The Dragon & the Knight: A Pop-up Misadventure, by Robert Sabuda; Little Simon, $29.99, 22 pages, ages 5-up.

Master paper engineer Robert Sabuda has created another book sculpture for pop-up enthusiasts of all ages. In this volume of fractured fairytales, a brave (if slightly goofy) knight pursues a maligned and misunderstood dragon.  The duo escape from their story and onto the pages of other fairytales, ranging from Aladdin to Cinderella. The escapees wreak havoc on each tale they visit, while each page reveals a more complex and imaginative three-dimensional creation than the last.  While there is text on each page, it’s not really here to be read. Rather,  it demonstrates the ruckus caused by the intruders – fairytales are obscured by towering structures of fire-breathing dragons, and even some of the characters pop-up sheathed in outfits made of words. (See Cinderella’s dress and Aladdin’s flying carpet.) Sabuda paper art books makes stunning gifts, but they are delicate – with so many intricate folds and pleats, very young readers should be supervised, lest older readers wish to spend hours carefully refolding dragon tails and towers. This tour de force will make an excellent addition to any collection on paper engineering.

POPUP NEW YORK. Copyright © 2014 by Jennie Maizels. Reproduced by permission of the publisher, Candlewick Press, Somerville, MA on behalf of Walker Books London. The image of the Flatiron Building is a tradmark used under limited license. The Empire State Building image ® is a registered trademark of Empire State Building Company LLC. and is used with permission.

Pop-up New York, by Jennie Maizels, Candlewick Press; $19.99, 12 pages, all ages.

Forget the ubiquitous I LOVE NY tee shirts because there’s a better way to show your love for the Big Apple that also makes a great holiday gift; Jennie Maizels’ latest oversize pop-up book dedicated to New York. (London was the object of her previous pop-up ode to urban life.) Here readers are treated to marvelous paper engineering showcasing many of the places that make New York unique, such as the Statue of Liberty, the Empire State Building, Yankee Stadium, and the High Line.  Each oversize page is filled with fact-filled flaps for further exploration.  Where many pop-up books of this size and scope can cost close to thirty dollars, Pop-up New York delivers great value as a statement-making present and can be found for less than $20. If you can’t make it to New York this holiday season, bring it home instead – there’s no place like it.  

Jon Klassen on Making Art for Kids

In July I spoke with Caldecott and Greenaway Medal winner Jon Klassen (This is Not My Hat) about his most recent project, a collaboration with writer and longtime friend Mac Barnett called Sam and Dave Dig a Hole. (Candlewick, $17.99) We talked about teamwork, tone, and teaching life’s lessons through thoughtful and deliberate illustration.

Klassen first worked with Barnett on the Caldecott Honor winner Extra Yarn, and was excited to reunite professionally for Sam and Dave Dig a Hole.  “When Mac wrote Extra Yarn, he wrote with my artwork in mind. For example, ‘The town was covered in soot,’ was just for me, because he knew how much I like to make splattery, dusty art. There were many little favors like that in the book.” There’s more dirt here, where Klassen’s restrained, quirkily stiff characters dig for buried treasure alongside Barnett’s spare text, creating a superb interplay of text and art.  Still, Klassen was nervous about drawing humans. “I don’t draw people very often – I usually avoid them because people are supposed to be cute.“ (Think of his larcenous critters in This is Not My Hat and I Want my Hat Back.) Here, the boys dig in search of treasure, but miss hidden gems at every turn, and often by mere inches.  Their faithful dog frequently sports a pained look on his face, sharing the readers’ understanding that the boys are just barely digging past something extraordinary. 

Both Barnett and Klassen have similar ideas about the tone they want to set for any given project, and that may explain why their books have a seamless quality about them.  “Mac understands why I like things to be a certain way, and he backs that up with text. As an illustrator, it’s nice to work with someone who meets you in the middle.”  

While Barnett wrote Sam and Dave Dig a Hole, Klassen was already sketching. He created an image where the boys separated, digging tunnels at either end of a page, while a massive jewel remains hidden between them. Barnett hadn’t written that scene yet. When Klassen showed him the drawing, the story changed to accommodate the art.  “We designed the book so that wherever the boys were digging on the left spread, the text would line up with them in space on the right spread. I thought about what would happen if the boys split up, and if the text followed suit.” Initially, Barnett hesitated because he felt it might be traumatic for the readers if the boys separated, then realized that this could become the pivotal moment in the tale. “This became a big deal. I like when you come at an idea with a neat design, and then you ask what the emotional implications of this idea will be.”  The separation brings an actual dilemma, yet the boys push on with surprising strength and resolve. (Spoiler: they miss the gem again, but it’s a great sight gag. A nap, hidden bones, more dirt and a plunge through space follow.)

Klassen’s art is deceptively simple – his colored pencil drawings give the gems, the boys, even the dog, a scratchy, zig-zaggy, dusty quality. Children might be tempted to recreate those characters, much like Mo Willems’ Pigeon is so often imitated by little artists. “These are very simple drawings. Kids appreciate simplicity, something that looks attainable,” said Klassen. And while many illustrators are capable of creating sophisticated, complex works of art, Klassen argues that isn’t the goal for children’s picture books. “I don’t think it’s the job of an illustrator to show off. The point is to tell a story to kids. If you look at anything by P.D. Eastman, for example, the art isn’t showy, but it’s so well staged. Eastman was solving so many problems on the back end before he even started drawing. Some of his books are strange and complicated, but they work.” The challenge lies in tackling big problems with clear text and artistry. Done well, an author can tackle difficult emotional topics through accessible storytelling and illustration.

Despite earning numerous laurels from the publishing industry, the media, and fellow illustrators, Klassen remains what he calls ‘a nervous artist.’ Having grown up on classic picture books like those by P.D. Eastman and Arnold Lobel, Klassen says the bar is set pretty high. “I can’t get away from being nervous about it. These can become revered treasures for children.  It’s hard to completely understand the things these books are supposed to do, and the importance they can have in kids’ lives. So there’s a massive amount of anxiety for me, because I know how special these books can be. When I see books that got it right, it’s wonderful.” 

image©2011 Karina Schaapman, photo by Ton Bouwer. Reproduced with permission from Dial Books.

The Mouse Mansion, written and created by Karina Schaapman, photographed by Ton Bouwer; Dial Books, $18.99, 60 pages ages 5-8.

Usually when there’s a mouse in the house, the human inhabitants run for the hills. Here, debut children’s book author Karina Schaapman created a home just for those furry creatures. Her six foot wide, ten feet tall, hundred-room mouse mansion is made of cardboard boxes and paper mâché, and each room is filled with to the brim with all the trappings one would expect in a home – diapers and formula in the nursery, armoires overflowing with tiny undergarments, bookshelves bursting with miniature versions of Charlotte’s Web and Winnie the Pooh. The carefully shot photographs are by Ton Bouwer, and the folio-size pages allow for careful examination of each object.

This mansion isn’t for ritzy city murines; it gives off a warm, nubby, cozy feel, and the accoutrements appear pulled from a romp through an attic that hasn’t been touched since 1970. Families of gray and white cloth mice live here, and two young friends, Sam and Julia, scamper from room to room in search of adventure and fun.  There’s laundry to sort, a bakery to visit, and even a Friday night Sabbath to attend, complete with a tiny table covered by challah, candles and wine.  Schaapman’s detailed artwork is accompanied by thoughtful and informative text, and though the book clocks in at 60 pages, each chapter can easily be read as a unique tale. Pouring over the abundant detail on each page will captivate readers of all ages, and makes an excellent reading choice for snuggling up and spending a wintry afternoon with little readers.