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The text is a review of the second edition of the book "Ideas of Various Lineages" by philosopher Eduardo Nicol. Changes and errors in the edition are mentioned, such as the removal of accents and the lack of commas. The illustrations on the book cover are also discussed. The importance of this second edition is highlighted and readers interested in Nicol's thinking are invited to acquire a copy before it runs out. [Extracted from the article]

The relevance of the presented research is due to the importance of familiarizing modern children with the culture of reading, in the context of which illustrations for children's books play an especially important role. Book illustrations attract the attention of a child and create the necessary focus in the perception of the information presented in books. The purpose of this article is to analyze the creativity of illustrators of children's literature and to study the modern trends in the art of children's book illustration. During the study, the methods of theoretical and comparative analysis were used; in addition, special attention was paid to the study of the basic concepts of creating a children's book and the analysis of available research publications. The main trends in the development of the art of illustration of children's books were determined. The main vectors of illustration development were also defined. The applied value of this research work lies in identifying the main directions of the development of the art of children's book illustrations with the aim of the subsequent introduction of progressive methods for creating such illustrations that meet the requirements of the present day. In general, this study contributes to the formation of a coherent picture of the perception of the main trends in the work of modern illustrators and the formation of the art of book illustration. [ABSTRACT FROM AUTHOR]

In picture books, readers can obtain different emotional perceptions according to different image style attributes. Artists often use different combinations of colours, textures, materials, and other style elements in images to convey different emotions in their creations. Especially in picture books for children, there is a strong correlation between the perceived effect of the work and the accuracy and degree of emotional expression. In the process of creating picture books, various factors will affect the efficiency of artists trying to transfer styles to meet their creative needs. With the development of image style transfer technology based on a deep convolutional neural network, artists can use this technology to create works with different styles of emotional changes efficiently. In this paper, we select illustrations of picture books and use deep convolutional neural networks to transfer image styles from three aspects: colour style transfer, texture style, and material style transfer. Through sampling survey experiments, we discuss the changes in image attributes, emotional expression, and emotional perception in picture books for children. The survey results found that the most direct and evident influence on the emotional changes of picture book images is the transfer of colour style attributes, material style attributes, and texture style attributes. The results of this study can provide a valuable reference for improving the accuracy of emotional expression, the depth of meaning extension, and the height of artistic value in picture books for children during the process of an artist's creation. This research stands out by systematically analysing the distinct impact of each style attribute transfer, offering a comprehensive framework that can be utilized by artists and technologists alike to enhance the emotional and artistic quality of children's picture books. [ABSTRACT FROM AUTHOR]

В статье систематизированы сведения о деятельности жившего на Сахалине художника Гиви Манткавы (1930–2003) как иллюстратора книг художественных произведений и как героя стихотворений, написанных во второй половине XX – начале XXIвека. Цитируемые поэтические тексты Л. Гладкой, Т. Кузнецова, Н. Тарасова и других авторов — малоизвестные и связанные прежде всего с художественным образом Г.М. Манткавы — вводятся в научный оборот и могут использоваться искусствоведами для анализа творчества живописца и графика, биографами для восстановления лакун и сотрудниками музеев для написания текстов экскурсий, научных и публицистических работ. Также в статье предпринята попытка систематизировать перечень тех книг, которые художник иллюстрировал, будучи сотрудником Сахалинского отделения Дальневосточного книжного издательства. Приведены сведения о поэтах, писателях и журналистах — героях портретов «Саша Алшутов (Бейлин)» (1958), «Писатель Вильям Озолин» (1962) и др. Выдвинута гипотеза, что одна из ранее не установленных героинь картины Гиви Манткавы «Друзья-товарищи» (1963) — это ленинградская поэтесса Лидия Гладкая. Именно она посвятила первое стихотворение художнику на рубеже 1959 – начала 1960-х годов, в тот период, когда на Сахалине проживало много выходцев из разных регионов СССР. В исследовании установлена последовательность создания стихотворений, в которых упоминается сам Гиви Манткава, а также средствами поэзии обобщается то, что было плодом его творческих раздумий и реализованных планов. Тема образа островного художника в пространстве литературы и публицистики заявлена впервые, поэтому основные аспекты этой темы только очерчены для последующего рассмотрения.

Статья посвящена исследованию творческого метода художников Георгия, Александра и Валерия Трауготов, нашедшего воплощение в иллюстрациях к китайским сказкам. Художественное наследие отца и сыновей Трауготов в области книжной графики как предмет исследования достаточно востребовано в сфере искусствоведения. Однако взаимодействие восточных и европейских традиций искусства и принципы репрезентации китайской культуры в иллюстрациях художников пока изучены недостаточно, в том числе в аспекте художественной коммуникации. Цель настоящей статьи — на примере серии иллюстраций к сказке «Глупый тигр» (1963) выявить своеобразие творческого метода Георгия, Александра и Валерия Трауготов и принципы репрезентации китайской культуры в иллюстрациях к народным сказкам. В статье уделяется значительное внимание роли линии и цвета в композиции рисунка, художественно-стилистическим и эстетическим категориям книжной иллюстрации, особенностям визуализации текста. Исследование, проведенное с использованием сравнительно-исторического и формально-стилистического анализа, выявило сочетание средств традиционной китайской живописи бимо с приемами европейского изобразительного искусства, что дополнило представления о творческом методе Г.А.В. Трауготов в работе над иллюстрациями к народным сказкам.

Cai Gao's illustrations—rooted in childhood memories, Chinese folktales, and botanical fascinations—invite readers worldwide to rediscover their own heritage and find solace in a poetic dwelling where folk sensibilities, art, and nature merge and flourish. [ABSTRACT FROM AUTHOR]

This document is a compilation of recent periodicals in various fields of study, offering diverse perspectives for researchers. The periodicals cover a range of topics including Ethiopian Qur'an manuscripts, historical documents, Scottish architecture, medieval libraries, natural history, biographical memoirs, printing history, book publishing, Greek manuscripts, and scientific publishing. The articles featured in these publications discuss specific manuscripts, the history of printing, the role of libraries, and the analysis of various texts. This document provides valuable insights and research for library patrons interested in these subjects. [Extracted from the article]

Статья посвящена графическому наследию художницы-иконописца Ю.Н. Рейтлингер (1898–1988), которое хранится в фондах Музея древнерусской культуры и искусства имени Андрея Рублёва и Дома русского зарубежья имени Александра Солженицына. В исследовании ставится цель обобщить и систематизировать сведения о графических работах художницы периода эмиграции с 1921 по 1946 год, а также ввести в научный оборот практически неизвестные графические произведения, созданные после возвращения на родину, в период с 1959 до начала 1980-х годов. Исследование строится на обширном фонде архивных материалов Ю.Н. Рейтлингер — ее записных книжках, духовном дневнике, письмах, комментированной автобиографии, воспоминаниях художницы и ее друзей. Эти источники служат серьезным дополнением к уже опубликованным документам и сведениям о творчестве Ю.Н. Рейтлингер, которое с 2000 года изучалось известными исследователями (Г.В. Поповым, Б.Б. Поповой, Н.П. Белевцевой, Л.А. Мнухиным, Э.Л. Лаевской, Л. Лернером и др.). Систематизация графического наследия художницы позволила существенно дополнить имеющийся корпус научных трудов, которые в своей значительной части посвящены творчеству Ю.Н. Рейтлингер как художника-иконописца. Не фокусируя внимание на иконных работах сестры Иоанны, автор тем не менее обращает внимание на изменение ракурса исследования ее иконописного наследия, что связано с возрождением традиции церковного искусства в России за последние 30 лет. Выдвигавшийся художницей тезис о «творческой иконе» в 1920-х годах нашел свое продолжение почти сто лет спустя в современной отечественной «авторской иконе».

Building on recent specialised studies on the critique of illustration in individual authors or periods, this article develops a new methodology for a large comparative study of the critique of literary illustration. Notably, this article argues for the benefits of developing a catalogue of basic arguments levelled against the pictorial illustration of literary texts. By distinguishing between these arguments and by tracing these arguments throughout history, we stand to gain new insights into not only the history of literary illustration but also into broader trends in literary and cultural history, which inform the critique of illustration. These general remarks are further developed through exemplary analyses of three prominent criticisms of illustration from the nineteenth century as well of their varying legacies in the twentieth and twenty-first centuries: illustrations limit the reader's imagination; illustrations are merely included for commercial gain; and illustrations limit intellectual pursuits. [ABSTRACT FROM AUTHOR]

The study aims to review the illustration methods of four top illustrators in Czechoslovakia. Its purpose is to understand their successful approaches and recognize the unique characteristics of their works, which convey personal ideas and thoughts. The study delves into the most important illustration techniques employed by these artists. The central research question seeks to uncover the expression methods and execution techniques used by these top illustrators to convey their ideas and emotions. Culture and customs play a pivotal role in an illustrator's work. No artist can create truly ingenious works divorced from the cultural context of their hometown. Their visual language becomes a reflection of their culture, and this authenticity contributes to the value of their creations. Sensitivity to children's perceptions of life, art, culture, and the future is essential for compassionate and impactful work. These illustrators are deeply committed to their young audience, shaping the future through their art. This research follows a fundamental descriptive-analytical approach, with data collection primarily based on library resources. [ABSTRACT FROM AUTHOR]

The article discusses an exhibition at the Oregon Historical Society that features bird watercolor illustrations by R. Bruce Horsfall. These illustrations were commissioned for a field guide on birds of the Pacific Coast and later donated to the Bird Alliance of Oregon. The exhibition explores the contributions of Horsfall, Willard Ayres Eliot, and William Finley to wildlife conservation in Oregon. It also examines the historical context of wildlife conservation and naming conventions. The exhibition includes additional bird illustrations by Louis Agassiz Fuertes and provides information on the changing nature of bird names, recent efforts to rename birds named after people, and the movement to remove John James Audubon's name from organizations due to his problematic history. The Bird Alliance of Oregon, which has changed its name, is mentioned as one of the chapters involved in these changes. The exhibition also offers information on birdwatching and interactive elements for visitors. [Extracted from the article]

During the reign of Maximilian I, in the 1510s, the Habsburg-Jagello dynastic marriage efforts were revived, culminating in the 1515 Vienna princes' meeting and double engagement (Louis II. betrothed Maria Habsburg and Maximilian 1. symbolically betrothed Anna Jagello, daughter of Vladislav II). It was partly this event, which was accompanied by a significant artistic representation, that laid the foundations for the Habsburg Monarchy's claim to the Czech and Hungarian thrones, following the unexpected death of Louis II. at the Battle of Mohács Not only did Maximilian 1. add to the splendour of the event with generous gifts to the monarchs arriving in Vienna, but he also paid special attention to the representation of the fine arts. For example, Bernhard Strigel, the emperor's court painter, painted several works of art depicting the young King Louis, whom he adopted as his son. The double engagement in St Stephen's Cathedral in Vienna on 22 July 1515 was depicted in a monumental woodcut of the fictitious Ehrenpforte [triumphal arch) of Maximilian 1, made in 1517-1518 and republished in 1526, and in the Emperor's tomb in Innsbruck, completed in the 1560s. In the 19th century, the events of the reign of Maximilian 1, considered one of the heydays of the Habsburg Monarchy, including the double engagement of the prince, were recalled in numerous works of art. In addition to illustrations for history books of the Habsburg Empire, it appeared, for example, on the walls of the ceremonial hall of the castle of Hernstein and in a monumental painting by the historical painter Václav Brožík (Wenzel von Brozik) at the end of the 19th century. [ABSTRACT FROM AUTHOR]

During the COVID-19 pandemic, the learning paradigm in the Industrial Revolution 4.0 era began, requiring students and teachers to carry out an electronic-interned learning process. Reading skills, as an entryway for learning language and other subjects, have become a strategic step that can increase learning 4.0 in terms of cognitive (literacy and numeracy) or non-cognitive (character) components. There have been teaching resources, particularly in the genre of language texts. However, it is still usually in the form of printed books or e-books that do not focus on character education. Consequently, the researchers developed "Literasiku 1", a Digital Reading Box that includes the AIR flow in tasks and activities that show different types of text genres: descriptive, procedural, fantasy, and inspirational stories mixed with fascinating pictures and video illustrations. The research findings can help teachers apply character education in language learning based on the six components of the Pancasila student profile. Furthermore, this product can provide students with information on digital literacy relevant to their needs, as evidenced by the development of texts close to the natural environment or tangible things. [ABSTRACT FROM AUTHOR]

The study examines the connection between text and illustration in contemporary children’s poetry books. In most cases, illustrations employ some form of visual enhancement or stylization. Even when they faithfully follow the themes of the texts, they establish their own visual language. Stylization thus emerges as a crucial creative element, uniquely belonging to the medium of the image. Stylization reveals that image and text can never fully coincide, even if the image depicts the same subject matter as the text. The question then becomes to what extent the illustrations align with the spirit of the text or diverge from it. To what extent do they consider the reader as a co-creator, and how much do they engage with the possibility of symbolic decoding? Children’s poetry books, compared to prose, offer greater freedom, and enable broader, more metaphorical connections with images. A separate area of examination is the realm of children’s drawings and adult illustrations imitating children’s drawings, encompassing aspects such as the technique, color palette, and typographical solutions employed in the images. [ABSTRACT FROM AUTHOR]

Designing learning for intensive modes of study is a clear, concise guide to designing curricula with intensive modes of study. It takes a project management style approach and considers implementation at the unit, program, and institutional scale. Appendix A allows readers to explore how different intensive mode learning strategies have been designed and implemented. We see how the theory is translated into practice. Case studies bring the Guide to life and illustrate the steps to be negotiated in adopting novel approaches to learning and teaching. The key messages and plentiful illustrations currently included in vignette form in the main body of the Guide also provide how-to design excitement. [ABSTRACT FROM AUTHOR]

Classification trees and random forests offer a number of attractive features to corpus data analysts. However, the way in which these models are typically reported – a decision tree and/or set of variable importance scores – offers insufficient information if interest centers on the (form of) relationship between (multiple) predictors and the outcome. This paper develops predictive margins as an interpretative approach to ensemble techniques such as random forests. These are model summaries in the form of adjusted predictions, which provide a clearer picture of patterns in the data and allow us to query a model on potential nonlinear associations and interactions among predictor variables. The present paper outlines the general strategy for forming predictive margins and addresses methodological issues from an explicitly (corpus) linguistic perspective. For illustration, we use data on the English genitive alternation and provide an R package and code for their implementation. [ABSTRACT FROM AUTHOR]

Jessica Brantley's book, "Medieval English Manuscripts and Literary Forms," is a comprehensive and beautifully illustrated handbook that explores the study of medieval English manuscripts and their literary forms. The book encourages independent thinking and learning, posing questions rather than providing easy answers. Divided into two sections, the book covers the anatomy of medieval manuscripts and presents detailed case studies of well-known manuscripts. It includes a glossary of specialist terms and provides further reading suggestions. Overall, this book is a valuable resource for students, teachers, and scholars of medieval English literature and manuscript studies. [Extracted from the article]

Godey’s Lady’s Book illustrations regularly depicted women in direct relation to books in the nineteenth century. For the first two and a half decades, images with women and bookcases also included a male presence. Female education was seen as necessary in order to create generations of good citizens, but the idea that women could be too educated also persisted. However, by the late 1850s, Godey’s Lady’s Book began to feature pictures of middle-class white women and a bookcase (or home library), without men. When the debate over what women should read had begun to diminish, Godey’s popular fashion plates began in 1859 to include bookcases for the first time. The addition of the bookcase motif demonstrates how the magazine visually engaged with the debate over women’s education and also implies a change in Louis A. Godey’s personal views as he was directly involved in the production of the magazine’s artwork. [ABSTRACT FROM AUTHOR]

This article discusses the issue of misattribution in the illustrations of George Eliot's novels. It highlights the importance of visuals in increasing sales and the challenges of correctly identifying the artists responsible for the illustrations. The article provides examples of misattributions and explores the significance of title-page vignettes. It also discusses the differences in illustrations between British and American editions of Eliot's novels. While some attributions have been clarified, there are still unanswered questions regarding the artists involved. [Extracted from the article]

Chapbooks are versatile print media that, more than any other print form, made available a wide variety of texts intended for popular reading to a broad and diverse readership. Gothic chapbooks or bluebooks, in particular, occupied an intermediary position between expensive editions of belles lettres and cheaply produced ballads and other literary ephemera. Adapting and appropriating genre conventions and narrative strategies, they both capitalised on and further contributed to the popularity of the Gothic genre in the late eighteenth and early nineteenth century. To date, however, little scholarly attention has been devoted to the frontispiece illustrations included in these chapbooks. This article examines the frontispieces to the Gothic bluebooks issued by Thomas and Robert Hughes in 1807 and 1808. Exploring the multifunctionality of the illustrations, it explores the ways in which they developed visual interpretations of Gothic horror and terror, generated metageneric reflections, and participated in a visual culture shared across different media networks. Functioning as a critical access point for readers, the frontispieces represented an integral part of the paratextual framing of the bluebook texts, generating meaning and affecting the Gothic reading experience. [ABSTRACT FROM AUTHOR]

Tobias Smollett's works were among the most frequently illustrated in the eighteenth century. Smollett's eclectic output encountered equally diverse types of illustration that both accompanied these works and inhabited their own independent creative identity. Frontispieces occupy a unique place within this wider context. This article investigates two main points: first, booksellers deemed Smollett a saleable author, deserving of potentially expensive illustrated additions that enhanced his works' circulation on a competitive book market; second, these illustrations were considered useful visual tools in deciphering the verbal text, with frontispieces serving their own specific introductory function. Two types of publication by Smollett—his translated texts, Gil Blas (1748) and Don Quixote (1755), and original prose fictions, Roderick Random (1748) and Peregrine Pickle (1751)—and their earliest frontispieces (by Francis Hayman, Henry Fuseli, and an anonymous artist) shed new light on Smollett's early reception, and on the wider forms and functions of eighteenth-century frontispieces. [ABSTRACT FROM AUTHOR]

A book is not only a carrier of information, but also the way of its aesthetic visualization. This actualizes the problem of understanding a book as an artistic artifact. The study of the book in this context implies the identification of several aspects: the art of the book; the existence of the book as an exhibit of museum and exhibition art space; the use of the book as a compositional and meaningful element of works of fine art, as a component of library design, living and working spaces; alterbooking and architectural structures in the form of a book. The article is devoted to the art of the book and its exhibition in museum and exhibition space. Its goal is to systematize the factors and features that should be considered in the study of the art of book for the possibility of its holistic interpretation from an art criticism perspective. The article considers the role of decoration in creating visual and verbal unity. The functions of illustration depending on the cultural and historical context as well as a purpose of the book are determined. Attention is paid to such phenomena of book art as fore-edge painting, artist’s book and art albums. The existence of the book in museum and exhibition art space is also considered. There are two types of exhibitions: single-subject exhibitions devoted exclusively to books and exhibitions with other objects participating in the realization of the semantic concept of a cultural event.

The Allgemeines Historisches Taschenbuch, oder Abriss der merkwürdigsten neuen Welt-Begebenheiten (General Historical Pocketbook, or Outline of the most remarkable new world events), published in Berlin in 1784 and supported by the Academy of Arts, contained one of the most important contemporary accounts of the North American Revolution, titled Geschichte der Revolution von Nord-Amerika (History of the North American Revolution) by Matthias Christian Sprengel, professor at Göttingen University. It further contained influential illustrations, among them twelve engravings designed by Academy member Daniel Chodowiecki, each depicting a key motif from the American struggle for independence and its outcome. In the Metropolitan Museum of Art (New York), an original copy of the pocket book with the Geschichte der Revolution has been preserved, and it is unique in that eleven drawings by Johann Heinrich Ramberg are glued in in addition to the original plates. Ramberg of Hanover was to follow Chodowiecki as the most prolific artist in German book illustration. Several of the drawings are dated 1786 or 1787, when the young Ramberg was a fellow at the Royal Academy of Arts in London, studying under the American history painter Benjamin West. These drawings are examined and published in their entirety here for the first time. An article published in Amerikastudien in 1978 first mentioned the drawings in the Metropolitan Museum and their obvious connection to the Chodowiecki prints, stating they posed a "puzzling iconographic problem" because the German artist in London appeared to change the viewpoint in at least one case. This article follows up on Jantz's observation. It examines how Chodowiecki's designs all show the perspective of the British or share a "neutral" outsider perspective. I argue that in nearly all cases, Ramberg moves the observer closer to the action, takes on the perspective of the Americans or one sympathetic to them, shows more emotion and movement than Chodowiecki, and thus invites an emotional reaction from the viewer. The question of whether Ramberg planned publication, though, remains unanswered. [ABSTRACT FROM AUTHOR]

Writers on the semiology of Cubism have often cited Daniel-Henry Kahnweiler's 1946–48 descriptions of Cubism as a form of writing. They seem, however, to have overlooked Pablo Picasso's 1945–48 statements about art as a sign language. The first section of this essay argues that Kahnweiler was in fact inspired by Picasso's statements. The second section retraces the origins of semiology in nineteenth-century philology, its revival by Claude Levi-Strauss, his influence on critical theory, the rise of a semiological interpretation of Cubism, and the problems with this interpretation. The third section links Picasso's 1945–48 statements about art as a sign language to his contemporary visual work; specifically, to his illustrations for Pierre Reverdy's book of poems Le Chant des morts. The idea of art as a sign language is traced to Picasso's 1924 drawings of "star charts" or "constellations". However, Picasso's 1945–48 designs using a similar vocabulary are analyzed as signifiers without signifieds—that is, as symbols, rather than signs. [ABSTRACT FROM AUTHOR]

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Now while the dominance of I douban i printing may apply to some non-narrative colour book illustrations and fine prints, this concept ignores the contemporary existence of narrative colour book illustration (e.g., the Shibui collection), as well as textual colour printing. My premise is that I douban i printing, with the help of a printing table, uses the paper for registration, and that I taoban i printing uses the four-sided woodblock for registration. Part 2: The Formation of single-sheet print collections in Europe (5) Cordula Bischoff, tells the fascinating history of 'Chinese prints in the Augustus the Strong's print collection: the Inventory of 1738', and she introduces many exceptional Chinese prints. [Extracted from the article]

Late imperial China saw the development of print culture, in which one of the practices was combining the illustration and texts, thus visualizing the contents and changing readers' reading experience. This paper explores an illustrated account of the famous Confucian Wang Yangming (1472–1529) entitled The Illustrated record of Master Wang Yangming (Wang Yangming xiansheng tupu) by Zou Shouyi (1491–1562). By tracing the earlier pictorial Confucian hagiographical tradition and the practices of book publishing, this paper examines the cult of Wang Yangming as revealed in this book along with other deifications of him at that time. I argue that such deifications in narrative texts and illustrations not only helped Wang reach a larger audience but also shifted people's mentality of reverence by enlarging the space of worship from portraits to books. Such an analysis will enhance our understanding of the nuances of the Confucian hagiographical tradition in late imperial China. [ABSTRACT FROM AUTHOR]

This essay examines a particular transmedial moment in the early eighteenth century which promoted the agency of women as heroines at the heart of classical narratives. Opening with a case study of Aphra Behn's contribution and evolving place within John Dryden's influential edition of Ovid's Heroides, I show how later illustrative engravings came to prioritise, and productively extend, Behn's impetus and model for female experience, one which was initially sidelined in the volume. This provides a model for thinking about the wider artistic sources available to us in understanding ways in which women took increased control and influence over their representation in art, chiefly as elite patrons, curators and subjects. In this analysis, the decade of the 1710s comes into particular focus as a time when women demonstrated and communicated creative agency inspired by the courtly culture of Queen Anne. Despite the dearth of easel paintings at this time representing classical and historical themes, engraving and mural painting were their key vehicles and, through the latter form especially, women wrought influence using classical narratives as conduits for communicating their agency as heroines at the centre of their own narratives. [ABSTRACT FROM AUTHOR]

The images, in their various forms of representation, act as promoters of social, political and educational meanings. In the school context, they are widely used in the approach of contents, aiming to collaborate in the student's understanding of concepts. However, in many cases, this has resulted in vicissitudes in the way they are presented in the classroom. The teacher, when using illustrations present in books, technologies and multimedia, needs criteria that can help them to better develop their practice, providing adequate dissemination of knowledge. This qualitative-descriptive study aimed to analyze the multimedia principles in teaching-learning in Chemistry, in images posted on an Instagram educational profile. For this, a profile was selected that addressed and discussed chemical content, based on static images of chemical bonds. The illustrations were classified and later analyzed, based on the Principles of Coherence, Spatial Contiguity and Signaling, related to the Reduction Load of Extraneous Processing, of the Cognitive Theory of Multimedia Learning. The Spatial Contiguity was satisfactory, following the relationship of proximity between text and image. The Principle of Signaling and Coherence need to be more delineated, regarding the presence of elements that can cause wrong/inappropriate understandings about chemical concepts. Posts on Social Networks such as Instagram can help in learning school content, but care is essential in the process of elaboration and insertion, aiming to collaborate with teaching. [ABSTRACT FROM AUTHOR]

Nathalie Roseau's book, "Le Futur des Métropoles. Temps et Infrastructure" explores the development of cities and the role of infrastructure in shaping urban landscapes. Through case studies of New York, Paris, and Hong Kong, Roseau argues that infrastructures are a key aspect of urbanism and mobility, both politically and technologically. The book examines the transformation of the New York parkways, the construction of Paris' beltway system and third airport, and the development of Hong Kong's Chep Lap Kok airport. Roseau's interdisciplinary approach and use of illustrations make the book accessible to readers outside of her fields. [Extracted from the article]

Co-founder of the Dada movement, Tristan Tzara, wrote and produced three stage plays during the Paris Dada period (1920–1923). This article discusses Tzara's third play, The Gas Heart (1921) to show his unique application of theatricality. The text of The Gas Heart is interrupted in Act III by a dance presented as a typographical illustration. While event programmes substantiate the performance of the dance during presentations of the play (1921 and 1923) it remains unknown how the diagram informed the action of the dance. I argue that Tzara's dance exemplifies the paradox central to Tzara's creative programme. Applying Samuel Weber's definition of theatricality, this paper explores The Gas Heart dance as an expression of 'singular duplicity' (Weber, 2004), but one that opens ways for performing the paradox in the theatre of Tristan Tzara. [ABSTRACT FROM AUTHOR]

At the beginning of the 21st century, it seems to be normal for children’s books to be accompanied not only by illustrations but often also by sounds. They are in electronic form, stimulate tactile sensations and, within a certain space, step into the realm of augmented reality. Nevertheless, pictures made their way to books for children’s readers only slowly, and their application in professionally oriented literature, in the case of this study focused on music, was even more complicated. A more obvious interconnection between music and image in culture and especially in art can be traced in relation to social, political and cultural development. Illustrations of sheet music and music-related literature reacted to changes in practical, pedagogical and theoretical education without initially taking into account the needs of child development. The study highlights reforms in pedagogical principles and the initiatives of numerous publishers of specialised music editions. It examines works leading to a one-sided view of children’s music literature with respect to the assessment of the overall artistic level in the general context of book illustration as well as the scope from low to high art while taking into account theoretical reflections on mass and popular culture. Its aim is to indicate a direction foreshadowing multidisciplinary concepts, which have become a natural expression of contemporary art. [ABSTRACT FROM AUTHOR]

The aim of the paper has been to show the plethora of innovative approaches to the illustration of books for children in the interwar period in Czechoslovakia (1918–1938). In a journal focused on education and literature (Úhor [Fallow]), the first synthetic text devoted to the aesthetics of children’s books was published as late as 1935, written by Josef Novák. His text perceives the illustrations of children’s books as an important and distinctive artistic expression dependent on the drawing conception of a form. It highlights the most modern examples in the form of the book of Zdenka Marčanová and Toyen, Náš svět [Our World], but not without reservations; it provides another modern example in Karel Čapek’s Dášeňka, on whose typography Karel Teige worked in 1933. The artistic potential of illustration is thus dominated by the individual approaches of particular authors. As early as 1918, the anthology Nůše pohádek [A Basketful of Fairy Tales] brought some unconventional illustrations, adopting elements from progressive art movements. Jeníkovy pohádky [Jack’s Fairy Tales], written and illustrated by Jan Zrzavý in 1920, enriched the visual appearance of children’s books with variations of dream imagery and with the interconnection of image and text according to the author’s concept with the involvement of a visually dominant and aesthetically modified typeface. In particular in Milada Marešová’s drawings published at the turn of the 1930s, it is possible to observe a new way of working with traditional means of expression. Her drawings were a reaction to the contemporary foreign approaches of the New Objectivity. In the early 1930s, Josef Čapek’s book graphics and illustrations were characterised by a shift towards multimedia. The involvement of the avant-garde painter Toyen in children’s book illustration proceeds from Civilism to Surrealism. A distinctly avant- -garde form was given to the experimentally conceived popular-educational book by J. V. Pleva Kapka vody [A Drop of Water] in the graphic design of Zdeňek Rossmann, who creatively combined typography with photomontage. Photomontage was used by Augustin Tschinkel in his popular-educational books, either together with Ladislav Sutnar, for instance in Malá vlastivěda [A Little Civics Reader]), or on his own in the book Zeměpisné rebusy [Geographical Rebuses]. The works of the last three mentioned avant-garde artists are typical examples of the progressive graphic design where graphic symbols have been replaced by illustrations. These publications were created within a new model of cooperation – collaboration between a typographer, designer and illustrator in an authorial whole. Significantly radical experiments applying constructivist aesthetics and involving photography were unique in children’s literature in Czechoslovakia. [ABSTRACT FROM AUTHOR]

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It is possible for book illustrators to employ themselves, but it takes hard work, dedication, skill and professionalism on the part of the employees. This research basically aims at finding the ways and means by which illustrators can gain themselves a decent living from the profession in Ghana today. The opportunities are enormous and one can work hard to win awards. A profile of some selected illustrators can serve as an example to prospective self-employed illustrators. Response got. From discussions with certain publishing houses is relevant source of material for book illustrators in Ghana today. Upon consulting Art Directors it should be possible to secure employment if one is a good artist. Illustrators should be able to identify the media normally required by fishers and the type of books that need to be illustrated, how their works sell the rate at which they are commissioned, why Ghanaian books need and what they should do in order to gain employment. The earliest forms of illustration were prehistoric cave paintings. Before the invention of the printing press, illuminated manuscripts were hand illustrated. During the 15th century, books illustrated with woodcut illustrations became available. The main processes used for reproduction of illustrations during the 16th and 17th centuries were engraving and etching. Traditionally, engravers created darker areas by having thin lines intersect each other at high density, known as cross- hatching. One can specialize as book illustrator, fashion illustrator, freelance illustrator, medical illustrator, and map illustrator. [ABSTRACT FROM AUTHOR]

Building on a tantalizing footnote by Anne-Marie Christin, my article analyses the illustrated editions of André Gide's Le Voyage d'Urien in tandem. It looks at the 1893 edition, a collaboration between Gide and Maurice Denis, and the 1928 edition, featuring illustrations by Alfred Latour. I explore the impact the two sets of illustrations might have on our reading of Urien's travels, demonstrating the potential these divergent visuals have to (re)shape our perceptions of the narrative's central journey. The co-existence of these editions also helps us ask how the illustrations add to and even disrupt conceptions of the reading process. [ABSTRACT FROM AUTHOR]