By Dan Yaccarino, Ame Dyckman
Sooner or later, a boy and a robotic meet within the woods. They play. they've got fun.
But while Bot will get switched off, Boy thinks he's unwell. the standard remedies—applesauce, studying a story—don't aid, so Boy tucks the ill Bot in, then falls asleep.
Bot is anxious whilst he powers on and unearths his good friend powered off. he is taking Boy domestic with him and attempts all his treatments: oil, analyzing an guide. not anything revives the malfunctioning Boy! Can the Inventor aid repair him?
Using the suitable mix of sweetness and humor, this tale of an lovely duo will win the hearts of the very youngest readers.
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Extra info for Boy and Bot
The art of the picturebook maker therefore involves thinking in, and communicating through, both pictures and words. It is an art that is cultivated through a process of the interdependent skills of seeing and drawing. Learning to see The term ‘visual literacy’ was first coined by John Debes in the 1960s. Although there is no unanimously agreed definition of its meaning, this hasn’t inhibited its increasing use. As Clive Phillpot pointed out in Visual Literature Criticism: A New Collection (Southern Illinois University Press, 1979), verbal language seems to fail us badly in this area: The familiar words ‘literacy’ and ‘numeracy’ have more recently been joined by the word oracy, but when it comes to describing the skill of seeing (as opposed to looking) we seem to be stuck with the phrase ‘visual literacy’, which suggests rather the skill of reading a pictorial image.
Through most of the twentieth century, art schools were autonomous institutions that existed outside the university system, and were managed and taught by artists and designers rather than academics. The recent absorption of these schools into universities has resulted in an as yet unresolved culture clash, where the world of learning through making, of thinking through drawing, crashes headlong into the world of lecturebased learning, predefined learning outcomes and quantifiable 3 William Feaver, ‘Drawing his own conclusions’.
In Little Tree (One Stroke/Les Trois Ourses, 2008), Komagata tells the story of the life cycle of a tree in minimal, highly poetic fashion. 45 46 Chapter 1 German-born Jutta Bauer’s picturebooks also deal with philosophical themes that are inclined to ponder the deeper meanings of everyday life. They are hugely successful in her native language but are only just beginning to penetrate other cultures through English translations such as Grandpa’s Angel (Random House, 2005). Bauer’s illustrations and writing have both simplicity and depth, and can convey narratives that are consequently multilayered.