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CREATORS | Charlotte Diamond Workshop

16 Nov

CHARLOTTE DIAMOND'S WORLD

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MADE IN CANDA SLIPPERY FISH

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MADE IN HAWAI'I SLIPPERY FISH

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I was very fortunate to have attended a workshop on November 14, 2013 hosted by the the amazingly talented, charming, and hypercreative Charlotte Diamond.

On sale were some amazing felts, including the “made-in-Canada” Slippery Fish, above. Not cheap but excellent quality!

SlipperyFish

And… I won a copy of Ms. Diamond’s new board book, Slippery Fish in Hawai’i, charmingly illustrated by John Aardema. Nice! (I was feeling lucky that afternoon!) Thanks for being a great teacher, Ms. Diamond, and thanks for the autograph and this one:

ROW ROW ROW YOUR

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Charlotte Diamond

inkyboy-home

John Aardema

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CREATORS | Oliver Jeffers Visits Vancouver

28 Feb

OLIVER  JEFFERS IN VANCOUVER 1

OLIVER JEFFERS VISITS VANCOUVER 2013

OLIVER JEFFERS VANCOUVER - LOST AND FOUND - THE COOKIE

The incredibly talented, charming, and self-deprecatingly humorous author/artist gave a presentation about what it’s like being Oliver Jeffers before a sold-out audience on Saturday, 23 February 2013 in Vancouver.

I took a stack of my favourite books for Mr. Jeffers to sign (photos, below) but, alas, the capacity crowd meant a limit of 2 autographs per devotee.

Along with the photos of my books, I’m including some video links for those who don’t yet know how amazing Mr. Jeffers is. Watch them and you, too, will become a devotee.

OLIVER JEFFERS VANCOUVER - NEITHER HERE NOR THERE

2012

OLIVER JEFFERS VANCOUVER - BOOK SIGNING

OLIVER JEFFERS VANCOUVER - JEFFERS' AUTHOGRAPH

OLIVER JEFFERS VANCOUVER - THE NEW JUMPER

2012

OLIVER JEFFERS VANCOUVER - JEFFERS' AUTHOGRAPH CLOSE UP 2

OLIVER JEFFERS VANCOUVER - JEFFERS' AUTHOGRAPH CLOSE UP 2

OLIVER JEFFERS VANCOUVER - LOST AND FOUND

2005

OLIVER JEFFERS VANCOUVER - LOST AND FOUND DETAJ,

WALLPAPER

OLIVER JEFFERS VANCOUVER - 8

OLIVER JEFFERS VANCOUVER - UP AND DOWN

2010

OLIVER JEFFERS VANCOUVER - THE INCREDIBLE BOOK EATING BOY

2006

OLIVER JEFFERS VANCOUVER - THE INCREDIBLE BOOK EATING BOY 2

OLIVER JEFFERS VANCOUVER - ONCE THERE WAS A BOY

2009

OLIVER JEFFERS VANCOUVER - ONCE THERE WAS A NOY 2

OLIVER JEFFERS VANCOUVER - THIS MOOSE IS MINE

2012

OLIVER JEFFERS VANCOUVER - THIS MOOSE IS MINE 2

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Oliver Jeffers | Facebook

Oliver Jeffers | Instagram 

Oliver Jeffers | Tumblr

Oliver Jeffers | Twitter 

Oliver Jeffers on YouTube

Oliver Jeffers Store

hello@oliverjeffers

National Post | Big li’l pictures: Oliver Jeffers leads a new generation of children’s illustrators

National Post | Big li’l pictures: Oliver Jeffers leads a new generation of children’s illustrators PDF

Quill & Quire | Q&A: Oliver Jeffers

Quill & Quire | Q&A: Oliver Jeffers PDF

Westjet Up | Oliver Jeffers’ Brooklyn

Maclean’s | The march of his penguin

GUYBRARIAN LOST AND FOUND

RESEARCH | G&M :: On Books as Alien Devices

26 Dec

Another article (link below) from The New York TImes about kids’ books and technology presented the view that many parents prefer the tactility of books over ereaders. Ivor Tossell of The Globe and Mail suggests that some children prefer the tactility of a tilting iPad. What do you think?

Illustration for The Globe and Mail by Graham Roumieu

PUBLISHING

For some kids, a book is just an iPad that doesn’t work

IVOR TOSSELL

18 November 2011

At the age of 2, Calvin Wang’s son seems to have learned a truism that is already ricocheting around the Internet: A book is an iPad that doesn’t work.

Wang designs interactive storybooks for the iPad. He was inspired, he says, by watching his daughter interact with a movable cardboard book. Since then, Loud Crow, his Vancouver-based firm, has turned an array of children’s picture books that take the pop-up concept into the digital age. Books such as Beatrix Potter’s Peter Rabbit now respond to touch by moving, twirling, speaking and noise-making.

Having experienced the app, he says, his son is puzzled by the fact that creatures in the original cardboard books don’t move. “When he opens the book, the first thing he does is start tapping the creature in the book.”

Turning children’s literature into iPad apps is a new and potentially lucrative business; successful creators have seen products fly off the virtual shelves, and venture capitalists are showing interest. But traditional publishers face challenges entering this market: Interactive applications are expensive to make, difficult to perfect and tough to market in the App Store environment. And even children’s authors are asking: Does a product that blurs the line between a book and a game destroy the joy of reading? And is one more screen what young children need in their lives?

Adaptations of kids books have been around almost as long as the iPad itself, a device so entrenched in the public consciousness that it seems as though it has always been a fixture on the landscape even though it has been on the market only since April, 2010, a mere 19 months. The first to make a splash was an adaptation of Alice in Wonderland, simply called Alice. The creation of a laid-off journalist and a former financial-sector programmer, the $8.99 app took Lewis Carroll’s text and the iconic original illustrations from John Tenniel – both of which have passed into the public domain – and used the iPad’s innovative capabilities to turn them into tactile experiences.

When the iPad is flipped, Alice grows or shrinks. When the device is tipped, the queen’s crown teeters, or even falls off its pillow. Because the iPad can sense acceleration, developers could endow objects on-screen with realistic physics – the kind that young users find especially intuitive.

Chris Stevens, the app’s co-creator, says it hardly sold at all for the first couple of days. Then, he says, he released a YouTube video of the app, went to bed and woke up the next morning to see that 500,000 had seen it: This new medium’s potential had caught the public imagination. The app would later turn up in The New York Times and on Oprah.

“It was the right market to get some attention,” he recalls. “There was some excitement about the idea that the iPad might be the future of publishing.”

The Alice app would be the first of a bumper crop, mostly coming from the heady world of new-media app developers. It was one of the inspirations for works that followed, including Wang’s growing business in Vancouver. (This week, Loud Crow announced that it had snagged the rights to adaptPeanuts TV specials, including iconic entries such as A Charlie Brown Christmas, into the app format.)

But for all the hubbub, traditional children’s publishers are approaching the emerging market with caution.

One challenge is economics: Flashy, full-colour, animated interactive projects that run on high-end tablets are a different creature from eBooks, which typically aren’t interactive and can be read on a variety of devices, such as simple black-and-white Kindle or Kobo readers. The eBooks adhere to popular standards, making them relatively simple to make, whereas each children’s app is a unique creation that requires attention from authors, designers and programmers.

However, publishers can typically charge more for eBooks than they can for apps, which consumers are used to buying for less than $10. For instance, Loud Crow’s Peter Rabbit books cost $3.99 in the App Store.

“The interactive apps cost a lot of money, need to be updated frequently and the price point is incredibly low,” says Barbara Howson, vice-president of sales at House of Anansi and Groundwood books. All the same, Groundwood is currently working on an interactive adaptation of one title, Cybèle Young’s A Few Blocks.

“I think we’re in early days for kids books, in terms of demand and technology,” says Denise Anderson, director of marketing and publicity for Scholastic Canada. The publisher has embraced eBooks, with 400-odd titles already available in the format. As for interactive apps, few are currently available from the publisher, but she expects that to change within a year.

“Our mandate is to get books into the hands of children, however they’re delivered.”

So far, many of the interactive apps that have appeared in the marketplace have been adapted from books that are already cross-platform properties, such as Stella and Sam, a series of children’s books by Montreal author Marie-Louise Gay, which has been turned into a successful animated TV show.

For Gay, it’s important to distinguish between books and games – and the app, she says, is primarily a game. Where it comes to replacing books themselves with apps, she worries that the immersiveness of the technology can break up the shared experience of a child learning to read with a parent.

“You could actually put an iPad in a baby’s crib, and the pages will turn by themselves,” she says. Apps that read stories aloud and present interactive widgets threaten children’s ability to explore pages at their own pace, turning a social experience into an isolated pursuit, she says.

“That’s something that’s dangerous, because it’s like putting a child in front of a TV.”

That is a sentiment that has some support, even within the app world. The best interactive kids apps are the ones that actively depart from the source material, says Jason Krogh, the founder of Zinc Roe, the Toronto developer behind the Stella and Sam app, among others.

“The least successful examples take the book, put it on the screen, and they make hot spots so that when you press it, something happens,” he says. That’s why his firm is pushing interactive children’s technology in a new direction: letting kids tell their own stories. A new app called DoodleCast encourages kids to draw on the iPad screen, while making a real-time recording of what they’re saying aloud. After all, a child’s scribblings can be visually indecipherable, but its meaning comes clear as they explain it aloud.

“If you’ve ever drawn with a four-year-old, there’s always a narrative. They’re telling you about their day,” he says.

Kids books have gone through the looking glass, indeed.

Ivor Tossell is The Globe and Mail’s technology culture columnist.

FAMILY STORYTIMES | A Baker’s Dozen’s Worth of Books, Felts, and More

24 Dec

13 weeks of Family Storytime programming, by theme and week. Use, re-use, and recycle.

Start of the series: The magic of books via Hervé Tullet.

Clap your hands if you’re here for the magic of Storytime! Ready? 1, 2, 3, Let’s Go!

 

Press Here by Hervé Tullet

PDF > JOKES: Jokes About Our Bee Friends

 

The Honeybee and the Robber: A Moving/Picture Book by Eric Carle

PDF > FINGER PLAY: Five Big Bees on a Billygoat’s Knee

PDF > SONGS: Bee Song + Bumble Bee

PDF > SONGS: Bees Here


The Very Greedy Bee by Steve Smallman, illus. by Jack Tickle

PDF > FINGER PLAY: Here Is the Beehive


Be-wigged by Cece Bell

I Love Jerry Bookmarks

MAKE YOUR OWN BOOKMARKS > I LOVE JERRY BEE BOOKMARKS – Word Document Template

Jerry Bee Colouring Sheet

MAKE YOUR OWN COLOURING SHEETS > I LOVE JERRY BEE – FILL IN YOUR STORYTIME – Word Document Template

Bee Stamp


  

Goodnight, Little Monster by Helen Ketterman, illus. by Bonnie Leick

Creepy Monsters, Sleepy Monsters: A Lullaby by Jane Yolen, illus. by Kelly Murphy

Taming Horrible Harry by Lili Chartrand, illus. By Bonnie Leick, illus. by Rogé, translated by Susan Ouriou

LINK > FELT BOARD STORY: Five Little Monsters

LINK > Week 2: Full Program

 

 

Pajama Time by Sandra Boynton

Man on the Moon: A Day in the Life of Bob by Simon Bartram

Zoom! Zoom! Zoom! I’m off to the Moon by Dan Yaccarino

LINK > FLASH CARD STORY: COSMIC PANDA: Introducing Cosmic Panda

LINK > Week 3: Full Program

 

Pouch! by David Ezra Stein

Who Ate All the Cookie Dough? by Karen Beaumont, illus. by Eugene Yelchin

There Was an Old Lady Who Swallowed a Fly illustrated by Simms Tabak

LINK > FLASH CARD STORY: COSMIC PANDA: Chapter 2: Reunion at the Double Helix

LINK > Week 4: Full Program

 

 

Pete the Cat: I Love My White Shoes by Eric Litwin (aka Mr. Eric), illus. by James Dean

OR

Pete the Cat: Rocking in My School Shoes by Eric Litwin

Splat the Cat by Bob Scotton

There are Cats in This Book by Viviane Schwarz

Bark, George by Jules Feiffer

LINK > Week 5: Full Program

 

 

It’s My Birthday! by Pat Hutchins

The Birthday Fish by Dan Yaccarino

Happy Birthday, Moon by Frank Asch

LINK > FELT BOARD STORY: Ten Little Candles

LINK > Week 6: Full Program

First the Egg by Laura Vaccaro Seeger

Waiting for Wings by Lois Ehlert

Butterfly, Butterfly: A Pop-up Book of Color by Petr Horáček

LINK > FELT BOARD STORY: Slippery Fish

LINK > Week 7: Full Program

 

 

 

Dog’s Colorful Day: A Messy Story About Colors and Counting by Emma Dodd

Animals Should Definitely NOT Wear Clothing by Judi Barrett, illus. by Ron Barrett

What Pet to Get? by Emma Dodd

LINK > FELT BOARD STORY: Little Mouse

LINK > Week 8: Full Program

A Splendid Friend, Indeed by Suzanne Bloom

Hugless Douglas by David Melling

Lost and Found by Oliver Jeffers

TAKE AWAYS:

Footprint Penguin Instructions

LINK > Week 9: Full Program

Call Me Gorgeous by Giles and Alexandra Milton

Giraffes Can’t Dance by Giles Andreae  and Guy Parker-Rees

Mind Your Manners, B.B. Wolf by Judy Sierra, illus. by J. Otto Seibold

LINK > Week 10: Full Program

Polar Bear, Polar Bear, What do You Hear? by Bill Martin/Eric Carle

The Wheels on the Bus by Jane Cabrera

Penguins, Penguins, Everywhere by Bob Barner

LINK > FELT BOARD STORY: The Monkey and the Crocodile

LINK > Week 11: Full Program

On My Walk by Kari-Lynn Winters

Wow! City! by Robert Neubecker

Iggy Peck, Architect by Andrea Beaty

LINK > Week 12: Full Program


Shark in the Park by Nick Sharratt

Every Friday by Dan Yaccarino

No, David! by David Shannon

LINK > Week 13: Full Program

 

A Zeal of Zebras by Woop Studios

Barnyard Dance by Sandra Boynton

Brian Wildsmith’s Animal Gallery by Brian Wildsmith

Cat Secrets by Jef Czekaj

Look! A Book! by Bob Staake

Moo, Baa, La La La! by Sandra Boynton

Is Everyone Ready for Fun? by Jan Thomas

The Cow that Went Oink by Bernard Most

Mig the Pig by Colin and Jacqui Hawkins

INFORMATION BOOKS | Collective Nouns :: A Zeal of Zebras + Brian Wildsmith’s Animal Gallery

16 Dec

Who knew?

SOURCE >www.collective-noun.com


I came across these two extraordinary — and strikingly dissimilar in style — books today and they prompted me to do some more research about collective nouns.

Who knew that the English language had so many strange names for collectivities of animals?

Woop Studios — Miraphora Mina, Eduardo Lima (photo, below), Harriet Logan, and Mark Faulkner — have a contemporary graphic style that is extremely appealing. The words are engaging, too!

The cover of A Zeal of Zebras sets the tone for what’s inside. The Studio’s artwork captures the essential “animalness” of each of the collective nouns they cover in this gorgeous book.

I’d recommend A Zeal of Zebras as a gift for your graphically-minded friends — they’ll appreciate its bold style.

Woop is, I think, bent on becoming a repository for all of these, as they put it, “eccentricities of the English language.” Be sure to check out WOOP WORDS (link below) for more collective nouns.

From their website:

We believe that making a comprehensive A-Z list of collective nouns freely accessible will help those who share our fascination learn new terms and enjoy and share familiar. We hope that irrespective of whether you are browsing for fun or researching for homework that you will find these words, images and facts entertaining and informative. If you enjoy exploring this list you may well find our forthcoming book A Zeal of Zebras worth a look.

Some of the collective terms listed have real pedigree and lineage and can be found in JThe Oxford English Dictionary, ames Lipton’s 1968 An Exaltation of Larks or even The Book of St. Albans published in 1486. Some are of a more dubious and newer vintage than the original terms of venery. We make no apologies for being eclectic and hope that you will have fun with the words and enjoy our graphic interpretation of some of them.

Brian Wildsmith is, to me, the Eric Carle of England (though he resides in France). He liberated children’s picture books in the mid-sixties with his emphasis on minimal text and brilliantly conceived (art directed, really) page spreads with lots and lots of white space to let his images breathe on the page.

Wildsmith has never achieved Carle’s level of success because he refuses to repeat himself. I think his artistry is unique and superlative and underappreciated.

Trust the Japanese to know a quality artist when they come across one: the Brian Wildsmith Museum is located in Izu-kogen, south of Tokyo (link below).

Here are a few words about Wildsmith pulled from The Guardian:

Korky Paul on Brian Wildsmith

Brian Wildsmith’s work came out in the 1960s and he changed picture books. It was revolutionary stuff. One of his best books is The Hare and the Tortoise. He uses his own colours. He plays with scale, and his animals have characters: roosters strut their stuff, chickens are always eating, cats always sleeping.

What I like about his work is his wonderful use of white space; there are raggedy edges and extraordinary detail. He uses a mixture of media: watercolour, wash, then he works on top with chalk or pen. There is a lot of movement there.

My work is more spiky, but I love trying to create a fantasy world and to stylise it. Children’s books allow artists of all kinds to explore their own vision, how they see the world, and that’s what Wildsmith achieves so well. Exposing children to that teaches them that there are all sorts of ways of viewing the world.

Korky Paul has created illustrations for books including the Winnie the Witch series.

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Click on the links below to find out more about these brilliant artists and their fact books for children that illustrate the strange collective nouns we use to name animals.

These two books are full of strange and fascinating collective nouns accompanied by rich illustrations drawn with flair and élan.

Though utterly different in style, both are highly recommended for kids of all ages.

Brian Wildsmith Museum of Art

ワイルドスミス絵本美術館

PICTURE BOOKS | Oliver Jeffers :: Lost and Found

27 Nov

Another fantastic tale for children and adults from the talented Mr. Jeffers!

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