Kenneth Grahame was born on March 8, 1859 in Edinburgh, Scotland. Along with his siblings, Grahame was raised by their maternal grandmother in Berkshire, United Kingdom. The scenic countryside, the River Thames, and the sprawling woodlands might have inspired him to write Willows Whistle, better known as The Wind in the Willows. What began as a series of bedtime stories he wrote for his young son, is now a classic children's novel. First published by Methuen Publishing Ltd. in 1908, it continues to be retold and reimagined.
The first edition was not illustrated but many subsequent versions are. Readers have enjoyed this story for well over a century with artists creating their own vision of Toad, Ratty, Badger, and Mole. Because we can never have enough of a good thing, every few years a new copy of The Wind in the Willows comes out with new illustrations. Some of the art is fantastic and some are just okay. Will the new illustrations be enough to urge you to yet again purchase a copy of a book you have already read multiple times? Let's look at four illustrated versions of this classic that should not be passed over at the store and is worthy of a spot on your shelf. Some of these are out of print but can be found easily online or possibly at a second hand bookstore.
Published by Ariel Books, Henry Holt and Company Inc. in 1980 with illustrations by Michael Hague. An unabridged copy with dust jacket. The end pages show a map of Toad Hall and the surrounding countryside. There are 25 full page illustrations, some double spread and 40 vignettes, all in full colour. The watercolours have deep rich tones. The cover image shows the four friends on a picnic with a yellow orange background. This colour scheme is carried through to the back cover however, the design doesn't quite work out well on the back. There is an obvious orange box that looks out of place. A small flaw to an overall lovely book. The text is also a good reading size when it's bedtime reading and you need to put a child to sleep but not yourself.
Showing posts with label classic. Show all posts
Showing posts with label classic. Show all posts
January 6, 2020
March 14, 2019
Robin Hood by Nicky Raven - Illustrated by Anne Yvonne Gilbert
The legend of Robin Hood gets a fresh retelling in this action packed adventure. Having missed the first printing of this book, I was so pleased to find out it is available again through Racehorse for Young Readers this year. The foreword is by Otto Bathurst, director of Robin Hood, released late 2018. Timing for this edition is a little off however, it is not a movie tie-in. Fast paced with short background information on the characters and setting, this edition rises into action fairly quickly and does not slow down the momentum until the very end.
Robin of Locksley is a war veteran whose land has been seized, is the leader of a band of outlaws. While Robin is the main character, he does not overshadow the secondary characters like Friar Tuck, Little John and Will Scarlet; they also get good character development. There are only two strong female characters: Maid Marian, smart and very lady-like and Alyn, a member of the outlaws who is a good fighter and ace archer. The Sheriff of Nottingham performs his duties justly while the new villain here is his lackey, Guy of Gisburn.
The cover illustration has a Kevin Costner look-alike from Robin Hood: Prince of Thieves 1991. Nicky Raven's story will have a more lasting impression than that movie. Anne Yvonne Gilbert uses coloured pencil and ink for her illustrations and an earthy colour scheme to match the settings of Sherwood forest and the medieval ruggedness of the era. Her characters look real and less "Hollywood". This is a small book with many beautiful illustrations. Recommended for readers looking for a new interpretation of this legendary hero, ages 12+.
Amazon
Racehorse for Young Readers 2019
Hardcover 104p
6" x 9"
Robin of Locksley is a war veteran whose land has been seized, is the leader of a band of outlaws. While Robin is the main character, he does not overshadow the secondary characters like Friar Tuck, Little John and Will Scarlet; they also get good character development. There are only two strong female characters: Maid Marian, smart and very lady-like and Alyn, a member of the outlaws who is a good fighter and ace archer. The Sheriff of Nottingham performs his duties justly while the new villain here is his lackey, Guy of Gisburn.
The cover illustration has a Kevin Costner look-alike from Robin Hood: Prince of Thieves 1991. Nicky Raven's story will have a more lasting impression than that movie. Anne Yvonne Gilbert uses coloured pencil and ink for her illustrations and an earthy colour scheme to match the settings of Sherwood forest and the medieval ruggedness of the era. Her characters look real and less "Hollywood". This is a small book with many beautiful illustrations. Recommended for readers looking for a new interpretation of this legendary hero, ages 12+.
Amazon
Racehorse for Young Readers 2019
Hardcover 104p
6" x 9"
December 16, 2018
Battle of the Books: P. J. Lynch/Sonja Danowski Illustrate The Gift of the Magi by O. Henry
Every year around this time, I like to take out some holiday classics to read over again. One favourite of mine is The Gift of the Magi, a short story by American writer William Sydney Porter (1862-1910) under the pen name O. Henry. First published in 1905, it has been enjoyed and retold for over a century. Selected here are two picture books that I simply adore and while they may not be the most recent, I feel they illustrate this love story in the best way. I cannot decide which I prefer so here goes my first Battle of the Books. In this post category, two books telling the same story will be weighed against each other. Since the text is identical in both books, this part is omitted in the comparison. Things considered are: visual appeal, illustrative impact, quality of print and paper, size and number of illustrations. The check mark (✔) denotes my preference.
A: The cover is very beautiful with this close-up image of Della moping around on the couch staring at the pennies she has saved. I love the detail on the couch and Della's hair. The title above the image is easily noticeable.
B: This cover image is from the ending showing the couple in a loving embrace with a packaged gift on the table. The title is a bit subdued with the script type and little contrast to the background. There is a lot of emotion conveyed on their faces which works better with the story. Tie
A: Opening the book displays a lovely art nouveau flower pattern on the endpapers. This rose image is used adjacent each picture; growing taller with every turn of the page. The layout of the book is more structured with text on the left side and picture on the right side of the spread. Script type is used for the text and white space used for overall framing. The illustrations use a muted palette that resemble colourized old photographs; the effect is vintage and elegant. ✔
B: This book begins with a view from Della's window. The poor neighbourhood is shown by the laundry line drying outside. Della is counting her pennies and looking distraught. The apartment and surroundings are better displayed. Warm browns and golden hues are used and a varied layout consisting of mostly full page images.
A: Della slumps on a chair while her hair is being examined for purchase. Both figures are wonderfully drawn and the detailed background is superb. ✔
B: Mme. Sofronie looks much colder here with her pale face and stern look. There is movement and interesting figure placement but the background is a little bare.
A: Della stares longingly through a store window and again great detailing in the background; this time with the buildings and added figures but Della looks a bit too fashionable for her budget and the illustration is similar to a previous one.
B: Della's joy shows through here by her expression and the busy streets filled with shoppers adds to the excitement of finding Jim's present. ✔
A: Della is pictured with her newly cut hair and while I like seeing her use that old fashioned curling iron, the shape of her head seems off. It could be that I too miss seeing Della with her luxurious locks.
B: Della looks at her new hairstyle in the mirror trying to like it. The hopefulness in her eyes says volumes. ✔
A: The rest of the illustrations follow a similar pattern with great detailing however, some of the figures can look a bit stiff and posed; sometimes looking right at the viewer. This style may not work as well for a story that is written in the third person. Near the end, the couple is shown in an embrace and Della looking slightly happier.
B: There are more illustrations showing Della and Jim's interaction here. The exchange of gifts, the surprise looks and the emotional realization, all add significant support to the story. The facial expressions are lively and real with figures that carry natural body language. The book ends with a view of the cold winter night with the happy couple shown through a small lit window. ✔
A: Tall format with twelve large illustrations on medium weight stock. Spot varnish for the title with decorative title page and end papers. A stylish and elegant looking book. My favourite illustration is the one selected for the cover.
B: Wide format with twenty illustrations of varying sizes. Embossed title on cover and medium weight stock. I don't have a favourite illustration for this book, they all carry the same weight but I do enjoy the city scenes; it adds to the coldness of the environment, making Della and Jim's love burn a little bit brighter and warmer. ✔
Do you agree with these comparisons?
Book A
|
Book B
|
|---|---|
 |  |
Illustrated by Sonja Danowski
|
Illustrated by P. J. Lynch
|
minedition 2013
|
Candlewick Press 2008
|
8.6" x 13"
|
7.8" x 9.4"
|
A: The cover is very beautiful with this close-up image of Della moping around on the couch staring at the pennies she has saved. I love the detail on the couch and Della's hair. The title above the image is easily noticeable.
B: This cover image is from the ending showing the couple in a loving embrace with a packaged gift on the table. The title is a bit subdued with the script type and little contrast to the background. There is a lot of emotion conveyed on their faces which works better with the story. Tie
B: This book begins with a view from Della's window. The poor neighbourhood is shown by the laundry line drying outside. Della is counting her pennies and looking distraught. The apartment and surroundings are better displayed. Warm browns and golden hues are used and a varied layout consisting of mostly full page images.
B: Mme. Sofronie looks much colder here with her pale face and stern look. There is movement and interesting figure placement but the background is a little bare.
B: Della's joy shows through here by her expression and the busy streets filled with shoppers adds to the excitement of finding Jim's present. ✔
B: Della looks at her new hairstyle in the mirror trying to like it. The hopefulness in her eyes says volumes. ✔
B: There are more illustrations showing Della and Jim's interaction here. The exchange of gifts, the surprise looks and the emotional realization, all add significant support to the story. The facial expressions are lively and real with figures that carry natural body language. The book ends with a view of the cold winter night with the happy couple shown through a small lit window. ✔
A: Tall format with twelve large illustrations on medium weight stock. Spot varnish for the title with decorative title page and end papers. A stylish and elegant looking book. My favourite illustration is the one selected for the cover.B: Wide format with twenty illustrations of varying sizes. Embossed title on cover and medium weight stock. I don't have a favourite illustration for this book, they all carry the same weight but I do enjoy the city scenes; it adds to the coldness of the environment, making Della and Jim's love burn a little bit brighter and warmer. ✔
Do you agree with these comparisons?
November 24, 2018
Alice Opens the Door Exhibit
The Toronto Reference Library is having an exhibit featuring: Alice in Wonderland. A curated selection from the Osborne Collection of Early Children's Books will be on showcase, inviting visitors 'down the rabbit hole'. The exhibit includes an interactive wall display, books, costume designs, art, games and ephemera relating to this literary classic. A distorting mirror and little red doors that can be opened to reveal hidden surprises, accentuate the gallery. Visit on weekdays to avoid the crowd and enjoy the free guided tour.
November 17, 2018-January 27, 2019
Toronto Reference Library - TD Gallery, Main Level
Admission and guided tours are free. No registration is required.
Tuesdays at 2 p.m. (except December 25 and January 1)
Thursday, December 27 and Thursday, January 3 at 2 p.m.
The gallery is open during Toronto Reference Library's open hours:
Monday to Friday, 9 a.m. to 8:30 p.m.
Saturday, 9 a.m. to 5 p.m.
Sundays, 1:30 p.m. to 5 p.m.
For more information please visit: Alice Opens the Door.
November 17, 2018-January 27, 2019
Toronto Reference Library - TD Gallery, Main Level
Admission and guided tours are free. No registration is required.
Tuesdays at 2 p.m. (except December 25 and January 1)
Thursday, December 27 and Thursday, January 3 at 2 p.m.
The gallery is open during Toronto Reference Library's open hours:
Monday to Friday, 9 a.m. to 8:30 p.m.
Saturday, 9 a.m. to 5 p.m.
Sundays, 1:30 p.m. to 5 p.m.
For more information please visit: Alice Opens the Door.
November 7, 2018
The Log Driver's Waltz by Wade Hemsworth - Illustrated by Jennifer Phelan
Anyone growing up in Canada in the early '80s will most likely remember this animated short, The Log Driver's Waltz. Based on a folk song by Wade Hemsworth, it was produced by The National Film Board of Canada to encourage national unity. The song is about a young woman who prefers a log driver over her many other more proper suitors. Driving logs along the river has made the young man light on his feet and the best dancer in town.
Acclaimed illustrator Jennifer Phelan has ingeniously recreated this film for the picture book, capturing all the charm and splendour that has made it a cherished Canadian classic. In her rendition, the log driver's moves are more balletic and graceful as the river currents flow with a contemporary flair. Cool pastel colours offer a fresh vibe as is the update to the log driver's iconic plaid shirt and toque. The additional scenes provide a practical and imaginative ending to an adaptation that is sure to delight a new generation of fans. Recommended for ages 4+.
How were you approached for 'The Log Driver's Waltz'
It was a blend of luck and chemistry that brought me to this project. My first children's book was launching at the same time that my publisher was seeking an illustrator for The Log Driver's Waltz. I was very fortunate to have been top of mind at the right time. I'm not 100% on the exact arrangement but I believe the government granted special permission to Simon & Schuster Canada, historically a book distributor not producer, to create books provided they were works of Canadian culture. The Log Driver's Waltz had been a long-time favourite of Simon & Schuster's managing editor Patricia Ocampo and she asked me to be one of three chosen to audition for the role as illustrator. I'm pretty sure it was the in-person interview not the sample art, that tipped the scales. Within minutes of sitting down, it was obvious we had the exact same vision for this contemporary version. When Patricia called me later to offer me the gig, it was more like a marriage proposal. Something huge just landed in our laps.
Can you tell us a bit of your creative process? What mediums do you use?
It's uncommon for an illustrator to experiment with different mediums across books but this book needed to be different than my last. Hey, Boy was done in ink, coloured digitally and was heavy on the white space to convey a passage of time. The Log Driver's Waltz required an abundance of foliage & fauna, we really wanted to capture the ruggedness of the Canadian landscape. I chose to bring in techniques I had been experimenting within my personal work (gritty watercolour pencil & toner transfers) to create a new style more appropriate for this story.
How long did it take to complete all of the many illustrations?
The artwork took place over about an eight month period but what took the longest was carefully planning out the narrative as storyboard iterations and mastering the fusion of two parts of myself: my children's book style and my personal work.
I adore the illustration showing the log driver with the waterfall behind him and leaves scattered about. The natural setting is beautifully captured. What is your favourite illustration here?
That is also my favourite illustration! It was the first one I tackled once the storyboard was approved because I knew it would be the masterpiece of the book and I couldn't wait to see what it looked like. It took forever, had many iterations, and terrified me the entire time but it was worth every (future) grey hair! My second favourite is the cover illustration. This one was the quickest to do because I saved it for last and by that point I really understood the world the characters lived in. It was an effortless joy to make.
About the Artist
I always wanted to be a children's book illustrator. I obsessed over my books as a child and traced my own copies. I went to college and university for illustration-six years! I didn't dive into the industry when I graduated because I still wanted to learn and experiment with my craft. As I sort of hinted at above, illustrators need to have a consistent portfolio and I wasn't ready to settle down with one style at that time. While renting communal artist space and painting during my mornings and evenings, I worked as a nanny for two families during the afternoons. The flexible schedule was amazing for my creativity and I ended up collaborating with one of the parents of the kids on a children's book. After a few years of noodling with it, we decided to self-publish (print on demand). An agent found our book and we had the good fortune of being acquired by Simon & Schuster shortly after. This agent was also the one who helped me land the Log Driver's Waltz gig and here we are! I'm no longer a nanny (though I miss the kids dearly!) and I now work as a designer at a small agency in Parkdale, Hypenotic. I still need the flexibility and my work is great about letting me craft my schedule to fit around personal projects.
Where did you attend school and how has that prepared you for a career in illustration?
I went to Dawson College and OCAD for Illustration. Both were amazing. College gave me process, passion and industry confidence. University taught me humility and to be a life-long learner. The transition from one to the other was rather confusing but I see now that I needed both for the long haul.
What are you currently working on?
Currently, I'm doing the art for two interstitial animations and I'm learning how to do stop motion. I'm collaborating on another children's book too but we're still in the writing phase, so hopefully I'll have another interview with you in a year or so!
What are your plans for the future?
I'm hoping to introduce sculpture and sets into my future children's books, allowing more opportunities to work with my friends who do lighting, photography, and set building. I miss the communal culture of my old art studio but thankfully, projects are another way to bring passionate people together.
A very special thank you to Jennifer Phelan for sharing insight from the artist, the making of this wonderful book and for visiting RedCapeTales. You are always welcome here and see you again soon!
Acclaimed illustrator Jennifer Phelan has ingeniously recreated this film for the picture book, capturing all the charm and splendour that has made it a cherished Canadian classic. In her rendition, the log driver's moves are more balletic and graceful as the river currents flow with a contemporary flair. Cool pastel colours offer a fresh vibe as is the update to the log driver's iconic plaid shirt and toque. The additional scenes provide a practical and imaginative ending to an adaptation that is sure to delight a new generation of fans. Recommended for ages 4+.
Simon & Schuster 2018
Hardcover 40p
10" x 12"
Q&A with Jennifer Phelan
How were you approached for 'The Log Driver's Waltz'
It was a blend of luck and chemistry that brought me to this project. My first children's book was launching at the same time that my publisher was seeking an illustrator for The Log Driver's Waltz. I was very fortunate to have been top of mind at the right time. I'm not 100% on the exact arrangement but I believe the government granted special permission to Simon & Schuster Canada, historically a book distributor not producer, to create books provided they were works of Canadian culture. The Log Driver's Waltz had been a long-time favourite of Simon & Schuster's managing editor Patricia Ocampo and she asked me to be one of three chosen to audition for the role as illustrator. I'm pretty sure it was the in-person interview not the sample art, that tipped the scales. Within minutes of sitting down, it was obvious we had the exact same vision for this contemporary version. When Patricia called me later to offer me the gig, it was more like a marriage proposal. Something huge just landed in our laps.
It's uncommon for an illustrator to experiment with different mediums across books but this book needed to be different than my last. Hey, Boy was done in ink, coloured digitally and was heavy on the white space to convey a passage of time. The Log Driver's Waltz required an abundance of foliage & fauna, we really wanted to capture the ruggedness of the Canadian landscape. I chose to bring in techniques I had been experimenting within my personal work (gritty watercolour pencil & toner transfers) to create a new style more appropriate for this story.
How long did it take to complete all of the many illustrations?
The artwork took place over about an eight month period but what took the longest was carefully planning out the narrative as storyboard iterations and mastering the fusion of two parts of myself: my children's book style and my personal work.
I adore the illustration showing the log driver with the waterfall behind him and leaves scattered about. The natural setting is beautifully captured. What is your favourite illustration here?
That is also my favourite illustration! It was the first one I tackled once the storyboard was approved because I knew it would be the masterpiece of the book and I couldn't wait to see what it looked like. It took forever, had many iterations, and terrified me the entire time but it was worth every (future) grey hair! My second favourite is the cover illustration. This one was the quickest to do because I saved it for last and by that point I really understood the world the characters lived in. It was an effortless joy to make.
About the Artist
I always wanted to be a children's book illustrator. I obsessed over my books as a child and traced my own copies. I went to college and university for illustration-six years! I didn't dive into the industry when I graduated because I still wanted to learn and experiment with my craft. As I sort of hinted at above, illustrators need to have a consistent portfolio and I wasn't ready to settle down with one style at that time. While renting communal artist space and painting during my mornings and evenings, I worked as a nanny for two families during the afternoons. The flexible schedule was amazing for my creativity and I ended up collaborating with one of the parents of the kids on a children's book. After a few years of noodling with it, we decided to self-publish (print on demand). An agent found our book and we had the good fortune of being acquired by Simon & Schuster shortly after. This agent was also the one who helped me land the Log Driver's Waltz gig and here we are! I'm no longer a nanny (though I miss the kids dearly!) and I now work as a designer at a small agency in Parkdale, Hypenotic. I still need the flexibility and my work is great about letting me craft my schedule to fit around personal projects.
Where did you attend school and how has that prepared you for a career in illustration?
I went to Dawson College and OCAD for Illustration. Both were amazing. College gave me process, passion and industry confidence. University taught me humility and to be a life-long learner. The transition from one to the other was rather confusing but I see now that I needed both for the long haul.
What are you currently working on?
Currently, I'm doing the art for two interstitial animations and I'm learning how to do stop motion. I'm collaborating on another children's book too but we're still in the writing phase, so hopefully I'll have another interview with you in a year or so!
What are your plans for the future?
I'm hoping to introduce sculpture and sets into my future children's books, allowing more opportunities to work with my friends who do lighting, photography, and set building. I miss the communal culture of my old art studio but thankfully, projects are another way to bring passionate people together.
A very special thank you to Jennifer Phelan for sharing insight from the artist, the making of this wonderful book and for visiting RedCapeTales. You are always welcome here and see you again soon!
February 9, 2018
The Monkey God by Wu Cheng'en - Graphic Adaptation Illustrated by Jian Yi
In celebration of the Lunar New Year, we'll be reviewing an adaptation of Journey to the West. This story is considered to be one of the Four Great Classical Novels from Chinese literature. Written by Wu Cheng'en in the 16th century during the Ming Dynasty. Predating even the fairy tales by the Grimm Brothers and Charles Perrault, Journey to the West has maintained its popularity throughout the years in East Asia. This novel originated from true events. Xuanzang, a Chinese Buddhist monk traveled to India in the 6th century to obtain Buddhist sutras. His trek lasted seventeen years, during which time he documented in detail his exotic travels. It is from these recordings that inspired the novel Xiyouji or Journey to the West.
From fact to fiction, the novel sensationalizes these recordings by adding elements of fantasy. In it, Xuanzang is accompanied by three protectors on his epic quest: Zhu Bajie, Sha Wujing and the anti-hero Sun Wukong. Sun Wukong is commonly known in English as the Monkey King. Sun Wukong is a clever and powerful deity whose personal quest is to seek immortality. This adapted version by Jean David Morvan, Yann Le Gal and illustrated by Jian Yi titled, The Monkey God is a graphic novel. This is a small book with three parts and I took a break from reading at each chapter. The font was small and it took longer to read than expected. The text reads like a script and the pictures like a camera, it feels like I was watching a Hong Kong fantasy movie, only better. There's a lot of action, a lot of martial arts and a lot of magic. All the main Chinese gods and immortals appear in this story. The Buddha makes a cameo while Guanyin, the Goddess of Mercy makes several appearances to guide and aid the travelers. There is violence and killings of shape-shifting demons by the hands of Wukong so it is not a story for the youngest of readers.
Jian Yi did a fantastic job with the art. The action is drawn in many different angles and perspectives throughout, making the pages very exciting to look at. His style isn't too manga like. Both the inking and colouring is in excellent detail. Because the illustrations are so good, some of the action sequences don't even require any text. The drawn landscape, architecture and costumes of ancient China are beautifully depicted.
The Monkey God is #12 in the Classics Illustrated Deluxe series from Papercutz. This gem of a book is packed with action as our heroes venture on the path towards enlightenment and redemption. It is an exciting introduction to some of the most revered mythological characters in Chinese literature. Recommended for ages 9+.
Amazon
Papercutz 2014
Hardcover 152p
6.6" x 9.1"
From fact to fiction, the novel sensationalizes these recordings by adding elements of fantasy. In it, Xuanzang is accompanied by three protectors on his epic quest: Zhu Bajie, Sha Wujing and the anti-hero Sun Wukong. Sun Wukong is commonly known in English as the Monkey King. Sun Wukong is a clever and powerful deity whose personal quest is to seek immortality. This adapted version by Jean David Morvan, Yann Le Gal and illustrated by Jian Yi titled, The Monkey God is a graphic novel. This is a small book with three parts and I took a break from reading at each chapter. The font was small and it took longer to read than expected. The text reads like a script and the pictures like a camera, it feels like I was watching a Hong Kong fantasy movie, only better. There's a lot of action, a lot of martial arts and a lot of magic. All the main Chinese gods and immortals appear in this story. The Buddha makes a cameo while Guanyin, the Goddess of Mercy makes several appearances to guide and aid the travelers. There is violence and killings of shape-shifting demons by the hands of Wukong so it is not a story for the youngest of readers.
Jian Yi did a fantastic job with the art. The action is drawn in many different angles and perspectives throughout, making the pages very exciting to look at. His style isn't too manga like. Both the inking and colouring is in excellent detail. Because the illustrations are so good, some of the action sequences don't even require any text. The drawn landscape, architecture and costumes of ancient China are beautifully depicted.
The Monkey God is #12 in the Classics Illustrated Deluxe series from Papercutz. This gem of a book is packed with action as our heroes venture on the path towards enlightenment and redemption. It is an exciting introduction to some of the most revered mythological characters in Chinese literature. Recommended for ages 9+.
Amazon
Papercutz 2014
Hardcover 152p
6.6" x 9.1"
January 27, 2018
Classic Fairy Tales by Scott Gustafson
Happy new year! It's been a while since my last post but I'm very excited to have discovered a new illustrator. His name is Scott Gustafson. He attended the Chicago Academy of Fine Arts and Columbia College Chicago and graduated with a degree in animation. Scott Gustafson illustrated several children's books such as The Night Before Christmas by Clement C. Moore and Peter Pan by J.M. Barrie. His work has earned him multiple awards which include the 2015 Spectrum Fantastic Art Grand Master Award.
More recently, he has illustrated three fairy tale books: Classic Fairy Tales, Classic Bedtime Stories and Classic Storybook Fables. As the titles suggests, these are all classic tales mainly from Grimm and Perrault. All three volumes are the same size and quite large too. I like these even more than Grimms' Fairy Tales by Don Daily. Every spread is richly illustrated. Below are some of my favourite illustrations from Classic Fairy Tales; this first volume is the best of the three because it has ten stories whereas the other two books only have eight stories. Also, Gustafson has painted a cover specifically for Classic Fairy Tales. I appreciate that over a duplicate of an internal illustration. The illustrations vary in size; some full page and some as a double page spread but all lush and opulent. The writing is an easy read with its very familiar storylines and large text make it a good choice for beginner readers. All three volumes are in reprint by Artisan Books. One of my copies is published by The Greenwich Workshop which has slightly thicker paper. All volumes come with a dust jacket.
Amazon
Artisan Books 2003
Hardcover 144p
10.8" x 12.2"
More recently, he has illustrated three fairy tale books: Classic Fairy Tales, Classic Bedtime Stories and Classic Storybook Fables. As the titles suggests, these are all classic tales mainly from Grimm and Perrault. All three volumes are the same size and quite large too. I like these even more than Grimms' Fairy Tales by Don Daily. Every spread is richly illustrated. Below are some of my favourite illustrations from Classic Fairy Tales; this first volume is the best of the three because it has ten stories whereas the other two books only have eight stories. Also, Gustafson has painted a cover specifically for Classic Fairy Tales. I appreciate that over a duplicate of an internal illustration. The illustrations vary in size; some full page and some as a double page spread but all lush and opulent. The writing is an easy read with its very familiar storylines and large text make it a good choice for beginner readers. All three volumes are in reprint by Artisan Books. One of my copies is published by The Greenwich Workshop which has slightly thicker paper. All volumes come with a dust jacket.
Amazon
Artisan Books 2003
Hardcover 144p
10.8" x 12.2"
