Ed Young Essay

Ed Young: Caldecott Author and Illustrator
Allison Green and Shanakay Watson
Gladys Yarbrough, Ph.D.
Georgia State University
Ed Young is a well-known illustrator and writer for many children. He has illustrated an impressive eighty books. Of those eighty books, he has authored seventeen. Although Young was born in Tientsin, China he spent his time in many different geographical locations such as Shanghai and Hong Kong. He continued his journey moving to the United States as a student to pursue studies in architecture. However, it was not long until he found himself returning to his true passion, art. Beginning a career as a commercial artist in advertising he was able to put his artistic skills to use, yet he was still not deeply satisfied
thus looking for something more “expansive, expressive, and timeless” (“edyoungart” 2006). He soon discovered these three components were found in children’s books.
This creative artist gets his inspiration from the philosophy of Chinese painting (“edyoungart” 2006). “A Chinese painting is often accompanied by words,” he states; “they are complementary. There are things that words do that pictures never can, and likewise, there are images that words can never describe” (“penguin” 2014). His artistic work is highly credible as he does thorough research prior to his creation of images. Through these images he aims to capture his readers and increase their awareness. Additionally, Young strongly believes in designing stories that are both an exciting and moving experience for the reader.
In 1990 Young received the Caldecott Medal for his folktale, Lon Po Po.
Some may say it is the Chinese version of the famous tale of Red-Riding Hood. This book, however, is distinctively different than most children’s books. The images are vivid, realistic, and imaginative. Young uses a unique combination of pastels and watercolors to enhance and compliment the story. He incorporates key virtues such as prudence, honesty, and cooperation as well as vices; greed, disobedience, and foolishness. The images are certainly original while simultaneously honoring and encompassing Chinese heritage. The book offers great way to introduce culture to children as well as comparative literature (Lon Po Po and Little Red-Riding
Hood). According to the Association for Library Service to Children, certain criteria must be met in order for one to be awarded the Caldecott Medal.
To be awarded “most distinguished American picture book for children” excellent artistic technique must be present. In addition, pictorial interpretation of the story and its theme must be strong. Key parts of the story such as characters, setting, mood, and plot are brilliantly and powerfully illustrated in Young’s children’s book. While Young’s other books such as Seven Blind Mice and The Emperor and the Kite, both of which are identified as Newbery Honor books, are indeed marvelous works, it is recognized that Lon Po Po is more than just a book. It is a journey. Patricia Lee Gauch explains that most readers are accustomed to observing stories as if they were “being drawn slowly across the stage” (113). Gauch also shares that in Lon Po Po “the reader is asked to stand a breath away from the wolf, so close that the shadow is at his or her fingertips” (113). In other words, Lon Po Po is an
experience. Ethel R. Twichell, representing the Horn Book Review, praises Young’s method of division. The panels, or longitudinal sections, encompass many of the story’s elements. “The power of the wolf’s threatening presence bursts out of the narrow panels,” Twichell explains (104). Twichell descirbes Young’s images as ones that “throb with the mystery and terror.” The only negative note the reviewer articulated was the placement of the text. However, “the wonderfully fine illustrations more than compensate.” Carolyn Phelan, on behalf of Booklist Review, points out the similarities between the well-known version of Red Riding Hood and Young’s Chinese version. What makes Young’s story unique is the children have to rely on their wits to save themselves. Phelan also draws attention to the hidden images Young has cleverly woven into the story. For example, when the mother is waving goodbye in the opening scene the backdrop’s shape resembles the head of a wolf. In another scene the shadows of tree branches look like a wolf’s mouth is open. It is hidden, subtle images like this that help enhance the story.