Technology and Processes in Childrens Illustrations - Essay Example

Introduction The different concepts which applied to children’s literature began to change in 1745 and through 1945. The alterations were based on the illustrations that were used, specifically because of the changes which were being made in society during this time. The creation of different concepts that were able to meet the needs of the children in Britain during this time allowed for new perspectives to be taken in terms of creativity, education and what a child’s needs were for growing up in society. Technology and Processes in Children’s Illustrations The technology of children’s books began to change in the 18th century, specifically with new inventions that began to be present in society. Britain noted changes specifically with the beginning development of the printing press. This led from black and white printing to color printing as well as the ability to provide finer details with the illustrations which were offered. The emergence from the eighteenth century and to 1945 became a pattern of development in producing mass literature, imported text and a dynamic mode of media which continued to grow based on the needs for education and entertainment by children (Hunt, 11, 2001). The changes which continued to move from the printing press to enhanced technology specifically for images then became the main component to those who were interested in literature and with the growing influences for children in Britain (Harlimann, 2 1967). Another aspect associated with this time frame was based on changing techniques. In the past, there was a transfer of illustrations from wood to the paper, such as through engraving. The ability to transfer illustrations became difficult with the inability to produce larger pictures and colors for different books. Lithography was the first change to this, which introduced the combination of oil and water to the illustrations. The drawing style remained as an engraving, such as seen through Charles Dickens and Kate Greenway. However, there was more ease in the creation and development of the pictures. From this point, there was the ability to combine the text and the pictures of the books. This led into the 20th century, which introduced watercolor illustration and four – color printing for more in – depth looks (Salisbury, 12: 2004). An early example of the changing technologies in Britain was seen from William Blake. The details of the illustrations of Blake were detailed and were stenciled and colored in detail to assist with the main poems and writings that Blake offered for children. The works were artistic in nature, which was reflective of the artwork in the eighteenth century of Britain (see appendix A). When looking at the works of William Blake, it can be seen that the attention to detail through the lines and stencils were the most important. The earlier works usually only use one to two colors, such as red or blue, because of the printing technology available. In the later works, the colors begin to emerge with more techniques, colors and intricate drawings, all which were based on the capabilities of the printing press during the time (Damon, 67: 2006). Another example that is seen is through the later works in Britain and how this was attributed to the growing technology of the time. E.H. Shepard, the publisher of Winnie the Pooh, was one of the well – known publishers who used illustration as a main component of attracting those who were interested in children’s books. His illustrations were used as the central part of the books with the printing below or above the picture. The colors were more intricately designed with sketches which were followed by different types of colors (see appendix B). More important, there is a focus on the sketches as being understood by children, as opposed to being shown as a more intricate art piece. These different approaches by Shepard show how there were specific changes based on the technology during this time (Chandler, 27: 2000). Changing Ideas About the Nature of Childhood Another concept which began to alter the illustrations of children’s illustrations through 1945 in Britain was based on the social and cultural implications that were related to the nature of children. During this time, children began to be separated from adults because of the growth of education in Britain and the introduction into the development cycle in which children were in. This was different than the past, specifically because children began to be associated with the need to become educated and to have a specific role in society that was distinct from adults. Allowing children to be entertained gain life lessons and morals and to have a strong foundation in education were some of the definitions which began to form in society during this time frame (Cunningham, 2: 2006). Another change which was noted among children’s literature was from the understanding of how children thought and the psychology of children. The early 1800s began to move into science, psychology and an understanding of the mechanics one had to function (Heywood, 52: 2001). It was believed that children had a different way of communication from adults. This was based on the need to fulfill creativity and imagination while working with both aesthetics and play to create a fulfillment to this. The illustrations were able to accompany this new belief, specifically by going outside of the realities of life and what existed into a space of imagination and play. Expression and the ability to dream of different realities then became the main component of the different pieces of literature (James, 8: 1947). An example of these specific concepts is through the works of John Tenniel, author of Alice in Wonderland. In Tenniel’s book, every image is to enhance the imagination and creativity of the children who are reading it, such as Alice meeting and speaking with different animals. (see appendix C). The approach which is taken by Tenniel is one which is defined first by stimulating the imagination and sense of creativity that it is believed children should have. This is furthered by the association with the characters and how they work within society. For instance, the main character is always seen as a small girl, with few to no adults in the adventures. The illustrations capture this through the images of the child and show that it is a separate world for play than from adults, specifically which reflects the expectations of children in Britain during this time (Hancher, 53: 1985). Another example which shows similar concepts is from Beatrice’s Potter and her well – known book, Peter Rabbit. The main approach which Potter took with all children’s books was to show an imaginative place where animals could talk and interact and which they could live in a world of their own (see appendix D). The idea of playing with the characters and stimulating the imagination were the most important parts of the book. This was followed by the expectations of children in society to receive a sense of education by reading as well as the understanding that imagination and stories which were related to playing would offer more education. The illustrations and the text worked together to provide a stronger association with both education and the need to work with the imagination of children (Linder, 4: 1993). Conclusion The different concepts which are associated with the children’s illustrations in Britain from 1745-1945 all provide specific meanings to both the growth of children and society. The changes in technology, as well as the changing definition of what it meant to be a child allowed for children’s illustration to become a main proponent in society. From 1745, the growth of children’s books and illustrations grew on the market, all which incorporated the ideals and definition which was known to include imagination, education and stimulation of different effects from the use of illustration. References Chandler, Arthur. (2000). E.H. Shepard, The Man Who Drew Pooh. UK: Jaydem Books. Cunningham, Hugh. (2006). The Invention of Childhood. UK: BBC Books. Damon, SF. (2006). William Blake: His Philosophy and Symbols. UK: Kessinger Publishing. Hancher, M. (1985). “Tenniel Illustrations to the Alice Books.” KB 7 (2). Harlimann, Bettina. (1967). Three Centuries of Children’s Books in Europe. UK: BBC Books. Heywood, Colin. (2001). A History of Childhood: Children and Childhood in the West from Mediaeval to Modern Times. UK: Cambridge Polity Press. Hunt, Peter. (2001). Children’s Literature New York: Wiley – Blackwell. James, Phillip. (1947) English Book Illustration. London: Penguin Books. Linder, Leslie. (1993). A History of the Writing’s of Beatrix Potter, Including Unpublished Works. London: Warne Publishing. Salisbury, Martin. (2004). Illustrating Children’s Books: Creating Pictures for Publication. UK: Barron’s Educational Series. Appendix A Appendix B Appendix C Appendix D Read More