As illustrator only<\/strong><\/p>\n\n\n\n
As illustrator only<\/strong><\/p>\n\n\n\n
As illustrator only<\/strong><\/p>\n\n\n\n
As illustrator only<\/strong><\/p>\n\n\n\n
As writer or editor and illustrator<\/strong><\/p>\n\n\n\n As illustrator only<\/strong><\/p>\n\n\n\n As writer or editor and illustrator<\/strong><\/p>\n\n\n\n As illustrator only<\/strong><\/p>\n\n\n\n As writer or editor and illustrator<\/strong><\/p>\n\n\n\n As illustrator only<\/strong><\/p>\n\n\n\n As writer or editor and illustrator<\/strong><\/p>\n\n\n\n As illustrator only<\/strong><\/p>\n\n\n\n Source: Children's Books and their Creators, Anita Silvey.<\/p>\n\n\n\n As writer or editor and illustrator<\/strong><\/p>\n\n\n\n As illustrator only<\/strong><\/p>\n\n\n\n M.V.K.<\/p>\n\n\n\n Source: Children's Books and their Creators, Anita Silvey.<\/p>\n\n\n\n As writer or editor and illustrator<\/strong><\/p>\n\n\n\n As illustrator only<\/strong><\/p>\n\n\n\n Although she began as an artist, Molly Bang has re\u00adtold many of her own stories and' exhibits an awareness of the sounds of language, so her sto\u00adries read aloud particularly well. Molly Bang has made a place for herself through her willingness to ex\u00adperiment with illustration, her understanding of the power of traditional stories, and her skills as an artist and storyteller. <\/p>\n\n\n\n M.V.K.<\/p>\n\n\n\n Source: Children's Books and their Creators, Anita Silvey.<\/p>\n\n\n\n As writer or editor and illustrator<\/strong><\/p>\n\n\n\n As illustrator only<\/strong><\/p>\n\n\n\n Molly Bang\u2019s illustration style always matches the particular story and the sound of the text. Her illustrations for Sylvia Cassedy\u2019s collection of Japanese haiku, Red Dragonfly on My Shoulder <\/em>(1992), are created from collages that include ob\u00adjects such as a carrot, a bolt, and grains of rice. Bang\u2019s tutorial in design and visual composi\u00adtion, Picture This: Perception and Composition <\/em>(1992), leads the reader through exercises to un\u00adderstand the art of illustration and how mean\u00ading is created through images.<\/p>\n\n\n\n Although she began as an artist, Molly Bang has re\u00adtold many of her own stories and' exhibits an awareness of the sounds of language, so her sto\u00adries read aloud particularly well. Molly Bang has made a place for herself through her willingness to ex\u00adperiment with illustration, her understanding of the power of traditional stories, and her skills as an artist and storyteller. <\/p>\n\n\n\n M.V.K.<\/p>\n\n\n\n Source: Children's Books and their Creators, Anita Silvey.<\/p>\n\n\n\n As writer or editor and illustrator<\/strong><\/p>\n\n\n\n As illustrator only<\/strong><\/p>\n\n\n\n Molly Bang\u2019s many retellings of folktales have earned her a devoted readership and acclaim for her attention to detail and authenticity. Wiley and the Hairy Man<\/em> (1976), a folktale from the southern United States, is the exciting story of a young boy and his mother who together outwit the frightening Hairy Man. Like The Goblins Giggle,<\/em> it is illustrated entirely in black and gray paint, and Bang skillfully uses white space as an\u00adother element in the page design. The Paper Crane<\/em> (1988) was awarded the Boston Globe- Horn Book Award for illustration. The Japanese tale of a beggar who rewards a man for his gen\u00aderosity and gives him a magic paper crane is il\u00adlustrated with remarkable cut-paper collage. The three-dimensional artwork suits die text in which an origami crane turns into a live dancing bird. Bang achieved the same transformation in her art \u2014a folded paper bird becomes a rounded, delicate crane in a series of cut and folded paper images. When Sophie Gets Angry\u2014 Really, Really Angry<\/em> (1999), executed in a vivid, bright palette, explores the rage of a young girl. It garnered for Bang another Caldecott Honor Book.<\/p>\n\n\n\n Molly Bang\u2019s illustration style always matches the particular story and the sound of the text. Her illustrations for Sylvia Cassedy\u2019s collection of Japanese haiku, Red Dragonfly on My Shoulder <\/em>(1992), are created from collages that include ob\u00adjects such as a carrot, a bolt, and grains of rice. Bang\u2019s tutorial in design and visual composi\u00adtion, Picture This: Perception and Composition <\/em>(1992), leads the reader through exercises to un\u00adderstand the art of illustration and how mean\u00ading is created through images.<\/p>\n\n\n\n Although she began as an artist, Molly Bang has re\u00adtold many of her own stories and' exhibits an awareness of the sounds of language, so her sto\u00adries read aloud particularly well. Molly Bang has made a place for herself through her willingness to ex\u00adperiment with illustration, her understanding of the power of traditional stories, and her skills as an artist and storyteller. <\/p>\n\n\n\n M.V.K.<\/p>\n\n\n\n Source: Children's Books and their Creators, Anita Silvey.<\/p>\n\n\n\n As writer or editor and illustrator<\/strong><\/p>\n\n\n\n As illustrator only<\/strong><\/p>\n\n\n\n Molly Bang\u2019s many retellings of folktales have earned her a devoted readership and acclaim for her attention to detail and authenticity. Wiley and the Hairy Man<\/em> (1976), a folktale from the southern United States, is the exciting story of a young boy and his mother who together outwit the frightening Hairy Man. Like The Goblins Giggle,<\/em> it is illustrated entirely in black and gray paint, and Bang skillfully uses white space as an\u00adother element in the page design. The Paper Crane<\/em> (1988) was awarded the Boston Globe- Horn Book Award for illustration. The Japanese tale of a beggar who rewards a man for his gen\u00aderosity and gives him a magic paper crane is il\u00adlustrated with remarkable cut-paper collage. The three-dimensional artwork suits die text in which an origami crane turns into a live dancing bird. Bang achieved the same transformation in her art \u2014a folded paper bird becomes a rounded, delicate crane in a series of cut and folded paper images. When Sophie Gets Angry\u2014 Really, Really Angry<\/em> (1999), executed in a vivid, bright palette, explores the rage of a young girl. It garnered for Bang another Caldecott Honor Book.<\/p>\n\n\n\n Molly Bang\u2019s illustration style always matches the particular story and the sound of the text. Her illustrations for Sylvia Cassedy\u2019s collection of Japanese haiku, Red Dragonfly on My Shoulder <\/em>(1992), are created from collages that include ob\u00adjects such as a carrot, a bolt, and grains of rice. Bang\u2019s tutorial in design and visual composi\u00adtion, Picture This: Perception and Composition <\/em>(1992), leads the reader through exercises to un\u00adderstand the art of illustration and how mean\u00ading is created through images.<\/p>\n\n\n\n Although she began as an artist, Molly Bang has re\u00adtold many of her own stories and' exhibits an awareness of the sounds of language, so her sto\u00adries read aloud particularly well. Molly Bang has made a place for herself through her willingness to ex\u00adperiment with illustration, her understanding of the power of traditional stories, and her skills as an artist and storyteller. <\/p>\n\n\n\n M.V.K.<\/p>\n\n\n\n Source: Children's Books and their Creators, Anita Silvey.<\/p>\n\n\n\n As writer or editor and illustrator<\/strong><\/p>\n\n\n\n As illustrator only<\/strong><\/p>\n\n\n\n Both Me Grey Lady and the Strawberry Snatcher<\/em> (1980) and Ten, Nine, Eight<\/em> (1983) were named Caldecott Honor Books<\/a>. Grey Lady<\/em> is a suspenseful, wordless picture book painted in rich gouache colors. The Grey Lady is pursued through the story by a frightening blue figure who attempts to steal her strawberries. The Grey Lady blends into the gray of the background un\u00adtil at times only her face, hands, and strawberries are discernible. The striking, unusual illustra\u00adtions are, like Bang\u2019s folktales, full of surprises. Ten, Nine, Eight<\/em> is a very different book, a rhyth\u00admic bedtime story that has been much com\u00adpared to Margaret Wise Brown<\/a>\u2019s Goodnight Moon.<\/em> Bang wrote the text for her adopted Ben\u00adgali daughter because she was concerned about the paucity of positive images of brown children in picture books. The gentle countdown to bed stars a happy girl surrounded by people, objects, and love.<\/p>\n\n\n\n Molly Bang\u2019s many retellings of folktales have earned her a devoted readership and acclaim for her attention to detail and authenticity. Wiley and the Hairy Man<\/em> (1976), a folktale from the southern United States, is the exciting story of a young boy and his mother who together outwit the frightening Hairy Man. Like The Goblins Giggle,<\/em> it is illustrated entirely in black and gray paint, and Bang skillfully uses white space as an\u00adother element in the page design. The Paper Crane<\/em> (1988) was awarded the Boston Globe- Horn Book Award for illustration. The Japanese tale of a beggar who rewards a man for his gen\u00aderosity and gives him a magic paper crane is il\u00adlustrated with remarkable cut-paper collage. The three-dimensional artwork suits die text in which an origami crane turns into a live dancing bird. Bang achieved the same transformation in her art \u2014a folded paper bird becomes a rounded, delicate crane in a series of cut and folded paper images. When Sophie Gets Angry\u2014 Really, Really Angry<\/em> (1999), executed in a vivid, bright palette, explores the rage of a young girl. It garnered for Bang another Caldecott Honor Book.<\/p>\n\n\n\n Molly Bang\u2019s illustration style always matches the particular story and the sound of the text. Her illustrations for Sylvia Cassedy\u2019s collection of Japanese haiku, Red Dragonfly on My Shoulder <\/em>(1992), are created from collages that include ob\u00adjects such as a carrot, a bolt, and grains of rice. Bang\u2019s tutorial in design and visual composi\u00adtion, Picture This: Perception and Composition <\/em>(1992), leads the reader through exercises to un\u00adderstand the art of illustration and how mean\u00ading is created through images.<\/p>\n\n\n\n Although she began as an artist, Molly Bang has re\u00adtold many of her own stories and' exhibits an awareness of the sounds of language, so her sto\u00adries read aloud particularly well. Molly Bang has made a place for herself through her willingness to ex\u00adperiment with illustration, her understanding of the power of traditional stories, and her skills as an artist and storyteller. <\/p>\n\n\n\n M.V.K.<\/p>\n\n\n\n Source: Children's Books and their Creators, Anita Silvey.<\/p>\n\n\n\n As writer or editor and illustrator<\/strong><\/p>\n\n\n\n As illustrator only<\/strong><\/p>\n\n\n\n Born in Princeton, New Jersey; Bang has lived in Japan, India, and Mali and holds degrees in French and Oriental studies;. She has Said that she was inspired as a child to become an illus\u00adtrator by looking at the work of Arthur Rackham<\/a>. After illustrating health manuals overseas, Bang began to collect and illustrate folktales. Her first book, The Goblins Giggle <\/em>(1973) is a compilation of stories that she illus\u00adtrated with frightening black and gray paintings. The stories are filled with mystery and suspense, and the collection is notable for the fluency of its retelling.<\/p>\n\n\n\n Both Me Grey Lady and the Strawberry Snatcher<\/em> (1980) and Ten, Nine, Eight<\/em> (1983) were named Caldecott Honor Books<\/a>. Grey Lady<\/em> is a suspenseful, wordless picture book painted in rich gouache colors. The Grey Lady is pursued through the story by a frightening blue figure who attempts to steal her strawberries. The Grey Lady blends into the gray of the background un\u00adtil at times only her face, hands, and strawberries are discernible. The striking, unusual illustra\u00adtions are, like Bang\u2019s folktales, full of surprises. Ten, Nine, Eight<\/em> is a very different book, a rhyth\u00admic bedtime story that has been much com\u00adpared to Margaret Wise Brown<\/a>\u2019s Goodnight Moon.<\/em> Bang wrote the text for her adopted Ben\u00adgali daughter because she was concerned about the paucity of positive images of brown children in picture books. The gentle countdown to bed stars a happy girl surrounded by people, objects, and love.<\/p>\n\n\n\n Molly Bang\u2019s many retellings of folktales have earned her a devoted readership and acclaim for her attention to detail and authenticity. Wiley and the Hairy Man<\/em> (1976), a folktale from the southern United States, is the exciting story of a young boy and his mother who together outwit the frightening Hairy Man. Like The Goblins Giggle,<\/em> it is illustrated entirely in black and gray paint, and Bang skillfully uses white space as an\u00adother element in the page design. The Paper Crane<\/em> (1988) was awarded the Boston Globe- Horn Book Award for illustration. The Japanese tale of a beggar who rewards a man for his gen\u00aderosity and gives him a magic paper crane is il\u00adlustrated with remarkable cut-paper collage. The three-dimensional artwork suits die text in which an origami crane turns into a live dancing bird. Bang achieved the same transformation in her art \u2014a folded paper bird becomes a rounded, delicate crane in a series of cut and folded paper images. When Sophie Gets Angry\u2014 Really, Really Angry<\/em> (1999), executed in a vivid, bright palette, explores the rage of a young girl. It garnered for Bang another Caldecott Honor Book.<\/p>\n\n\n\n Molly Bang\u2019s illustration style always matches the particular story and the sound of the text. Her illustrations for Sylvia Cassedy\u2019s collection of Japanese haiku, Red Dragonfly on My Shoulder <\/em>(1992), are created from collages that include ob\u00adjects such as a carrot, a bolt, and grains of rice. Bang\u2019s tutorial in design and visual composi\u00adtion, Picture This: Perception and Composition <\/em>(1992), leads the reader through exercises to un\u00adderstand the art of illustration and how mean\u00ading is created through images.<\/p>\n\n\n\n Although she began as an artist, Molly Bang has re\u00adtold many of her own stories and' exhibits an awareness of the sounds of language, so her sto\u00adries read aloud particularly well. Molly Bang has made a place for herself through her willingness to ex\u00adperiment with illustration, her understanding of the power of traditional stories, and her skills as an artist and storyteller. <\/p>\n\n\n\n M.V.K.<\/p>\n\n\n\n Source: Children's Books and their Creators, Anita Silvey.<\/p>\n\n\n\n As writer or editor and illustrator<\/strong><\/p>\n\n\n\n As illustrator only<\/strong><\/p>\n\n\n\n Molly Garrett Bang\u2019s picture books draw from the legends of many cultures and reflect her belief in the importance and power of folk\u00adtales.<\/p>\n\n\n\n Born in Princeton, New Jersey; Bang has lived in Japan, India, and Mali and holds degrees in French and Oriental studies;. She has Said that she was inspired as a child to become an illus\u00adtrator by looking at the work of Arthur Rackham<\/a>. After illustrating health manuals overseas, Bang began to collect and illustrate folktales. Her first book, The Goblins Giggle <\/em>(1973) is a compilation of stories that she illus\u00adtrated with frightening black and gray paintings. The stories are filled with mystery and suspense, and the collection is notable for the fluency of its retelling.<\/p>\n\n\n\n Both Me Grey Lady and the Strawberry Snatcher<\/em> (1980) and Ten, Nine, Eight<\/em> (1983) were named Caldecott Honor Books<\/a>. Grey Lady<\/em> is a suspenseful, wordless picture book painted in rich gouache colors. The Grey Lady is pursued through the story by a frightening blue figure who attempts to steal her strawberries. The Grey Lady blends into the gray of the background un\u00adtil at times only her face, hands, and strawberries are discernible. The striking, unusual illustra\u00adtions are, like Bang\u2019s folktales, full of surprises. Ten, Nine, Eight<\/em> is a very different book, a rhyth\u00admic bedtime story that has been much com\u00adpared to Margaret Wise Brown<\/a>\u2019s Goodnight Moon.<\/em> Bang wrote the text for her adopted Ben\u00adgali daughter because she was concerned about the paucity of positive images of brown children in picture books. The gentle countdown to bed stars a happy girl surrounded by people, objects, and love.<\/p>\n\n\n\n Molly Bang\u2019s many retellings of folktales have earned her a devoted readership and acclaim for her attention to detail and authenticity. Wiley and the Hairy Man<\/em> (1976), a folktale from the southern United States, is the exciting story of a young boy and his mother who together outwit the frightening Hairy Man. Like The Goblins Giggle,<\/em> it is illustrated entirely in black and gray paint, and Bang skillfully uses white space as an\u00adother element in the page design. The Paper Crane<\/em> (1988) was awarded the Boston Globe- Horn Book Award for illustration. The Japanese tale of a beggar who rewards a man for his gen\u00aderosity and gives him a magic paper crane is il\u00adlustrated with remarkable cut-paper collage. The three-dimensional artwork suits die text in which an origami crane turns into a live dancing bird. Bang achieved the same transformation in her art \u2014a folded paper bird becomes a rounded, delicate crane in a series of cut and folded paper images. When Sophie Gets Angry\u2014 Really, Really Angry<\/em> (1999), executed in a vivid, bright palette, explores the rage of a young girl. It garnered for Bang another Caldecott Honor Book.<\/p>\n\n\n\n Molly Bang\u2019s illustration style always matches the particular story and the sound of the text. Her illustrations for Sylvia Cassedy\u2019s collection of Japanese haiku, Red Dragonfly on My Shoulder <\/em>(1992), are created from collages that include ob\u00adjects such as a carrot, a bolt, and grains of rice. Bang\u2019s tutorial in design and visual composi\u00adtion, Picture This: Perception and Composition <\/em>(1992), leads the reader through exercises to un\u00adderstand the art of illustration and how mean\u00ading is created through images.<\/p>\n\n\n\n Although she began as an artist, Molly Bang has re\u00adtold many of her own stories and' exhibits an awareness of the sounds of language, so her sto\u00adries read aloud particularly well. Molly Bang has made a place for herself through her willingness to ex\u00adperiment with illustration, her understanding of the power of traditional stories, and her skills as an artist and storyteller. <\/p>\n\n\n\n M.V.K.<\/p>\n\n\n\n Source: Children's Books and their Creators, Anita Silvey.<\/p>\n\n\n\n As writer or editor and illustrator<\/strong><\/p>\n\n\n\n As illustrator only<\/strong><\/p>\n\n\n\n Molly Garrett Bang\u2019s picture books draw from the legends of many cultures and reflect her belief in the importance and power of folk\u00adtales.<\/p>\n\n\n\n Born in Princeton, New Jersey; Bang has lived in Japan, India, and Mali and holds degrees in French and Oriental studies;. She has Said that she was inspired as a child to become an illus\u00adtrator by looking at the work of Arthur Rackham<\/a>. After illustrating health manuals overseas, Bang began to collect and illustrate folktales. Her first book, The Goblins Giggle <\/em>(1973) is a compilation of stories that she illus\u00adtrated with frightening black and gray paintings. The stories are filled with mystery and suspense, and the collection is notable for the fluency of its retelling.<\/p>\n\n\n\n Both Me Grey Lady and the Strawberry Snatcher<\/em> (1980) and Ten, Nine, Eight<\/em> (1983) were named Caldecott Honor Books<\/a>. Grey Lady<\/em> is a suspenseful, wordless picture book painted in rich gouache colors. The Grey Lady is pursued through the story by a frightening blue figure who attempts to steal her strawberries. The Grey Lady blends into the gray of the background un\u00adtil at times only her face, hands, and strawberries are discernible. The striking, unusual illustra\u00adtions are, like Bang\u2019s folktales, full of surprises. Ten, Nine, Eight<\/em> is a very different book, a rhyth\u00admic bedtime story that has been much com\u00adpared to Margaret Wise Brown<\/a>\u2019s Goodnight Moon.<\/em> Bang wrote the text for her adopted Ben\u00adgali daughter because she was concerned about the paucity of positive images of brown children in picture books. The gentle countdown to bed stars a happy girl surrounded by people, objects, and love.<\/p>\n\n\n\n Molly Bang\u2019s many retellings of folktales have earned her a devoted readership and acclaim for her attention to detail and authenticity. Wiley and the Hairy Man<\/em> (1976), a folktale from the southern United States, is the exciting story of a young boy and his mother who together outwit the frightening Hairy Man. Like The Goblins Giggle,<\/em> it is illustrated entirely in black and gray paint, and Bang skillfully uses white space as an\u00adother element in the page design. The Paper Crane<\/em> (1988) was awarded the Boston Globe- Horn Book Award for illustration. The Japanese tale of a beggar who rewards a man for his gen\u00aderosity and gives him a magic paper crane is il\u00adlustrated with remarkable cut-paper collage. The three-dimensional artwork suits die text in which an origami crane turns into a live dancing bird. Bang achieved the same transformation in her art \u2014a folded paper bird becomes a rounded, delicate crane in a series of cut and folded paper images. When Sophie Gets Angry\u2014 Really, Really Angry<\/em> (1999), executed in a vivid, bright palette, explores the rage of a young girl. It garnered for Bang another Caldecott Honor Book.<\/p>\n\n\n\n Molly Bang\u2019s illustration style always matches the particular story and the sound of the text. Her illustrations for Sylvia Cassedy\u2019s collection of Japanese haiku, Red Dragonfly on My Shoulder <\/em>(1992), are created from collages that include ob\u00adjects such as a carrot, a bolt, and grains of rice. Bang\u2019s tutorial in design and visual composi\u00adtion, Picture This: Perception and Composition <\/em>(1992), leads the reader through exercises to un\u00adderstand the art of illustration and how mean\u00ading is created through images.<\/p>\n\n\n\n Although she began as an artist, Molly Bang has re\u00adtold many of her own stories and' exhibits an awareness of the sounds of language, so her sto\u00adries read aloud particularly well. Molly Bang has made a place for herself through her willingness to ex\u00adperiment with illustration, her understanding of the power of traditional stories, and her skills as an artist and storyteller. <\/p>\n\n\n\n M.V.K.<\/p>\n\n\n\n Source: Children's Books and their Creators, Anita Silvey.<\/p>\n\n\n\n As writer or editor and illustrator<\/strong><\/p>\n\n\n\n As illustrator only<\/strong><\/p>\n\n\n\n Molly Garrett Bang\u2019s picture books draw from the legends of many cultures and reflect her belief in the importance and power of folk\u00adtales.<\/p>\n\n\n\n Born in Princeton, New Jersey; Bang has lived in Japan, India, and Mali and holds degrees in French and Oriental studies;. She has Said that she was inspired as a child to become an illus\u00adtrator by looking at the work of Arthur Rackham<\/a>. After illustrating health manuals overseas, Bang began to collect and illustrate folktales. Her first book, The Goblins Giggle <\/em>(1973) is a compilation of stories that she illus\u00adtrated with frightening black and gray paintings. The stories are filled with mystery and suspense, and the collection is notable for the fluency of its retelling.<\/p>\n\n\n\n Both Me Grey Lady and the Strawberry Snatcher<\/em> (1980) and Ten, Nine, Eight<\/em> (1983) were named Caldecott Honor Books<\/a>. Grey Lady<\/em> is a suspenseful, wordless picture book painted in rich gouache colors. The Grey Lady is pursued through the story by a frightening blue figure who attempts to steal her strawberries. The Grey Lady blends into the gray of the background un\u00adtil at times only her face, hands, and strawberries are discernible. The striking, unusual illustra\u00adtions are, like Bang\u2019s folktales, full of surprises. Ten, Nine, Eight<\/em> is a very different book, a rhyth\u00admic bedtime story that has been much com\u00adpared to Margaret Wise Brown<\/a>\u2019s Goodnight Moon.<\/em> Bang wrote the text for her adopted Ben\u00adgali daughter because she was concerned about the paucity of positive images of brown children in picture books. The gentle countdown to bed stars a happy girl surrounded by people, objects, and love.<\/p>\n\n\n\n Molly Bang\u2019s many retellings of folktales have earned her a devoted readership and acclaim for her attention to detail and authenticity. Wiley and the Hairy Man<\/em> (1976), a folktale from the southern United States, is the exciting story of a young boy and his mother who together outwit the frightening Hairy Man. Like The Goblins Giggle,<\/em> it is illustrated entirely in black and gray paint, and Bang skillfully uses white space as an\u00adother element in the page design. The Paper Crane<\/em> (1988) was awarded the Boston Globe- Horn Book Award for illustration. The Japanese tale of a beggar who rewards a man for his gen\u00aderosity and gives him a magic paper crane is il\u00adlustrated with remarkable cut-paper collage. The three-dimensional artwork suits die text in which an origami crane turns into a live dancing bird. Bang achieved the same transformation in her art \u2014a folded paper bird becomes a rounded, delicate crane in a series of cut and folded paper images. When Sophie Gets Angry\u2014 Really, Really Angry<\/em> (1999), executed in a vivid, bright palette, explores the rage of a young girl. It garnered for Bang another Caldecott Honor Book.<\/p>\n\n\n\n Molly Bang\u2019s illustration style always matches the particular story and the sound of the text. Her illustrations for Sylvia Cassedy\u2019s collection of Japanese haiku, Red Dragonfly on My Shoulder <\/em>(1992), are created from collages that include ob\u00adjects such as a carrot, a bolt, and grains of rice. Bang\u2019s tutorial in design and visual composi\u00adtion, Picture This: Perception and Composition <\/em>(1992), leads the reader through exercises to un\u00adderstand the art of illustration and how mean\u00ading is created through images.<\/p>\n\n\n\n Although she began as an artist, Molly Bang has re\u00adtold many of her own stories and' exhibits an awareness of the sounds of language, so her sto\u00adries read aloud particularly well. Molly Bang has made a place for herself through her willingness to ex\u00adperiment with illustration, her understanding of the power of traditional stories, and her skills as an artist and storyteller. <\/p>\n\n\n\n M.V.K.<\/p>\n\n\n\n Source: Children's Books and their Creators, Anita Silvey.<\/p>\n\n\n\n As writer or editor and illustrator<\/strong><\/p>\n\n\n\n As illustrator only<\/strong><\/p>\n\n\n\n Molly Garrett Bang\u2019s picture books draw from the legends of many cultures and reflect her belief in the importance and power of folk\u00adtales.<\/p>\n\n\n\n Born in Princeton, New Jersey; Bang has lived in Japan, India, and Mali and holds degrees in French and Oriental studies;. She has Said that she was inspired as a child to become an illus\u00adtrator by looking at the work of Arthur Rackham<\/a>. After illustrating health manuals overseas, Bang began to collect and illustrate folktales. Her first book, The Goblins Giggle <\/em>(1973) is a compilation of stories that she illus\u00adtrated with frightening black and gray paintings. The stories are filled with mystery and suspense, and the collection is notable for the fluency of its retelling.<\/p>\n\n\n\n Both Me Grey Lady and the Strawberry Snatcher<\/em> (1980) and Ten, Nine, Eight<\/em> (1983) were named Caldecott Honor Books<\/a>. Grey Lady<\/em> is a suspenseful, wordless picture book painted in rich gouache colors. The Grey Lady is pursued through the story by a frightening blue figure who attempts to steal her strawberries. The Grey Lady blends into the gray of the background un\u00adtil at times only her face, hands, and strawberries are discernible. The striking, unusual illustra\u00adtions are, like Bang\u2019s folktales, full of surprises. Ten, Nine, Eight<\/em> is a very different book, a rhyth\u00admic bedtime story that has been much com\u00adpared to Margaret Wise Brown<\/a>\u2019s Goodnight Moon.<\/em> Bang wrote the text for her adopted Ben\u00adgali daughter because she was concerned about the paucity of positive images of brown children in picture books. The gentle countdown to bed stars a happy girl surrounded by people, objects, and love.<\/p>\n\n\n\n Molly Bang\u2019s many retellings of folktales have earned her a devoted readership and acclaim for her attention to detail and authenticity. Wiley and the Hairy Man<\/em> (1976), a folktale from the southern United States, is the exciting story of a young boy and his mother who together outwit the frightening Hairy Man. Like The Goblins Giggle,<\/em> it is illustrated entirely in black and gray paint, and Bang skillfully uses white space as an\u00adother element in the page design. The Paper Crane<\/em> (1988) was awarded the Boston Globe- Horn Book Award for illustration. The Japanese tale of a beggar who rewards a man for his gen\u00aderosity and gives him a magic paper crane is il\u00adlustrated with remarkable cut-paper collage. The three-dimensional artwork suits die text in which an origami crane turns into a live dancing bird. Bang achieved the same transformation in her art \u2014a folded paper bird becomes a rounded, delicate crane in a series of cut and folded paper images. When Sophie Gets Angry\u2014 Really, Really Angry<\/em> (1999), executed in a vivid, bright palette, explores the rage of a young girl. It garnered for Bang another Caldecott Honor Book.<\/p>\n\n\n\n Molly Bang\u2019s illustration style always matches the particular story and the sound of the text. Her illustrations for Sylvia Cassedy\u2019s collection of Japanese haiku, Red Dragonfly on My Shoulder <\/em>(1992), are created from collages that include ob\u00adjects such as a carrot, a bolt, and grains of rice. Bang\u2019s tutorial in design and visual composi\u00adtion, Picture This: Perception and Composition <\/em>(1992), leads the reader through exercises to un\u00adderstand the art of illustration and how mean\u00ading is created through images.<\/p>\n\n\n\n Although she began as an artist, Molly Bang has re\u00adtold many of her own stories and' exhibits an awareness of the sounds of language, so her sto\u00adries read aloud particularly well. Molly Bang has made a place for herself through her willingness to ex\u00adperiment with illustration, her understanding of the power of traditional stories, and her skills as an artist and storyteller. <\/p>\n\n\n\n M.V.K.<\/p>\n\n\n\n Source: Children's Books and their Creators, Anita Silvey.<\/p>\n\n\n\n As writer or editor and illustrator<\/strong><\/p>\n\n\n\nMolly Bang Bibliography<\/h4>\n\n\n\n
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