Letter from the Publisher
May I welcome you to the fifth and final issue of The Stationer for 2023.
Last February, The Stationer was merely the germ of an idea, born from a discussion between two mates over tacos in London’s Borough Market. By December of the same year (a productive year we would say) I am sat here writing this letter for Issue 5. For us, things moved very quickly indeed.
And that seems to have been a common theme of 2023 for the content and communications industry. From reading about Prince Harry’s frostbitten member in Spare, to the explosion of ‘Barbenheimer’; from the King’s coronation, to ‘Wagatha Christie’; from the abrupt rebrand of Twitter (now called X), to the rapid integration of artificial intelligence into our everyday lives – this year has been bold, transformational and incessant.
So, now it is time for us to take a well-deserved breather this Christmas, because next year shows no signs of slowing down. That is certainly the case for the The Stationer, anyway. We have big things planned, including the launch of an innovative industry podcast.
But as we pause and reflect this festive season, we would like to thank you, our dedicated subscribers, for your support so far. None of this would have been possible without you. Your enthusiasm and feedback have been invaluable, inspiring us to push boundaries and explore new horizons. As we step into the new year, we are excited about the opportunities that lie ahead. Bring on 2024!
And a reminder: If you are interested in contributing to The Stationer, wish to share a job opportunity, or simply fancy having a chat, feel free to drop me a line at robert.wilding96@gmail.com.
Rob Wilding, Publisher of The Stationer. He posts @robwilding96.
The aesthetics of children’s art history books
EARLIER this year, I finished my MA in Publishing at the University of Exeter, where my dissertation focused on the aesthetics of children’s art history books. Having previously studied Art History and Classical Studies, I was keen to explore how these books can educate kids on the subject.
Art books – a medium of artistic expression that uses the form or function of a ‘book’ as inspiration – are a perfect way to introduce young people to different forms of paintings and other visual arts. For many, a paperback containing illustrations is their first experience of seeing art, and as such has a particular importance.
While picturebooks aim to provide an aesthetic experience for the reader, I am interested in their potential to expand reading vocabulary and inform lessons of inclusivity and diversity. These books allow young readers to learn about different art movements, styles, artists and a varied history of global culture.
In recent years, these books have modernised their approach by taking a global look at the history of art, such as Sharna Jackson’s Black Artists Shaping the World (2021), Sophia Bennett and Manjit Thapp’s The Bigger Picture: Women Who Changed the Art World (2019), and Rosie Haine’s It Isn’t Rude to be Nude (2021).
Art books are inherently tied to the idea of aesthetics because their very nature is to be looked at. In a world dominated by visual imagery, everyone can have this aesthetic experience – and this extends to books.
Design choices – from typefaces and layouts, to cartouches and decorations – made by book creators are inherent to their aesthetic quality. Starting at a young age, children are encouraged to look at books by what is presented on their covers. They are more likely to interact with a book they find visually attractive.
Since children’s books have a high visual narrative, it is important that these books also provide a prominent set of values to them. As artist J. Doonan argues, the value of a picturebook lies in:
‘… (It’s) aesthetic experience and the contribution the picturebook can make our aesthetic development. In an aesthetic experience we are engaged in play of the most enjoyable and demanding kind… and in that play we have… to deal with abstract concepts logically, intuitively and imaginatively.’
Doonan’s argument summarises one of my main points: that aesthetics are essential to enjoyment and engagement with a book. Aesthetics are essential to a child’s education, regardless of the subject. If a child is engaged in what they see, they will pay attention and learn.
With art history books, this is particularly relevant because the art within them develops conversations around aesthetics. To grow a child’s visual literacy, these books are instrumental because of the wide range of images and illustrations housed within them.
Picturebooks as a format are an effective way to increase a child’s literacy levels because they are able to relate an image to words on the page. To understand history and culture, we must understand that art is a story of civilisation.
From cave paintings to Banksy, the walls of civilisation are covered in art. Aesthetic art history books for children, therefore, are the first steps in helping them understanding civilisation as we know it.
Sophie Blauth is now Content Manager at the Business Writing Academy. Follow her on LinkedIn.
Industry takeaways
Samir Shah looks set to be the next chairman of the BBC after being announced as the Government’s preferred candidate for the role. Press Gazette has an in-depth profile of the former journalist.
Ross Levinsohn, chief executive of The Arena Group, publisher of Sports Illustrated, has been fired after the magazine was accused of publishing articles generated by artificial intelligence. The New York Post explains.
Bradley Tusk is among a group of authors, largely based in the US, who have organised a new group called the Coalition of Concerned Creators to demand more transparency from Spotify over their audiobook deals, The Bookseller reports.
The same restrictions that currently apply to the marketing, packaging and display of tobacco products should be applied to vapes and e-cigarettes, according to a new consultation response by Public Health Wales. Packaging News has more.
Durham University is celebrating the 400th anniversary of the printing of William Shakespeare’s First Folio by launching Binding the Bard: International Bookbinding Competition 2024, which includes a first-place prize of £5,000. More details here.
Opportunities board
Film & TV Funding Award, The Wickers — Apply by January 31
Editorial assistant - Poetry, Faber & Faber (London) — Apply by January 9
Paul McClean graduate trainee programme, Financial Times (London) — Apply by January 13
Marketing Graduate Scheme, Bet365 (Stoke-on-Trent) — Apply by January 31
Junior Graphic Designer (Maternity Cover), Cygnet (Remote) — Apply ASAP
The Stationer is edited by Bill Bowkett. Please send thoughts, feedback and corrections to bill.bowkett@btinternet.com. Follow the Young Stationers on Facebook, X and Instagram. For more information, visit www.stationers.org/company/young-stationers.