Étienne Delessert (1941-) is a Swiss illustrator and graphic artist. His most famous works include the animated series “Yok-Yok” and his collaboration with Eugène Ionesco (Stories 1,2,3,4,). He is also known for his work with the children’s psychologist Jean Piaget.
Delessert’s work is more often than not aimed at children. He is intent on expanding the the minds of children through questions raised by his strange yet compelling illustrations. Like many illustrators, Delessert consideres himself to be a story teller using illustration to communicate a message. Many of his pieces are rendered in digital media combined with hand sketching.
Delessert was a finalist for the international Hans Christian Andersen Award in 2006 and 2010 for his children’s illustrations.
Delessert has illustrated over eighty children’s books, some of which are now translated into over 14 languages. His illustrations have appeared in leading magazines and newspapers such as Le Monde, The Atlantic Monthly, Time magazine and The New York Times. He has also animated segments of Sesame Street.
In 1973, Delessert published an illustrated children’s book based on the lyrics to “Being Green” from Sesame Street and The Muppet Show.
He is the recipient of thirteen gold and fourteen silver medals of the American Society of Illustrators as well as the 1996 Hamilton King Award.
Delessert has held several exhibitions of his work, including one in the Musée des Arts Décoratifs in the Louvre, and one in the Library of Congress in Washington DC.
He has also written an autobiography, l’Ours bleu, which was published in 2015 in France and Switzerland.
Heinz Edelmann (1934-2009) was a well-known German designer, illustrator and teacher. However, he was most famous for his work as an art director and character designer for the Beatles’ 1968 animated film “Yellow Submarine”.
Edelmann studied printmaking at the Düsseldorf Arts Academy, and subsequently started his career as a freelance illustrator and designer. His first designs were for various theatre posters and advertisements in Germany.
Throughout the 60s Edelmann was a regular illustrator and cover designer for the West German youth magazine twen (published 1959 to 1971), which was known for its innovative use of design and typography. In 1967 and 1968, he worked on “Yellow Submarine”. Following the release, he worked for two years as a partner in a small London animation company.
Edelmann then moved to Amsterdam and designed play and film posters as well as book jackets. Among these was a cover design for a German edition of Tolkien’s “The Lord of the Rings”. He also illustrated Kenneth Grahame’s famous children’s book: “The Wind in the Willows”.
Edelmann taught industrial graphic design at the Düsseldorf University of Applied Sciences from 1972 to 1976, then lectured at the Cologne University of Applied Sciences. In 1989, he became a professor of illustration at the Stuttgart State Academy of Fine Arts.
Edelmann also designed the “Curro”, the 1992 Seville World’s Fair mascot.
Leonard Baskin (1922 – 2000) was fine artist, illustrator, writer and teacher. He strongly thought figurative art was superior, and this belief can be seen in his work throughout his career.
Baskin was born in New Jersey, and at age seven he moved to New York with his family. Wanting to be a sculptor, Baskin studied at the New York University School of Architecture and Applied Arts from 1939 to 1941. In 1941, he won a scholarship to Yale university and studied there for two years. While he was there, he discovered and was deeply impressed by the illustrated books of William Blake. Baskin decided to learn to print and make his own books, and subsequently founded Gehenna Press in 1942, one of the first fine art presses in the US. His press printed over 100 books and ran until Baskin’s passing in 2000.
Baskin served in the US Navy at the end World War Two, and then moved to the Merchant Navy. Upon his return, he studied at The New School for Social Research, obtaining his B.A. in 1949.
From 1953 until 1974, Baskin taught printmaking and sculpture at Smith College. During this time (1956), his first solo exhibition was at the Boris Mirski Gallery in Boston.
In 1974, Baskin moved to Britain to work with his friend Ted Hughes. They collaborated on several works, including A Primer of Birds (1981).
In 1984, Baskin returned to the US and taught at Hampshire College (Massachusetts).
Many of Baskin’s works are now owned by many major museums including the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, the Museum of Modern Art, etc.
Baskin passed away in 2000, and the Art Institute of Portland has a memorial to him.
Mead Schaeffer (1898 – 1980) was an American illustrator active during the late golden age of illustration.
Schaeffer studied at the Pratt Institute, learning from his teachers Harvey Dunn and Charles Chapman. Schaeffer’s early projects were often critiqued by Dunn. Schaeffer illustrated the first of seven ‘Golden Boy’ books written by L. P. Wyman while he studied.
In 1922, Schaeffer illustrated a series of classic novels for publisher Dodd Mead, whom he continued to work for until 1930. He illustrated Moby Dick, Typee, and Omoo by Herman Melville, as well as The Count of Monte Cristo and Les Misérables by Victor Hugo.
During the 1930s and 1940s, Schaeffer illustrated for magazines such as Good Housekeeping, McCall’s, The Ladies Home Journal, Country Gentleman, and Cosmopolitan. He illustrated a total of 46 covers for the weekly Saturday Evening Post.
Schaeffer worked as a war correspondent during World War II for the Saturday Evening Post. He produced a series of covers illustrating American military personnel which he became well-known for.
Like many artists and illustrators of his time, Schaeffer lived in New Rochelle, New York, for some time. However, he mainly lived in Arlington, Vermont, in his barn-studio.
Pruett Alexander Carter (1891 – 1955) was an American illustrator. He studied fine art in Los Angeles at the Art Students’ League, then studied in New York under the painter Robert Henri.
Carter followed a career path similar to that of many other illustrators of the time. He illustrated national magazines such as Life, McCall’s, Ladies’ Home Journal, Woman’s Home Companion and The American Magazine, and was art director at Atlanta Journal and Good Housekeeping. He was successful in his career due to his ease with adapting his work to the needs and wants of the public.
Aside from working for magazines, Carter taught at the Grand Central Art School with N.C. Wyeth and Harvey Dunn, and was later head of the Illustration Department at the Los Angeles Chouinard Art Institute.
Carter was married and had a son with his wife Theresa in 1920. He lived in New York with them until 1930, when they relocated to Los Angeles, California. Around the same time as this move, Carter switched from his main medium of oil paint to that of gouache due to the faster drying time.
In 1955, Carter killed his wife and son in their sleep and subsequently committed suicide.
In 1988, Carter was added to the Society of Illustrators’ hall of Fame.
Kay Rasmus Nielsen (1886 – 1957) was an illustration from Denmark who was active during the early 20th century, or “golden age of illustration”. Nielsen became successful in illustrating early twentieth century gift books. He also collaborated with Disney, providing them with a number of story sketches and illustrations.
Born in Copenhagen to actor parents, Nielsen went on the study fine art in Paris. His first commission was from Hodder and Stoughton in 1913 to illustrate the collection of fairy tales In Powder and Crinoline, Fairy Tales Retold by Sir Arthur Quiller-Couch.
Over the course of his career, Nielsen illustrated scenes from ‘Sleeping Beauty’, ‘Puss in Boots’, ‘Cinderella’, ‘Bluebeard’, ‘East of the Sun and West of the Moon’, ‘The Arabian Nights’, ‘Hansel and Gretel’ and the story of Joan of Arc.
In addition to doing illustration work, Nielsen dabbled in fine art and painted numerous landscapes of the Dover area. He learned with the Society of Tempera Painters to reduce the time involved in the painting process and held an exhibition of his work in New York before returning to Denmark.
In 1939, Nielsen moved to California and began working in Hollywood. He was personally recommended by Joe Grant to Walt Disney, and he was hired to produce concept art. His work was used in sequences of Fantasia. He also introduced concept paintings for a film adaptation of The Little Mermaid, which was released much later in 1989. Nielsen worked for The Walt Disney Company for 4 years before leaving for Denmark and staying there for the rest of his life.
Wikiart, Kay Nielsen: http://www.artcyclopedia.com/artists/nielsen_kay.html
Wikipedia, Kay Nielsen: https://en.wikipedia.org/wiki/Kay_Nielsen
Artcyclopedia, Kay Nielsen: http://www.artcyclopedia.com/artists/nielsen_kay.html
Richard Doyle (not to be confused with actor Richard Doyle) was an english illustrator active during the Victorian Era. Much of his work was featured in Punch Magazine. He designed the magazine’s masthead, which was used for the next century, and illustrated the first ever front cover. He was born in London, and was one of the seven children of the cartoonist John Doyle, known for his political caricatures. Richard Doyle was fascinated with fairytales from a young age, and also proved to be a gifted illustrator. He finished his first fully illustrated book, titled “Home for the Holidays”, at age twelve. The book was then published in 1887.
At age 19, he joined the staff of Punch magazine, and worked there for seven years thereafter. Doyle also illustrated books and stories for notable authors such as Charles Dickens, and was himself an uncle to Sir Arthur Conan Doyle, the famous creator of the Sherlock Holmes series.
In 1846 Doyle illustrated The Fairy Ring, which was a new translation of Grimm’s tales). From this he became well-known as a fairytale illustrator. Some fairytale creatures that frequently appeared in his work were elves, delicate fairies, and pixies.
Doyle’s principal series of illustrations were those for The Newcomes, The King of the Golden River, and The Foreign Tour of Brown, Jones and Robinson. Considered his masterpiece is In Fairyland, a series of Pictures from the Elf World, accompanied by a poem by William Allingham.
While Richard Doyle was a talented fantastical illustrator who produced images both in colour and in black and white, he had a reputation as being “brilliant but unreliable”. He was often late in meeting deadlines for The Newcomes, and only finished the work when threatened to be replaced. His illustrations were often inconsistent in quality as he rushed through them. His excuses for not finishing his work on time were often ridiculous and flimsy, and this negatively affected his career and success.
Wikipedia, Richard Doyle: https://en.wikipedia.org/wiki/Richard_Doyle_(illustrator)
Illustration History, Richard Doyle: https://www.illustrationhistory.org/artists/richard-dicky-doyle
The Victorian Web, Richard Doyle: http://www.victorianweb.org/art/illustration/doyle/bio.html
Joyce and I decided that we would split the index and the back page between the two of us. While we did work mostly independently from each other, we agreed early on upon a more minimalism-oriented aesthetic. We didn’t want either of the pages to feel too crowded or overwhelming, so making use of white/negative space was paramount.
I struggled a bit with finding something appropriate to place on the last page of the book; I wanted to acknowledge the class’ hard work, maybe have some kind of closing note, or design a glossary-type page which would list everyone’s name alongside their respective spreads. Popular opinion was that our instructor should be pictured somewhere as well.
After much sketching and even one prototype, I settled on this idea of having a sort of art gallery displaying famous works of art. Included are “The girl with the pearl earring”, a de Stijl design, The Mona Lisa, “Starry Night”, Monet’s waterlilies, The Scream, Warhol’s Campbell Soup print, Duchamp’s “readymade”, a cubist painting, Dali’s famous clocks and a Pollock action painting.
The idea of having an art gallery was good, but we did much more than research fine art over the course of this term, and so I thought featuring various famous historical figures visiting the gallery would help summarize more fully the content of the book. Some of these are Winston Churchill, King Seti I of ancient Egypt, Josephine Baker, Leonardo da Vinci, Marilyn Monroe, and the Orville brothers. I really wanted to feature some designers we learned about as well, but when I was picking who to feature in the gallery I leaned towards very easily recognizable characters, and I couldn’t think of, off the top of my head, any designers from the time period we studied with unique appearances.
My name isn’t written anywhere in the spread, since the whole idea of the page is to encompass the whole class. However, I do have an unhealthy love and obsession for cats, so I included a couple just to add that extra personal touch.
Finally, just to add a bit more of that “this book is ending” feeling to the spread I included our instructor, Judy, dressed in her gnome costume and saying: “Done talkin’”, as she has written on the last slide of all her survey lectures. A great closing statement.
For this survey, my group’s task was to conduct research on objects belonging to the ten years between 1905 and 1915. The Deutscher Werkbund made an important step in modernizing the style and production of objects in everyday life. It was a precursor to the Bauhaus and the true beginning of modernism.
This artifact is inspired by an actual cookie package produced by the Werkbund. It sports the Association’s logo/symbol on top, and its signature font in front. In addition to this, the text is written in German to make the artifact appear to be more authentic. The background of the photo includes natural materials of wool and cotton, as well as a corner of a cubist painting (a movement of the era).
The pages of the spread themselves sport the same colours and pattern as they appear on the box. I also matched the colour of the font to the blue on the object. The spread is clean and functional to support the ideas of the Werkbund.
I’d probably give myself an 8.5/10 on this one, since I really wanted to incorporate more of the research of my group members but wasn’t able to without making the spread seem cluttered. But other than that, I’m pretty happy with it.
The Little Prince, or “Le Petit Prince” is the most famous work of French aristocrat, writer, poet, and pioneering aviator Antoine de Saint-Exupéry. The novella was first published in 1943, and has since been voted the best book of the 20th century in France. It has been translated into 300 different languages, including dialects, and it is one of the best selling and most widely translated books in history. The Little Prince has also been adapted to many different art forms including radio and live stage plays, film, television, opera, ballet and audio recordings.
After the outbreak of the Second World War, Saint-Exupéry escaped to North America. Despite personal upheavals and failing health, he produced most of the writings he would become remembered for in North America, including The Little Prince.
The Little Prince is styled a children’s book, but it is suitable for people of all ages as it makes several observations about life and human nature throughout. The fox’s messages in the novel are arguably the book’s most famous quotations because they deal with human relationships.
Inspiration and Creation
Many parallels can be drawn between the story of The Little Prince and Saint-Exupéry’s own life experiences. The story’s narrator, the pilot, talks of being stranded in the desert beside his crashed aircraft. Similarly, Saint-Exupéry also experienced being stranded in the Sahara. In fact, On 30 December 1935, at 02:45 am, after 19 hours and 44 minutes in the air, Saint-Exupéry, along with his copilot-navigator André Prévot, crashed in the Sahara desert in an attempt to break the speed record for a Paris-to-Saigon flight. Their crash site is thought to have been near to the Wadi Natrun valley, close to the Nile Delta. Both Saint-Exupéry and Prévot miraculously survived the crash, only to be lost in the sand dunes for a total of four days with less than a day’s worth of hydration. They were found by a Bedouin on a camel who administered a native rehydration treatment, saving Saint-Exupéry’s and Prévot’s lives.
The prince’s home, “Asteroid B-612”, happens to have the same name as one of the planes Saint-Exupéry flew as an airmail pilot, which bore the serial number “A-612”.
During his service as a mail pilot in the Sahara, Saint-Exupéry encountered a fennec (desert sand fox). In a letter written to his sister Didi in 1928, he also tells of raising a fennec that he adored. These experiences likely drove him to incorporate a fox in his story. The character and personality of the fox, however, is thought to have been modelled after the author’s intimate New York City friend, Silvia Hamilton Reinhardt. The novella’s iconic phrase, “One sees clearly only with the heart”, might also have been suggested by Reinhardt.
The fearsome, grasping and destructive baobab trees might have been a subtle representation of Nazism and their course for world domination.
The Little Prince
Much speculation has taken place about the source of inspiration for the Little Prince’s character. The prince’s character and appearance may have been inspired from Saint-Exupéry’s own self as a youth, as during his early years friends and family called him le Roi-Soleil (“the Sun King”) because of his golden curly hair.
Other possible inspirations for The Prince’s character include Thomas De Koninck, an eight-year-old boy with curly blond hair he met in Quebec City in 1942, or Land Morrow Lindbergh, the young, golden-haired son of a fellow aviator (met in 1939).
The Prince might also be partially derived from a Christ figure, as the child is sin-free and “believes in a life after death”, subsequently returning to his personal heaven.
It is believed that the prince’s kindhearted but petulant and vain rose might have been inspired by Saint-Exupéry’s Salvadoran wife Consuelo de Saint Exupéry. The prince’s asteroid would have been based on his wife’s small native country, El Salvador, also known as “The Land of Volcanoes”. Though they had a rather rocky marriage, Saint-Exupéry cared immensely for her.
Wikipedia, The Little Prince: https://en.m.wikipedia.org/wiki/The_Little_Prince
The Little Prince: https://www.thelittleprince.com/
The New Yorker: https://www.newyorker.com/books/page-turner/the-strange-triumph-of-the-little-prince