She's not sick, she's a dancer

Picasso said all children are born artists. But we don't grow out of creativity, according to Sir Ken Robinson. We are educated out of it.

Here's Sir Ken Robinson at TED being very funny and very right about creativity... and the education system that has us believing maths is more important than dance...

Paring away, simpler and simpler

Dick Bruna's drawings of Miffy only allow for very miniscule changes to indicate emotions--the position of eyes, the length of the ears, the shape of the mouth.

"That's all you have. With two dots and a little cross I have to make her happy (...) or a little bit sad--and I do it over and over again. There is a moment when I think yes, now she is really sad. I must keep her like that."

He is constantly paring away, distilling down to the simplest purist form possible. When he draws Miffy crying, for instance, he says, "I very often start with three or four tears. I take away one, and the next day I take away another one, and at the end I have one tear, and that's very, very sad."

Georges Simenon wrote to him and said: "I see that you are trying to make your covers still simpler and simpler. You are doing the same in designing as I try to do in writing."

It might take him a day to draw a single illustration of Miffy.

<note: I'm going to take an entire month off from blogging... so, see you back in september!>

Dick Bruna and Miffy

I love Miffy. She is so simple. And I know what that means--there's a huge amount of work that got her to look that simple.

Dick Bruna, the creator of Miffy said:

"I would love to be able to draw like a child, so spontaneous, so open-minded on those big sheets. As an adult you start to draw and then hope that you make something good, something beautiful. A child is not like that, they start and see what happens... I draw things you will see close to home, things that I also like. Maybe I still think a bit like a child, I have a childish mind, I think. There are a lot of things I don't understand." 

Dick Bruna (b.1927 in Utrecht)

One wet and windy seaside holiday, he drew a story for his son, Sierk. It was about a little white rabbit called Miffy. His first Miffy children's book looked like this (1957):

By 1963 she looked like this:

I love his simple daily routine--he is a multi-millionaire mogul (over 85 millions books sold in over 40 languages) and yet this is his day (as simple and distilled as his art) every day he gets up at 5, squeezes a glass of orange juice for his wife Irene, draws her a picture about things she has done, or reminders of things she is planning to do. hHe cycles to Utrecht canals and goes to a cafe for coffee. Works in his studio. Cycles home for lunch. Back to the studio in the afternoon to do admin work.

Miffy is 50 now--and to celebrate, a museum was opened in her honor. The Dick Bruna Huis.

famous naps and nappers

UNIDENTIFIED NAPPER

THOMAS EDDISON

LBJ

NAPOLEON

Do you feel sleepy? Seeing all those famous nappers napping?

Do you nap?

I do. Sometimes. But i'm not very good at it. Maybe I could get good.

Salvador Dali said napping was the secret of why he was such a great painter--he performed the "slumber with a key" trick. The micro nap. To do this he sat in a chair with a heavy key in his left hand (held between thumb and forefinger). A plate would be placed upside down under that hand. When the key slipped from his finger, the plate would ding and he'd wake up.

He learned this from some monks and also Einstein napped this way too. 

Scientists say that these brilliant men had unknowingly taken advantage of what is called the "hypnogogic" nap which is when the mind--before it reaches stage 2 sleep--unlocks free flowing creative thoughts.

Sorry I have to go immediately and find a key and a plate.

via 

the art of maniliness

Picture books and Margaret Wise Brown

"A book should try to accomplish something more than just to repeat a child's own experiences. One would hope rather to make a child laugh or feel clear and happy-headed as he follows a simple rhythm to its logical end, to jolt him with the unexpected and comfort him with the familiar; and perhaps to lift him for a few minutes from his own problems of shoe laces that won't tie and busy parents and mysterious clock time into the world of a bug or a bear or a bee or a boy living in the timeless world of story." Margaret Wise Brown

This was 1935 and it was brand new stuff for picture books. Before Margaret Wise Brown, the picture book had been dominated by fairytales and fables. Margaret Wise Brown's focus on a child's every day life dignified children's own lives and was a game changer--it changed children's literature and the picture book for ever.

And it was fed by her work as a teacher at the progressive Bank Street Experimental School in New York City, where she listened to children and heard their stories and how they spoke.

It's what makes her voice so distinctive. I love her titles: The Noisy Book, The Important Book, Another Important Book. They're still fresh today. How radical they must have been then.

She was a pioneer. She fought for keeping big words in her books, refusing to dum down the language. She fought to get authors and illustrators proper royalties and fought to get the illustrator the same royalties as writer. (Before they had only received a flat fee.) 

What would you spend your first royalty check on? She spent hers on a cart full of flowers. How wonderful. Then she invited all her friends over for a party to help her enjoy them. What style! 

what's it about--the story or the writer?

Margaret Wise Brown loved reading as a child and remembered all the stories she read but none of the authors. 

"It didn't seem important that anyone wrote them. And it still does seem important. I wish I didn't have ever to sign my long name on the cover of a book and I wish I could write a story that would seem absolutely true to the child who hears it and to myself."

It's as if the story is timeless. It just is. You as the writer were lucky enough to find it. You were available and it came through you. You were that person on whom nothing was lost. But it's all about the story and not about you, the writer. The writer is simply the servant to the story. If it at any point the story becomes the servant of the writer--if it becomes about you then you can be certain of one thing: you're in the way--and the story can't get through. And it won't be as good.

In the end the job of the writer is to be available, then get out of the way and let it go.

Margaret Wise Brown's two classics THE RUNAWAY BUNNY (1942) and GOODNIGHT MOON (1947) (both illustrated by Clement Hurd) are not only still in print--they are still bestsellers.

See the full gallery on Posterous

She led an adventurous life: dating the prince of spain, hosting parties in her Upper East Side apartment, generally being a stunning New York Socialite. 

 Here's what The Writers' Almanac wrote:

"Brown never had children herself, but she worked with young children as a teacher in a progressive education program at the Bank Street Experimental School. She was also a New York socialite — tall and strong, with blond hair and bright green eyes. She dated the prince of Spain and loved to host parties in her Upper East Side apartment. She spent her first royalty check buying an entire cart's worth of flowers, and often took the proceeds from a book and purchased a ticket to France or a new car.

"She died suddenly at the age of 42, energetic and adventurous up to the end. She was on a book tour in Europe when she was stricken with appendicitis and had an emergency appendectomy. She seemed to be recovering well, and she decided to show her doctor how good she felt — so she kicked up her leg in the can-can. It caused an embolism, and she died immediately."

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hermes handbags, handbag shops + handbag friends

I believe that Hermes may well be copying me.

Really. 

They are.

Look.

Here's a page from Sue Heap and my HANDBAG FRIENDS:

and here--from a recent exhibition in London, "Leather Forever"--is this picture: "Kelly Neon" sculpture by Alexandra Plat in the "variations on Kelly and Birkin" room.

Need I say more?

Yes I do.

Because you see when the former King of England, the Duke of Windsor, went shopping in Paris, looking for a gift for Wallace, the vendeuse suggested gloves. The duke said, "My wife already has a wheelbarrow of gloves!" So Hermes made just that--a leather wheelbarrow to store her accessories. (This was 1947.)

Here again is a page from our book:

Look closely. What exactly are those princesses carrying their accessories in??? None other than... A wheelbarrow! (You may be saying ah yes, but your story was written way later, way after 1947 so how could they be copying you? And you are right when you are saying that--but written down doesn't mean it didn't happen way before that date. Which of course it did because it is a fairystory and those kinds of stories don't ever date. In fact they are timeless.)

I rest my case. 

You see, children's books are influential--clearly they are upstream from fashion. Indeed so far upstream are they, that they are upstream even from Hermes.

And now since that is such a large fact to take in, we may need to take a breather. So what better way to close this handbag bulletin than with a song--and a Handbag Song at that: