Best Selling Books by shaun Tan

Un dia, mentre passeja per la platja a la recerca de taps d’ampolles per a la seva col·lecció, un jove es troba amb una criatura estranya, d’aire trist, desemparada i solitària, la cosa perduda. Mentre espera en va que algú vingui a recollir-la s’estableix una relació intima entre ells. A la platja ningú no en sap res, de la criatura, ni tan sols l’han notat. Llavors decideix dur-la a casa seva on la cosa perduda passa desapercebuda per als seus pares, tan atents a les notícies oficials de desgràcies alienes que, no obstant això, quan finalment la noten gràcies a les observacions del jove, la menyspreen, l’exclouen i se’n desentenen. El jove no sap què fer fins que al diari troba un anunci del Departament Federal d’Objectes Inútils. Una vegada arribats al DFOI la cosa fa un sorollet d’infelicitat; mentre ell busca un bolígraf amb què emplenar els interminables models burocràtics, un empleat de la neteja li aconsella que si en alguna cosa aprecia a la cosa perduda no la deixi allí i li lliura una targeta amb un símbol esperançador. Després d’haver donat moltes voltes per la ciutat aconsegueix trobar l’adreça de la targeta en un amagat i fosc portal d’un carreró anònim. Darrere de la porta descobreix un inventari d’estranys i inusuals objectes perduts.

Vijftien verhalen (ik-figuur) die zich afspelen in een verre voorstad. Het zijn bizarre gebeurtenissen, die tegelijkertijd vanzelfsprekend zijn. Met kleurrijke illustraties met veel details. Vanaf ca. 14 jaar.

Connaissez-vous le buffle d''eau, au bout de la rue ? Le scaphandrier près du passage souterrain ? Savez-vous pourquoi les chiens aboient au milieu de la nuit ? Découvrez les mystères du quotidien...Des histoires extraordinaires, pleines de justesse et de poésie ; des illustrations éblouissantes, un ouvrage unique, d''une grande virtuosité. L''auteur de Là où vont nos pères nous plonge avec humour dans une dimension inconnue.

In the ''After Dark'' series for 10 to 14 year olds. Horror story about a deadly treasure hidden in a playground. The author/illustrator has won the Illustrators of the Future Award and the Australian National Science Fiction Best Artist Award.

Poster designed by Shaun Tan promoting Children''s Book Week, 2016. Illustration by Tan of animals and objects reading books against an orange landscape. Banner with Children''s Book Week! at foot of poster.

Een meisje voelt zich depressief, omdat de dag zinloos lijkt en leeg. Tot zij ziet hoe een klein zaadje kan uitgroeien tot een mooie, rode boom. Groot formaat prentenboek met kunstzinnige illustraties en korte, filosofische tekst. Vanaf ca. 9 jaar.

El rey pajaro,los antropologos, la cosa del cuarto de baño, el koala de aceite de parafina...¿qué tienen en común? Nada! Excepto que todos viven en el singular mundo de Shaun Tan. En este volumen se recopilan por primera vez las ilustraciones de “historias no contadas”, estsudios del natural, dibujos preliminares para libros, cine y teatro, y muchos garabatos más procedentes de sus cuadernos de bocetos. Junto con los comentarios del autor, nos ofrecen una aproximación especial en la imaginación de uno de los narradores contemporaneous de más éxito en todo el mundo, el creador de Los Conejos, La cosa perdida, El árbol rojo, Emigrantes y Cuentos de la periferia.

The Odditoreum contains a parade of curiosities large and small from deep within the vaults of the Powerhouse Museum. Award-winning author and illustrator Shaun Tan has created an intriguing story for each, blurring fact and fantasy, in a very potent and funny mix for readers of all ages. And he''s left some pages blank, so you can write your own fanciful stories.

« Les oeuvres rassemblées dans ce recueil représentent un échantillon de mon travail au cours de ces douze dernières années, allant de dessins très détaillés à de simples griffonnages. En procédant à leur sélection, j’ai choisi de montrer un éventail de mes centres d’intérêts : non seulement mon penchant habituel pour les mondes et les créatures imaginaires, mais aussi les croquis sur le vif d’individus, d’animaux et de paysages qui forment l’ossature invisible de tous mes autres travaux. J’ai voulu également mettre en évidence l’espèce de spontanéité que l’on ne retrouve plus dans les oeuvres achevées ».

A boy scavenges the beach for his bottle top collection when he discovers a lost "thing"; a large, freakish creature that looks like a cross between a crab and a pot-bellied stove. Thus begins a witty and strange narrative set in a creepy, futuristic environment. Shaun Tan''s artwork, collages comprised of such unusual elements as old textbook pages, oil paint, gears, and tubes, inspires young readers to figure out what goes where, and why, in this challenging mix of science fiction and puzzle book.

Unanimes dans le monde entier, la critique et le public ont fait de Là où vont nos pères un nouveau classique. Mais comment ce chef-d''oeuvre muet a-t-il été créé, et quelles sont les inspirations derrière cette histoire unique et universelle ? Shaun Tan explique, dans Recherches sur un pays sans nom, les origines de ses idées et le cheminement artistique, depuis les premières recherches jusqu''aux images finales. Et en retraçant l''évolution de son projet, il éclaire brillamment la force du langage silencieux des images, l''esprit de l''expérience migratoire et le voyage créatif d''un artiste.

Three stories explore how we lose and find what matters most to us, as a girl finds a bright spot in a dark world, a boy leads a strange, lost being home, and a group of peaceful creatures loses its home to cruel invaders.

Composite materials are often subjected to a range of conditions that cause material degradation, eventually leading to macroscopic damage and possible premature failure. Self-healing materials are a new class of material developed to address this problem. These materials have the ability to repair themselves when they are damaged, allowing load-bearing capabilities or barrier properties lost to damage to be recovered. Three methods of implementing self-healing were addressed in this study: composite laminates containing hollow glass fibres, self-healing with a latent hardener phase dissolved in a polymer matrix, and the addition of microencapsulated resins into a thermoset material. Hollow glass fibres were used as a method of keeping two components of epoxy resin and hardener separate in a composite laminate. Indentation damage applied to the laminate caused the resin and hardener to mix, react, and cure. The damage was qualitatively examined using micro-CT scanning, confocal microscopy and penetrant dye, but there was no conclusive evidence of resin filling into cracks and repairing damage. Mechanical testing produced mixed results, suggesting that the addition of hollow fibres had a negative impact on the mechanical properties of the composite. Sisal fibres were loaded with boron trifluoride (BF3), a highly reactive curing agent, in order to model the migration of BF3 into epoxy resin. There were several difficulties in ensuring fibre coating for short fibres. Individual long fibres were able to be successfully coated, which allowed the movement of BF3 into epoxy to be measured via energy dispersive X-ray spectroscopy (EDS). Some notable observations were made regarding the uptake of BF3 into sisal fibres; however, ultimately the use of BF3 did not necessitate the requirement for modelling and so research was discontinued. Microcapsules containing epoxy resin and mercaptan hardener were embedded into epoxy and subjected to two different forms of fracture testing: double torsion and tapered double cantilevered beam (TDCB). The former used specimens that were easy to create and test; however manufacturing flaws caused crack deviations away from the intended crack plane and thus poor self-healing performances were achieved. TDCB specimens were slightly more complicated to prepare; however the results were positive, with self-healing efficiencies of up to 95% achieved. Scanning electron microscopy (SEM) showed good adhesion between crack surfaces. Microcapsules containing self-healing agents were also incorporated into composite laminates. Damage behaviour was characterised using a damage mechanics theory. As the initial approach did not allow a direct comparison between the damaged and healed states of the material, a new methodology was developed to take into account the energy levels of the material in order to quantify self-healing performance. At the particular damage level of 3.0% strain, a microcapsule concentration of 10% allowed a self-healing efficiency of 23% to be achieved. This method of modelling the self-healing composite has future potential and warrants further investigations.