ordinary people.
Since 2009, former high school English teacher and self-taught artist Matt Kish has been drawing every page of the 552-page Signet Classics paperback edition of Herman Melville’s iconic Moby-Dick, methodically producing one gorgeous, obsessive drawing per day for 552 days using pages from discarded books and a variety of drawing tools, from ballpoint pen to crayon to ink and watercolor. Kish’s ingenious project joins our runninglist of blogs so good they became books with Moby-Dick in Pictures: One Drawing for Every Page, collecting his magnificent lo-fi drawings in a 600-page visual masterpiece of bold, breathtaking full-page illustrations that captivate eye, heart, and mind, inviting you to rediscover the Melville classic in entirely new ways.
I’ve read the book eight or nine times […] Each and every reading has revealed more and more to me and hinted tantalizingly at even greater truths and revelations that I have yet to reach. Friends often question my obsession with the novel, especially since I am not a scholar or even an educator any longer, and the best explanation I have been able to come up with is that, to me, Moby-Dick is a book about everything. God. Love. Hate. Identity. Race. Sex. Humor. Obsession. History. Work. Capitalism […] I see every aspect of life reflected in the bizarre mosaic of this book.” ~ Matt Kish
'…Jonah feels the heralding presentiment of that stifling hour, when the whale shall hold him in the smallest of his bowel's wards.'
Ballpoint pen on paper, September 17, 2009
'But look! here come more crowds, pacing straight for the water, and seemingly bound for a dive.'
Colored pencil and ink on found paper, August 6, 2009
'Hearing the tremendous rush of the sea-crashing boat, the whale wheeled round to present his blank forehead at bay; but in that evolution, catching sight of the nearing black hull of the ship; seemingly seeing in it the source of all his persecutions; bethinking it - it may be - a larger and nobler foe; of a sudden, he bore down upon its advancing prow, smiting his jaws amid fiery showers of foam'
Ink on watercolor paper, January 22, 2011
'…and when the ship was gliding by, like a flash he darted out; gained her side; with one backward dash of his foot capsized and sank his canoe; climbed up the chains…'
Acrylic paint, colored pencil, ink and marker on found paper, September 30, 2009
'Thus goes the legend. In olden times an eagle swooped down upon the New England coast, and carried off an infant Indian in his talons. With loud lament the parents saw their child borne out of sight over the wide waters.'
Ink and marker on found paper, October 5, 2009
'…hell is an idea first born on an undigested apple-dumpling…'
Crayon, ink and marker on found paper, November 24, 2009
''I will have no man in my boat,' said Starbuck, 'who is not afraid of a whale.''
Colored pencil, ink and marker on found paper, December 19, 2009
'Moby Dick bodily burst into view! For not by any calm and indolent spoutings; not by the peaceable gush of that mystic fountain in his head, did the White Whale now reveal his vicinity; but by the far more wondrous phenomenon of breaching. Rising with his utmost velocity from the furthest depths, the Sperm Whale thus booms his entire bulk into the pure element of air, and piling up a mountain of dazzling foam, shows his place to the distance of seven miles and more. In those moments, the torn, enraged waves he shakes off, seem his mane; in some cases, this breaching is his act of defiance.'
It’s hard nottoloveEdward Gorey, mid-century illustrator of the macabre, whose work influenced generations of creators, from Nine Inch Nails to Tim Burton. Between September 1968 and October 1969, Gorey set out to collaborate on three children’s books with author and editor Peter F. Neumeyer and, over the course of this 13-month period, the two exchanged a series of letters on topics that soon expanded well beyond the three books and into everything from metaphysics to pancake recipes.
This year, Neumeyer opened up the treasure trove of this fascinating, never-before-published correspondence in Floating Worlds: The Letters of Edward Gorey and Peter F. Neumeyer — a magnificent collection of 75 typewriter-transcribed letters, 38 stunningly illustrated envelopes, and more than 60 postcards and illustrations exchanged between the two collaborators-turned-close-friends, featuring Gorey’s witty, wise meditations on such eclectic topics as insect life, the writings of Jorge Luis Borges, and Japanese art.
In light of his body of work, and because of the interest that his private person has aroused, I feel strongly that these letters should not be lost to posterity. I still read in them Ted’s wisdom, charm, and affection and a profound personal integrity that deserves to be in the record. As for my own letters to Ted, I had no idea that he had kept them until one day a couple of years ago when a co-trustee of his estate, Andras Brown, sent me a package of photocopies of my half of the correspondence. I am very grateful for that.” ~ Peter F. Neumeyer
Equally fascinating is the unlikely story of how Gorey and Neumeyer met in the first place — a story involving a hospital waiting room, a watercolor of a housefly, and a one-and-a-half-inch scrap of paper with a dot — and the affectionate friendship into which it unfolded.
There’s a remarkable hue to Gorey’s writing, a kind of thinking-big-thoughts-without-taking-oneself-too-seriously quality. In September of 1968, in what he jokingly termed “E. Gorey’s Great Simple Theory About Art,” Gorey wrote these Yodaesque words:
This is the theory… that anything that is art… is presumably about some certain thing, but is really always about something else, and it’s no good having one without the other, because if you just have the something it is boring and if you just have the something else it’s irritating.”
From the intellectual banter to the magnificent illustrations, Floating Worlds, is quite possibly the most heart-warming art-and-so-much-more book this year, and certainly among the all-time favorites of my personal library.
Art of the Hobbit — a magnificent volume celebrating the 75th anniversary of The Hobbit with 110 beautiful, many never-before-seen illustrations by Tolkien, ranging from pencil sketches to ink line drawings to watercolors.
As Little Design As Possible: The Work of Dieter Rams — a fantastic new book by British design historian Sophie Lovell, titled after the tenth principle of iconic product designer Dieter Rams, “Good design is as little design as possible,” and exploring with unprecedented intimacy both his designs and his ethos, the creative process and the cultural legacy of his elegant, timeless work.
Everything Is Going To Be OK — an absolutely lovely pocket-sized anthology of positive artwork from a diverse lineup of indie artists, designers and illustrators, the second most popular book among Brain Pickings readers this year.
PANTONE: The Twentieth Century in Color — exploring 100 years of the evolution of color’s sociocultural footprint through over 200 works of art, advertisements, industrial design products, fashion trends, and other aesthetic ephemera, thoughtfully examined in the context of their respective epoch.
* * *
A big part of what makes great art and design books great is how timeless they are — why not catch up on last year’s finest?
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From evil stepmothers to Edward Gorey, or what Richard Dawkins has to do with Hindu deities.
It’s that time of year, the time I turn around and start sifting through the year behind with my best-of fine tooth comb in an exercise of meta-meta-curation. Having a well-documented soft spot for children’s books, I’ve decided to begin with my favorite 2011 treats for young readers, ranging from the classic to the quirky to the impossibly charming. Enjoy — you might find it hard not to feel like you want to be a kid again.
THE FAIRY TALES OF THE BROTHERS GRIMM
The fairy tales of the Brothers Grimm, part of UNESCO’s Memory of the World Register for the preservation of cultural documents, have been delighting and terrifying children since 1812, transfixing generations of parents, psychologists, and academics. The Fairy Tales of the Brothers Grimm is an astounding new volume from Taschen editor Noel Daniel bringing together the best illustrations from 130 years of The Brothers Grimm with 27 of the most beloved Grimm stories, including Cinderella, Snow White, The Little Red Riding Hood, and Sleeping Beauty, amidst artwork by some of the most celebrated illustrators from Germany, Britain, Sweden, Austria, the Czech Republic, Switzerland, and the United States working between the 1820s and 1950s.
The new translation is based on the final 1857 edition of the tales, and stunning silhouettes from original publications from the 1870s and 1920s grace the tome’s pages, alongside brand new silhouettes created bespoke for this remarkable new volume.
An introduction by Daniel explores the Grimms’ enduring legacy, from the DNA of fairy-tale scholarship to the shadow play and shape-shifting at the heart of the stories, and a preface to each tale frames it in its historical and sociocultural context.
The Grimms’ were a vital engine for a whole new caliber of artistic activity […] Suddenly, artists across the Western world could make a living illustrating books, and they found a solid foundation for new work in the heroes and princesses, talking animals, dwarfs, and witches of fairy tales. The tales were an important part of each technological advancement along the way, and the best of this visual iconography still influences artist, art directors, filmmakers, and animators today […] Even as our modes of reading continue to change with new technologies, taking a measure of the interactivity of text and image in past treasures helps us understand the changing landscape of reading in the future.”
And in case you were wondering why Taschen, purveyors of high-end and often risque art and design books, are doing a children’s book, they’ve got a thoughtful answer:
Taschen recently celebrated its 30th anniversary. We have many readers who have come of age with us and are now have their own families. These readers are interested in beautifully produced children’s books that take seriously a child’s exposure to stories and images with depth and historical meaning. We wanted The Fairy Tales of the Brothers Grimm to embody our mission to create meaningful books that are timeless yet original, modern but classic.”
Earlier this year, we featured The Night Life of Trees — an incredible handmade book based on Indian mythology, crafted by a commune of artists, designers and writers in South Indian independent publisher Tara Books’ fair-trade workshop in Chennai. Among Tara’s many other treats is the exceptional I Like Cats — part lovely children’s picture book, part priceless showcase of work by some of the best-known tribal and folk artists from various Indian traditions. Each rich, textured page is screen-printed by hand and features a different cat. (In the vein of this week’s inadvertent running theme of cats — as a piece of Edison’s marketing genius, a key to the future of computing, and now an ambassador of Indian artisanal culture.)
Alongside the images are simple but clever verses of author Anushka Ravishankar for a light touch of playful poetry.
As if the book itself wasn’t enough of a jewel, each copy comes with a frameable screenprint.
Like other Tara Books gems, I Like Cats comes in several limited-edition runs of 2000 copies, each hand-numbered on the back and featuring a different artwork on the front cover.
UPDATE: I Like Cats is now sold out in the U.S. — the fine folks at Tara have put together an offset version in its stead.
Who doesn’t love Oliver Jeffers, illustrator extraordinaire and maker of favorite children’s books? This season, he’s back with another treat: Stuck, an absurdly funny “tale of trying to solve a problem by throwing things at it.”
And as with all of Jeffers’ books, buried in his childlike illustrations and light-hearted storytelling is a deeper metaphor for the blessings and curses of the human condition.
In this lovely trailer, Jeffers reads the book himself:
The Phantom Tollbooth isn’t merely one of the most celebrated children’s books of all time, it’s also one of those rare children’s books with timeless philosophy for grown-ups, its map of The Kingdom of Wisdom a profound metaphor for curiosity and the human condition. This month marks the 50th anniversary of the beloved classic and there’s hardly a better celebration than The Phantom Tollbooth 50th Anniversary Edition — a magnificent volume featuring brief essays from renowned authors, educators, and artists, including Philip Pullman, Suzanne Collins, Jeanne Birdsall, and Mo Willems, alongside the complete original text and illustrations of the book and the now-legendary 35th anniversary essay by Where The Wild Things Are author Maurice Sendak.
Packaged in the classic original art, stamped and debossed on the case with a transparent acetate jacket, the book is an absolute treasure to touch and to hold, exuding in a tactile way the intangible magic that fueled a half-century of heart-warming enchantment.
Here’s a lovely short documentary about the book’s masterminds, author Norton Juster and illustrator Jules Feiffer, reminiscing about the unusual spark of their collaboration and the original creative process behind the work:
Juster’s new picture book, Neville, is also out this year and absolutely delightful.
From French illustrator Blexbolex — whose poetic meditation on time, impermanence and the seasons you might recall from earlier this month — comes People, a continued exploration of the world building on Seasons. Each charmingly matte and papery double-page spread features a full-bleed illustrated vignette that captures the human condition in its diversity, richness and paradoxes. From mothers and fathers to dancers and warriors to hypnotists and genies, Blexbolex’s signature softly textured, pastel-colored, minimalist illustrations are paired in a way that gives you pause and, over the course of the book, reveals his subtle yet thought-provoking visual moral commentary on the relationships between the characters depicted in each pairing.
Every Thing On It is a lovely new book of 137 never-before-seen poems and drawings, only the second posthumous anthology published since Silverstein’s passing in 1999. (We originally featured it the day it launched, alongside a rare 1973 animated adaptation of The Giving Tree narrated by Silverstein himself.)
A spider lives inside my head
Who weaves a strange and wondrous web
Of silken threads and silver strings
To catch all sorts of flying things,
Like crumbs of thought and bits of smiles
And specks of dried-up tears,
And dust of dreams that catch and cling
For years and years and years . . .
With beautiful illustrations by graphic artist Dave McKean, Dawkins’ volume is as accessible as it is illuminating, covering a remarkable spectrum of subjects and natural phenomena — from who the very first person was to how earthquakes work to what dark matter is — in a way that infuses reality with the kind of fascination and whimsy we’re used to finding in myth and folklore. Each chapter begins with a famous myth from one of the world’s religions or folklore traditions, which Dawkins proceeds to myth-bust by examining the actual scientific processes and phenomena that these stories try to explain.
Here’s an introduction from Dawkins himself:
BBC has a great short segment, in which Dawkins explores the relationship between comfort and truth, and explains why evolution is the most magical, spellbinding story of all, more poetic than any fable or fairy tale:
When you think about it, here we are, we started off on this planet — this fragment of dust spinning around the sun — and in 4 billion years we gradually changed form bacteria into us. That is a spellbinding story.” ~ Richard Dawkins
The book comes with a companion immersive iPad app.
In 2006, Pixar animator Sanjay Patel self-published The Little Book of Hindu Deities — an impossibly charming illustrated almanac of gods and goddesses, which we revisited earlier this year and it quickly became one of the most popular books on Brain Pickings in 2011. (How’s that for a pick to follow Dawkins?) In August, he followed up with The Big Poster Book of Hindu Deities — not so much a “book” per se as a stunning large-format portfolio of 12 removable full-color posters, each bringing a revered ancient deity into the modern Technicolor world in Sanjay’s signature anime-inspired vibrant graphic style. Equal parts playful, iconic, and irreverently subversive, the prints are less about reinforcing religious ideology — okay, they’re actually not about that at all — than they are about exploring cultural storytelling and tradition from a fresh, unusual angel meant to delight and inspire.
Last month, the web watched with equal parts amazement, amusement, and sheer horror as a one-year-old thought a magazine was an iPad. And just last week, while attending the Futures of Entertainment 5 summit for my MIT fellowship, I was unsurprised to learn that a presenter’s toddler cousin walked up to a TV screen and tried to “swipe” it like a giant iPad. So I find myself delighted by the release of Goodnight iPad — “a parody for the next generation” by Ann Droyd (get it?), winking at the long-gone quiet era of the Goodnight Moon classic and “adapting” it for the age of LCD WiFi HD TVs and Facebook.
Whether Goodnight iPad will go the viral way of its conceptual ilk (hey there, Go the F**k to Sleep) and become a hipster darling is yet to be seen, but one thing is certain: at the heart of this irreverent nursery rhyme, still made very much of paper, is a playful reminder for all of us eternal kids that when the moon goes up, it’s not an entirely terrible idea for the power to go down.
Playful, quirky, and irreverent, the book is a cover-to-cover treat for parents, kids, and eternal children of all ages, tickling our fancy as we imagine a whimsical alternate reality behind our worn mundanity.
It’s no secret I’m a bigfan of Edward Gorey’s, mid-century illustrator of the macabre, whose work influenced generations of creators, from Nine Inch Nails to Tim Burton. Eleven years after his death, Gorey still manages to charm us with his signature style of darkly delightful illustrations with Why We Have Day and Night. In three dozen beautifully minimalist black-and-white illustrations, with plenty of design-nerd-friendly negative space, Gorey and collaborator Peter F. Neumeyer illuminate young readers on the mystery of why we have darkness and light.
The envelope, alongside 37 others, 75 typewriter-transcribed letters, and more than 60 postcards and illustrations exchanged between the two collaborators-turned-close-friends between September 1968 and October 1969, can be found in Floating Worlds: The Letters of Edward Gorey and Peter F. Neumeyer — not only the second most popular book amongst Brain Pickings readers this year, but also one of my personal all-time favorite tomes.
One of the most wonderful things about great children’s books is how timeless they are — why not catch up on last year’s best?
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