ART317: The Development of Criticism - Literature Assessment Answer

Code: ART317

Literature Review Assessment Answer

Task: Topic 1: The Printed Book Question: What do these books have in common with manuscript books? How do they differ? Consider the potential advantages and disadvantages of this way of reproducing books. Your next task is to compare these two copies of the Gutenberg Bible. Make sure you look at the same pages in both versions. You might also choose to read some of the accompanying notes. Make a note of the differences you observe. Question: With reference to what you’ve learned so far about the process of printing with moveable type, can you speculate on why these differences exist? Question: In what ways did the introduction of printing affect the appearance of text in books? Graphic design students might like to reflect upon the links between hand-lettered scripts, early typefaces and the typefaces we still use today. Question: What additional features were included in books after the development of printing? Question: What functions did illustrations perform in early printed books? How did this differ from the functions of illustrations in manuscript books? Question: What limitations were imposed on book illustration as a result of the introduction of printing? How did the introduction of copper engraving influence book illustration? Topic 2: Illustrated Children's Books Question: What are some of the advantages and disadvantages of each way of these ways of working? Examine some of your favorite illustrated children’s books to see discover who the author and illustrators are. Question: What proportion is written and illustrated by different individuals and what proportion is conceived by author/illustrators? This is, of course, an unscientific way of gathering information. The point of the exercise is to increase your awareness of the relationship between author and illustrator. On the basis of what you have read and the books you have looked at, do you think it matters whether the author and illustrator are the same people or different people? You should study each reading carefully, making summaries that identify the critical frameworks each author proposes for studying the illustrations in children’s illustrated books. As you read to make some comparisons between the ideas of the three writers. In what ways are they similar and in what ways are they different? Joseph Schwarcz discusses the relationship between text and illustration, making reference to the number of images, to the spatial relationships that occur and to the way that image and text relate in terms of the narrative. The concepts he discusses provide one set of criteria to use when analyzing the images in illustrated books. Note that this reading is not referring specifically to picture books, but to illustrated books in general. Question: What does Joseph Schwarcz mean when he refers to the composite narrative? Moebius, William. ‘Introduction to Picturebook Codes’. In Children’s Literature: The Development of Criticism. Question: Moebius discusses the distinction between illustration as communication and illustration as art. How would you summarise these concepts? Question: Moebius also makes a distinction between iconographic codes and graphics codes. What does he mean by an iconographic code? What does he mean by a graphics code? Question: How much detail is provided by the words? Now re-read the book looking at words and pictures. Question: What do the pictures add? Would the pictures make sense on their own, or are the words necessary? Why? One of the aspects of Where the Wild Things Are that attracted attention when the book was first published was Sendak’s innovative use of layout. Question: How does the style of Where the Wild Things Are compare with In the Night Kitchen and Outside Over There? Topic 3 - Comics & Graphic Novels Activity: Write down your current definition of what a comic is. Do you think there is a difference between a comic and a cartoon (on paper, not the animated version)? If so, what is it? Question: What do you suppose a graphic novel is? This text comes from Roger Sabin’s book Adult Comics, first published in 1993, which was one of the earliest scholarly publications about comics. Sabin mostly focuses on formal issues. Sabin, R. ‘What is a Comic’, in Adult Comics: An Introduction. Routledge: London, 1993 Sabin defines what a comic is and discusses some of its key features. He makes many important points in a few short pages – read this extract very carefully. Question: What is Sabin’s definition of a comic? How does this compare with your original definition? Question: What are the main features of a comic identified in this reading? Question: What is this difference? Do you think this makes a difference to the way that the reader approaches a comic? Explain your response. Question: What are the three types of language that are found in comics? Question: Sabin compares comics with another twentieth-century form of storytelling. What is it? Question: What similarities are there between Sabin’s definition of comics and that offered by Duncan and Smith? Question: Briefly, what do Duncan and Smith say are the main differences between comic strips and comic books? Question: Does the quality of the printing and paper alter the way we think about a particular text or have an influence on what we think is an appropriate subject matter for the comic form? Question: Can something that is produced cheaply as a form of popular culture achieve the status of ‘Art’? Question: What impact might this have on comics, with respect to both storylines and artwork? Question: What do you consider to be the advantages and disadvantages of the individual and team approaches to making comics? Topic 6: Artist's Books Activity: The William Blake Archive is a comprehensive site about William Blake. It contains a biography, description of the processes Blake used to create his books, and extensive bibliography. It also enables us to do something that is not possible in the physical world. Because each copy of William Blake’s illuminated books is unique even the best facsimile version of one copy fails to give a full picture of his work. The William Blake Archive, on the other hand, allows a scholar to access digital images of not one but several copies of Blake’s illuminated books. The web site is a bit tricky to navigate but once you work it out it provides an experience that is only available online. In the case of Songs of Innocence and Experience, thirteen different versions are currently available in digital form. Your task is to visit the William Blake archive and compare the different versions of some of the pages in one of Blake’s books. If you aren’t sure where to start, I suggest The Tyger page in Songs of Innocence and Experience. Write down your observations and make some comments on them. Question: How different are the versions? In what ways do they differ? Question: Do the differences affect the way you might read and interpret the poem? Question: How does she differentiate between a livre d’artiste and an artist’s book? Question: What other book-related forms does Drucker believe are not artist’s books? Question: Which, if any, do you think Drucker would class as artist’s books? What about Bodman and Sowden? Do you consider them to be an artist’s book or not? Why? Question: Why is Tom Phillips’ book considered significant in the genre? Question: What approach did Phillips take in creating A Humument? Summarise some of the critical responses to this particular book. Question: How would you describe the relationship between image and text in this book? Comment on the relationship between author and artist in this case. Question: Consider the status of the original and the trade reproductions. Are all of these artist’s books, or only the original? Question: What does it mean for A Humument to be transformed into a tablet or phone app? Is this still a book? Activity: One of the paradoxes of this subject is that in most of our topics we are studying book without access to ‘the real thing’. Although the World Wide Web enables us to look at pages from books we would otherwise not be able to study, this is not the same as handling the book itself. In the case of artist’s books, the shortcomings of the digital medium are even more apparent, since the physicality of an artist’s book is part of its meaning. Few libraries collect artist’s books and they are unlikely to be found local bookshops, so we have to make do with what is available to us. Question: Why is this particular artist attracted to the book as a form of artistic expression? Question: What techniques does this person use to produce their books? Question: Where would these examples sit within Drucker’s list of categories? Question: Do any of the books you looked at combine form and content in a particularly distinctive way?

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