Relevant bibliographies by topics / Artist Book for Children

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  2. Dissertations / Theses
  3. Books
  4. Book chapters
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Academic literature on the topic 'Artist Book for Children'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Artist Book for Children"

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Boguszewska, Anna. "Twórcza działalność na rzecz książki dla dzieci Krystyny Lipki-Sztarbałły." Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 6 (November 30, 2018): 154–67. http://dx.doi.org/10.24917/23534583.6.13.

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Krystyna Lipka-Sztarbałło’s creation for children bookShaping full personality includes an introduction to cultural messages understanding and requires preparation from the earliest years of life. The use of picture books and book illustrations as the key assumption in visual education of children. Picture books represent the first artistic medium as the primary carrier of aesthetic values and a potential chance to stimulate cognitive, social development of a child. History of Polish picture book dates back to the turn of XIX and XX centuries. However, the realizations gaining more widespread range occurred much later. Krystyna Lipko-Sztarbałło, a graphic artist and an animator of Polish book for children, has been of key importance for the development of Polish picture book for the last twenty-odd years. The significance of the illustrations book in child development is proven by the examples of graphic designs taken from Krystyna Lipka-Sztarbałło’s works.
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Pitenina, V. "Artistic and stylistic peculiarities of the graphic work of Petro Lapyn, illustrator of the children's books in the first third of the 20th century." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 193–99. http://dx.doi.org/10.33838/naoma.27.2018.193-199.

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The beginning of the 20th century is a period of creative and printing experiments in the Ukrainian art. New generation of Ukrainian books was born in this period. The illustration of the children's books was a significant part of this process. Famous Ukrainian graphic artists, such as H. Narbut, M. Zhuk, O. Sudomora, V. Kononchuk, took part in the creation of a new Ukrainian children's book. Some little-known artists also worked with them, and their creativity was an important part of the artistic process. Petro Lapyn was one of those artists. From 1917 to 1929, he worked with the famous publishing houses, such as Vernyhora, Derzhavne Vydavnytstvo, Proliski, Knyhospilka and Rukh. Children's books, illustrated by P. Lapyn, are kept in the funds of the Pedagogical Museum of Ukraine, the National Library of Ukraine for Children, Ivan Fedorov Book Chamber of Ukraine and private collections. We have found about 30 of his projects. But the information about the artist himself and his life is quite limited. One of the first books he illustrated was the poem of S. Rudanskyi «Vovk, Sobaka ta Kit» («The Wolf, the Dog, and the Cat»), published in black and white in 1918. This early Petro Lapyn's work revealed his artistic outstanding peculiarities: vibrant linear drawing, harmonious combination of text and illustrations, variety of graphic techniques and skills in the representation of characteristic features. The high point of the artist's career is the illustration of «Crows and Owls», I. Franko’s fairy tale, printed in 1926 (Kharkiv, Rukh). It demonstrates the animalistic works of the artist. There are typical structural elements in fairy tale books: vignettes, drop caps. P. Lapyn uses decorative handwritten fonts and silhouette drawings for them. His graphic creations are full of emotions. Specific features of his work are: humour, emotionality, anthropomorphism, careful attitude towards literary material, and consistently high level of drawing.
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Campagnaro, Marnie. "Materiality in Bruno Munari’s book objects." Libri et liberi 8, no. 2 (2019): 359–79. http://dx.doi.org/10.21066/carcl.libri.8.2.7.

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This paper reviews the primacy of materiality in Bruno Munari’s work based on the case study of two of his picturebooks. Bruno Munari was one of 20th-century Italy’s most eclectic figures. Over the course of his lengthy career as an artist and designer, Munari explored the field of materiality in children’s books with exceedingly favourable results. His picturebooks set a precedent in the field of children’s literature, and they are highly valued even today. Children are fascinated by the opportunity to organise the experience of reading more freely thanks to innovative graphic and typographic mechanisms that fully exploit the editorial potential of materials such as paper, construction paper, and cardboard, but also transparent or semi-transparent sheets of acetate film, wood, plastic, sponge, and so on. In this paper, I describe the exclusive relationship that Munari developed over the years with the book as an object in all its various components (text and paratext). To do so, I discuss two of Munari’s significant editorial projects, the picturebook entitled Nella notte buia [In the Dark of the Night] (1956) and I Prelibri [Prebooks] (1980). I analyse the ways in which the Milanese artist succeeded in exploiting all the communicative, aesthetic and educational potential of these books’ material dimension.
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Kolosnichenko, M. V., T. F. Krotova, K. L. Pashkevych, and N. M. Pshinka. "STYLISTIC AND CONSTRUCTIONAL SOLUTIONS IN BOOK SERIES DESIGN "FAIRY TALES FROM AROUND THE WORLD" OF THE NATIONAL CHILDREN`S LITERATURE PUBLISHING HOUSE "VESELKA"." Art and Design, no. 2 (August 11, 2021): 20–29. http://dx.doi.org/10.30857/2617-0272.2021.2.2.

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Aim: to analyze the stylistic and constructive features of the design of the books in the series “Fairy Tales from Around the World“ by the publishing house “Veselka“, to trace the sequence of the publishing project and the role of the designer and art-designer in it. Methodology. Historical and comparative methods, as well as art history methods of image and stylistic and formal analysis have been used in the research. Results. The artistic approaches to the creation of 25 books of the series “Fairy Tales from Around the World“ (1978–2016) have been analyzed, the stages of creating the book design of this series have been studied with the help interview of the main artist of the publishing house “Veselka“ (1975–2015), national artist of Ukraine M. Pshinka; the image and stylistic features of this series design have been revealed, which allowed synthesizing the verbal, figurative and architectonic levels of books, ensured the integrity of the book as an artistic object, contributed to the emotional and aesthetic expressiveness of illustrations. Scientific novelty. The image and stylistic features of the decoration of the series “Fairy Tales from Around the World“, founded in 1978 by the National Children's Literature Publishing House “Veselka“, have been analyzed for the first time. The analysis of the books` design in this series as a synthesis of text, illustrations, and layout design has been presented. The sequence of the artistic and production process and the designer`s role in achieving the synergy of visual and verbal images has been traced. The constructive elements of the layout have been analyzed and introduced to ensure the serial stylistic unity of the books, which illustrations were made by different artists, keeping their own bright individual style. Practical significance. The study allowed analyzing the design features of the layout, which due to the creative approach of designers and collaboration with leading Ukrainian illustrators ensured the continued popularity of the books “Fairy Tales from Around the World“ among several generations of young readers, success and awards at numerous international and national competitions over four decades. The construction and serial elements of the layout design, which provided the stylistic unity and recognizability of all books of the series, have been described. The results of the research can be used for further study of the traditions of the art school of illustration and design of Ukrainian books, and also serve as theoretical and visual material in the educational process specializing in “graphic design“.
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Bronner, Shaw. "Here’s To Our Community." Medical Problems of Performing Artists 35, no. 4 (2020): 233–34. http://dx.doi.org/10.21091/mppa.2020.4034.

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Memorialized in former Secretary of State Hillary Clinton’s children’s book entitled It Takes a Village, “it takes a village to raise a child” is an African proverb that means an entire community of people must interact with children for those children to experience and grow in a safe and healthy environment. The need of the artist to create is undeniable and their villages continue to support them. During these dark days of the COVID-10 pandemic, performing and fine artists have been denied their traditional communication with their public as theaters and museums closed down throughout the world. For those of us who live in New York City where the worst of Covid-19 hit last spring, it was no Broadway shows, no spring, summer or fall dance seasons, no summer festivals, no dance classes. Yet almost immediately, artists’ resourcefulness shone as they continued to create, teach, and perform their art in new ways.
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Oittinen, Riitta. "Where the Wild Things Are." Meta 48, no. 1-2 (2003): 128–41. http://dx.doi.org/10.7202/006962ar.

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Abstract Translating picture books is a many-splendored thing: it includes not only the relationship between the verbal and the visual (images and other elements) but also issues like reading aloud and child images. In the following, while mainly concentrating on the visual, I will deal with the other questions as well, as they all interact and influence each other. My starting point is translating as rewriting for target-language audiences – we always need to ask the crucial question: “For whom?” Hence, while writing children’s books is writing for children, translating children’s literature is translating for children. (See Hunt 1990:1, 60-64 and Oittinen 2000.) The reasons why I take such a special interest in translating picture books are twofold: cultural and national as well as individual. In Finland, we translate a lot: 70-80% of all the books published for children annually are translations. From the perspective of picture books, the number may be even higher (and 90% of the translations come from the English language; see Rättyä 2002:18-23). Moreover, being an artist and translator of picture books makes me especially keen on the visual as a translation scholar as well. As a case study, I have chosen Maurice Sendak’s classical picture book Where the Wild Things Are and its translations into German, Swedish and Finnish. At the background of my article is my book Translating for Children (2000) as well as my forthcoming book Kuvakirja kääntäjän kädessä on translating picture books. Due to copyright reasons, I only have picture examples from illustrations of my own.
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Shalenova, M., and Zh Kosherbayev. "The world of children's book: the study illustration as a path of knowledge." Pedagogy and Psychology 46, no. 1 (2021): 113–20. http://dx.doi.org/10.51889/2021-1.2077-6861.15.

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The article is devoted to the study of the role of illustration in a children's book, where the latter is considered as a visual way for a child to learn the content of the text. The author, considering the development of illustration in historical retrospect, tries to highlight its features and specifics, which changed from era to era, covering more and more new styles, new directions, new artists. At the same time, the author, based on the analysis of scientific literature, comes to the conclusion that the illustration for children is as important as the text of the book itself, and for younger children it is even more important than the text. Illustration in a children's book, whether educational or artistic, is always a kind of visual path of knowledge, which is undoubtedly included in the system of cultural universals. And here, the task of the illustrator is to dynamically expand the knowledge of children and adolescents obtained through the book. It is clear that the introduction of modern children to reading, which in the digital era - the era of the craze for gadgets is becoming especially relevant, where an important role is played by illustration, its quality and skill of execution, the power of attraction. The author is sure that the illustration not only interprets the text, but also enriches it in its visual images, and here the artist shows his attitude to the text, develops or complements the thoughts of the writer or poet, enriching the text with visual images.
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Jenkins, Elwyn. "GERARD SEKOTO’S PREVIOUSLY UNPUBLISHED CHILDREN’S BOOK, SHORTY AND BILLY BOY: THE WORK OF A SOUTH AFRICAN IN PARIS." Mousaion: South African Journal of Information Studies 32, no. 2 (2016): 48–59. http://dx.doi.org/10.25159/0027-2639/1689.

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Shorty and Billy Boy (2013) is a children’s picture book that has been edited and published from the original created by the artist Gerard Sekoto in Paris in 1973. This article evaluates it as a picture book and places it in the context of South African English picture books, concluding that it is of a high standard. Secondly, the book is examined for its South African content, since the nature of Sekoto’s continued ties with his mother country is of central interest in the study of his art. Thirdly, the article evaluates the contribution of the book to Sekoto studies by examining the editorial apparatus that is appended to the book. Its scholarly standard is shown to be poor. The article concludes by placing the book in the context of Sekoto’s life and work.
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Viljoen, Stella. "Authorship and auteurism in Another Country." Tydskrif vir Letterkunde 41, no. 2 (2018): 47–54. http://dx.doi.org/10.4314/tvl.v41i2.29673.

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In 1873 Benjamin Disraeli could bemoan, "[a]n author who speaks about his own books is almost as bad as a mother who talks about her own children." Today, however, authorship is a consumable that demands endless promoting in order to be profitable. The ironic predicament of the author within contemporary (technocratic) culture is his frequent invisibility. Another Country is an apposite vehicle for raising the quandary of contemporary authorship since it is first, a music video and thus a promotional tool itself and second, an authorial collaboration between musical artists Mango Groove and "fine artist" William Kentridge.
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Erman, Deniz Onur. "Purest form of creation: Art Brut." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (2018): 134–42. http://dx.doi.org/10.18844/prosoc.v5i6.3850.

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In many cultures, it has been a long-established practice to apply various domains of art as therapy methods in asylums, prisons and rehabilitation centres in order to help people express themselves and their current circumstances and to aid cure themselves. Hans Prinzhorn’s book entitled ‘Artistry of the mentally ill’, which was published in 1924 in Berlin has been the initial resource for Art Brut, also known as ‘raw art’. A French artist, Jean Dubuffet has first used Art Brut as an artistic term in 1945, which has ignited major debates in the artistic milieu. The ultimate goal of these artists was to unveil the works of those with no art education, of mentally ill patients, rejected and marginalised individuals, children and major criminals, in order to question the authenticity of all established approaches to art through the revelation of instinctive expression andthe purest form of creation.Keywords: Art Brut, Jean Dubuffet, raw art, outsider art, primitive art.
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Dissertations / Theses on the topic "Artist Book for Children"

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Gavin, Emma. "Wonder/Wander: An Exploration of Storytelling, Illustrated Children's Literature, and Narrative Simulation Through Hypertext and the Artist Book Form." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/340.

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For my Senior project as a Fine Arts Major at Scripps College, I spent the fall semester exploring the history and possibility of the digital and analog artist book form. After going through a number of foundational changes, my project concept was eventually grounded in the form of a web-based hypertext artist book. Based on my pre-existing interest in storytelling and my previous study of mental immersion in possible worlds, I started the process by compiling an artistic representation of what it means to be a young girl discovering the possibilities for creation and empowerment available to her through storytelling. Wonder/Wander is the culmination of my experimentation with digital art, hypertext, and visual storytelling. It is my contribution to the artist book form as I have considered it and its evolution into the digital age.
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Merle, Amélie. "Le livre d'artiste pour enfants : une approche esthétique et socioculturelle de l'enfance." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2021.

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Cette thèse observe le phénomène du livre d’artiste pour enfants. L’objectif premier de l’étude est de relier notre objet à une interrogation plus fine concernant la place de l’art et une forme de pratique artistique spécifique dans la construction du concept d’enfance en résonance avec des problématiques éducatives. Nos travaux tentent de mettre au jour une esthétique de l’enfance présente dans un contexte de renouveau socioculturel des années 1968. En effet, c’est dans cette même période que l’on peut observer des mouvements et pratiques artistiques issus de l’avant-garde ayant participés à l’élaboration d’un autre regard sur l’enfance au moyen de l’art pour et auprès de l’enfant. Notre réflexion s’inscrit dans le champ des sciences de l’éducation mais aussi dans celui de l’histoire de l’art car le livre d’artiste fait partie de ces objets hybrides situés à mi-chemin entre le livre et l’œuvre d’art. On interroge ainsi notre objet : si d’une façon générale, le livre pour enfants est porteur d’une certaine représentation qu’une société se fait de l’enfance, s’il est comme un miroir de ce qu’elle souhaite offrir comme modèles d’enfances, le livre spécifique qui nous intéresse, le livre d’artiste pour enfants, ne peut-il pas nous dire lui aussi quelque chose de spécifique au sujet de l’enfance d’aujourd’hui ? Afin d’appréhender notre objet dans toutes ses dimensions, il semble pertinent d’interroger l’évolution de l’image de l’enfance dans le livre mais également d’interroger les artistes qui créent les livres artistiques destinés à la jeunesse comme Leszek Brogowsky (2010) le préconise dans le cadre d’une méthodologie d’étude des underground artistiques. On procède alors à un examen attentif des livres d’artistes considérés comme des dispositifs, des espaces alternatifs (Dupeyrat, 2012), lieux d’expression d’un certain regard porté sur l’enfance. C’est en interrogeant les artistes, en tentant de retracer leur trajectoire (Passeron, 1990) que notre objet deviendra également plus lisible et visible. Pourquoi des artistes à part entière ont fait ce choix de créer pour l’enfance ? En quoi le livre d’artiste pour enfants peut-il être représentatif d’un nouveau regard sur l’enfance ? Nos travaux mettent au jour des regards croisés afin d’observer l’art et l’enfance autrement<br>This thesis observe the phenomenon of the artist book for children. The primary objective of the study is to link our object to a deeper questioning concerning the place of art and how a form of specific artistic practice can take part in the concept of childhood and educational issues. The research attempt to clarify an aesthetic of childhood in the years 68, a significant development in a context of socio-cultural change in progress. Indeed, it is in this same period we can observe avant-garde artistic movements and practices which take part in the development of another perspective on childhood with art for and with children. Our reflection is in the field of the sciences of education but also in the history of art because the artist's book is part of these hybrid objects located halfway between the book and the work Of art. We question our object: if in a general way, the children's book carries a certain representation that a society makes of childhood, if it is like a mirror of what it wants to offer as Models of childhood, the specific book that interests us, the artist's book for children, can not it also tell us something specific about the childhood of today? In order to understand our object in all its dimensions, it seems pertinent to question the evolution of the image of childhood in the book but also to question artists who create art books intended for youth such as Leszek Brogowsky (2010) advocates it in the context of the study of specific artistic practices . We then proceed to a careful examination of artists' books considered as devices, alternative spaces (Dupeyrat, 2012), places of expression of a certain regard focused on childhood. It is by interrogating the artists, while trying to retrace their trajectory (Passeron, 1990) that our object will also become more readable and visible. Why have full-fledged artists made this choice for creation for childhood? How can the artist book for children be representative of a new look at childhood? Our work wish brings to light new looks to observe art and childhood otherwise
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Norrman, Peter. "An artist book as an essay and an object." Thesis, Konstfack, Institutionen för Konst (K), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6817.

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I am using the essay as a vehicle to make an artist book. The essay functions on several levels: As my master essay text. As an artist book and stand alone object. As a way to distill my artistic production during my time at Konstfack into a new work. It is my attempt at creating both textworks and photobased elements that together seek to create a probe into the printed publication as another a form of montagéd cinema.
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Little, Laura. "A practice-based exploration of the relationship between artists' books and children's picturebooks." Thesis, Anglia Ruskin University, 2015. http://arro.anglia.ac.uk/701519/.

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This thesis presents a practice‐based exploration of the relationship between narrative and the use of the book form in artists’ books and children’s picturebooks, placing emphasis on the experiential qualities of the physical book. Most of the academic literature on the relationship between artists’ books and children’s picturebooks focuses on the finished book. Taking a practice‐based perspective, I approached this project as a book artist and explored my attempts to make a children’s picturebook. My analysis of the creation of a series of books contextualised with a discussion of literature on artists’ books and children’s picturebooks led to an investigation of the structures of children's picturebooks and the ways in which it overlaps with artists’ books. As a book artist, I had not anticipated my use of the book form to present significant creative challenges. However, the picturebook form imposed a more direct story than I would usually work with when creating artist’s books; new ways of using the book form emerged. My depictions of narrative became more figurative and my use of the book form took on greater subtlety. A key outcome of this research was a discussion from the book artist’s perspective of the process of creating a children's picturebook. An analysis of my practical work demonstrated the possibility of taking an interdisciplinary approach as a way for practitioners to discuss work in progress and finished work, offering insights into the process of both creating and interpreting practical work while investigating the relationship between artists’ books and children’s picturebooks.
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Reisberg, Mira. "An A/r/tographic study of multicultural children's book artists : developing a place-based pedagogy of pleasure." Online access for everyone, 2006. http://www.dissertations.wsu.edu/Dissertations/Summer2006/m%5Freisberg%5F062206.pdf.

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Evans, Michelle Louise. "Socioeconomic status and domains of creativity: Is the artist really starving?" CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3240.

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Socioeconomic status (SES) influences many aspects of a person's life, and stereotypes concerning level of SES and the domain of creativity exist. It was hypothesized that children classified as low SES would perform more creatively in the visual arts and language arts domains of creativity than in the mathematic and scientific domains.
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Kohashi, Andrea Aya. "A question of efficiency." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1666.

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Mannebach, Teresa Moana. "Internationalization plan for social enterprises: A research on the internationalization of "Book a Street Artist"." Master's thesis, NSBE - UNL, 2014. http://hdl.handle.net/10362/11786.

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A Work Project, presented as part of the requirements for the Award of a Masters Degree in Management from the NOVA – School of Business and Economics<br>While working as an intern for the social enterprise Book a Street Artist, I was responsible for implementing an internationalization plan. Due to the lack of information about how social enterprises internationalize, a three-plus-two step structure has been developed and applied to the enterprise. This work demonstrates that to precisely scale up social impact, the actual implementation of social enterprises´ internationalization should be done in a rapid, not necessarily systematic manner. Therefore, the best way to internationalize is based on an implementation strategy which is suited to the enterprises´ actual market conditions and its business model.
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Ramos, Maristela Pessoa. "Getúlio Damado e Roger Mello: conexões entre o campo da arte e o universo lúdico infantil." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=6673.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>A ideia central da pesquisa foi promover uma aproximação das narrativas visuais de Getúlio Damado e Roger Mello e a partir daí evidenciar os processos cognitivos e as estratégias que envolveram a estruturação de suas identidades sociais e linguagens artísticas contemporâneas, bem como destacar o ludismo e o acesso ao universo da infância e a cultura popular que ambos ressignificam em suas obras. Além disso, buscou-se comentar e avaliar momentos específicos de desprestígio e repúdio versus consagração ocorridos com os artistas. Para tal, essas produções foram contextualizadas como produções culturais em constante processo de mutação, do qual participam tanto eventos históricos como de inovação tecnológica, em contínua construção. Essas linguagens estão submetidas a uma grande velocidade e a superposição de influências. Outro ponto destacado nas analises foi o caráter de subjetividade dessas produções, identificadas como práticas estéticas promotoras de transformação política; de mobilização; ou também por sua capacidade de operar com o uso simbólico dos brinquedos e livros infantojuvenis recuperando-lhes o uso original. Os devaneios, o ludismo infantil e a cultura popular presentes nos objetos feitos de sucata e livros ilustrados foram confrontados com práticas consoantes, ou de discursos abrangentes, correntes no mundo da arte ou outras vezes aproximados de enfoques locais. Além da possibilidade de convergência entre as produções foram destacadas também muitas diferenças, e, sobretudo evidenciadas as potencialidades que podem advir da cultura popular como campo exploratório de pesquisa, bem como de sua ressignificação<br>The central idea of the research was to reconcile the visual narratives of Getúlio Damado and Roger Mello and henceforth to highlight the cognitive processes and strategies involved in structuring their social identities and contemporary artistic languages, as well as to emphasize the playfulness, and access to the universe of childhood and popular culture to reframe both their works. Additionally, this paper tried to comment and evaluate specific moments of prestige and repudiation versus consecration occurred with these artists. To this end, these productions were contextualized as cultural productions in a constant process of mutation, which involved both historical events and technological innovation in continuous construction. These languages are subjected to a high speed and overlapping influences. Another point emphasized in the analysis was the character of subjectivity of these productions, aesthetic practices identified as promoters of political transformation, mobilization, or also by its ability to operate with the symbolic use of toys and childrens books recovering their original use.. Daydreams, the childish playfulness and the popular culture present in those objects made of waste and illustrated books were confronted with consonant practices or embracing speeches, currents in the world of art or sometimes familiar to local approaches. Besides the possibility of convergence between the productions of the two artists, the research also spotted many differences, and pointed out particularly the potentiality that can come from popular culture as an exploratory field of research, as well as its redefinition
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Wang, Lorraine. "You’re Not a Superhero, or Even an Artist! How the “Alias” Comic Book Holds the Answers." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/800.

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Superhero comic books are not art, and middle-aged, non-white women are not superheroes. I seek to disprove both of these assumptions, and I use the "Alias" comic books from 2001-2004 for my argument.
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Books on the topic "Artist Book for Children"

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Jack, Keats Ezra, ed. Ezra Jack Keats: Artist and picture-book maker. Pelican Pub. Co., 1994.

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Gangloff, Deborah. The artist, the book, and the child: An exhibition of original art for children's books. Illinois State Museum Lockport Gallery, 1988.

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Bob the Artist. Laurence King Publishing, 2016.

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Paint like a famous artist: Step-by-step project book. Walter Foster Pub., 2005.

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Chamberlain, Diane. The escape artist. HarperCollinsPublishers, 1997.

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Chamberlain, Diane. The escape artist. HarperPaperbacks, 1998.

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Chamberlain, Diane. The escape artist. Thorndike Press, 1997.

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Robbins, Trina. Lily Renée, escape artist: From Holocaust survivor to comic book pioneer. Graphic Universe, 2011.

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Winer, Andrew. The marriage artist. Thorndike Press, 2011.

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Alexander, Liza. Big Bird the artist: A story about addition and substraction. Western Pub. Co. in conjunction with Children's Television Workshop, 1989.

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Book chapters on the topic "Artist Book for Children"

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Pristed, Birgitte Beck. "Book Artist or Designer?" In The New Russian Book. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50708-8_8.

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Hine, Hank. "The world of the Book: A World for the Book." In Making Artist Books Today, edited by Wulf D. von Lucius and Gunnar Kaldewey. De Gruyter, 1998. http://dx.doi.org/10.1515/9783110504286-002.

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Fry, John, Gerald Sandler, and David Brooks. "Catarrhal Children." In Disease Data Book. Springer Netherlands, 1986. http://dx.doi.org/10.1007/978-94-009-4149-6_6.

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Kaldewey, Gunnar A. "The Artist Book in a Global World." In The Artist Book in a Global World, edited by Wulf D. von Lucius and Gunnar A. Kaldewey. De Gruyter, 2003. http://dx.doi.org/10.1515/9783110506143-002.

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Kapitan, Lynn. "Crafting the Artist Book as Embodied, Relational Practice." In Craft in Art Therapy. Routledge, 2020. http://dx.doi.org/10.4324/9781003050513-3.

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Scherer, Lexie. "The Materiality of the Book." In Children, Literacy and Ethnicity. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137537379_5.

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Röhr-Rouendaal, Petra. "Visual aids for development; How to use this book; Different types of visual aids." In Where There is No Artist. Practical Action Publishing, 2007. http://dx.doi.org/10.3362/9781780441443.001.

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Inman, Tracy Ford, and Jana Kirchner. "Introduction: Tips for Reading This Book." In Parenting Gifted Children 101. Routledge, 2021. http://dx.doi.org/10.4324/9781003237013-1.

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Ruttkay, Zsófia, Judit Bényei, and Zsolt Sárközi. "Evaluation of Interactive Children Book Design." In Advances in Intelligent Systems and Computing. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07698-0_14.

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Conradi, Peter J. "Postscript 1987: The Good Apprentice (1985); The Book and the Brotherhood (1987)." In Iris Murdoch: The Saint and the Artist. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19651-7_12.

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Conference papers on the topic "Artist Book for Children"

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Sanctus, Gregorian H., and Rita Milyartini. "Color Usage Study in Poco Piano Book for Beginner Young Children." In 2nd International Conference on Arts and Design Education (ICADE 2019). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.039.

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Pan, Duoling. "Picture Book Reading and the Education of Life Philosophy for Children." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.216.

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Hasan, Latif Nur, Sri Sulistiani, and Udjang Pairin. "Javanese E-Fairy Tale Book Design With Audio About Covid-19 as an Education for Prevention of Covid-19 Transmission in Children." In International Joint Conference on Arts and Humanities (IJCAH 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201201.171.

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de Mendonça Peixoto, Irene, Felipe de Souza, and José Carlos de Pontes. "Artist´s book Poor Fish Memories in digital version." In XXII CONGRESSO INTERNACIONAL DA SOCIEDADE IBEROAMERICANA DE GRÁFICA DIGITAL. Editora Blucher, 2018. http://dx.doi.org/10.5151/sigradi2018-1261.

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Lei, Yu, Gang Hong, and Lu Liu. "On the Artistic Expression of Children’s Picture Books." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.052.

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Figueiredo, Ana Carina, Ana Lúcia Pinto, Pedro Branco, Nelson Zagalo, and Eduarda Coquet. "Bridging book." In IDC '13: Interaction Design and Children 2013. ACM, 2013. http://dx.doi.org/10.1145/2485760.2485867.

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Avariento-Adsuara, Maria, and Paloma Palau-Pellicer. "ARTIST BOOK: EXPERIENCES IN EDUCATION THROUGH THE WORK OF CARMEN CALVO." In 12th International Technology, Education and Development Conference. IATED, 2018. http://dx.doi.org/10.21125/inted.2018.1650.

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Tong, Kun. "Image-text Relation in Modern Children's Picture Book Design." In 2nd International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.336.

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Ratri, Dianing, and Yoomi Choi. "Children book app as emotional learning media." In IMCOM '17: The 11th International Conference on Ubiquitous Information Management and Communication. ACM, 2017. http://dx.doi.org/10.1145/3022227.3022298.

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Tyshchenko, Tetiana. "CHILDREN`S BOOK ILLUSTRATION AND INTERACTIVE TECHNOLOGY." In PROBLEMAS Y PERSPECTIVAS DE LA APLICACIÓN DE LA INVESTIGACIÓN CIENTÍFICA INNOVADORA, chair Kalina Pashkevich, Anastasiia Tereshchenko, and Alina Verzhykivska. European Scientific Platform, 2021. http://dx.doi.org/10.36074/logos-11.06.2021.v1.68.

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Reports on the topic "Artist Book for Children"

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Olivier Nsengimana, Olivier Nsengimana. A conservation comic book: Involving Rwandan children in saving endangered Grey Crowned Cranes. Experiment, 2014. http://dx.doi.org/10.18258/3557.

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Oza, Shardul, and Jacobus Cilliers. What Did Children Do During School Closures? Insights from a Parent Survey in Tanzania. Research on Improving Systems of Education (RISE), 2021. http://dx.doi.org/10.35489/bsg-rise-ri_2021/027.

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Abstract:
In this Insight Note, we report results of a phone survey that the RISE Tanzania Research team conducted with 2,240 parents (or alternate primary care-givers) of primary school children following the school closures in Tanzania. After the first case of COVID-19 was confirmed in Tanzania on 16 March 2020, the government ordered all primary schools closed the following day. Schools remained closed until 29 June 2020. Policymakers and other education stakeholders were concerned that the closures would lead to significant learning loss if children did not receive educational support or engagement at home. To help stem learning loss, the government promoted radio, TV, and internet-based learning content to parents of school-age children. The primary aims of the survey were to understand how children and families responded to the school closures, the education related activities they engaged in, and their strategies to send children back to school. The survey also measures households’ engagement with remote learning content over the period of school closures. We supplement the findings of the parent survey with insights from interviews with Ward Education Officers about their activities during the school closures. The survey sample is comprised of primary care-givers (in most cases, parents) of students enrolled in Grades 3 and 4 during the 2020 school year. The survey builds on an existing panel of students assessed in 2019 and 2020 in a nationally representative sample of schools.4 The parent surveys were conducted using Computer Assisted Telephonic Interviewing (CATI) over a two-week period in early September 2020, roughly two months after the re-opening of primary schools. We report the following key findings from this survey: *Almost all (more than 99 percent) of children in our sample were back in school two months after schools re-opened. The vast majority of parents believed it was either safe or extremely safe for their children to return to school. *Only 6 percent of households reported that their children listened to radio lessons during the school closures; and a similar fraction (5.5 percent) tuned into TV lessons over the same period. Less than 1 percent of those surveyed accessed educational programmes on the internet. Households with access to radio or TV reported higher usage. *Approximately 1 in 3 (36 percent) children worked on the family farm during the closures, with most children working either 2 or 3 days a week. Male children were 6.2 percentage points likelier to work on the family farm than female children. *Households have limited access to education materials for their child. While more than 9 out of 10 households have an exercise book, far fewer had access to textbooks (35 percent) or own reading books (31 percent). *One in four parents (24 percent) read a book to their child in the last week.
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