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How to choose a book for a child by age in order to instill interest in reading and preserve eyesight

Anastasia Kornilova

knows everything about children's books

Author profile

I am a picky mother: I want my child to have interesting, beautiful and sight-safe books.

In this article, I will not advise authors and specific works - each parent will determine them for the child independently. But I will tell you about non-obvious parameters and technical nuances that you should pay attention to in bookstores.

Age of the child

Consultants in bookstores usually ask the reader's age to recommend a suitable plot: simpler for those who are younger and just learning to read, more intricate for children who already have a good command of this skill and will be able to follow the unexpected twists of the story .

In fact, it is not only the content of the book and the number of illustrations that matter: the age of the child also affects the design of the publication. In order for a book to be safe for a child, publishers must take into account the peculiarities of the development of children's vision at a particular age. Sanitary rules help them not to make a mistake in this, which take into account all possible parameters from the size of the fields to the allowable line length.

To avoid walking around the bookstore with a ruler, parents can rely on the reader's age in the imprint of the book. I will briefly talk about the features of each age period that Sanpin highlights - and about what will help parents identify suitable publications at a glance.

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From birth to three years. Usually, at this age, children cannot read, but this does not mean that they are not interested in books: just the text on the pages, if any, is voiced by their parents. In the imprint it is written: "a book for adults to read to children."

For such books, there are no special requirements for the design of the text and the number of pictures: parents themselves will determine which publications they will be comfortable reading and showing to the child.

Toddlers often like Wimmelbuchs: books with detailed illustrations and no text at all. Adults and children can simply get acquainted with the objects of the world around them or compose different stories from pictures.

There are no words in Sven Nordqvist's "Walk": only intricate pictures that can form into many different plots that readers will come up with. You can buy such a book on Ozone for 542 R

From 4 to 6 years old. During this period, children actively learn to read. It is still difficult for a child to keep attention on homogeneous lines for a long time, so many books for preschoolers combine text, pictures and game elements: for example, opening windows or tasks that suggest finding something on the page, guessing a word, counting images.

To make the text not ripple in the eyes and make it easier for the child to concentrate on reading, the letters should be large enough and the lines long: , health regulations prohibit using a font smaller than 12 pt or printing text in two columns - with the exception of poetry.

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In addition to font size, the shape of letters is important for readability. To make the grapheme easy to read, the strokes should be of the same thickness, and the space inside the sign should be as wide as possible: it will be easier for the child to determine what exactly the letter is in front of him.

Examples of different fonts

Pictures are also important for preschoolers: they help to understand the content of the book and give a break to the eyes. The more pictures in the book, the better: according to SanPin, illustrations should take up at least half of each page.

Pictures should be in color - they are easier for children to perceive, therefore they allow you to get more information from the illustration and evoke a stronger emotional response.

You can safely buy this book for a preschooler: there is little text on the page and enough pictures that will allow the child's eyes to rest from the letters

I also advise you to choose illustrations in which objects are depicted from angles familiar to the child and some details are not blocked by others.

Abstract thinking in preschoolers is still developing: a child may not guess what is shown in front of him if this requires too many mental operations - “push” other objects or “turn” the other side.

The animals in the illustrations for Project Barnabus are depicted so that it is convenient for young readers to see each of them

From 7 to 10 years old. In elementary school, children already read confidently, but it is still difficult to master large amounts of text: when buying a book, you should take into account the same recommendations for the size and type of font that are suitable for preschoolers.

But there may be fewer pictures in the book: a child of this age is able to keep attention on the text for a longer time. This allows students to follow the development of complex plots, but stories should still be entertaining: for example, emotionally engage the child or invite him to solve riddles on the pages of a book.

Children of primary school age often "get used" to the world of books: stories with characters of the same age and realistic illustrations facilitate this process.

Illustrations can intrude directly into the text, like on the left side of this spread: the child sees them simultaneously with reading the text and immediately perceives the story more voluminously. Seven-year-olds and children a little older will simply identify themselves with the first grader Svetlik Tuchkin

From 11 to 14 years old. At this age, children read fluently: you can choose books with smaller print and a minimum number of illustrations - abstract thinking is already developed enough for the child to imagine all the characters in the story.

The type of font is also no longer important: readers of this age will cope with letters of any type.

Black-and-white illustrations, in which the characters are not really visible, are also suitable: the child’s imagination “finishes” all the necessary details there must be logical holes.

At the same time, events and phenomena in the world cease to seem unambiguous: teenagers look in books for answers to complex moral and ethical questions and try to choose a model of behavior that suits them with peers and adults. To satisfy this interest, I recommend choosing books that have adventure, travel, love affairs, or current events.

From 15 to 17 years old. High school students already read like adults: they easily cope with large volumes of texts and do not need illustrations.

In the book "The City of the Sun" by Evgeny Rudashevsky, the design is the same as for adult readers - a small font and no pictures adult world. In books, high school students often look for clues that will help them in this: behavior patterns in different situations and options for reactions to certain circumstances.

Books with characters who find themselves in difficult situations, such as dystopian novels, detective stories, or science fiction stories about distant space travel, are suitable for them.

The book says "for middle school children" and 0+: who is it for?

Publishers are required by law to include two different age labels in their output. One relates to the requirements of Sanpin for the design of publications: in a book for children of middle school age there will be a fairly small text and a small number of pictures - such a layout can adversely affect the children's eyesight.

Marking 0+ is a legal requirement to protect children from information that is harmful to their health and development: it makes it clear if the book contains scenes of violence, death, cruel behavior, sex scenes and swear words. There are five tags in total:

0+ - the book can depict physical and mental violence, but with restrictions: it must be justified by the genre, not look too naturalistic, and only on the condition that good will triumph in the end. For example, such a marking may be on the fairy tale about Little Red Riding Hood, but the detailed story of Zoya Kosmodemyanskaya cannot be released with such a mark.

6+ - in books with this marking, you can talk about minor illnesses, accidents, accidents and other cases of non-violent death, and also about anti-social actions: but always with censure of the characters who commit them. The main thing is that no descriptions in the book could cause horror and panic in children: naturalistic descriptions of funerals cannot be found in such publications.

12+ - cruelty is allowed without a naturalistic depiction of murder and mutilation, occasional mention of drugs and smoking, a description of sexual relations between a man and a woman without a depiction of sex. All this should be described in such a way that the child does not have a desire to follow the example of the characters.

16+ - in the book you can find descriptions of cruelty, serious illnesses, death, drugs, sexual relations and censorship curses. You can’t describe sex in detail, encourage children to use psychotropic substances, swear, justify violence and cause children to feel panic from describing death.

18+ - anything can be found in the book.

Features of the text

When choosing a suitable book for a child, parents usually pay attention to the content of the text: whether the story will be interesting, whether there is harmful information in the book, and whether the worldview of the characters coincides with the views of the family.

All this is certainly important, but I advise you to pay attention to a few more parameters.

Full text or adaptation. Publishing houses sometimes publish the text of a work in a truncated format: for example, to make the story accessible to younger children or if they want to emphasize the artwork.

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Publishers do not always make a note that the book is released in an abridged or adapted version. If you buy a book on the Internet, look at the reviews or check the information on the publisher's website: they may mention that the text in the book is abbreviated. And if you choose a book in an offline store and the work is unfamiliar to you, pay attention to the volume and consult the seller - or compare several different publications with each other.

The AST publishing house published a book about Pinocchio with three-dimensional pictures and moving elements, but for the sake of this beauty, the text had to be sacrificed - a retelling remained from the story

Translation. When buying a book by a foreign author, pay attention to the translator - especially if it is a well-known and old book that has been reprinted many times. For example, "Alice in Wonderland" can be found in the translations of Natalia Demurova, Boris Zakhoder or Vladimir Nabokov: the puns on which the book is built will differ significantly from each other.

For some parents, this is not important: the main thing is that the child gets acquainted with an interesting story. But others may be unpleasantly surprised that the book is not at all like the one they remember from childhood: to prevent this from happening to you, compare different translation options on the Internet and choose your favorite.

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If you are unfamiliar with the book, read excerpts from various translations and reviews from other readers to decide which option is closer to you.

On the page of the book "Sinbad the Sailor" in the "Labyrinth" store, a whole discussion began about the correct translation

Some books have only one translation option: in this case, I recommend at least scrolling through the text before buying. Sometimes the quality of the Russian text leaves much to be desired - you may want to postpone the purchase until a new edition comes out with a different translation.

Author's style. Before buying, make sure that you are close to the values ​​of the author and the expressions that he uses. For example, some parents are not ready to buy books with the word "turd" - while others are happy to laugh at toilet humor with their children. Or someone may not like that the author of the story focuses on gender stereotypes and says that girls should play with dolls and wear bows, and boys should portray soldiers and assemble a designer.

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Of course, you can simply not read “bad” passages to your child, or use this situation to discuss with your family how different views of the world are. But in any case, it is better to learn about such features of the story in advance, rather than face a surprise after the purchase.

Composition of texts. Books with different content are sometimes published under the same title: for example, the title "The Adventure of Electronics" may refer only to the publication of the first story, or it may be on a book that includes all the stories about a schoolboy and a robot. Check in advance what is indicated in the content so that you do not have to return to the bookstore for missing texts or overpay for "extra".

Design details

Well-known books may differ from each other not only in translations, but also in the style of illustrations. I recommend that you do not rely on the choice of the publisher, but carefully look before buying which images adorn the book: perhaps their style will seem unacceptable or anti-aesthetic to you.

It also happens that pictures make too strong an impression on a child: I know adults who still shudder to remember the illustrations they saw in childhood. If you have an impressionable child, it is better to pick up a book with some neutral pictures, even if frightening illustrations have long become classics.

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Business: children's felt books

For parents who buy books online, I recommend paying attention to the parameters of the publication: hard or paperback, book height and weight. Otherwise, you can accidentally order a heavy volume that a child can hardly hold in his hands, or get an unformatted edition that will not fit on any shelf.

Sometimes parents are so upset by poor-quality illustrations that the book has to be thrown away
Ivan Bilibin's illustrations for Russian folk tales adorn many publications, but some of them look really creepy Gustave Doré's illustration for Charles Perrault's tale "The Boy with a Thumb" depicts animal skeletons in a naturalistic way: this can scare kids
Ivan Bilibin's illustrations for Russian folk tales adorn many publications, but some of them look really creepy Gustave Dore's illustration for Charles Perrault's fairy tale "The Boy with a Thumb" naturalistically depicts animal skeletons: this can scare kids

Defects in the book

Please inspect the publication carefully before purchasing: some defects may not only affect readability, but also cause vision problems.

Here are some books not to buy:

  1. With unprinted images, smeared ink, double printing, scratches and stains.
  2. Adhesive bleeds to the edges or inside of pages where sheets are glued together and text and illustrations are damaged.
  3. With warped pages or binding.
  4. With text on a colorful background and printed in white on black.
  5. With thin newsprint instead of standard if this book is for preschoolers.

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“A child sees differently than an adult…”

– Maria Vladimirovna, why do you attach such great importance to the quality of illustrations for children’s books? Is it related to the education of aesthetic taste or something else?

– Taste education is important, but the quality of an illustration aimed at children is determined by several factors. For children of all ages, it is important to correctly identify what is shown in the picture. A real children's book artist always tries to make it easier for the child to "read" the picture. For small children, it is a difficult task to isolate the contour of an object from a noisy background. Therefore, for the youngest subjects, they are usually depicted separately from each other so that their contours do not intersect, and they are placed on a neutral background. Thanks to this, the child can easily focus his attention on the image and carefully examine its essential features.

In addition, children of each age have their own tasks in "reading" and understanding pictures. For children under three years old, it is important to understand who is drawn, what he is and what he is doing. Older people have more opportunities, and it is desirable that the pictures correspond to them. So, children of primary school age, unlike the little ones, are very fond of considering complex multi-figured compositions. They, on the contrary, like to "find everyone" in the graphical noise of overlapping contours.

– Is recognizability especially important when the pictures show something that young children have not yet seen?

- Yes, of course, but oddly enough, this is also important when children look at a familiar object in a drawing and look for essential features of its appearance. They literally check whether he has what he is “supposed to have”.

Many children from one and a half to three years old have not seen real chickens, cockerels, mice, foxes, which are described in fairy tales. The only way to get to know them is to look at the picture with mom and discuss “what the chicken has”: what kind of beak, comb, eyes, wings, feathers, tail, legs, etc. does the chicken have. In order for such a conversation to take place, it is desirable so that the artist draws all this carefully. Therefore, the best artists of children's books, in particular, such as the father and son of E. and N. Charushina, spent a lot of time watching animals and making many "research" sketches and drawings. Then this work was summarized in an image addressed to the child, and he could do the same "research work", looking at the drawing.

- Wouldn't it be boring? Doesn't such a drawing turn into an illustration from an atlas about animals?

- Just not. It is those artists who observed the animal "live" and know its appearance not from the atlas, are able to convey not only the appearance of their character, but also its living essence: habits, emotional expressiveness, character. Unfortunately, now many children's book artists do not bother to do such work as the Charushins. Instead of meeting a living sparrow, they draw it from a book with illustrations by the Charushins.

- Maria Vladimirovna, why did Benois's "ABC" become the subject of your close attention? You often refer to her when talking about book illustrations for older children.

- Firstly, Alexander Benois Alexander Nikolaevich Benois (1870 - 1960) - Russian artist, art historian, art critic, founder and main ideologist of the "World of Art" association, theater designer and stage director of performances. very well understands the psychology of the child. He drew his alphabet at the age of thirty-three (it was published at 1904). Already having his own children, he wanted to convey to them the atmosphere of that wonderful children's world that was imprinted in his memory. The world of a large Russian noble family with French roots and the world of Russian and European culture, which was revealed to him through the books he loved in childhood.

This is an alphabet for fairly large children, from 7 to 10 years old - that is, for children who already know the letters well. The meaning of this alphabet is not to teach letters. It is no coincidence that its full name is “ABC in the paintings of Alexander Benois”. It consists of thirty-five multi-figured paintings, quite complex, and one can immerse oneself in each painting and look at it for a very long time. After seven years, children love such illustrations.

– Isn't Benois' ABC too difficult to understand today's children and even adults?

– From a psychological point of view, the paintings in Benois' ABC are made remarkably finely, thoughtfully, intelligently and can be very interesting and useful to modern children. They were originally designed to be viewed by the child with an enlightened parent who would help the child understand the many cultural associations and references embedded in Benoit's illustrations. The author gave the parent the opportunity to show off his “adult” knowledge, share it with the child, raise his parental authority and at the same time introduce his descendant into the space of different cultures and different eras. However, unfortunately, modern parents, like people of another century, cannot always “decipher” those pictorial clues from Benois that were easily read by the cultured Petersburgers of the early 20th century. Therefore, one of my dreams is to publish A. N. Benois' ABC with a psychological commentary on each picture, which would help any parent, together with their child, find their own way to penetrate each of the situations drawn.

- Could you explain how Benois' ABC is fundamentally different from modern children's books?

– The principles of organization of Benois' ABC are very interesting and maximally focused on the reader. In general, this alphabet is a complete work with a surprisingly well-thought-out content structure.

Looking at the cover, we get acquainted with all the characters of this book, which are brought to the stage of life and presented to the little reader at the bottom of the composition. It is important for a child to initially see everyone and find their bearings: who is here, what they are and who is their boss. By the way, directors of a children's play often do this when, before the start of the performance, all its characters go on stage and freeze so that the children can examine each one, discuss with their adult companion who is who, which makes it easier for the child to recognize the characters when they begin to act.

In addition, on the cover, in a metaphorical form, A.N. Benois's thoughts about what reading is for a child are reported, and there is a message addressed to parents and a small reader that the world of the book that they will now open will be morally pure. It is protected from "evil spirits" with horns and hooves by the long cloaks of angels hanging down the sides like a curtain framing the lower stage with the characters of the book. And inside the world where the characters of the book live, there are also its guardians - the formidable Winds, who vigilantly watch so that the "evil spirits" do not penetrate, and blow it away.

Indeed, Benoit is a firm believer in the safety of children. Despite the fact that the pages of the "ABC" sometimes depict situations that are terrible for a child: Baba Yaga flies (letter "B"), the monster killed some of the knights (letter "R"), a hurricane broke out (letter "U") - nowhere with children nothing bad happens. A hurricane swirled on the streets of St. Petersburg, carried cabs, and horses, and dogs, and uncles, and aunts, but only children were not among the victims of the hurricane - after all, it was promised that nothing bad would happen to them.

- You mentioned that among the characters of the ABC, Benoit singled out someone as the main one. Who is he?

– In the center of the group of characters stands a akimbo Arapchenok, bold and playful. He stepped forward as if he were the leader. He is 8-9 years old. By age, he is close to the child-reader, who can easily identify with him. And this is important, because Arapchenok further plays the role of a through hero of this book. We meet him on the title page, where he lies with two boys and reads a book. Then he appears on a sheet with the letter "A", at the end of the book on the letter "Z", and we see him advertising Benoit's ABC on the back of the cover. The presence of such a cross-cutting character is very important for the child - this is a familiar figure that serves as a guide in the process of getting to know a new book.

I must say that there is another cross-cutting character in the "ABC" - a large and multi-generation noble family, whose life is the plot of many pictures in the book. Which does not prevent Benoit from fulfilling his favorite mission of an educator - to acquaint the reader along the way with all sorts of interesting things and events. To do this, he organizes almost every spread of the book in the following way: the left page is educational, and the right one is usually devoted to family and children's life.

Benois' ABC is certainly a work of art. Can you learn to read with it?

- Absolutely. Each sheet must have an image of a letter - both large and small, and a keyword is written below. Moreover, this word is closely connected with the image - it serves as a bridge between the letter and the pictorial text. In the word, the desired letter is highlighted in color, and the child, having examined the letter, understands what the image unfolding in front of him means.

- From what you're saying, understanding children's book illustrations is a fairly complex cultural skill.

- Of course it is. In fact, a child from childhood should be taught to "read pictures" in much the same way as they are taught to read a verbal text. How to do this with young children, parents more or less understand. For example, they themselves guess to ask three basic questions that help the child navigate the picture. The first question is who is it, what is it? It helps to find all the characters in the picture: people, animals, plants, and various objects. The ability to detect and correctly name everyone is very important. The loss of any character that has not been seen is the loss of a piece of meaning, without which the understanding of the picture will often be incomplete.

The second question is what, what, what? It helps to learn how to look at the drawn characters and notice the features and characteristics that the author-artist endowed them with.

The third question is what is he (she, it) doing? He aims the child to notice the nature of the activity of each character and name it using verbs. This question is more complex than the first two, and very significant. As soon as the answers appeared, the meaning of the interactions of the characters depicted in the picture immediately begins to open before the viewer.

- Parents usually think that if a child can answer these questions, it means that he can understand pictures.

- But this is the very first level, worthy for a child under three years old. And there is still a long way to go. The next step for the little viewer will be to learn how to answer more difficult questions. For example, where is the character looking and what caught their attention? It is also important to be able to understand what the character wants. And then what does he think? Answering these questions, the child gradually learns to mentally imagine the mental world of the drawn characters. Psychologists consider this ability to be the most important basis for the child's future ability to understand the psychology of the people around him, an ability that determines the quality of the formation of his social intelligence. It is clear that this ability is developed not only through looking at pictures. But, undoubtedly, it can be said that communication with pictures made by a good artist, who endowed the drawn characters with a spiritual world, will be extremely useful for a child.


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