A termék adatai:
ISBN13: | 9780197777596 |
ISBN10: | 0197777597 |
Kötéstípus: | Keménykötés |
Terjedelem: | 168 oldal |
Méret: | 213x148x19 mm |
Súly: | 304 g |
Nyelv: | angol |
Illusztrációk: | 35 images |
700 |
Témakör:
How to Draw the World
Harold and the Purple Crayon and the Making of a Children's Classic
Sorozatcím:
Children's Classics Critically;
Kiadó: OUP USA
Megjelenés dátuma: 2025. február 27.
Normál ár:
Kiadói listaár:
GBP 14.99
GBP 14.99
Az Ön ára:
7 083 (6 746 Ft + 5% áfa )
Kedvezmény(ek): 10% (kb. 787 Ft)
A kedvezmény csak az 'Értesítés a kedvenc témákról' hírlevelünk címzettjeinek rendeléseire érvényes.
Kattintson ide a feliratkozáshoz
Kattintson ide a feliratkozáshoz
Beszerezhetőség:
Még nem jelent meg, de rendelhető. A megjelenéstől számított néhány héten belül megérkezik.
Rövid leírás:
This is a biography of the book that inspired Prince to adopt purple as his signature color, Pulitzer-Prize-winning author Richard Powers to become a writer, and countless other creative people to become artists. Published 70 years ago, Crockett Johnson's Harold and the Purple Crayon is a small book about big ideas--ideas about childhood, creativity, politics, psychology, art, and reality itself. In thirty brief chapters, this book explores those ideas, illuminates the creative process, and offers a primer on how picture books work.
Hosszú leírás:
A biography of the book that inspired Prince to adopt purple as his signature color, Pulitzer-Prize-winning author Richard Powers to become a writer, and countless other creative people to become artists.
A primer on the art and design of children's picture books, renowned children's literature scholar Philip Nel takes the reader on an illustrated tour through all that made Crockett Johnson's Harold and the Purple Crayon an astonishing success: from Harold's clear line, Johnson's carefully planned improvisation, the Garamond typeface, the real ?Harolds? who inspired the title character, how Johnson overcame his editor's initially lukewarm reaction, to the role of the book's three colors (purple, brown, white), and whether or not the tan-hued Harold himself is a child of color.
In a series of microhistories that ripple outward from Harold and the Purple Crayon, 30 brief chapters explore the big ideas behind this small book. Johnson's classic raises questions about the nature of reality; creative expression during the Cold War; the implied audience of children's literature; abstract art versus representational art; and the color of crayons, ink, and people. All of these questions depend upon how children's picture books work--in this case, the apparent invisibility of Johnson's design choices, the limits imposed by the offset color lithography printing process, the history of the crayon, and the book's circulation into the hands of many real children around the world.
This small book explores the pleasures of looking closely. Indeed, picture books are many people's introduction to looking closely. As a portable gallery, the picture book is a democratic art form, requiring only a library card to view. In modeling the pleasures of sustained attention, this book invites you to look closely at art that interests you--picture books, of course, but any kind of art. When you look, listen, or read closely, what questions does the art invite?
Philip Nel's enlightening book, How to Draw the World: Harold and the Purple Crayon, and the Making of a Children's Classic, reads as though Nel himself were using a magic crayon to explore the importance of creativity. His book is a remarkable biography and autobiography, a creative analysis of Crockett Johnson's marvelous works. Nel captures their essence and significance for young and old.
A primer on the art and design of children's picture books, renowned children's literature scholar Philip Nel takes the reader on an illustrated tour through all that made Crockett Johnson's Harold and the Purple Crayon an astonishing success: from Harold's clear line, Johnson's carefully planned improvisation, the Garamond typeface, the real ?Harolds? who inspired the title character, how Johnson overcame his editor's initially lukewarm reaction, to the role of the book's three colors (purple, brown, white), and whether or not the tan-hued Harold himself is a child of color.
In a series of microhistories that ripple outward from Harold and the Purple Crayon, 30 brief chapters explore the big ideas behind this small book. Johnson's classic raises questions about the nature of reality; creative expression during the Cold War; the implied audience of children's literature; abstract art versus representational art; and the color of crayons, ink, and people. All of these questions depend upon how children's picture books work--in this case, the apparent invisibility of Johnson's design choices, the limits imposed by the offset color lithography printing process, the history of the crayon, and the book's circulation into the hands of many real children around the world.
This small book explores the pleasures of looking closely. Indeed, picture books are many people's introduction to looking closely. As a portable gallery, the picture book is a democratic art form, requiring only a library card to view. In modeling the pleasures of sustained attention, this book invites you to look closely at art that interests you--picture books, of course, but any kind of art. When you look, listen, or read closely, what questions does the art invite?
Philip Nel's enlightening book, How to Draw the World: Harold and the Purple Crayon, and the Making of a Children's Classic, reads as though Nel himself were using a magic crayon to explore the importance of creativity. His book is a remarkable biography and autobiography, a creative analysis of Crockett Johnson's marvelous works. Nel captures their essence and significance for young and old.
Tartalomjegyzék:
Introduction: How to Read Harold
1. A child-sized book
2. ?Taking a line for a walk?
3. Carefully Planned Improvisation
4. Type
5. Blurring Boundaries: Art & Life
6. Windows, Part I: Motif & Metaphor
7. ?the scourge of crayon vandalism?
8. ?I stubbed my toe on Harold and his damned purple crayon?
9. Children's Art
10. Postwar America Embraces Children's Creativity
11. One, Two, Three Dimensions; or, ?And the moon went with him?
12. The Moon
13. The Purple Crayon
14. Color, Part I: Why These Four?
15. Narrative & Perspective
16. Humor
17. Windows, Part II: The View from Johnson's Desk
18. Time
19. The Real Harolds
20. Metapictures
21. The Big Picture
22. Where and When Is Harold?
23. Cute!
24. Color, Part II: Is Harold Black?
25. Translating Harold
26. Harold and the Red Crayon?
27. Dream or Nightmare?
28. The End
29. Harold and Me
30. Harold and You
Afterword. Harold in the World
Endnotes
Acknowledgments
Citations for Each Chapter
Works Cited
Index
1. A child-sized book
2. ?Taking a line for a walk?
3. Carefully Planned Improvisation
4. Type
5. Blurring Boundaries: Art & Life
6. Windows, Part I: Motif & Metaphor
7. ?the scourge of crayon vandalism?
8. ?I stubbed my toe on Harold and his damned purple crayon?
9. Children's Art
10. Postwar America Embraces Children's Creativity
11. One, Two, Three Dimensions; or, ?And the moon went with him?
12. The Moon
13. The Purple Crayon
14. Color, Part I: Why These Four?
15. Narrative & Perspective
16. Humor
17. Windows, Part II: The View from Johnson's Desk
18. Time
19. The Real Harolds
20. Metapictures
21. The Big Picture
22. Where and When Is Harold?
23. Cute!
24. Color, Part II: Is Harold Black?
25. Translating Harold
26. Harold and the Red Crayon?
27. Dream or Nightmare?
28. The End
29. Harold and Me
30. Harold and You
Afterword. Harold in the World
Endnotes
Acknowledgments
Citations for Each Chapter
Works Cited
Index