David Macaulay's acclaimed 1990 children's picture book, "Black and White," which earned the prestigious Caldecott Medal for illustration in 1991, was the culmination of a creative process that began in the 1980s. Macaulay conceived the idea of a book centered on journeys, a concept that resonated with him, particularly the notion that turning a page could itself be a journey. This foundational idea eventually led him to combine several previously
unrelated sketches from his sketchbook into the four distinct yet interconnected stories that form the book's unique narrative. The deliberate choices in its creation, from visual separation to printing technology, highlight Macaulay's innovative approach to the picture book format.
Intentional Visual Separation and Artistic Mediums
Macaulay's vision for "Black and White" was to ensure each of the four stories possessed a unique visual identity. He explicitly stated, "I did everything I could to visually separate each fragment." This commitment to distinctiveness involved selecting a different medium and a unique set of characters for each story. For instance, "Seeing Things" was brought to life using watercolor, giving it a particular aesthetic. "Problem Parents" was illustrated with pen and ink, and its dialogue was conveyed through captions, adding another layer of visual and textual differentiation. "A Waiting Game" utilized colored ink, while "Udder Chaos" also employed colored ink but notably had the lines removed, contributing to its distinct appearance.
This meticulous approach to visual separation was not merely an artistic flourish; it was integral to the book's complex structure. The printing technology available at the time of "Black and White's" publication was relatively new, and it played a crucial role in enabling the production of a book with such varied illustration styles and typesets. This technological advancement allowed Macaulay to realize his ambitious artistic vision, creating a multifaceted visual experience that was groundbreaking for its era and contributed to the book's recognition as a significant work in children's literature.
Overlapping Narratives and Thematic Cohesion
Despite the intentional visual separation, Macaulay designed the four stories to overlap in subtle yet significant ways, leaving the reader to discover these connections. The stories include "Seeing Things," about a boy on a train trip; "Problem Parents," detailing siblings whose parents behave unusually; "A Waiting Game," focusing on people waiting for a delayed train; and "Udder Chaos," which describes cows escaping and features a robber. These narratives, while distinct, share common threads and visual cues that link them together.
Trains, for example, serve as a recurring motif across all four stories, providing a thematic link. There is also a thematic coherence found in the two stories presented on the left-hand pages, where two sets of children are attempting to comprehend unusual events and simultaneously wish to be reunited with their parents. The book also subtly communicates the idea that nothing is as simple as it appears, a concept reinforced by the cover's title, "Black and White," which is printed in blue, white, and green, and in red on the title page. This red font has been interpreted as a playful nod to the riddle "What is black and white and read all over? Newspapers," given the prominent role newspapers play in the book's various narratives. This intricate design and thoughtful integration of themes underscore the careful craftsmanship behind Macaulay's Caldecott-winning work.
