Some thoughts on designers and children’s books on the occasion of a scan of original art from Tony Palladino’s unpublished The Crocodile With A Glass Stomach.
Shades of Yellow Submarine in Gian Carlo Menotti’s sci-fi opera for children Help, Help, The Globolinks!
In 1970, Childcraft Education Corp. turned to Milton Glaser to design their flagship store at 150 E. 58th Street.
In 1971, Phyllis La Farge and Seymour Chwast collaborated on the children’s book The Pancake King, which described the rapid ascent of a young master of the griddle pan. It spoke of the joy of breakfast, the perils of fame, the importance of family and of maple syrup. More spreads from The Pancake King are viewable on Flickr (thanks to Norman Hathaway), and show Chwast’s dexterous use of scale and bleed between spreads, and tidily-set Bodoni. The book was included in AIGA’s Fifty Books of the Year.
The P22 Type Foundry, based in Buffalo, New York, packaged a typeface called Toy Box (originally named Child’s Play) with a set of extra glyphs including a collection of animal line-drawings based on children’s drawings. Commissioned by the London Transport Museum for a children’s exhibition in 1996, it was digitized by P22 founder Richard Kegler, with Michael Want, Mariah Kegler, Kevin Kegler, and Jennifer Kirwin-Want. Steven Heller included it in his book as an example of vernacular type.
Wonder was the product of Henry Wolf’s class, Making a Magazine, at the School of Visual Arts. Conceived, designed, and written over the course of the Fall 1961 and Spring 1962 semesters, this one-off children’s magazine communicated with its audience in an exuberantly playful manner that never condescended. And it’s certainly the coolest-looking kids magazine I’ve ever seen. Wolf’s students included William Ingraham, Walter Bernard, Sullivan Ashby, Robert Giusti, Herbert Migdoll, Shirley Glaser, David November, Antonio Macchia, and Henry Markowitz.