In 1920 W. E. B. Du Bois edited The Brownies’ Book, the first periodical created for African American children. Now, The New Brownies’ Book: A Love Letter to Black Families reimagines that seminal periodical, building on the original goal of inspiring the hearts and minds of Black children across the country. Edited by scholar Karida L. Brown and artist Charly Palmer and designed by Kieron Lewis, more than 50 contemporary Black artists and writers fill the book with essays, poems, photographs, paintings and short stories reflecting on the joy and depth of the Black experience—creating an immersive treasure trove that reminds readers of all ages that Black is brilliant, beautiful and bold.
As the sole designer of the publication, Lewis created the cover and interior. The editors of the new book did all the research and chose the illustrators and writers. Nonetheless, I asked Lewis to explain the process of making The New Brownies’ Book come to life.
Can you give the reader some background on this book?
In January 1920, the civil rights activist and sociologist W. E. B. Du Bois (1868–1963) edited the original The Brownies’ Book: A Monthly Magazine for Children of the Sun. As the first periodical for African American youth, this was an important work in the history of children’s literature. The work included art, stories, letters and activities to inspire children, share Black history and celebrate their identities.
Regarding its purpose and design, the publication stated that “it aims to be a thing of Joy and Beauty, dealing in Happiness, Laughter and Emulation, and designed especially for Kiddies from Six to Sixteen.”
A century later comes the updated version of the beloved magazine. The New Brownies’ Book revives its mission to inspire the young readers of today.
How did you go about resurrecting it for a contemporary audience?
We included the artwork of contemporary artists across various disciplines. Each artist featured is a master of their craft and this is evident through their visually engaging and thought-provoking artwork. I was keen to go large with the artwork, whether on a double-page spread or a single full-bleed page. …
Also, I used two types of fonts. One serif typeface, Baskerville, for the body copy, and a sans-serif, Brandon Grotesque, for the titles. Both fonts work in unity to provide the reader with the perfect balance of elegance with the body copy, against a more modern feel through the sans-serif font.
What were the main considerations you made to generate something contemporary? (Or, is the name W.E.B. Du Bois hook enough?)
Those who have read literature focused on empowering the Black community most likely have heard the name W.E.B Du Bois. However, this is not the case for the general public, and this book aims to attract a wide range of readers. This was my opportunity to use graphic design as an effective tool to engage different types of audiences. I wanted to design a publication that would entice today’s young readers as much as make them feel that they belong to a powerful and inspirational community.
The book feels precious and looks luxurious. It portraits what it means to be Black today. For the cover imagery, I was conscious to select an image that would best capture the reader’s attention. The chosen one shows a young Black girl dressed in a ballerina outfit staring confidently ahead. Hopefully, this distills the message of uplifting, which is the focal point that the authors wanted to communicate as the ethos of the publication.
