I need to understand the movements of each character and make them more distinct. But I haven’t got it down well at all yet. After doing the usual Vines of hangouts with friends and infuriating subway platform moments, I’ve finally started to try to do a few stop motion animations of my own. My favorite Vines are still the animation ones. Overall, being on Vine is a very positive place where creative minds can experiment and come together to appreciate interesting work. ![]() There is something more organic about trying to get it all in one take. Something refreshing about the app is that there is no editing tool either post it or scrap it and start over. Businesses are starting to hire Viners to promote their products and the Tribeca Film Festival w rites regularly about their favorite Vines. People are remaking one another’s Vines, having video conversations, and even getting together in various cities to make a bunch of Vines together. Most of the popular Viners seem to be the ones who use it for comedy a short film with an unexpected punchline. People are now “Vine famous” many with a few hundred thousand followers and a few with even a million. (Thanks to Rory, Tika, and Liz for contributing their favorites as well.The Vine app has come a very long way since I first wrote about it in March. Thanks Cecilia! Here are some more of my favorites. Knit Your Bit by Deborah Hopkinson has archival b/w photos from the period that inspired the story. Bad Apple by Edward Hemingway has a gradation that mimics the dimensionality of a red apple. Robin: Do you have any favorite books with extra special endpapers?Ĭecilia: The Nice Book and Love, Mouserella by David Ezra Stein both have very creative use of two-color endpapers. The main difference is that self-ends are part of the pagination of the book and cannot be dropped in future editions, whereas separate ends can be dropped, so we never put critical information there. When the book has separate ends, it needs to print as one- or two-color. Robin: Are illustrated endsheets only used in conjunction with the self-ended book format? Can they be used with separate-ended books as well?Ĭecilia: When the book has self-ends, the page can print in full color. If everyone agrees that it is a good idea, we check with production to make sure that the budget can take it. Sometimes there is an image that reinforces the story or the mood of the art, and that becomes a decorative endpaper. Sometimes the book needs to include interesting visual information that is not a critical part of the story (like a map), so it can be used on the endpapers. ![]() In this scenario, the endpapers can be used as part of the narrative. ![]() (The author is rarely involved with this aspect of the book.) Sometimes the story needs to be longer than 32 pages but not as long as 40, so it becomes a 40-page book with self ends. Robin: At what point in the process does the publisher decide whether or not a picture book will have illustrated endpapers? Is this decision made with the illustrator and author, or is this usually more of a budget and production issue? Is it usually up to the illustrator to pitch the idea for illustrated endpapers?Ĭecilia: It depends on the book, but the idea can come from any of us working on the book-the illustrator, the art director, the editor or the designer. Putnam’s Sons and Nancy Paulsen Books, graciously and thoroughly answered my questions. ![]() So when is the decision made to include printed endpapers in a book? Cecilia Yung, Vice President and Art Director of G. For a more in-depth explanation, check out Tara Lazar’s post on picture book construction and this post on basic book construction on Editorial Anonymous. With separate-ended books the endpapers are printed on different paper than the rest of the book and not counted in the 32-page count. Self-ended books are printed on the same paper as the rest of the book and are included in the typical 32-page count. There are two different ways a picture book can be produced when it comes to endpapers-also known as ends or endsheets. Cover for The Big Tidy Up by Norah Smaridge, illustrated by Les Gray.
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