CHAPTER 2 THEORITICAL FOUNDATION 2.1 Theories of …
Transcript of CHAPTER 2 THEORITICAL FOUNDATION 2.1 Theories of …
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CHAPTER 2
THEORITICAL FOUNDATION
2.1 Theories of Handmade Educational Toys
Toys, and play in general, are important when it comes to growing up and
learning about the world around us. The young use toys and play to discover their
identity, help their bodies grow strong, learn cause and effect, explore relationships, and
practice skills they will need as adults. Toys enhance cognitive behavior and stimulate
creativity. They aid in the development of physical and mental skills which are
necessary in later life.
2.1.1 Definition and Criteria of Handmade Educational Toys
An educational toy is a toy designed to teach people, typically children about a
certain subject or help them to learn a skill while they are playing. Educational toys are
good tools for educating children because they do not force children to learn but they
promote learning without the little ones realizing it. (Bollingi, 2009) There are various
kinds of educational toys around us such as puzzles or board games. An educational toy
does not mean always as a ready made toy which mass produced by a factory.
Educational toys can be as handmade toys with individual made characters so that the
quantity is limited and each has its own uniqueness.
Handmade educational toys are special. They can be made from fabrics, wood,
paper and even other materials such as used boxes and plastic bottles. Usually handmade
toys do not need batteries or other electrical sources, without video screen or techno
music things but still they can create imaginary worlds and hours of creative fun.
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(Audet, 2008) Moreover they reflect a higher quality craftsmanship and can be
customized to match children’s needs and choices. (Kelley, 2011)
To determine whether a toy is an educational or not, it should have the characters
as follows:
• The toy trains problem solving: During the playing, children need to do
problem solving, finishing the making of the toy which has been assembled by
children in the beginning.
• The toy trains the basic concept: By tutorial in making this toy, children are
trained to develop their basic ability such as knowing the form, color, etc. Which
train the fine motoric senses.
• The toy trains meticulousness and severity: With educational toys, children do
not only enjoy the process of playing but also trained for their thoroughness and
severity during the making.
• The toy arouses creativity: The toy is able to trigger the creativity of children
that in the later years, children will have the ability to do innovation such as
creating an original creation by their own.
Figure 2.1. Examples of Children’s Handmade Educational Toys
Kites and Finger Puppets
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2.1.2 Benefits of Making Handmade Educational Toys
According to psychologist named Charlotte Buhler, the third phase of children’s
psychology development (5-8 years old) is marked with the changing mood of playing to
be working actively, increasing the feeling of responsibility and sociability. Entering the
fourth phase (9-13 years old) the children’s desire for improvement is getting the fact of
reaching at the peak. Children have the tendency to own a tense feeling of curiosity and
that would be the exact time to get focus on training, observing and exploring. Based on
above information, the third and fourth phase are the right phases to develop children’s
creativity. One of the system to improve creativity is by making a toy of their own
through the process of art and crafts.
The main advantage that children obtain in making their own toys is to train their
fine motoric skills through the process of cutting, painting, glueing, arranging, etc.
Making an own toy means also to train concentration because while they are making
they must focus on the activity of making to get a satisfaction of result. Not realizingly,
the knowledge and ability to comprehend language are also trained because children will
read, understand and follow the instructions. The attentiveness and the neatness will also
be enhanced during the process. If parents join and accompany children in the process of
making, it will not only make a closer relationship between parents and children but they
are also trained to communicate and taught how important is to cooperate to reach a
target.
2.1.3 Benefits of Playing with Handmade Educational Toys
In the process of playing, there is certainly a process of movement in the child’s
body that playing enables to train the rigid motoric skills. Children will use their
muscles, stimulate the senses and explore the world. While playing, sometimes children
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can find their own character and original personality. That time children will undergo a
feeling of joy, enjoy the freedom to choose and to express themselves. If a child plays
with a handmade educational toys with other people such as parents or friends, he/she
will be taught for doing the sharing, behaving fairly and understanding people’s opinion.
2.2 Theories of Publication
The meaning of publishing is to make content available to the public. Despite the
differences in terms among countries, publishing is usually applied to the text, images or
other audio-visual content on any medium including paper forms (book, newspaper,
magazine, etc) or electronic forms (website and e-book). Thus the word publication
means the act or process of publishing and refers to any copies as well.
2.2.1 Definition and Types of Book
A book is a collection of sheets of paper, printing or writing fastened together
along one edge, usually trimmed at the other edges and bound between covers to form a
single series of leaves. Each leaf consists of two pages.
In the modern technology, a book is produced in electronic format and is called
e-book. It is a digital version of paper books which can be downloaded from the internet
into a small hand-held devices called e-book readers. A book will always remain as a
way of passing information though it may completely change from paper to electronic
form.
Types of books can be classified as fiction or non fiction. Fiction is the form of
any narrative or informative work that deals with imaginary or non factual information
or events that is invented by the author. Fiction book contains fictitious stories and they
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are completely untrue or fantasy. The most common form is the novel. Others are comic
books and graphic novels which is published with illustration. On the other hand, non
fiction is the form of any narrative or communicative work whose assertions and
descriptions are understood to be fact. Since it deals with factual events, descriptions or
observations, non fiction book mostly provides information or supporting a point of
view such as dictionary, atlas, telephone directory, textbook, encyclopedia, guidebook,
note book and diary. Besides fiction and non fiction, there are other types of book that is
not included in both categories. This kind of types are not commonly found under the
system such as albums, hymnals, prayer books.
2.2.2 The Anatomy of Book
According to Scott E Franson, an educator and children’s book writer, it is
important to know parts of a book and how to use them to tell a sequential story. Below
are the list of several important parts of a book:
• Book cover or book board: The front and back covers are named the book
boards.
• Joint: It is a small groove where the covers of the books are attached to the book
and bends when the book is opened.
• Spine: Located outside the book, it lists the title, author and publisher.
• Tail: The tail is the down-end part of the book.
• The Endpaper: The paper at the beginning and end of a book. The functions are
to attach the cover to the pages and for aesthetic purpose as a transition into the
story as it may be illustrated.
• Spread: The inside pages that show the content of the book.
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• Gutter: The fold in the middle of the book. It is an element that needs to be a
major consideration when designing images for a book. Avoid placing important
elemens in or near the gutter as it may disappear after the book is bound.
• Fore edge: The edge part which is trimed and it is opposite of the spine. It can
sometimes be painted on higher end books.
• Dust jacket or dust wrapper: Hard cover books have protective paper or plastic
wrappers that wrap completely the covers of the book for protection. The dust
jacket usually displays artwork with the title, synopsis of the book and author
biography as well.
Figure 2.2. The Anatomy of Book (Franson, Children’s Publishing 101)
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2.2.3 Designing and Publishing a Book
There are several phases of planning a book from scratch until publishing the
final product that are listed below:
1. Designing Phases
• Brainstorming: Process of getting large amount of ideas and even the smallest
ones to be notified
• Choosing: The next step is to choose the exact ideas according to the topic of the
book. This idea would be the primary concept which has to be developed.
• Developing: The selected ideas are developed more deeply to form a clear story
line and to be a complete concept.
• Writing: Start the process of writing, pay attention to the language structure and
words. The writer should try to keep the story line comprehensively and
attractively to the readers.
• Checking: Repeat to read the finished writing
• Correcting: Repeat to correct the writing whether there are words to be added or
erased.
• Finalizing: Editing the finished writing by rewriting the whole thing neatly. In
this process all idea would be gathered for the revision step of the previous ideas.
This process is done more seriously and carefully as it would be the final step for
the writing.
• Designing and making illustrations: If the manuscript is finished, it would be
easier to imagine with the right illustration design. Besides that, the choice of
color and typography could also be settled.
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2. Publishing Phases
• Collecting the manuscript and illustrations: All the materials will be gathered
for the editing purpose.
• Editing the manuscript: The editor will do the editing process especially for the
structual language. It is necessary to be done for the correction of the structural
text of the manuscript based on the accuracy of the information or data involved.
• Layouting: Arrange the layout of the manuscript according the format of the
books concerned. In this process, the size of the text and the design elements
such as illustrations and photos will be settled.
• Printing and book binding: The finishing touch is to do the printing and the
book binding. The book can have either soft or hard covers.
From the above theory, it can be concluded that book is one of the communicative
media which is very common nowadays. Books are well-liked because they are
practical, easy to bring everywhere and readable at anytime. In addition, it is known that
types of book are miscellaneous and have to go through complicated process in
producing them.
2.3 Theories of Children’s Book
Children’s books are a great gift to the world, and are often trusted to develop
children’s minds and talents. A good children’s book will both convey and communicate
with the child’s mind. A good children’s book contains element of luxury such as nature,
emotions, and simple pleasures such as a balloon or a birthday cake. (Allesio, 2010)
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Because children's books span such a wide age and reading-level range, there
have to be distinct divisions that break them down into smaller categories. Based on the
above statement, Children’s book can be categorized based on children’s age such as
baby books, toddler books, early picture books, picture books, easy readers, transition
books, chapter books, middle grade books and young adults. (Backes, 1989)
2.3.1 Picture Book
When speaking of children's books, most people have picture books in mind.
These are the books that combine illustrations with text. (Smith, 1991, p.106) A picture
book is a book in which the illustrations play a significant role in telling the story. It
covers a wide range of topics and styles. Plots are simple with one main character that
embodies the child's emotions, concerns and viewpoint.
Picture books are normally between twenty-four and thirty-two pages long.
These page counts include the front matter (copyright page, title page, dedication, and
acknowledgment pages). Word counts for picture books normally range between 200
and 1,500 words with 1000 being the average length. Non-fiction in the picture book
format can go up to age 10, 48 pages, or up to 2000 words.
The illustrations, which are on every page or every other page, play as great a
role as the text in telling the story. Some picture books have very small illustrations,
leaving room for a lot of text. Others have no words at all.
Picture books bring images and ideas together in a unique and exciting art form
that adults and children can explore at many different levels (Kiefer, 1995) Fine picture
books give children a window on the wider world, enabling them to know and learn
things outside their own limited domestic experience. (Lanes, 1980)
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Figure 2.3. Examples of Children’s Picture Book
(Klassen’s “I Want My Hat Back” and Carle’s “The Very Hungry Caterpillar)
2.3.1.1 Types of Picture Book
There are several types of picture books such as the following:
• Board or baby books: These books are built to stand up to the destructive
tendencies of babies and toddlers. They are often made of cardboard and are
usually sixteen pages long with an illustration accompanied by only a couple of
words per page.
• Wordless picture books: Just as the name implies, these picture books do not
have text. The illustrations tell the story by themselves.
• Novelty books: These books have an additional element that make the book
interactive or otherwise entertaining. Some novelty books have pop-ups, pull
tabs, graduated page lengths, holes in the pages, or accessories that complement
the story.
• Concept books: These books focus on one concept and don't necessarily have to
tell a story. Whether the topic is something tangible or visible, such as colors, or
something more complex or psychological, such as overcoming a fear of the
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dark, a concept book will explore its concept in whatever format suits it best.
(Walin, Gordon)
2.3.2 Informational Book (Guide Book)
Informational book is a book which is planned for helping readers to learn
further about obvious matters. This kind of book covers about information, instruction,
and advanced knowledge according the taken topic. According the American Heritage
Dictionary of English Language, 4th edition, a guide book is a book of references
especially which concern with instructions.
Figure 2.4. Examples of Children’s Guidebook
(Bolton Castle Guidebook and “100 Things to Make and Do”)
2.3.2.1 Typical Condition and Structure of Guide Book
According to Ratna Sajekti Rusli, a tutor in Universitas Indonesia (UI) Jakarta,
Besides the contents of the guide book, it also has a preface that explains the target of a
guide book, having a clear index, inserting a glossary for hard or unknown words and
specific terms, having a subject summary for each chapter, and adding the references
that is used in the guide book making process.
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A guide book usually has a special comparable character which differs from
other books in some aspects, i.e.
1. Contents
The descriptions inside the book are supported with:
• Definite clear instructions in each chapter.
• A review or summary about the subject/topic.
• The writing is written systematically and concisely.
• A quiz and feedback are added at the end of the chapter.
2. Language
The language style and flow inside the book is usually:
• Using a familiar or oral language and not formal
• Using the system 6x6, that means in one paragraph there are only 6 sentences
and in one line there are only 6 words.
3. Reading sources
• A guide book is usually completed with reading sources or using references.
• A guide book is usually completed with advanced reading sources or broaden the
subject.
2.3.2.2 Function of Guidebook
The first target of a guide book is as a facility of study. A guide book delivers
information, deeper knowledge to reach something and has the role to become a
standard or tool assistant to do something and widen the knowledge of the reader.
Regarding that generally a guide book has the function as a tool (device) to
convey the study of subjects/objects, a guide book should be made the most practical
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and the easiest to understand as possible without deleting the main learning material.
This has the intention to make the reader easy to comprehend the served information. It
is good enough if the guide book is made the most attractive as possible to allure and
inspire people to read.
2.3.2.3 Children’s Guidebook based on Toy Making Category
Toy making for children often involved with art and craft skills since in the
making process they will be doing creative activities such as painting, cutting and
weaving. The term Arts and Crafts usually suggests the entire array of actions and
avocations associated with individual's skill of making things by the means of own
hands. The word Craft is used with some specific connotations. Other than the artistic
skill, Craft requires a sort of technical know-how. The skill of arts and crafts can be
classified in various streams such as paper craft, woodworking, origami, doll making
etc. Usually the guide book which is significantly designed for the children are
illustrated with pictures and photographs to make the techniques more comprehensive
and easy adopting for the children and the instructors as well.
2.3.3 The Importance of Children Book
Reading children’s book is very important and beneficial for children’s
development. Children’s book enables both to teach and to entertain. In terms of
teaching, it can widen the knowledge and nurture the reader’s intellectuality. While in
terms of entertaining, children’s book can act as an exciting/comforting media during
leisure times. Children’s books also offer adventurous stories that could be an escapism
and comfort children with the knowledge that they are not alone in the world.
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2.4 Theories of Principles and Elements of Design
Successful designers would have taken into account the fundamental principles
that enable to guide and affect their own creative design decisions. The primary
principles comprise: unity, variety, hierarchy, proportion, scale, balance, proximity,
rhythm and repetition. These principles should have basic components those are
elements of design to affect the internal relationships of the design i.e. shapes and
spaces, line, size, color, texture and typography. (Evans and Thomas, 2004, p.4)
2.4.1 The Principles of Design
Referring to Poppy Evans and Mark A Thomas in the book “The Elements of
Design”, principles of design are categorized into primary principles (unity and variety,
hierarchy, proportion) and support principles (scale, balance, rhythm and repetition,
proximity).
• Unity and Variety: Designers have to be able to achieve unity where the whole
graphic elements in a design are inter related that they form as a whole
intergrated system which all the graphic elements look unified and that can not
be described only as a deal of its part. (Landa, 2010, p.31) Unity is the control of
variety to create a visual interest. Anyway, too much variety without any
inconsistency in the design would cause confusion. (Evans and Thomas, 2004,
p.5)
• Hierarchy: Hierarchy is the established order, importance emphasis and
movement given to visual elements so that it would guide viewer into viewing
that are dominant of the design to those other supporting parts. By establishing
hierarchy, the path a viewer’s eye can be controlled by the designer when
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scanning a design composition. (Evans and Thomas, 2004, p.7)
• Proportion: Proportion is the comparative size relationships which is present in
the outer dimensions. The most basic proportion are the outer dimensions of a
two dimensional design. (Evans and Thomas, 2004, p.8) For designers and
artists, proportion is concerned with appreciation of beauty or harmonious
relationship of elements within a whole. Based on ratio, there are proportional
systems in design, art and architecture that had been used for centuries. In
design, harmony is agreement within a composition where elements are arranged
and function in relation to one another to an agreeable effect. At present, a
designer can intentionally play with exact proportion in a composition to create
an exclusive beautiful graphic impact. (Landa, 2010, p.35)
• Scale: Scale is the relationship or a comparison of size between elements. In the
natural and constructed worlds, size, distance and configuration are constantly
compared. Scale can be used to create variety and emphasis in a design that can
help establish a visual hierarchy (Evans and Thomas, 2004, p.11-12)
• Balance: A design should be balanced because it prones to give a harmonious
sight to the viewer. Thus it concerns with the position of objects in a space.
(Landa, 2010, p.26) There are two types of visual balance, symmetric and
asymmetric. (Resnick, 2003, p.24) In symmetric balance, elements are put
symmetrically on either sides of a a central axis, that it makes a reflection of a
mirror image. (Landa, 2010, p.26) Whereas for asymmetric balance is referred to
as dynamic symmetry, is a manner to create a balance in visual by putting
uneven objects, arranging relationships between negative and positive space and
with type of forms as well. (Evans and Thomas, 2004, p.12)
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• Rhythm and Repetition: Rhythm in visual term replaces the element of sound
and silence. (Evans and Thomas, 2004, p.14) In graphic design, a pattern of
elements with a strong a stable repetition can form a rhythm. It is the same as to
a beat in music that induces the viewer’s eyes to surround the page. A strong
visual rhythm helps in creativity consistency. Several elements can support to
establishing rhythm i.e. balance, color, texture, emphasis figure and ground
relationships. (Landa, 2010, p.30) Repetition happens when one or a few visual
elements is repeated a number of times with total stability like a pattern of
objects. It follows a pattern of related objects which put side by side to each
other. In graphic design, the repetition of rhtyhm is inserted by variation to create
visual interest. (Landa, 2010, p.30-31)
• Proximity: To place design elements is one of the most critical decisions for a
designer to make. Proximity is the position and space given to the placement of
elements in a composition. So the function of proximity is the placement of
elements together and apart from one another. To bring in images, text and other
graphic elements based on these features. In determining placement, grid systems
are used to guide designers. (Evans and Thomas, 2004, p.15)
2.4.2 The Elements of Design
Every design needs the elements of design which could be regarded as formal
elements or as the basic components that are needed to create a design. According to
Evans and Thomas, there are one or more basic elements such as shape and space, line,
size, color, texture and typography with the explanations as follows:
• Shapes and space: Shape is a mass which has its length and width. It will be
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seen three dimesional when volume is added and thus they can describe as form.
This shape or form could be described as a meaning such as curvy shapes shows
about something sensual, whereas for more rough reflections could be described
with the pointy shapes. For space, it can be described as an area that is affected
by another elements so space refers to the distance between shapes and form.
The relationship of shape and space is conveyed into a relationship of positive
and negative space. (Evans and Thomas, 2004, p.20-21) There are three basic
shapes which considered to be the fundamental shapes found in all design, the
circle, the square and the triangle. (Resnick, 2003, p.23)
• Line: A line is a lengthened point and could be described as the path of a moving
point or it is also a mark made by a visualizing tool such as a pencil, a brush, a
software or others. The tools used to create the line would influence the quality
and the character of the lines itself such as it can be delicate or bold, smooth or
broken, thick or thin etc. (Landa, 2010, p.16)
• Size: Size shows the physical dimensions of an element or format. It shows how
big or small something is in scale to other objects. (Resnick, 2003) It is crucial to
decide the size of each elements to match nicely into a design. Size is a function
of portability and hand-eye manipulation. (Evans and Thomas, 2004, p.24)
• Color: Color is a description of light energy. It is the intristic hues found in light
and pigment that can enlighten the emotional and psychological dimensions of
any visual image like to fill up space and enrich it or to create emphasize on an
object. (Evans and Thomas, 2004, p.26) Color can create and convey a mood to
enhance a strong concept. (Resnick, 2003) Further information about color will
be explained in section 2.7 Theory of Color.
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• Texture: It is the attributes of the surface of an object. It consists two types of
texture, tactile and visual. For tactile textures which can be physically touch and
felt on printed design can be used for embossing, stamping, engraving or
letterpress. Whereas for visual textures which are created by hand such as
painting, photography and many other image making idea are used by the
designers to create a variety of texture. (Landa, 2010, p.23)
• Typography: For a design, it is crucial to have the ability to communicate its
verbal message through visual means. (Evans and Thomas, 2004, p. 31) When
typographic signs are created with an informed eye and mind, they achieve both
lucidity and aesthetic beauty (Carter, Day and Meggs, 2007, p.111) Further
information about typography will be explained in section 2.8 Theory of
Typography.
2.5 Theories of Layout and Composition
Layout is the arrangement of the elements of design in relation to the space that it
occupies according to an overall design scheme. It could also be called the management
of form and space. The objective of layout is to present the visual and textural elements
that are to be communicated in a manner that enables the reader to receive it with less
effort. With good layout, a reader can be navigated through quite complex information
in both print and electronic media. (Ambrose and Harris, 2009, p.10)
Layout is all about composition. Composition is the visuals and type visuals
organization on a printed or screen page. Composition refers to how the pictures
arranged by the artist for any kind of position, how shallow, how deep, how gigantic,
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how small etc. (Erbach, 2007) Robin Landa in her book titled Graphic Design Solutions
stated that there are three basic methods in composition. They are the following:
1. Type-driven
Emphasize on type / de-emphasize on visual, where the dominant force is the
type and the secondary is the visuals, or no visuals at all. The component could
be the type only, also called type as image.
2. Image-driven
Emphasize on visual / de-emphasize on type where the “hero” is the visuals with
little type, or a no-copy solution.
3. Visual-verbal strategy
Type and the main visual synergistic relationship, subordinate all other graphic
elements around.
2.5.1 Margin and Grid
Margin and grid are two invisible crucial elements in the process of layout as
both of them have the function as a standard of placing the layout elements such as text
elements (title, subtitle, body text, pull quotes, etc.) and visual elements (artwork,
pictures, photos, maps, info graphics, etc.). Margin determined the distance between the
edge of the paper and the space used by the layout elements. Margin also prevents the
layout elements are not too far from the edge of the page. If this occurs, it will be a
disadvantage for its aesthetic as the layout elements might be cut during the printing
process. (Ruslan, 2009, p.64) Whereas the grid eases to determine the placement of the
layout elements and to keep the unity and consistency especially for the design works
which have several pages such as books or magazines. (Ruslan, 2009, p.68)
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2.5.2 Types of Children’s Book Layout
There are several types of layout that are commonly found in children’s book
such as follows:
1. The layout of text and picture are on different pages
The illustration is put on one page without any text whereas the text is put on the
next page with a slight illustration or without any on the page.
Figure 2.5. Layout of Text and Picture are on Different Pages
2. The layout of text and picture are on the same page, the picture
dominated the page
The text is on the same page with the picture yet with a less smaller portion. It is
used for books of children in the earlier years.
Figure 2.6. Layout of Text and Picture are on the Same Page,
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The Picture Dominated the Page
3. The layout of text and picture are on the same page, with a balance
portion
The text and picture share the same portion in a page. Usually used for books of
growing up children.
Figure 2.7. Layout of Text and Picture are on the Same Page,
With a Balance Portion
4. Layout in boxes
There are some illustrations with the same relative measure on one picture. Each
illustration is supported by the description of the text.
Figure 2.8. Layout in Boxes
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5. The layout of text dominates the page
The illustration is only as an unsure supporting text. This type of layout can be
used for children’s books that enter a young adult phase.
Figure 2.9. Layout of Text Dominates the Page
6. The layout of illustration as a border surrounding the text
The illustration’s role is just to describe the text or as an unsure decorative
merely, usually found in poetry book or short stories collection.
Figure 2.10. Layout of Illustration as a Border Surrounding the Text
2.6 Theories of Illustration
In a common sense, illustration means picture or photo that follow a manuscript
in a book, magazine or mass media to elucidate it. Illustration derives from the Latin
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word illustrare which means to lighten or to decorate. The distinctive character of
illustration means a picture that enliven the books’ page as a creative painting which has
the apart of beauty in combination with the using font.
Referring to Persatuan Desain Grafis Indonesia (PDGI), an illustration has
distinctive characters as follows:
• Genuine and creative creation.
• Confident and sophisticated painting skills.
• Congeniality between illustration and text.
• Creative.
• Define the significant and eye catching location.
• Image could be conveyed to the customers and fill the orders.
• May influence and astound the feeling of consumers.
• Using the right time and stuff
2.6.1 Media of Illustration
In general, illustrations can be made traditional media or digital media. On the
other hand, some people create an illustration by combining both media, shortly referred
as mix media.
1. Traditional media
Traditional media is a media to draw illustrations manually. Tools used in
making a traditional illustration also vary. Traditional drawing aids include
pencils, colored pencils, markers, charcoal, pens and gouache. (Tumminelo,
2008, p.239) Example of traditional artists are Beatrix Potter and Quentin Blake.
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2. Digital media
The process from sketching until the finishing is done by using a computer,
People use programs such as Adobe Photoshop, Corel Draw or Paint Tool SAI in
doing their illustrations. Mouse and drawing tablets are gadgets made for helping
to draw digitally. Example of Digital artist is Kagaya.
3. Mix media
An illustration made by mix media is an illustration made by combining
traditional and digital media technique. As an example, an artist draw an
illustration using pencil and drawing pen and scans the drawing into the
computer. Then the artist colors the illustratiom and adds finishing touch with a
digital program.
2.6.2 Styles of Illustration
Types of illustration can refer not only to the media, but also to the way in which
an artist creates a special style in his/her illustrations that makes them unique and easy to
distinguish. Style in its simplest sense is a manner of expressions. (Kiefer, 1988, p.261)
Some famous styles of illustration are:
1. Realistic style
Illustration style that describes obviously the visual object caught by the visual
senses and make the most alike with the original one.
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Figure 2.11. Realistic Style Illustration
2. Cartoon style
Illustration style with a simple, distinctive character, funny and very popular
among children. This style is friendly, familiar in visual sight as it is simplified
generally from the real object.
Figure 2.12. Cartoon Style Illustration
3. Cartoon realistic style
Illustration style that combining the realistic style and cartoon style. This style is
seen in humorous cartoon work pictures such as caricature.
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Figure 2.13. Cartoon Realistic Style Illustration
4. Surrealistic style
Illustration style that describes imaginations or dreams, obvious with the limits
between reality and dreams.
Figure 2.14. Surrealistic Style Illustration
5. Expressionistic style
Illustration style that specialize the freedom to convey expression in creating an
illustration with the intention to get free objects as well. This style is very
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expressive and original such as doodle drawings.
Figure 2.15. Expressionistic Style Illustration
6. Decorative style
Illustration style which the visual forms depends on the art of using lines, spaces,
colors and composition with the total resut in a flat form.
Figure 2.16. Decorative Style Illustration
2.6.3 Roles of Illustration in Children’s Book
An illustration is very crucial for children while they are reading as it is
integrated with the content. Children are prone to watch pictures in the book directly to
imagine what the contents of the book is. Therefore there are books for children which
shows illustration only. The total amount of illustration in children’s books is usually
plentier than in adults because illustration is very helpful for children to understand and
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comprehend the conveyed message. In fact children construct meaning and respond to
illustration even before they learn to read words, illustration evoke both cognitive along
with aesthetic understanding and response furthermore children as young as 14 months
of age express preferences for specific types of illustration. (Stoodt, 1995)
Children’s book illustration is the best way for making children to understand the
concept since it can reduces the workload of studies of children. Moreover, it also
induces a habit of reading which helps in knowledge enhancement and can increase the
interest of children in studies. In short, illustration is a great help in the children’s
learning process.
According to Murti Bunanta, a practitioner and supervisor for children reading
book, there are at least three roles of illustrations for the children, i.e.
• Illustration should be able to give space for the children to do their own thinking
and imagination.
• Illustration should be able to arouse the children to know about estetique.
• Illustration should be able to give convinience for the children in the reading
process.
From the theory above it is clear that illustration in children’s book hold many
benefits towards children since it can stimulates children to participate actively in
literacy experiences, cultivating their aesthetic responses, exercises their imagination
and expands their knowledge.
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2.7 Theories of Color
Color is a very expressive element of children’s book especially in its
illustration, conveying temperature, personality and emotion. (Stood, Amspaugh and
Huns, 1996, p.121) Color can be concluded also as a powerful and highly provocative
design element that becomes a property of light energy. (Landa, 2010, p.19)
Children book artist needs to use various colors to bring focus on the children’s
book elements, emphasizing the characters, creating a mood and supporting the aesthetic
of visual experience. Every color holds positive or negative meanings depends on the
artist’s usage. (Rustan, 2009) Warm colors (red, yellow, orange) is used to create
feelings of excitements, energy, friendship and anger while the cool colors (blue, green,
purple) are used to create peaceful, quite moods or sometimes sad or depressed situation.
The result is that the information contained in illustration will be clearer to the children
readers.
In the book “Color Index” of Krause (2002) is described that color wheel is the
basic way to describe colors and their connections with each other. There are several
classifications of color. One of them is primary color which consist of red, yellow and
blue. Secondary color is halfway between each color, i.e. orange, green and violet. The
third is tertiary color which is a mixture between primary and secondary color.
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Figure 2.17. Color Wheel (Primary, Secondary, Tertiary)
With the primary, secondary and tertiary colors, we can create color harmonies
to describe the relationship of certain colors to be combined to create a palette of colors.
There are three types of relationship in color harmony. Complementary is a harmony of
two colors on the opposite side of the color wheel, analogous is a harmony of colors
whose hues are adjacent to one another on the color wheel and triadic is a harmony of
three colors equidistant from one another on the color wheel.
Figure 2.18. Color Wheel (Complementary, Analogous, Triadic)
According to Henry Munsel, the color system is classified into three main
components, hue, value and saturation. Hue is where the color is positioned on the color
wheel such as red, blue, green. Value is the general lightness or darkness of a color.
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Saturation is the intensity or level of chroma of a color that refers to the brightness or
dullness of colors affecting the meaning and mood of illustration. (Stood, Amspaugh and
Huns, 1996, p.121)
Figure 2.19. Hue, Value, Saturation
2.7.1 Color for Children
The color usages for children story book should be bright, attractive, colorful and
eye catching colors. Light and radiant colors are just not attractive for children but also
make them understand easily. Dark colors will be the second choice although it can also
create a suitable and certain character like show about night time, scary, bad mood, outer
space or other environment situation.
It can be concluded that artist should be careful in choosing colors in order to
create an ambience that is suitable for children. Bright colors will be the prime color use
for children’s book while dark colors will be the secondary choice.
2.8 Theories of Typography
Typography is the design of letterforms and the arrangement of them in two
dimensional space. (for print and screen based media) Type is used as display or as text.
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Display type functions as a dominant typographic component and is usually large or
bold, commonly used in titles, headings or headlines. Text type is the main body of
written content, usually in the form of paragraphs, columns or captions. (Landa, 2010,
p.44)
2.8.1 Classification of Typefaces
Typefaces are divided into two variations, which are serif and san serif. Serifs are
the small strokes located at the upper and lower ends of the major strokes on a letter and
san serif types are designed without using serif on it.
Based on their serifs, typeface can be divided into four more variations according
to Carter et al (2007):
1. Old style
The serif are bracketed or ended with a curved line and the top serif of its
lowercase letters are at an angle. Example of old style fonts are Garamond and
Times New Roman. (Carter, Day and Meggs, 2007, p.36)
2. Transitional
These typefaces can be identified by the contrast between the thick and thin line
which is greater than the old style typefaces. Its lowercase serifs are more
horizontal. These transitional characters are wider than the old style’s. Example
of transitional fonts are Baskerville and Bookman Light. (Carter, Day and
Meggs, 2007, p.36)
3. Egyptian/slab serif
These kind of typefaces have thick heavy strokes with unbracketed thick,
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rectangular serifs. They often have minimal curves and all strokes are the same
weight. Examples of egyptian fonts are Clarendon and Rockwell. (Carter, Day
and Meggs, 2007, p.36)
4. Modern
These typefaces have extreme contrasts between thick and thin strokes. They
have a strong geometric quality projected by horizontal, vertical and circular
forms. Example of modern fonts is Bodoni. (Carter, Day and Meggs, 2007, p.37)
As for san serif:
5. San Serif
These typefaces obvious characteristic is marked by the absence of serif. The
strokes are uniform, with little or no contrast between thick and thin strokes.
Stress almost always vertical. Many sans serif typefaces are geometric in
construction, others combine both organic and geometric qualities. Example of
san serif fonts are Helvetica and Univers. (Carter, Day and Meggs, 2007, p.37)
There are also typefaces that do not belongs either serif or san serif:
6. Script
Scripts are the typeface that looks like handwriting. Example of san serif fonts is
Eduardo Script.
7. Decorative
Decorative fonts are heavily decorated typefaces and suitable only for display
purpose. Example of decorative fonts are Jokerman and Churli Cute.
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Figure 2.20. Classification of Typefaces
2.8.2 Typography for Children
Typography in children book has to be able to communicate the story to the
readers. Typography for children should look friendly, comical, and happy. (Caglayan,
2007) Most children learn to read going letter by letter, until they can blend the sounds
together to form words. So by choosing the correct typeface design should be consider
about their perception, learning and reading motivation.
1. Text legibility
Ilene Strizver, a founder of the Type Studio and typographic consultant stated
that when selecting a typeface for a children’s text, look for a warm, friendly
design with simple, generous letter shapes. Typefaces with larger x-heights are
generally easier to read than those with short x-heights and this is especially true
for children. For young readers, select designs with one story ‘a’s and ‘g’s (also
called infant characters) since these are the lowercase shapes preschool and
school age children learn to write. As long as they avoid any extremes that could
weaken readability, san serif or serif designs can be used. For example:
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• Do not use expanded typefaces, which make the character recognition
more difficult.
• Select a book or medium weight, stay away from hairline or very bold
weight.
• For using italics, make sure they are easy to read.
2. Making the text readable
To make the text readable for new readers, the text must be set largely and with
very generous leading. This will make easier for the readers to follow words
from left to right and jump their eyes from the end of one line to the beginning of
the text. Dense blocks of type should not be used. It can be very intimidating to
young readers. Avoid all the cap settings, as they are difficult for all readers.
Much contrast must be made between the type and the background. This is true
when setting light type against a dark background as is common in heavily
illustrated children’s books. For more than one paragraph on a page, the setting
must consider to use line spaces instead of indents to separate paragraphs. This
will give the text and the reader a visual break.
3. Headline and title
For headline or title is more playful in style, color and layout, since there are
fewer words to read. To attract and to entertain children readers, decorated
typestyles, lots of color, curved and jumping baselines can be used. The key to
keep a young reader interested and turning pages is to keep it light and fun.