鱼就是鱼
https://www.douban.com/note/599654867/
鸟英雄 向华， 找回自己的童年。
了这则故事，我思考了三个问题：1、鱼的学习成功了吗？2、青蛙的教学成功了吗？3、鱼能用亲自看一看的方法解决疑问吗？ 这则寓言的目的是告诉我们，鱼是按照自己已有的知识在认知新事物，也就是学习是知识的个体建构，简单的讲授对学生来讲作用不大。在现实中，我们有多少人就是这样的青蛙？遇到抽象的事物、知识，口干舌燥的讲了一大堆。而学生云里雾里似懂非懂。鱼怎么样才能使学习获得成功？有的人说，到陆地上去看一看啊。可是条件不允许。在我们日常的教学中，有许多东西、知识是抽象的，学生在学习中有许多对象是他们无法亲眼去看一看的。譬如光合作用，我们仅仅看到树叶和阳光而已，根本不能直观地看到光合作用。
https://wenku.baidu.com/view/146431e80975f46527d3e1f3.html?from=search
https://mssl.eslite.com/main/product/1216271
本書是描寫魚和青蛙的故事。蝌蚪在還沒有變成青蛙以前，活動的範圍跟魚一樣是在池塘裡，但是蝌蚪變成青蛙，跳出池塘之後，他看到池塘以外多采多姿的世界，就回去描述給魚聽，於是魚一心想見識陸地上的世界，就決定親自去看看。當魚跳出水面到達陸地，卻發現自己無法生存，是不屬於陸地的，便心甘情願回到水中，從此安分的做一條魚，享受魚的生活。 李奧尼想告訴小朋友，包括人在內的每種生物，都擁有天賦的能力，也有無法超越的限制。魚在嘗試過後，雖然沒有如願進入陸地上的世界，卻使魚對自己所屬的水下的世界有了新的認識。反映到人的世界，就是人要認清自己的能力與極限，才能自在的生活。 本書是由色鉛筆所描繪。透過無數彩色線條的交錯編織，表現了線條的剛強，和朦朧的柔和。李奧尼的畫筆流暢熟練，充分發揮硬筆媒材的特色。書中魚和青蛙、蝌蚪關係最密切，所以李奧尼刻意從彼此的位置、姿態、眼神、嘴形，表現相互關懷的溫馨友誼，時而露出感激的笑容，時而眼睛相對，充滿深情。 最精采的幾頁是魚想像陸地上鳥、牛與人的樣子。那鼓動彩色翅膀的魚，長了角與腳的魚，戴帽穿衣裳的魚，造形奇特、滑稽，畫面的呈現繽紛、熱鬧的氣氛，十分有趣。 作者簡介 李歐．李奧尼是美國著名的圖畫書作家，他創造簡單、有趣、快樂的故事，表達他的哲學，深受大人孩子喜愛。李奧尼曾說：「我的書是寓言故事，表達了我的想法和感覺。」而李奧尼的書表現的形式正好適合孩子。事實上，他透過巧妙獨特的設計，和搭配得天衣無縫的插畫，呈現出他故事中的心境與情感；文字反映出他對這個多變世界所抱持的驚嘆、疑慮與信念。
https://m.sohu.com/n/404684958/?_trans_=000115_3w%20
https://www.amazon.cn/
行为习惯、性格心理、天性教育、观察认知 本书特色 画面清新精巧，语言质朴却具有深度，通过米诺鱼的小故事让孩子们自我发现，学会珍惜。
我觉得《鱼就是鱼》这本绘本其实是一本很有趣的儿童故事书，还有就是里面的图画很美很有色彩，很适合小朋友看的。《鱼就是鱼》里的故事，其实是随时都可能在发生的，随时都可以发生在我们每一个人身上的。或许我们就是因为忽视了孩子的原来的经验，人的知识总是和自己的原有经验息息相关的。我们就好比那只跳出了池塘见识到了世界的青蛙，而我们的孩子就像那井底里的鱼，他们的经验是有限的，所以我们必须蹲下身子了解他们的原来的经验并且让他们能不断地成长。因为孩子和鱼还是有区别的，鱼就是鱼这点是没有错的，但是孩子最终将成为我们，像我们一样长大变成青蛙离开那小小的水塘鱼走向大世界。所以我们要鼓励和帮助孩子走向我们的世界，走向更加丰富多彩的陆地。我们应该教会孩子的是自己长出双腿去走，自己长出双眼去看，鼓励和帮助孩子拓展视野，体验生活。而不是把成人的经验讲给孩子听，也许，这是我们培养孩子的方向。
（文/林淑仪）
看
图书简介编辑 这个故事说明了在人们基于自己现有的知识建构新知识中，创造性的机遇和危险并存。
这本童书在讲述一个自我认同的过程，“我是谁？” 还有一点，友谊非常重要，关键时候可以救人一命！
一部杰出的绘本，简单却引人入胜。 ——美国《学校图书馆》杂志 李奥尼一贯擅长将精巧的画面、清晰的语言、质朴的思考完美地融合在一起。这一次，他又巧妙地证明了这样一个道理：米诺鱼不能超越自己在水中才能呼吸这一限制而去认识世界。而这也让我们认识到，生活意蕴丰富，即使是对于小池塘里的一条小鱼来?。 ——《纽约时报》 [美] 李欧·李奥尼 1910 年 5 月出生于荷兰阿姆斯特丹，父亲是比利时犹太商人，母亲是女高音歌唱家。因家在美术馆附近，舅舅们又是建筑师、画家和艺术品收藏家，所以他从小就得以浸润在浓郁的艺术氛围之中。13 岁起，他随家人辗转美国、意大利。1935 年获得经济学博士学位。1945 年，欧洲掀起反犹太浪潮，他们被迫举家走避美国。 李奥尼是一个才华横溢、不受拘束的艺术天才，绘画、雕刻、陶艺、摄影......样样精通，曾任美国《财富》杂志设计主管长达 10 年。其间，他多次在欧洲和美国举办个人画展、设计展，并曾担任美国平面造型艺术学会主席、1953 年度国际设计大会主席。1955 年获美国平面造型艺术协会最佳广告制作美术指导奖、1956 年获建筑联盟金牌奖。
一条聪明的鱼 http://abc.yaolan.com/book/readBook.action?id=65
http://www.i-bei.com/baby/thread-63889-1-1.html
[复制链接] 西瓜小姐 发表于 2015-4-24 14:25:26| 903 次查看 | 2 条回复
特别是纹纸上的蜡笔画，纸纹清晰可见。好像是波光粼粼的大海。
这本书适合引导孩子做好自己，认识自己。通过认识蝌蚪变成青蛙的过程，小鱼从不相信愤怒到伤感，怀念四脚青蛙怎么不回来看完过自己的等待心情。不过最后也等待到了好朋友的归来，通过青蛙的分享，知道了外面的世界很精彩。对小鱼来说很诱惑，很向往。鱼开始进行丰富的想象，鱼的世界里还是只有鱼，什么都想象成鱼的样子。
这本书适合亲子阅读，引导孩子每个人都有适合自己的生存环境和空间，一旦被改变有可能很难接受。但是也要学会适应环境，不勉强自己。理想很丰满，现实很骨感。鱼就是鱼，你就是你！不用去羡慕别人有什么！只要适合你的才是永恒的。不要去追求那些光鲜的亮条，很多东西，没有最完美，只有最适合！
鱼就是鱼，说来容易，认命谁不会？可是鉴定是否是“鱼”，哪里是“池塘”，靠的就是眼光、经验和智慧了。
一条聪明的鱼 http://sanwen.net/a/pildmoo.html
http://todaysinspiration.blogspot.com/2009/09/cover-story-fortune-magazine.html?m=1
Leif Peng at 10:43 AM 22 comments: 1.Todd11:43 AM Are you kidding? Please post more of these - completely and unbelievably amazing illustration. Many, many thanks.
2. caryn the designer11:56 AM
These are fantastic! Thanks so much for sharing them! I'm a huge fan of Lionni as a children's book illustrator but have never looked into this part of his illustration background. Wonderful! 3.Todd11:59 AM
P.S. I think the main reason that real illustration and design is dead in the editorial business is because there is no money to be had there anymore. With the takeover of television, film, and the internet in the second half of the 20th century, magazines have declined as a major source of disseminating information in our society, and thus their influence and revenues have shrunk. If you need proof, look up what some of these magazines were paying artists in their heyday, and compare it to what they are offering now. Because of this, all of the real commercial artists have moved on to more lucrative areas of the industry. 4.Harry Borgman12:03 PM
Hi Leif, I totally agree with you, Lionni was an amazing art director, I always admired his great work. I began working in the art department of an engraving company when I was fifteen years old. They subscribed to many magazines and Fortune was the one that I waited for every month to see what Lionni was up to. Harry
5. Leif Peng12:45 PM
Todd;
That's a valid theory - and I think its one that holds water, at least for the first decade after the end of this "last golden age of illustration" we all love so much. But fast forward to today and I think the playing field has shifted by miles. From looking around the Internet at blogs, art forums, Flickr and so on, I see so much great illustration being done - much of it for no other reason than to participate in stuff like "Illustration Friday". That is, "for free"... "for the love of it".
I have had the good fortune to be hired over the years by some outstanding ADs who couldn't offer me much money, but gave me a ton of enthusiastic support and encouragement to do my thing - and fought their editors for the right to use my stuff over more of the same old crappy stock photography.
But I've also had the unhappy experience of working with ADs who seemed to not care any more. Maybe they have been beaten down by the management above them. Maybe they are overworked. Too often I've had ADs say, "let me see what the editor says" or "we don't want to do anything that might offend the advertisers."
The main thing (it seems to me as an observer with a vested interest) that's evolved over time (as a result of too much flawed marketing research and skewed focus groups) is this thinking that people will only buy a magazine with a photo cover, preferably of a celebrity, preferably a hot celebrity. Its broken logic because, as you point out, magazine sales are in the toilet thanks to the competition of tv, film, the Internet -- and a general decline in reading, I suppose.
But isn't that a wake up call to do something "different"? I tell you, its frustrating as hell looking at all that real estate on the news stands and seeing so much sameness. With so much illustration talent out there ( and so easy to access these days ) why wouldn't you jump all over these artists? I guarantee you they (we) would LOVE to do the cover of Fortune, Time, Maxim - whatever - even for today's relatively lousy rates.
And who knows? it might even get the attention of a distracted public and start selling a few more magazines each month!
6.Leif Peng12:47 PM
Caryn; I'm glad you've enjoyed seeing today's images. I should emphasize, however, that Lionni was the art director, not the illustrator, of these pieces. Not sure if that was clear to you :^) 7. Leif Peng12:48 PM Harry; right on - I'm not surprised to hear that, based on your magnificent range of styles and relentless experimentation! :^) 8.Kali1:42 PM Wow, this was inspiring and saddening to read...What wonderful cover images! That first one is really great. It's lovely to think of a time when illustrations would have graced the covers of these big magazines, especially non-traditional illustrations like these! I am also a freelance illustrator, mainly doing magazine work, and it's true the state of the industry right now is not so great. It would be interesting to see what would happen if more illustration became prevalent in magazines, but at the same time I think the web has yet to be harnessed as a field for paying illustration...I've also worked in concept art in the videogame field, and it also has some of the same hang-ups as far as doing the same sorts of styles for each game...it wasn't particularly fun for me as an artist. The pay is better, but I felt like I had no soul. It's a difficult tradeoff. As you say, Leif, there's so much talent out there, and I feel like some sort of change has to happen in the future so we can harness it all. 9.Chad Sterling2:04 PM
I was looking at an archive of Vogue and Cosmo covers a while back and I seem to recall the shift to Celeb cover photos started at the beginning of the 70s, way before the incursion of 'new media'.From this I deduce the company accountants were responsible for this shift away from painted or graphic cover art.We have all sorts of excuses for why its not possible to use illustration these days but its no surprise that its based on a money man's fallacious belief that pictures won't sell a magazine like a photo will. Please check a magazine like Monocle for a contemporary magazine that goes against the grain.
10. Leif Peng2:29 PM
Kali;
great comment - and thanks for giving us the benefit of your personal experience. I can certainly relate: most of my income now comes from advertising storyboards - a very mercenary niche market that's much more about craft than concept. If you love to draw for the sake of drawing, it can be rewarding to the soul, I think. But its far, far away from the editorial art so many illustrators (myself included) wish they could do full time.
Last spring I attended the National Cartoonists Society Reubens Awards in L.A. Among the weekend's events was a very well-attended panel discussion featuring a half-dozen or so major players in the print industry... cartoon syndicate presidents, newspaper editors, people like that. They all talked around the issue of "monetizing" the work of their artists on the web. Considering how influential these people are, I got no sense from them that they had a clue about how to do this.
Maybe at 45 I'm too analog to see that future, but I still have faith that print will be around for a long time - and that it can make good money (and therefore pay good money to illustrators). But its going to take some people with real vision to turn this ship around.
If I were boss of the world, the first thing I'd do is direct the Society of Illustrators to hire a good PR firm and have them turn the annual awards into an event the public knew about and cared about. I'd have them figure out how to turn illustrators into celebrities again, like they were in the first half of the century. That would get the attention of the print industry. If illustrators mattered to the public then they'd begin to matter to advertisers - and subsequently to art directors.
Our biggest problem is we're too quiet. We let the photographers hog all the glory because, typically, we just want to hide in our studios and draw pictures. If we ever want to see a return to the 'good ol' days', its not going to happen by accident -- we're going to have to organize and make it happen.
11. marco pedrana6:34 PM
I wonder if the Fortune magazine' particular target of readers was a factor in addressing the concepts of its covers towards this kind of art. Or if maybe it is to convey a more direct, more emotional idea as base of successful enterprising in general, like if success is fueled by genius before anything else. The effect would be even more striking in a time when representative art was, as you say, the rule. i mean, i don't know as i haven't read the magazine ever, but it came in mind easily by looking at those powerful, luscious images. great post Leif!
12.Zapiola8:12 PM
Delightfull blog, intelligent, good written.
13.Anonymous9:56 PM
Dear lord. These are amazing. I loved this guys books as a child, didn't know he was such an accomplished non-childrens illustrator.
14. Leif Peng10:37 PM
Just to reiterate; Lionni was the art director of these images - not the illustrator. But I'm delighted that you like them, anonymous - thanks for adding your comment :^)
15. Daniel3:05 PM
Leif-
Do you know who did that helicopter piece? It's quite good. I've seen lots of Fortune Magazines from that time period. Beautiful stuff. Lionni even sent artists out on location to do reportage work! You barely hear about that type of work today. Did you come across the work that Weaver did for Fortune at that time? It's great.
16. Leif Peng3:57 PM
Daniel; The helicopter cover was done by Robert Gwathmey. You can find all these covers and their related artist IDs in my Flickr photostream: Start here and click the left thumbnail to scroll through all six covers. I haven't seen any Fortune covers by Weaver, but I'm not surprised to hear Lionni would have used him.
17. Tom12:37 AM
"Art directors could learn a lot from a close study of what Leo Lionni accomplished half a century ago, in far less liberal times".
Leif, your comment above got me thinking. From what I am hearing, today it's upside down. It's a more liberal time today, yet illustration was more diverse and abundant back then, when it was less liberal times. I would have thought the opposite (?) I too, would like to see quality illustration, like some of the bold Fortune cover illos., instead of a parade of celeb photos.. but don't know if the general public would respond to quality illustration or not (?) Not riled up, just food for thought. :-) Tom Watson
18. Leif Peng7:01 AM
Tom; you're question astutely strikes at the heart of the matter: as with the film and music industries, the print industry ( specifically magazine industry, for our purposes) has become 'politically correct' in modern times. This isn't directly linked to the fact that these are more liberal times and more liberal, left-leaning, sensitive types are worried about hurting people's feelings with "offensive" artwork... it has everything to do with (as Chad said above) the control of creative content by non-creative corporate decision makers.
In film, music and print, media conglomerates have instituted vast hierarchies of middle-managers who rely on endless specious market research to try to find the formula for success -- a combination of focus group results and cost-cutting streamlining to standardize production.
In the first instance they dictate that "photos of hot female celebrities on the cover sell 25% more magazines therefore we will have hot female celebrities on our covers every month."
In the latter instance they have hired design consultants to devise templates for the production of the magazine. This may be a well-intentioned but mistaken belief that they are investing in a "signature look" that distinguishes their magazine from the competition.
It also hamstrings the art director.
I can't tell you how often I've had my suggestion to try something different with the page design be rejected by art directors who tell me they have a template for the page layout and need my piece to "fit a hole".
Its a sorry state of affairs, to be sure, and doesn't bode well for illustration if we illustrators are going to sit by complacently and be steamrolled. That's why I suggest that the SoI lead the charge and try to turn the tide.
The closest example of successful rebellion I can give is in television, where HBO and other cable networks have shown the big three how quality content can win awards and attract viewers (and ad dollars) while the cheap reality tv formula embraced by media conglomerate managers/decision makers sinks in the ratings.
In an age where visual content is king, print publishers whose sales are floundering need to wake up and find new, compelling content to attract readers/purchasers. I passionately believe illustration is the solution they're ignoring. 19. dugF11:01 PM
The covers I've worked on these days are far more art directed than twenty years ago. I think art directors like Soojin Buzelli at Plansponsor are trying and creating some very credible work right now in this economy. Which is no simple feat.
20.Leif Peng8:02 AM
Thanks for sharing that dugF; I was not aware of Soojin Buzelli or Plansponsor magazine - but this is exactly the kind of AD I'm looking for - she's awesome. Let's hope she inspires many others to follow her lead. Let's hope her art direction increases Plansponsor's circulation - that'll influence other editors and publishers more than anything.
I'm not sure what you mean by the covers you've worked on recently being much more art directed than 20 years ago. Is that something you regard as an industry overview or just your personal experience? Because if your talking anecdotally I'd say the opposite is true, so we'd cancel each other out.
It doesn't really matter to me if the art director takes a heavy or light hand ... my concern is that (IMO) the industry as a whole has diminished the authority of the AD over what appears on the cover of a publication. I look around at what's on the news stand and I see the print version of what I hear on mainstream radio: Sameness. Formula. Decision making by market research and focus group data. Photography is everywhere and illustration is virtually non-existent.
This situation only exacerbates the thinking of the ad industry, where illustrators could be reaping the financial reward of increased exposure on magazine covers.
Am I wrong in this impression?
21.dugF7:26 PM
This comment has been removed by the author.
22. dugF7:32 PM
Oops sorry, here's trying again. Leif, my comment was based on my personal experience. As an example; I've done covers & interior work on and off for BusinessWeek for over twenty-three years. The role of the art director is definitely diminished. Powerful Art Directors like Malcom Frouman where made unwelcome, and eventually left in disgust from what I could gather. Also I've been asked repeatedly to brighten up my palette, even when the subject is dire. Keep it happy or light. In some ways I feel its like adolescent-pop-lite-neutral fare is the order of the day. In editorial it was the norm that I develop my own concepts, now the last few covers have been very preconceived/directed. I'm not against working with a concept that has been developed, but it strikes me as though the editors are trying to micro-manage the art departments now. Wordsmiths rarely are great visual directors. The power and elegance is undermined by a industry that has no understanding of the real strength of illustration. Suffering from it's own amnesia, the publishing word stumbles towards it's own demise. Mediocrity is king in a VERY commodified subscription frenzy for the perceived safe buck.