'Assessing Books in Line with the Greenaway Medal Criteria Essay\r'

'The Kate Greenaway bay wreath is star of the close to prestigious awards given in the UK. It is awarded annu solely(prenominal)y for distinguished illustration in children’s intensitys. Awarded along with the Carnegie Award (given for distinguished writing in children’s arrests), the Greenaway Medal is given by the contract Institute of Librarians and Information Professionals (CILIP). For more than than than half a century now, the Greenaway Medal has been regarded as ace of the most aspired recognitions by illustrators.\r\nSince it was first awarded in the year 1956, hundreds of crowing British hold in workmans c are Lauren Child, Anthony Br declaree, Shirley Hughes, and John Burningham put on already received the award. The criteria Books which are nominated for CILIP’s Kate Greenaway medal mustiness(prenominal) be of exceptional elegant quality. center on the visual insure, the illustrated have got must be stimulating and engaging. Altho ugh the lifelike pieces are prioritized, the texts must be properly coordinated with the images.\r\nAmong the most authorised concomitantors which must be assessed are the creative style, format, harmonisation between illustration and text, and the visual hold. â€Å"The Baby Who Wouldn’t Go to Bed” by Helen Cooper The guard tackles the invoice of a boy who simply ref practices to go to sleep. When his m otherwise calls for Bedtime, the boy drives away in his sincere machine and travel on to the night in explore for a companion for his night quest. However, he evermore fails at his attempts to find the perfect comrade in the witching(prenominal) world full of characters from his toys.\r\nIn the end, he realizes that nighttime is truly bedtime. He is then reunited with his mother, who resembling also can non sleep as she was in take care for him. To start with, the medium used for the deem â€Å"The do by who wouldn’t go to bed” is quite s ufficient for its purpose. The visual images were not solely appropriate †scarce rather real crucial to promote a general idea of the degree. Although the concept presented in the criminal record can also be introduceed success to the full through audio-visual mediums, the printed angiotensin converting enzyme is also equally turmoilting.\r\nReaders cannot help scarcely notice that the visual images presented in the book follows the telephone exchange theme that the romance diverges on †a lackadaisical night. The images on the book rise deliver the story from the sun messting to an all(prenominal)wherewhelming darkness all on its own as the readers go over the story page by page. As the story progresses, the shades and alter go darker and more looming with every page. Basically, the style of presentation of the texts and images vary. Some texts are matched with images untold like groups of idea clumped together to present a segment of the story.\r\nI n this style, the texts and images complement each other much like a painting with a written description. In other pages, the texts are isolated from the visual images, in that respectby promoting the idea that the images only dish as a supplementary backdrop of the story. In some cases, the texts act as mere subtitles or captions for the graphics. Consistent throughout the whole book tho is the dreamy style of illustration that is typically unique. Focusing on the typography, readers will find the book a pleasant read as its texts come in bold roman prints offered in the right sizes hold back for kid’s reading.\r\nTo a certain extent, the texts which are sparingly arranged in no more than five lines a paragraph heightens the reading aggregation of the book. The spacing of the fonts and lines also makes each page agreeable to the eye. The lay-out of the book varies from page to page and that lack of a uniform presentation style adds up to the confusion element of th e story. The texts do not bulge intrusive. However, there are some pages where the texts are not set in successive orders. This lack of order prompts a reader to ignore some texts so as to focus more on the highly fundamental texts.\r\nA particular example is on page eight, where texts â€Å"The little car went slow-moving… and slower… and slower” will probably be ignored as the more integral content (â€Å"The musicians played such(prenominal) a sweet tune…”) attracts the reader’s whole attention. (Cooper) Among the most notable characteristics of the book was the fact that the images and the texts were complementing with each other. Both were much motifed for the presentation of the story and both of which enhanced the effect of one towards the full comprehension of the story.\r\nAnother positive survey of the book is the fact that the illustration were all very put one over as to what message that they wanted to deliver †it even seems that the pictures/ graphics alone can allege the story without the texts. In general, this book gives unripe ones (twelve months to sestet days) a good reading experience as it combines reality with imagination by merging a typical night time scenario with a sorcerous and dreamy presentation. It plays out a pre-existing experience into a dreamy adventure that is packed with much imagination left to be unveiled by the reader.\r\nIt serves well as a nighttime book that’s meant to be read just forwards naptime †and its whole significantly proves that it is in line with that theme. â€Å"Jethro Byrd coffin nail Child” by Bob Graham The book â€Å"Jethro Byrd poove Child” explores an age-old theme †the need to enjoy the small wonders of life and keep oneself fanciful despite an adult’s tendency to give voice a very preoccupied life as he welcomes maturity. In the book, Annabelle spends most of her time laborious to find fairies. Fort unately, she discovers that they are really true as she meets the fairy child by the name of Jethro Byrd in her own backyard.\r\nShe also meets the rest of the Byrd family and invites them for tea. Unfortunately, her parents cannot see the fairies and Annabelle wonders what would pass by if she would just go with the fairies and leave her family behind. Just like any good fairytale book that is jam-packed with lot of creative juices, this book is an appropriate medium for the story. A book that’s full of illustrations is probably the trump way of delivering a story with a fairy plot like this. However, although the theme and the plot of the story are both cliches, the illustrations are not.\r\nThe graphics and the artist’s style are very distinguishing as it almost focuses only on a mavin setting †a backyard in a suburban area. Although the whole story seems is full of magical elements, what’s good about the illustrations is that they tone down the imag inations. The graphic images do not offer the same magical bluff that most fairy stories deliver. Instead, they create a more casual and simple theme that allows the readers to grizzle on a balanced storytelling style †one wherein both the texts and the images are telling the story.\r\nIn access to that, the quality of the washed-out illustrations was consistently appealing all throughout the book. The simple style works well with the theme which is also straightforward and easy to follow. As for the typography, the book also rated well. The typeface and size were accord for the reading requirements of one-year-old ones four to seven years old. Another good thing about the book is that there was no uniform style of placing the texts. The texts were fail(p) on the top, bottom, left, or right side of the page, depending on the demands of the graphical elements for every page.\r\nSuch made the layout more appealing. Moreover, since the texts were properly placed, they did no t appear intrusive in each page despite the fact that they were a bit too many lines for every page. Instead, the texts took on a very integral role to fully comprehend the flow of the story. Unlike other books with illustrations however, this one would probably fail to tell the story establish on the graphical elements alone. Fortunately, the need for texts was met fully in a creatively appealing manner. The illustrations and the texts were also very much in synch.\r\nThe artist made use of recurring visual images †the fence and the backyard setting †to moderate the magical theme and keep the readers abreast with the determine and the theme that the story wanted to portray and develop. To set the rule setting of the story, the illustrations on the covers and title page of the book were used as an introductory element showing a casual metropolitan/suburban scenario. Unlike other graphical books which appear as picture mosaics, this one is more organized and fit for a ch ild. The book’s use of images is not merely for decorative purposes.\r\nRather, the images harmonize one’s imagination and reality. It merges the idea of fairy existence to normal day-to-day experiences, therefore engaging more young readers. With these illustrations, young readers cannot help but think of their own backyard and their own probable adventures with the fairies that they might find. Overall, the visual experience that this book offers is simple but overwhelmingly clear and engaging. The story which revolved around a simple plot with a spice of magical elements requires just these plain illustrative elements.\r\nAs the illustrations normalize Annabelle’s adventure, the book becomes more engaging and pleasing to read. The colors used and the water-color style of the graphics also gave the book a very heartwarming appeal. Conclusions The two books fit the criteria of the Kate Greenaway Medal on the following grounds: the tasteful style portrayed in t he books were unique and distinctive; the illustrations were in sync with texts; the illustrations were clear; the illustrations did not appear like picture upholsteries, rather, they increased one’s understanding of the story.\r\nIn general, the visual experiences offered by the books were engaging, enhancing the book’s ability to attract and retain the young reader’s interest in literary works. WORKS CITED: Helen Cooper. â€Å"The Baby who wouldn’t Go to Bed. ” Toronto, ON: Doubleday Canada, 1996. Bob Graham. â€Å"Jethro Byrd Fairy Child. ” Cambridge, Mass. : Candlewick Press, 2005, c2002\r\n'