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Show and Tell: Exploring the Fine Art of Children's Book Illustration
For over 30 years, Dilys Evans has been deeply involved in the fine art of children's book illustration. In 1980 she foundedThe Original Art, an annual exhibition in New York featuring the best children's book illustration of the year. Now, in thisfascinating exploration of children's book illustration, she focuses on the work of 12 contemporary illustrators. Lookingat the wide variety of artistic genius in children's books, Show and Tell teaches the reader how to look for the perfect marriage of art and text, and is an invaluable guide for anyone interested in children's books and the art of illustration. Illustrators
David Wiesner
Trina Schart Hyman
Lane Smith
Brian Selznick
Bryan Collier
David Shannon
Petra Mathers
Paul O. Zelinsky
Hilary Knight
Denise Fleming
Harry Bliss
Betsy Lewin
David Wiesner
Trina Schart Hyman
Lane Smith
Brian Selznick
Bryan Collier
David Shannon
Petra Mathers
Paul O. Zelinsky
Hilary Knight
Denise Fleming
Harry Bliss
Betsy Lewin
144 pages, Hardcover
First published March 26, 2008
5 people are currently reading
418 people want to read
About the author
Dilys Evans
6 books7 followersDilys Evans is agent and president of Dilys Evans Fine Illustration LLC. She is an accomplished author, curator, and speaker who has advised Caldecott committees and has worked with many acclaimed illustrators in the children's book business. She lives in Santa Fe, New Mexico.
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Displaying 1 - 30 of 50 reviews
October 15, 2009
Great book to give as a gift to anyone interested in illustrating or evaluating children's books.
October 22, 2020
Evans showcases the artwork of 12 well-known children's book illustrators: Hilary Knight, Trina Schart Hyman, Bryan Collier, Paul O. Zelinsky, David Wiesner, Betsy Lewin, Harry Bliss, David Shannon, Petra Mathers, Brian Selznick, Denise Fleming, and Lane Smith. For each one, Evans tells a bit about their childhood, the artists who influenced them, how they got into children's book illustration, and details about their artwork, using several of their published works for examples. Image credits and a detailed index round out this resource.
March 7, 2010
A wonderful book for anyone interested in children's book illustration and how people like Hilary Knight, Trina Schart Hyman, David Shannon, Lane Smith, Betsy Lewin and Brian Selznick become great illustrators.
February 12, 2017
This was a very informative exploration of picture book art focusing on 12 different illustrators. As the author states, this is not meant to be a "best of" list, but rather she chose a group of artists she felt offered "a wide range of styles, technique, and content" and I feel she certainly delivered on that. All of the featured artists may not be my particular favorites, but I definitely learned a lot by reading more about their work, background, inspirations, and process.
Only three of the featured artists were completely new to me (Trina Schart Hyman, Petra Mathers, and Harry Bliss), but this book piqued my interest in their work -- particularly the prolific Trina Schart Hyman whose chapter I found particularly intriguing. The other nine illustrators (Brian Selznick, Bryan Collier, Paul O. Zelinsky, Hilary Knight, David Wiesner, David Shannon, Betsy Lewin, Denise Fleming, and Lane Smith) I had previously read at least one of their books, but oftentimes it was their most popular work or their Caldecott award-winning work. So even for those artists I previously was somewhat familiar with, I've now been introduced to a broader range of their work. While I probably won't seek out every single one mentioned, I have certainly added to my picture book TBR list! I've already borrowed quite a few from the library and (shocker!) ordered used copies of two out of print titles my library system didn't have.
This sort of deep-dive into picture books and illustration won't be for everyone, but as someone who reads a ton of picture books these days -- both with my son and now on my own -- it is an area I want to learn more about. Out of habit, I still tend to focus on the text more than the art when I read a picture book. So the more I learn about illustration, the more I feel I can appreciate and understand it in its own right.
This review also appears on my blog Buckling Bookshelves.
Only three of the featured artists were completely new to me (Trina Schart Hyman, Petra Mathers, and Harry Bliss), but this book piqued my interest in their work -- particularly the prolific Trina Schart Hyman whose chapter I found particularly intriguing. The other nine illustrators (Brian Selznick, Bryan Collier, Paul O. Zelinsky, Hilary Knight, David Wiesner, David Shannon, Betsy Lewin, Denise Fleming, and Lane Smith) I had previously read at least one of their books, but oftentimes it was their most popular work or their Caldecott award-winning work. So even for those artists I previously was somewhat familiar with, I've now been introduced to a broader range of their work. While I probably won't seek out every single one mentioned, I have certainly added to my picture book TBR list! I've already borrowed quite a few from the library and (shocker!) ordered used copies of two out of print titles my library system didn't have.
This sort of deep-dive into picture books and illustration won't be for everyone, but as someone who reads a ton of picture books these days -- both with my son and now on my own -- it is an area I want to learn more about. Out of habit, I still tend to focus on the text more than the art when I read a picture book. So the more I learn about illustration, the more I feel I can appreciate and understand it in its own right.
This review also appears on my blog Buckling Bookshelves.
June 5, 2021
This won't be going on my 365 Kids shelf, although it has a meaning relevance. I love picture books, always have. But I don't think about them much. Nor do I have much knowledge of the making or history of art. Because of the aphantasia I don't ever see what I'm reading inside of my head. Hell, until recently I thought that was a purely metaphorical idea. So for there to me an image in my head, someone else must create an image and share it. Over the years I've added quite a few books about creating and using picture books to my list, but getting my hands on them is often difficult.
Here, then, is one I'm delighted to have read. Evans picked twelve US illustrators all of whom started publishing in the 20th century. There's a page or two of biography covering where the artists grew up, what kind of training they had, what sorts of influences they credit in their youth and who really impressed them. Then it's how they got started in the business, examples of their representative work, and what their process is.
There's a lot about how to convey movement, to keep action moving through the book, the moods evoked by palettes, just all kinds of stuff. The process tends not to be too detailed except in the case of Denise Fleming, who makes her images as paper, which is unusual and fascinating. There are a number of similarities: lots of these folks were identified as children who had talented, lots of families with other artists.
It's neat stuff and I'm eager to see what, if any, influence it has in my reaction to the giant freaking stack of books I have awaiting my attention.
Three issues I have with the book:
1. The twelve artists profiled, while being broadly recognized and awarded, aren't a very broad swathe of illustrators. Of these, eight are men, and there is only one person of color, all of whose depicted art is of Black people. No shade to him, because without his inclusion there would only be one full-sized illustration in the book showing a non-white human face. This is why we need diverse books and diverse editorial staff.
2. I don't like the work equally. Two of these illustrators have styles that I actively put me off. Since I can only think of three altogether that put me off, that is unfortunate.
3. Writing of an illustration from Rosa
Whether the error is Evans' or Collier's, I don't know. In her autobiography Parks wrote “people always say that I didn’t give up my seat because I was tired, but that isn’t true. I was not tired physically… No, the only tired I was, was tired of giving in.” Months before Parks was removed from the bus seat a 15-year-old girl was arrested when she declined to move from her seat on the bus. Claudette Colvin, however, wasn't the image of non-threatening respectability that the local NAACP wanted to create a movement around. Colvin was several months pregnant at her arrest, a victim of statutory rape. Someone else was selected to take her place: the Secretary of the Montgomery NAACP chapter. Planning an action to raise awareness and outrage is a laudatory act, as well as a lesson in how to fight the power, and is a brave act for someone who well understood the possible danger. But I will not compound the disrespect shown to Ms. Colvin by disregarding her contribution to the fight. Nor will I ignore that the NAACP had a bad record in the 20th century for practicing sexism even as it relied so heavily upon the work of Black women to fight racism. Intersectionalism is real. And it brings me back to my first point. There are a hundreds of artists who could have been featured and Evans made her choices in favor of white men. Not well done.
Library copy
Here, then, is one I'm delighted to have read. Evans picked twelve US illustrators all of whom started publishing in the 20th century. There's a page or two of biography covering where the artists grew up, what kind of training they had, what sorts of influences they credit in their youth and who really impressed them. Then it's how they got started in the business, examples of their representative work, and what their process is.
There's a lot about how to convey movement, to keep action moving through the book, the moods evoked by palettes, just all kinds of stuff. The process tends not to be too detailed except in the case of Denise Fleming, who makes her images as paper, which is unusual and fascinating. There are a number of similarities: lots of these folks were identified as children who had talented, lots of families with other artists.
It's neat stuff and I'm eager to see what, if any, influence it has in my reaction to the giant freaking stack of books I have awaiting my attention.
Three issues I have with the book:
1. The twelve artists profiled, while being broadly recognized and awarded, aren't a very broad swathe of illustrators. Of these, eight are men, and there is only one person of color, all of whose depicted art is of Black people. No shade to him, because without his inclusion there would only be one full-sized illustration in the book showing a non-white human face. This is why we need diverse books and diverse editorial staff.
2. I don't like the work equally. Two of these illustrators have styles that I actively put me off. Since I can only think of three altogether that put me off, that is unfortunate.
3. Writing of an illustration from Rosa
"By treating this moment the way he has, Collier has set the tone for what happens as Rosa Parks decides not to give up her seat. It was not some grand scheme planned ahead of time. She was just suddenly tired, very tired of the many things she had to do in her life because she happened to be black. That's precisely what makes her a truly heroic figure. A hardworking middle-class woman, she symbolized her whole race with quiet dignity and power. All of that comes across in this remarkable illustration."
Whether the error is Evans' or Collier's, I don't know. In her autobiography Parks wrote “people always say that I didn’t give up my seat because I was tired, but that isn’t true. I was not tired physically… No, the only tired I was, was tired of giving in.” Months before Parks was removed from the bus seat a 15-year-old girl was arrested when she declined to move from her seat on the bus. Claudette Colvin, however, wasn't the image of non-threatening respectability that the local NAACP wanted to create a movement around. Colvin was several months pregnant at her arrest, a victim of statutory rape. Someone else was selected to take her place: the Secretary of the Montgomery NAACP chapter. Planning an action to raise awareness and outrage is a laudatory act, as well as a lesson in how to fight the power, and is a brave act for someone who well understood the possible danger. But I will not compound the disrespect shown to Ms. Colvin by disregarding her contribution to the fight. Nor will I ignore that the NAACP had a bad record in the 20th century for practicing sexism even as it relied so heavily upon the work of Black women to fight racism. Intersectionalism is real. And it brings me back to my first point. There are a hundreds of artists who could have been featured and Evans made her choices in favor of white men. Not well done.
Library copy
February 3, 2019
It's a good set of case studies, don't get me wrong, but I was looking for more craft information on composition and technique. Beautiful images and background stories about various illustrators. Published in 2008, it's still relevant.
February 14, 2012
Caldecott Committee members are recommended reading the book, Show & Tell: Exploring the Fine Art of Children’s Book Illustration, by Dilys Evans.
I can see why.
This marvelous professional book points out the elements of art that make a picture book distinctive. Choosing a wide-range of illustrators that represents different art styles Evans shows how the illustrators go beyond a simple interpretation of the text. Instead they have powerful images and storylines resulting from their choices of colors, lines, texture, and techniques. For instance, Lane Smith has many illustrated books that are surreal and represent the Abstract Expressionists. Or Paul Zelinsky, in Rapunzel, imitates the Italian Renaissance artists. She goes on to look at the texture, lines, and color of various well-known illustrators. But that is just one portion of what she examines. She also shows the connections between folk art, comics, film, poster art, and more. It is a fascinating view of the arts and the fine art of illustrating books.
I have not reviewed a picture book yet for this blog because I wasn’t really sure there was much to write about. After reading this book I am inspired to write about picture books. I also have a better idea of what to look for in the illustrations.
I love the visual arts and have a passion for architecture, art history, folk arts, and more. My bias on this topic may not make me the best reviewer for this book, but I believe this book can help even a non-art lover appreciate the work and talent that goes behind making and illustrating a picture book.
Try it and post if you liked it.
I can see why.
This marvelous professional book points out the elements of art that make a picture book distinctive. Choosing a wide-range of illustrators that represents different art styles Evans shows how the illustrators go beyond a simple interpretation of the text. Instead they have powerful images and storylines resulting from their choices of colors, lines, texture, and techniques. For instance, Lane Smith has many illustrated books that are surreal and represent the Abstract Expressionists. Or Paul Zelinsky, in Rapunzel, imitates the Italian Renaissance artists. She goes on to look at the texture, lines, and color of various well-known illustrators. But that is just one portion of what she examines. She also shows the connections between folk art, comics, film, poster art, and more. It is a fascinating view of the arts and the fine art of illustrating books.
I have not reviewed a picture book yet for this blog because I wasn’t really sure there was much to write about. After reading this book I am inspired to write about picture books. I also have a better idea of what to look for in the illustrations.
I love the visual arts and have a passion for architecture, art history, folk arts, and more. My bias on this topic may not make me the best reviewer for this book, but I believe this book can help even a non-art lover appreciate the work and talent that goes behind making and illustrating a picture book.
Try it and post if you liked it.
January 27, 2012
Show and Tell by Dilys Evans (Chronicle Books, 2008) carries the subtitle “Exploring the fine art of children’s book illustration,” and that is what it is: a full-color coffee table style book that highlights a few of the best children’s book illustrators by examining what makes their art “fine art.” Because I love reading picture books, I really appreciated the analysis of great children’s book illustration, as well as the discussion of the illustrators’ lives, from the beginning of their interest in art to where they found their inspiration for their illustration.
At any rate, I highly recommend Show and Tell for those people interested in learning more about children’s illustration, from the “how to’s” to the “whys” to a subtle critical analysis of what makes each picture book page stand out. Show and Tell is certainly a fascinating read.
I am not an expert in fine art to any degree and I would have said I don’t know much about it, but Show and Tell reminded me that the art my son and I encounter in children’s books is truly fine art by talented artists inspired by the greats of history. As a voracious reader of picture books, I suspect I’ll better appreciate the fine art my son and I encounter, and I hope I can be an influence in pointing out to him the fascinating aspects of the art in the books that we do read.
More thoughts on my blog
At any rate, I highly recommend Show and Tell for those people interested in learning more about children’s illustration, from the “how to’s” to the “whys” to a subtle critical analysis of what makes each picture book page stand out. Show and Tell is certainly a fascinating read.
I am not an expert in fine art to any degree and I would have said I don’t know much about it, but Show and Tell reminded me that the art my son and I encounter in children’s books is truly fine art by talented artists inspired by the greats of history. As a voracious reader of picture books, I suspect I’ll better appreciate the fine art my son and I encounter, and I hope I can be an influence in pointing out to him the fascinating aspects of the art in the books that we do read.
More thoughts on my blog
July 7, 2021
Evans's mission is to recognize children's book illustration as fine art. Already sympathetic to her cause, I was completely won over. She profiles many illustrators, giving their biographies and relating interviews and closely examining their processes and works. Evans favors living artists, which is a nice break from my foray into historical illustrators. I came away with a renewed respect and interest in illustrators. Tasha Tudor's comment about being an illustrator rather than an artist reveals the lower position book illustrators have in the art world, but so many illustrators (including Tudor) consistently produce such excellent work that it should have more traction. All the decrying of ~modern art~ could calm down a bit by following Caldecott medalists rather than the latest show at MOMA. I loved learning about David Shannon's childhood iterations of "No, David!" and Trina Schart Hyman's early obsession with Little Red Riding Hood. Evans looks for that prick of inspiration in each artist. The varied media and styles of the artists make this book a widespread pleasure to enjoy, with a new delight on each page.
List of subjects:
Hilary Knight
Trina Schart Hyman
Bryan Collier
Paul O. Zelinsky
David Wiesner
Betsy Lewin
Harry Bliss
David Shannon
Petra Mathers
Bryan Selznick
Denise Fleming
Lane Smith
List of subjects:
Hilary Knight
Trina Schart Hyman
Bryan Collier
Paul O. Zelinsky
David Wiesner
Betsy Lewin
Harry Bliss
David Shannon
Petra Mathers
Bryan Selznick
Denise Fleming
Lane Smith
November 24, 2008
A nice collection of profiles of various children's books authors. I would've liked to see more art at larger size - many images are thumbnail sized - and would've also liked to see more in-process work, like the dummy books and preparatory sketches that are often referred to in the text. The text itself is basic and could've been more in depth; there's some repetition (several times we hear that an illustration by so-and-so is "pure so-and-so"), and a few too many attempts at clever word play and tying phrases to book titles.
January 16, 2025
This is a beautiful book of art and artists. See excerpt from author's note below for what to expect.
Throughout 2024 I have been fascinated by and reviewed and researched many children's picture books. Especially the work of David Wiesner, Aaron Becker, and Chris Allsburg. They can tell stories without words through their intricate, expressive, and beautiful illustrations.
From the Authur's Note:
My mission ...was to create an awareness that children's book illustration was a unique form of fine art that was worthy of celebration and recognition. My goal in this book is to explore some of the very best picture books that qualify for that distinction. As part of this exploration I looked for powerful imagery and storytelling ability that goes beyond a simple interpretation of the text or event.
Ultimately, my hope is that this book might help all of us who value children's books to find a universal language to use to talk about art on the page; a vocabulary that helps describe this unique form of artistic expression with greater clarity and common understanding. And that we will then take that vocabulary and use it to explore the many other wonderful books that are on our shelves.
Favorite Quote from David Shannon (p. 91) "Sometimes it takes a while to realize what it is you really want to do".
Throughout 2024 I have been fascinated by and reviewed and researched many children's picture books. Especially the work of David Wiesner, Aaron Becker, and Chris Allsburg. They can tell stories without words through their intricate, expressive, and beautiful illustrations.
From the Authur's Note:
My mission ...was to create an awareness that children's book illustration was a unique form of fine art that was worthy of celebration and recognition. My goal in this book is to explore some of the very best picture books that qualify for that distinction. As part of this exploration I looked for powerful imagery and storytelling ability that goes beyond a simple interpretation of the text or event.
Ultimately, my hope is that this book might help all of us who value children's books to find a universal language to use to talk about art on the page; a vocabulary that helps describe this unique form of artistic expression with greater clarity and common understanding. And that we will then take that vocabulary and use it to explore the many other wonderful books that are on our shelves.
Favorite Quote from David Shannon (p. 91) "Sometimes it takes a while to realize what it is you really want to do".
February 9, 2022
A wildly frustrating book, that is frequently wonderful but is marred by Evans being a frankly not great writer. She has this annoying habit of stating things twice in succession, and there’s almost literally no cliche she can resist flinging in to leave your enjoyment come to a screeching halt. There’s a genuinely egregious overuse of the word zany, which should never be used outside of ironic reasons, but instead just weighs down several sections through constant usage. So it can be very tough going at times, feeling like the work of a solid but uninspired student who is very enthusiastic but has no obvious skill to bring to what they’re writing. Similarly she has a very obviously fixed idea of what makes a good children’s picture book with not enough of a range of different artists and writers contributing bits to this. It’s very likeable but a frustrating read
April 20, 2019
The bad news is I do NOT understand art and what makes it good. The great news is that this book is such an interesting mix of the artists' life stories, techniques, and influences that I still had a good time. I guess the other bad news is that book caused me to put both fewer than 20 picture books on my library holds list, and that's a lot.
November 23, 2020
I've had this book on my to-read shelf for 7 years! I'm glad I didn't ditch it long ago since it took a little more effort to get it from the local university library. I love to learn about illustrators and how they make their art. This book cover 12 different illustrators. I thoroughly enjoyed reading this book.
January 30, 2026
I dont think I've ever enjoyed a non fiction book this much! I really loved that each artists chapter was written with its own cadence and prose to reflect them; I think it added a layer of personality to each one and definitely made it engaging. What a refreshing take on children's illustrators. Im convinced- children's books are indeed, fine art!
May 11, 2017
Not as informative as I would have liked -- mostly just delved into individual artist's styles without much universal application. Also, please stop perpetuating the myth that Rosa Parks didn't plan out her 'bus protest' in advance despite all evidence to the contrary -- robs her of her agency.
October 6, 2017
This book gives you a taste of information about the various, talented children's illustrators and artists it covers. It leaves you wanting more of everything: more information, more artwork, more in-depth analysis. A good introduction to children's book artists.
August 5, 2025
4⭐️⭐️⭐️⭐️ .. lovely collection - if there’s one thing they have in common, it’s that storytelling is everything and if the visuals don’t connect with the reader and urge you onto the next page, then the work is weak.
Learned a lot
Learned a lot
June 19, 2017
Loved this one, very accessible even if you're not a children's librarian like me. One of my faves, Paul O. Zelinsky, is also a super cool guy in real life - met him in early 2017.
December 15, 2010
Ever wonder how Hilary Knight illustrated Eloise? How David Sharron came up with the idea for No, David!? Or what Brian Collier used to collage his books? Then Show & Tell is the book for you! This book lets you see how these great figures of art became what they are known as today. It is great if you are studying one of these artists, since it gives you so much information about the illustrators. However, I think some parts of this book are slightly boring if you are just reading this book for pleasure. These parts are when they explain about 6 different books from one artist, explain about their college for a whole entire paragraph, or keep talking about one image for a whole page. It also may be because of the large amounts of text. But the drawings and pictures in this book are amazing. It is as if they leap off the page. They do not look digitally inserted, but painted on the exact page. I loved how the author explained the illustrators as if they were distant cousins, as if they had met each other a long time ago. The author also talked as if the people were still alive, even if they were not. The author explained the artists’ life story very well. This book is great for teens and adults, and maybe even some very bright kids. It has much information, a little too much for most kids. It also has some boring parts, which for kids that is not the best thing. But adults and teens will love this book with its fun kid-like nature and great information. It is also good for research because of all the info. People should read this book because of its interesting new things you learn. You will benefit from learning how the artist painted the picture with a watercolor wash, to learning how to publish a book. In all, this is a pretty good book because of its pictures, information, and kid-like nature, and I will give it :) :) :) :)
(four smileys)
(four smileys)
April 13, 2009
Reading this was pleasantly reminiscent of art history classes - I particularly enjoyed Evans' comments about the uses of form, composition, color, technique, perspective, etc. in the work of the picture book illustrators she highlights. It made me want to sit down with a giant stack of picture books and look at them for how the illustrations tell the story, how each page turn is important, and all of that. Some of the illustrators she highlights were already favorites of mine, like Trina Schart Hyman, Brian Selznick, and David Wiesner; others were illustrators whose work I've enjoyed, but never been particularly struck by, and others I'd tried to like but hadn't quite. With each illustrator, Evans gives us a good overview of their work and style, a brief biography, and discusses the influences on the artist and why they are a good example of the art of picture book illustration. A few illustrations per person are discussed in depth, which only whets the appetite for MORE. It's a very accessible book, and I'd recommend it to anyone who loves picture books or is interested in the process of book and illustration creation. The only thing I would've liked to see were works in progress, although including them might have made the book an unmanageable size.
January 23, 2016
In her very imformative book, Dilys Evans, an author, editor, public speaker and advisor to Caldecott award committees, focuses on the lives and talents of 12 artists who have made their living by illustrating children's books. Some of the more well-known are Brian Selznick, David Shannon, Hilary Knight and Harry Bliss. Others who are featured are Bryan Collier, David Wiesner, Trina Hyman, Paul Zelinsky, Betsy Lewin, Petra Mathers, Denise Fleming and Lane Smith. Each illustrator recalls who were the most influential artists in their lives as well as their uses of different media to create their work. I find it fascinating, probably because I have absolutely zero talent when it comes to artistic endeavors, to learn how the ideas are first formulated, the reasons why certain colors are chosen or even why images are placed a certain way on a page. Although he is not mentioned in this book I was fortunate to attend a speaking engagement by John Rocco (illustrator of the "Percy Jackson" series) at our library and I could have listened to him for hours. The step by step process of illustration is amazingly complex and Dilys Evans gives just a small sampling of this world of fine art.
October 14, 2016
Not the broader interrogation into children's book illustration that I was expecting, but this collection of twelve critical histories of children's book illustrators is a useful source for those wanting to learn a bit more about the biography and techniques of the included artists: Hilary Knight, Trina Schart Hyman, Bryan Collier, Paul O. Zelinsky, David Weisner, Betsy Lewin, Harry Bliss, David Shannon, Petra Mathers, Brian Selznick, Denise Fleming, and Lane Smith.
Ultimately, the author has the utmost respect and praise for these artists, so the critical work here is only applied to their art styles. I think that the author's own desires to write about these particular artists might have prevented a more diverse selection of children's book illustrators in these features. Only one person of color out of 12 artists, only four women, and no WOC, and not even Allen Say or Shaun Tan made the cut for Asian illustrators.
Ultimately, the author has the utmost respect and praise for these artists, so the critical work here is only applied to their art styles. I think that the author's own desires to write about these particular artists might have prevented a more diverse selection of children's book illustrators in these features. Only one person of color out of 12 artists, only four women, and no WOC, and not even Allen Say or Shaun Tan made the cut for Asian illustrators.
April 1, 2008
Dilys Evans, a former art editor for Cricket magazine and currently a well-known agent for children's book illustrators, profiles 12 illustrators who exemplify what she calls the fine art of children's book illustration. The illustrators represented here range from Caldecott winners such as David Wiesner, Paul Zelinsky, and Brian Selznick to less "distinguished" artists such as Harry Bliss and Betsy Lewin. Evans' expert commentary on the artistry of each illustrator is a bonus for those of us who are less visually literate. I, for one, now have a new appreciation for the work of Hilary Knight.
August 25, 2008
This is a wonderful look at the art of children's picture books (which deserves greater respect and attention in the art world) through the profiles of several well-known artists. The artists represent a wide-range of art styles from Brian Selznick's pencil drawings to Denise Fleming's paper art and highlights some of my favorite artists including Trina Schart Hyman and David Wiesner. I think that there is a special magic in children's book illustration in that it can explore limitless styles and subjects and be able to delight and inspire the imagination of children (and adults)! A lovely book!
February 23, 2008
This is an absolutely beautiful and interesting book. The subtitle is "Exploring the Fine Art of Children's Book Illustration" and that is what we do, guided by Dilys Evans. The design and quality of art is superb; the end papers, in particular, are amazing. Artists featured include: Hilary Knight, Trina Schart Hyman, Harry Bliss, David Shannon, Bryan Collier, Paul O. Zelinsky, Petra Mathers, Brian Selznick (including Hugo Cabret!), David Wiesner, Betsy Lewin, Denise Flemingh, and Lane Smith.
March 23, 2009
It's fun to see particular titles which I admired and selected for my personal collection admired and discussed in this book. It's also fun to hear about picture books I hadn't heard of before. I look forward to checking them out. Amazing thing I learned--I thought Denise Fleming's illustrations were made of torn paper collage. I am very impressed to learn that they are actually "pulp paintings"--the picture is the colored pulp fibers making up the sheet of paper. I liked Denise Fleming's illustrations to begin with, but I admire them even more now.
Read
September 19, 2011A feast of a book for illustration enthusiasts, highlighting a few of the very talented illustrators of children's literature. The "story" behind the art of: Hilary Knight, Trina Schart Hyman, Harry Bliss, David Shannon, Bryan Collier, Paul O. Zelinsky, Brian Selznick, David Wiesner, Betsy Lewin, Denise Fleming, and Lane Smith. Interesting and well-written. My only "complaint" is that I wish there were more artists featured. (It makes me sad that many of the books by Trina Schart Hyman are no longer in print.)
July 26, 2008
A look at the talents, background, and inspiration behind some of the greatest picture book illustrators, including Trina Schart Hyman (Little Red Riding Hood), Bryan Collier (Martin's Big Words), David Shannon (No, David!), Lane Smith (The Stinky Cheese Man), and Besty Lewin (Diary of a Worm). Since this book's main purpose is to look at the art of picture book illustration, portions of it particularly intersting to the average picture book love.
September 11, 2009
A fascinating look at some of the top children's book illustrators. I've learned so much from the first 77 pages---and realize how much I've missed in some of my favorite picture books. I definitely have a new found appreciation for Trina Shart Hyman and Betsy Lewin. I'll be looking much more closely. A great resource!
Displaying 1 - 30 of 50 reviews