Beautiful Books, by Pippa Goodhart

There have always been beautiful books, right back to the days of hand written illuminated manuscripts.  Illustration - picture books - are perhaps the most obvious source of beauty in books.  But the binding of a book can also be a lovely thing to see and touch and smell.  It's a treat to see gilded page edges, silken book mark ribbons, imaginative endpapers and handsome bindings being used to make current children's books particularly beautiful.

You may wonder why there are no pictures in this blog.  That's because I'm not going to talk about modern examples of beautifully produced picture books.  I'd love you to tell of examples you admire in the comments.  But I want to share with you a treasure I have just discovered that takes me right back to what first tuned me in to how beautiful books could be.

In our village was a big house where a man called Sandy Cockerell and his wife Mary.  He was a bookbinder.  My brother Dick was keen on printing.  Dick had his own little Adana printing press with which he printed things such as book plates for me to label my books with.  Because of his interest in printing and books, he was invited to visit the Cockerells, and, lucky me, I was invited to go with him.  He was probably about eleven and I was about nine.

We were left at the Cockerell's by our Mum, and we had the most magical time, being shown how to make marbled paper by the best paper marbler in the world.  I was mightily impressed with his eyebrows, and with the fresh bread and honey that his wife gave us, but, best of all, we were allowed to try marbling for ourselves.  For months afterwards I tried to get the same effect with poster paints on water, using combs and sticks to drag patterns, and it did sort of work.  I also stitched crude bookbinding, making book covers with roughly embroidered pictures and bits of card board and tape and leather and all sorts.  I thought I'd like to be a bookbinder one day ... but ended up making up the stories and ordering the words that go inside them instead.

Anyway, here is the treasure that I found on Youtube ...

Art of the Marbler, filmed in 1970, probably just a couple of years after my visit, here is Cockerell paper being made.  You need to make a cup of something, sit back, and enjoy the slow pace of the film that eventually shows you a sort of magical book beauty in action.

Do Hardback Children's Picture Books Lack Something? by Paeony Lewis

This blog is all about endpapers in hardback children's picture books (though you might not guess this from the first part of the blog!).

I wonder if others are like me. If  I'm going to pay almost twice the price for a hardback, compared to a paperback, then I want something more than a durable cover and sturdy spine. I think many hardback children's picture books lack what I call ‘gorgeousness’. At home, I have an eclectic collection of books, and the old illustrated books often include an elusive 'gorgeousness' that makes me want to murmur, ‘my precious’. Before I look at contemporary hardback editions of children's picture books, here are some of my old books (for all ages) that include 'gorgeous' extras:

Who can resist the spines of these Victorian fairy tales on my book shelf?

And the gilt/foil-blocked covers too

I’ve always adored tissue paper.
It’s as though I’m unveiling a secret.

Maps want to be copied. (and scrawled on - I was young)

18th-century marbled endpapers want to be caressed.

Simple, attractive endpapers also add to a book, such as these by H M Brock

With the growth of digital media (ebooks, picture book apps, and who knows what amazingness is around the corner), I feel 'gorgeousness' is something that publishers should capitalise on if they want us to continue buying hard copies of good books - especially hardback children's picture books. I want more!

I’d better say quickly that I’m not suggesting more book jackets. They’re an utter pain. Is it logical to put flimsy jackets on children's picture books? They just get damaged by small hands (and mouths and feet and the dog and hamster) because books are meant to be read. Mind you, an embossed cover hiding beneath a book jacket can be a lovely surprise. Even so, please forget the book jackets, or am I alone in this?

Why, oh why, are there book jackets on hardback children's picture books?

A lovely embossed/impressed cover hiding beneath the fragile jacket

So nowadays, assuming a brilliant story and captivating illustration, what adds precious gorgeousness to hardback children's picture books? Of course we want quality paper, good colour reproduction and a binding that won’t fall apart. On top of these essentials there are optional attributes such as spot varnish, embossmen, restrained foil blocking (never glitter!), or simple and stylish contemporary design. Whatever is used, I think one thing is definitely necessary: LOVELY ENDPAPERS!

NOT boring plain endpapers, or standard publisher publicity images, what I adore are illustrated endpapers. And for those not sure what I'm ranting about, endpapers (or endpages/endleaves) are double pages with one side stuck to the inside of the front or back of hardback books. They help hold the binding together and for a little more explanation I've just discovered this blog link that includes a diagram.

I’m really pleased that all my picture books have illustrated endpapers (thank you, publishers and illustrators). But there are still lovely picture books out there that only have plain endpapers, which add nothing to the experience of holding and reading a book. I won’t name publishers or books! Instead I’m going to guilt them by showing some examples of contemporary endpaper gorgeousness. I don't claim these are the best examples of endpapers, but they can all be found on my book shelves.

No More Biscuits by Paeony Lewis, illus Brita Granstrom, (The Chicken House). I've found children enjoy looking at these endpages and pointing out their favourite biscuits.Mine are the jam sandwiches!

No More Yawning by Paeony Lewis, Illus by Brita Granstrom, (The Chicken House 2008). The childlike images on the endpages encourage children to draw their own dreams.

Endpages don't have to be elaborate. These two are cute and simple and vary slightly between the front and back of I'll Always Love You by Paeony Lewis, illus by Penny Ives, (Little Tiger Press)

Some endpages are purely decorative and reflect the style of illustration in the book.
The Dawn Chorus by Suzanne Barton (Bloomsbury 2014)

The feather-like bark of trees at night appears throughout the book and  is echoed on the endpages of  Owl Babies by Martin Waddell, illus by Patrick Benson (Walker Books)

This Is Not My Hat by Jon Klassen (Walker Books 2012). The attractive seaweed endpapers may look like the illustrations inside  the book, but of course they're not precisely the same because that would be 'cheating'! 

Endpapers at the front and  back can reflect the beginning and end of the story.

As seen here in  Dinosaur Games by David Bedford, illus by Dankerleroux (Macmillan 2011)

The endpapers in Best Friends or Not? by Paeony Lewis, illus by Gaby Hansen (Piccadilly Press 2008) also reflect the story arc by showing the bears apart and then together at the end (friends again)

Whilst some endpapers contain tiny images that are fun to study. Here are lots of pepperpots from A Pipkin of Pepper by Helen Cooper (DoubleDay 2004)

And items from the antique store in Grandpa for Sale by Dotti Enderle and Vicki Sansum, illus by T Kyle Gentry (Flashlight 2007)

And here is a single lone image of a large city from Maude The Not-So-Noticeable  Shrimpton by Lauren Child, illus by Trisha Krauss (Puffin 2012)

These endpapers are an unusual delight. They contain the names of all the children who inspired  Quentin Blake to write and illustrate Un Bateau dans le Ciel (Rue du monde 2000) / Sailing Boat in the Sky (Red Fox 2003)

Here's a close up of the names. 

This Moose Belongs to Me by Oliver Jeffers (Harper Collins 2012) 

Have I persuaded some of you that illustrated endpapers add to a picture book? But what do illustrators think? I presume you’re not paid any extra to produce endpapers? If you’re given the opportunity to incorporate endpapers, do you relish it or sigh? Was the simplicity of the endpapers in that wonderful book This Moose Belongs to Me (Oliver Jeffers)  a conscious design decision or a ‘let’s do something quickly’ decision? Personally I think it was a design decision, and a good one. Endpapers don't have to be elaborate, though I feel they should reflect the book and not be blank unless this fits best with the rest of the design and isn't just a money-saving exercise.

You might mutter that because I write books I therefore notice things like endpapers, whilst the average book buyer or child doesn’t care. Maybe, though long ago, when I hadn’t thought about writing for children, I used to share the endpapers of Farmer Duck with my children. We would compare the seasons between the front and back images. They were an integral part of the book and reflected the social change on the farm. They added something extra.

Farmer Duck by Martin Waddell, illus by Helen Oxenbury (Walker Books)
With my children we'd study the differences between the seasons.

Sadly, the inside covers of paperback picture books are usually blank and white as they’re constructed differently. Even so, if a hardback version has endpapers then the paperback edition often includes additional pages that reproduce the endpapers, so they can still be enjoyed, albeit sometimes they're truncated.

Unfortunately, because of page number constraints in paperback editions, sometimes the original hardback endpapers don’t survive. This might be a story-length  issue, or it might be something I really loathe in paperbacks: advertisements. I think that replacing the original rear endpaper with an advertisement for other books looks cheap and nasty. Does anyone else agree? Or do I need to get real to the financial and marketing implications? Mind you, has anyone ever purchased a book because they’d seen it advertised in the back of a children’s picture book (now you’re all going to say ‘yes’!). I’ll admit I look at books listed in the back of novels, but not in the back of picture books.

I wonder what others think of my plea for gorgeousness. Do you rarely buy hardbacks? Would you buy more hardbacks if they weren’t just sturdy versions of paperbacks?  In particular, do illustrated endpapers add enough gorgeousness to encourage potential buyers? Does it matter? Is it just adults and not children who care? Am I merely a book snob and asking too much of publishers, illustrators and book buyers?

Paeony Lewis
www.paeonylewis.com