#yury yakovlev

[acupofbritishearlgrey]

'Ivan Vasilievich: Back to the Future' a.k.a. 'Ivan Vasilievich Changes His Profession' (1973), dir. Leonid Gaidai

#soviet cinema #cinemaspam #dailykino #filmgifs #filmedit #worldcinemaedit #Ivan Vasilievich Back to the Future #Mikhail Bulgakov #yury yakovlev #leonid kuravlyov #leonid gaidai #my gifs #sovietcinemaedit #Иван Васильевич меняет профессию #Михаил Булгаков #юрий яковлев #леонид куравлёв #леонид гайдай

[welldonekhushi]

Another fanart over one of my favourite Soviet movies! Last year I watched a movie called "Ivan Vasilievich Changes Profession" and it was directed by the same person who also created "The Diamond Arm"!

I absolutely loved this movie and one of my faves was Ivan The Terrible, who teleported to the future and tried to adjust in its new surroundings, so go give it a watch if you haven't, it's free to watch on YouTube! 🥹

#ivan vasilievich changes profession #иван васильевич меняет профессию #ivan vasilievich back to the future #soviet film #leonid gaidai #ivan the terrible #digital art #digital sketch #sketch #fanart #artists of tumblr #yury yakovlev

[quietparanoiac]

Дамы и гусары | Damy i huzary | Ladies and Hussars (1976)

#Дамы и гусары #Дамы и гусары 1976 #Damy i huzary #Ladies and Hussars #Soviet cinema #Soviet TV #period drama #Aleksander Fredro #Yury Yakovlev #Larisa Pashkova #Alla Kazanskaya #Aleksei Kuznetsov #Vladimir Osenev #Lyudmila Tselikovskaya #Ekaterina Raykina #Юрий Яковлев #Алла Казанская #Людмила Целиковская #Екатерина Райкина #Алексей Кузнецов #Владимир Осенев #Лариса Пашкова #my gifs #that moment where you expect Edmund to ask Zosia for diamond aglets/studs #if you've seen Soviet musketeers you know what I mean

[genevieveetguy]

The Ascent (Voskhozhdenie), Larisa Shepitko (1977)

#Larisa Shepitko #Yuri Klepikov #Boris Plotnikov #Vladimir Gostyukhin #Sergey Yakovlev #Lyudmila Polyakova #Viktoriya Goldentul #Anatoliy Solonitsyn #Mariya Vinogradova #Nikolai Sektimenko #Vladimir Chukhnov #Pavel Lebeshev #Alfred Schnittke #Valeriya Belova #1977 #woman director

[sovietpostcards]

“Umka” by Yuri Yakovlev, cover art by Georgiy Nikolsky (1969)

#1960s #children's books #book covers #Illustration

[russiawave]

The Irony of Fate, or Enjoy Your Bath! usually shortened to The Irony of Fate, is a 1976 Soviet romantic comedy television film directed by Eldar Ryazanov and starring Andrey Myagkov, Barbara Brylska, Yury Yakovlev and Lyubov Dobrzhanskaya. The screenplay was written by Emil Braginsky and Ryazanov, loosely based on the director's 1971 play, Once on New Year's Eve.

Filmed at the Mosfilm Studios, The Irony of Fate doubles as a screwball comedy and a love story tinged with sadness. It was one of the most successful Soviet television productions and remains a highly popular New Year's Eve classic in Russia and the post-Soviet states, with millions tuning in to rewatch it every New Year's Eve.

english subtitles

[awesome-casuallyfamouscollector]

The Aeroprakt A-32 is a two-seat, high-wing, tricycle gear ultralight aircraft that was designed by Yuri Yakovlev and is manufactured by Aeroprakt in Ukraine, Limbaži, Latvia, June 10, 2023. Photo by D.P.

P.S. Aircraft is registered in Lithuania...Despite the efforts of the Russians and their hired "useful fools" to destroy the economies of the Baltic states and Ukraine, the countries of the region are developing mutual economic relations also in such a technologically demanding sector as aviation...

#Latvia #Limbaži #Aeroprakt A-32 #made in ukraine #original photography on tumblr #daily life #Baltic States #Northern Europe #road trip #aircraft #ultralight aircraft #airshow #free world #economy

[byneddiedingo]

Boris Plotnikov in The Ascent (Larisa Shepitko, 1977)

Cast: Boris Plotnikov, Vladimir Gostyukhin, Sergey Yakovlev, Lyudmila Polyakova, Viktoriya Goldentul, Anatoliy Solonitsyn, Mariya Vinogradova, Nikolai Sektimenko. Screenplay: Yuri Klepikov, Larisa Shepitko, based on a novel by Vasiliy Bykov. Cinematography: Vladimir Chukhnov, Pavel Lebeshev. Production design: Yuriy Raksha. Film editing: Valeriya Belova. Music: Alfred Schnittke.

In some ways, The Ascent is the movie that the overpraised The Revenant (Alejandro González Iñárritu, 2015) could and perhaps should have been: a rewarding but harrowing story, made without flashy technology, that asks as much of the viewer as it did of the actors and crew. Made under extreme winter weather conditions -- temperatures dropped to 40 degrees below zero -- in January 1974, it tells the story of two Russian partisans in World War II, Sotnikov (Boris Plotnikov) and Rybak (Vladimir Gostyukin), who go in search of food for their small group of fellow resistance fighters. When they're spotted by some German soldiers, Sotnikov kills one but is wounded in the leg. Through deep and blinding snow -- there's a memorable scene in which Rybak has to thaw a frozen Sotnikov with his own breath -- Rybak helps Sotnikov reach a cabin where a young woman, Demchikha (Lyudmila Polyakova), who lives alone there with her three children, helps them hide in the attic. But they're discovered by the Germans and taken to their headquarters in a Russian village, where the head of the collaborating Russian police, Portnov (Anatoliy Solonitsyn), interrogates them. Portnov tortures Sotnikov first, branding a star onto his chest, but Sotnikov stoically resists. When Rybak is brought in, he assumes that Sotnikov has already told everything, so he proceeds to give Portnov as much information as he has. To his dismay, he is sentenced to death along with Sotnikov, Demchikha, and two others. Sotnikov, gravely ill, confesses that he killed the German and maintains that he alone of the five deserves execution. Rybak, on the other hand, persuades Portnov that he could be of use as a collaborating policeman, and is spared execution. After the others are hanged, Rybak becomes the target of the contempt of the witnessing villagers, who mutter "Judas" at him. Torn by guilt, he tries to hang himself but fails, and at the end is left to his misery. This was the last film by Larisa Shepitko, who died in an automobile accident at the age of 41. She and her actors and crew underwent great hardships filming it, coming down with frostbite, but the film was almost suppressed by the Soviet authorities, who thought it was too much of a Christian parable. In fact, Shepitko had insisted on an actor who resembled traditional images of Christ, and Plotnikov's lean, ascetic appearance is heightened by the cinematography of Vladimir Chukhnov and Pavel Lebeshev, especially as Sotnikov stands with the noose around his neck at the film's climax. Fortunately, Shepitko and her husband, director Elem Klimov, were able to gain the support of former World War II partisans who testified to the veracity and emotional power of the film. 

#The Ascent #Larisa Shepitko #Boris Plotnikov

[mtvunplugged1996]

hello <3 can you tell me your opinions about both book anna karenina and it's adaptations? i always wanted to ask about it. i hope everything is alright <3 sending hugs via screen

OMG, the perfect ask. Yes, I can absolutely tell you my thoughts!! And thank you, everything is mostly all right :)

Anna Karenina the book is incredible; I know this sounds like a strange thing to say about an 800-page Victorian novel, but it's actually quite the page-turner. It's very gripping. The sentence-level writing isn't great—Tolstoy repeats words a lot, which bothers me—but the plot is exciting and the characters are so amazing. Tolstoy's sense of story and characterization is really remarkable. Anna Arkadyevna herself is a wonderful character, but the supporting cast is just as good if not better. Stiva is endlessly entertaining, Kitty is charming in her childish way, Lyovin is of course so endearing. It's definitely worth reading.

The thing about Anna Karenina the book is that it almost feels like a screenplay in epic novel form. The characters and settings are very clearly defined and the dialogue is sharp and dramatic. So you'd think—or at least I thought—that there would be at least one really, really good adaptation out there! But there isn't...

The early adaptations are okay—Greta Garbo is one of my least favorite Annas, but Vivien Leigh is wonderful.

From what I've seen of it, the 1967 Soviet version is probably the closest to the book. But other than Yury Yakovlev (my beloved), the casting in that version feels off to me.

The 1977 BBC version shouldn't even count. Stuart Wilson as Vronsky is a crime.

The 1997 version is generally thought to be awful, but I love Sophie Marceau as Anna, and the costumes are to die for. I want ALL of those dresses! The soundtrack is also amazing; putting the Pathetic Symphony over Anna's suicide is so genius <3

The 2012 version is... ugh. I don't hate it, but I don't like it either. For me, Keira Knightley is the biggest weak link. I watched an interview where one of the producers said "Keira was the obvious choice" and honestly I find that really hard to believe. I say this as someone who looks VERY much like Keira: I don't think she's pretty enough to play Anna. She looks too Hollywood. I also hate the costumes in the 2012 version, and fail to understand why Jacqueline Duran keeps getting nominated for Oscars. What happened to the wonderful costumes of Death in Venice and The Age of Innocence and A Room with a View?? However, the 2012 version has its moments: the soundtrack is great, and Aaron Taylor-Johnson as Vronsky... oohohohoh <33

The 2013 version (the Italian one that no one's ever heard of) is so awful, I don't think it's really worth discussing. The editing is bad, the acting is bad, the soundtrack is bad, the costumes are atrocious, etc, etc. Vittoria Puccini and Santiago Cabrera are VERY pretty but that's really the only good thing about it.

Now, the 2017 version... people tend to love or hate this one. I'm personally super sensitive, so I don't really like watching the gory war scenes, but I think that's more me than the film itself. Maksim Matveyev is the best Vronsky in my opinion, and the costumes and uniforms are STUNNING. I don't care for the soundtrack, and, as usual, I think Anna is miscast: like Keira Knightley, Elizaveta Boyarskaya just looks too Hollywood for my taste. I also don't know why they didn't show Anna's suicide on screen. I think shooting her suicide always show's off the director's taste, creativity, and values—or lack thereof—and I find it really interesting to compare the different versions.

Anyways, thank you so much for asking—as you can tell I have a lot of opinions about this!! :)

#asks #nyusa #anna karenina

[mariacallous]

On June 29, the Moscow Culture Department dismissed the heads of three of the city’s theaters. At the Gogol Center, artistic director Alexey Agranovich and director Alexei Kabeshev will be replaced by Anton Yakovlev and Alexander Bocharnikov (and the theater will revert to its old name, the Gogol Theater). At the Sovremennik Theater, a new artistic council will replace artistic director Viktor Ryzhakov, and Yury Kravets will replace director Tatyana Baranova. Iosif Raikhelgauz is out at the Modern Play School theater, to be replaced by Dmitry Astrakhan. The official reason for the personnel changes is simple contract expirations — but the timing suggests otherwise. Meduza gives a rundown of who’s out and who’s in on the Russian theater scene.

[misspeppermint2003]

Fact: In the 24th episode of the first season, Chuyko was arrested due to his political corruption.

#servant of the people #kvartal 95 #fandom questions #fandom #character quiz #quizzes

[gossipify]

Kamila Valieva appeared in public for the first time since WADA demanded to deprive her of three medals

Kamila Valieva appeared in public for the first time since WADA demanded to deprive her of three medals

______________________________ November 16 at the cinema center “October” was the premiere of the film “Our Winter” by the Yakut director Stepan Burnashev. The main roles in the film were played by Irina Mikhailova (“Republic Z”, “Nuuccia”) and Ilya Yakovlev (“Ichchi”). Ksenia Sobchak starred in a cameo role. The guests of the premiere were Yulia Khlynina, Yuri Bykov, Danila Belykh, Edik Yakut,…

View On WordPress

[2022504jessicapressnell]

Week 2: Type Today - Spectral

About

Spectral was commissioned to be primarily used with Docs and Sheets, Google’s collaborative office-suite programs. Designed for on-screen performance, Spectral occupies a narrow fringe of multipurpose text typefaces that also thrive in critical reading environments. A straightforward serif face in seven weights, Spectral aims to offer an efficient, beautiful design that works well in mainstream productivity applications.

Features

Small capitals, case sensitive forms, standard ligatures, discretionary ligatures, proportional lining figures, proportional oldstyle figures, tabular lining figures, tabular oldstyle figures, ordinals, fractions, subscript / inferiors, superscript / superiors, slashed zero, five stylistic sets

Languages

Afrikaans, Albanian, Azeri (lat), Belarusian, Bulgarian, Catalan, Chechen, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Finnish, French, Gaelic (Irish), Galician, German, Hungarian, Icelandic, Ingush, Italian, Kazakh, Kurdish (lat), Kyrghiz, Latvian, Lithuanian, Mongolian (cyr), Mongolian (lat), Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovene, Spain, Swedish, Tadzhik, Tatar, Turkish, Turkmen, Ukrainian, Uzbek (lat)

Authors

Yury Ostromentsky

Graphic and type designer, co-founder of type.today store. Graduate of the Moscow State University of Printing Arts (Department of Arts and Technical Design of Printed Materials). Yury worked as a designer and art director for publishers and design studios. From 2004 to 2012, he was art director with Bolshoy Gorod (Big City) magazine. In 2004, he and lya Ruderman, Dmitry Yakovlev, and Daria Yarzhambek launched the DailyType webpage. Later in 2014, Yury and Ilya Ruderman founded CSTM Fonts type design studio which released Pilar, Big City Grotesque, Kazimir, Navigo, Normalidad, RIA Typeface, Lurk, Loos, Maregraph typefaces and CSTM Xprmntl series, as well as Cyrillic versions of Druk, Graphik, Spectral, Stratos and Apoc. The works by Ostromentsky and CSTM Fonts were awarded by European Design Award, Granshan and Modern Cyrillic Competition.

Ilya Ruderman

Ilya is a type and graphic designer and teacher, lives and works in Barcelona. He is a graduate of the Moscow State University of the Printing Arts (2002), where his graduation project was done under the supervision of Alexander Tarbeev. He has a MA degree in type design from the Type & Media program at the Royal Academy of Art in the Hague (2005). After completing the program, he returned to Moscow, where he has collaborated for a number of media: Kommersant, Afisha, Moskovskiye Novosti, Bolshoi Gorod and Men’s Health Russia. In 2005-2007 he was art director for Afisha’s city guidebooks, following which he was art director for RIA-Novosti, a news agency, for several years. In 2007–2015 he has also supervised the curriculum in type and typography at the British Higher School of Art and Design in Moscow. He has been very active as a consultant on Cyrillic since 2008. In 2014 he founded CSTM Fonts with Yury Ostromentsky.

Typefaces by Ilya Ruderman: BigCity Grotesque Pro, Kazimir, Kazimir Text, Navigo, Permian (a typeface-brand for the city of Perm) and Cyrillic versions of: Austin, Dala Floda, Graphik, Marlene, Moscow Sans (as a consultant), Typonine Sans, Thema.

CSTM Fonts

Ilya Ruderman and Yury Ostromentsky (CSTM Fonts)

They are both graphic and type designers. Founders of CSTM Fonts (2014) type foundry and a new font distributor type.today (2016).

Graduated from Moscow State University of Print (Graphic Design Department), where they took Alexander Tarbeev’s classes. Later Ilya Ruderman graduated from Type & Media (Royal Academy of Art), the Hague, the Netherlands. After graduation he was a tutor of Type&Typography course at British Higher School of Art and Design, Moscow (2008-2015), was an art-director of information agency RIA Novosti. He is an author of cyrillic versions of such typeface as Lava, Graphik, Neutraface and others, that was made for such studios as Typotheque, Commercial Type, Typonine and House Industries. He is an author of: Permian typeface, Big City Grotesque and several other corporate typefaces.

Before 2013 Yury Ostromentsky worked mostly as an editorial designer and art-director of BigCity Magazine, where he used his personal lettering, that was the base of the Pilar typeface, released by CSTM Fonts last year. He is an author of several book series designs and logotypes.

Both typefaces of Ilya Ruderman and Yury Ostromentsky were the winners of such type design competitions as Modern Cyrillic 2009, Modern Cyrillic 2014, Granshan 2011, European Design Award 2012. Kazimir typeface and Tele2 Typefamily, the CSTM Fonts’s latest releases, were among the winners of Granshan 2015.

Jean-Baptiste Levée

Jean-Baptiste Levée works methodically in a process where history and technology are approached altogether within the nuances of artistry. He manufactures functional, yet versatile digital platforms for designers to build upon.

Levée has designed over a hundred typefaces for industry, moving pictures, fashion and media. He is the founder of the independent foundry Production Type, and a partner in tech startup Prototypo. His work has won multiple awards and has been shown internationally in group and solo shows. It is featured in the permanent collections of the French national library (BnF), the Decorative Arts museum of Paris and the National Center of arts (Cnap); of the Newberry Library in Chicago, and several printing museums in Europe. He is a board member at ATypI (Association Typographique Internationale) and consults as a design expert advisor for the French Public Investment Bank (BPI) where he is contributing to the spread of design in innovative businesses.

Levée curates exhibitions on typeface design, organizes research symposiums and teaches typeface design at the Amiens school of Arts & Design and at the University of Corte. He is a typography columnist and editor on Pointypo.com.

Production Type

Based in Paris, Production Type is a digital type design agency founded in 2014 by Jean-Baptiste Levée. Its activities span from the exclusive online distribution of its retail type for design professionals, to the creation of custom typefaces for the industrial, luxury, and media sectors. Production Type’s collection is well known for gathering talented and innovative designers, and strives to release contemporary, unique typefaces for demanding designers. Through numerous awards (D&AD, Type Directors Club, Tokyo TDC…), the agency has also been acclaimed for its projects for Renault, Vanity Fair or Courrèges.

[quietparanoiac]

You wanted advice: take what they give you.

Дамы и гусары | Damy i huzary | Ladies and Hussars (1976)

#Дамы и гусары #Дамы и гусары 1976 #Damy i huzary #Ladies and Hussars #Soviet cinema #Soviet TV #period drama #Aleksander Fredro #Юрий Яковлев #Алексей Кузнецов #Yury Yakovlev #Aleksei Kuznetsov #my gifs #Yakovlev might be a rather strange cast choice for Major #even in 1976 - not to mention the first presentation of this production #but his comedic talent shines

[2022-504-izzymcbeth]

SPECTRAL: TYPE TODAY

https://type.today/en/spectral

ABOUT Spectral was commissioned to be primarily used with Docs and Sheets, Google’s collaborative office-suite programs. Designed for on-screen performance, Spectral occupies a narrow fringe of multipurpose text typefaces that also thrive in critical reading environments. A straightforward serif face in seven weights, Spectral aims to offer an efficient, beautiful design that works well in mainstream productivity applications.

FEATURES Small capitals, case sensitive forms, standard ligatures, discretionary ligatures, proportional lining figures, proportional oldstyle figures, tabular lining figures, tabular oldstyle figures, ordinals, fractions, subscript / inferiors, superscript / superiors, slashed zero, five stylistic sets

LANGUAGES Afrikaans, Albanian, Azeri (lat), Belarusian, Bulgarian, Catalan, Chechen, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Finnish, French, Gaelic (Irish), Galician, German, Hungarian, Icelandic, Ingush, Italian, Kazakh, Kurdish (lat), Kyrghiz, Latvian, Lithuanian, Mongolian (cyr), Mongolian (lat), Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovene, Spain, Swedish, Tadzhik, Tatar, Turkish, Turkmen, Ukrainian, Uzbek (lat)

AUTHORS

Yury Ostromentsky

Graphic and type designer, co-founder of type.today store. Graduate of the Moscow State University of Printing Arts (Department of Arts and Technical Design of Printed Materials). Yury worked as a designer and art director for publishers and design studios. From 2004 to 2012, he was art director with Bolshoy Gorod (Big City) magazine. In 2004, he and lya Ruderman, Dmitry Yakovlev, and Daria Yarzhambek launched the DailyType webpage. Later in 2014, Yury and Ilya Ruderman founded CSTM Fonts type design studio which released Pilar, Big City Grotesque, Kazimir, Navigo, Normalidad, RIA Typeface, Lurk, Loos, Maregraph typefaces and CSTM Xprmntl series, as well as Cyrillic versions of Druk, Graphik, Spectral, Stratos and Apoc. The works by Ostromentsky and CSTM Fonts were awarded by European Design Award, Granshan and Modern Cyrillic Competition.

Ilya Ruderman

Ilya is a type and graphic designer and teacher, lives and works in Barcelona. He is a graduate of the Moscow State University of the Printing Arts (2002), where his graduation project was done under the supervision of Alexander Tarbeev. He has a MA degree in type design from the Type & Media program at the Royal Academy of Art in the Hague (2005). After completing the program, he returned to Moscow, where he has collaborated for a number of media: Kommersant, Afisha, Moskovskiye Novosti, Bolshoi Gorod and Men’s Health Russia. In 2005-2007 he was art director for Afisha’s city guidebooks, following which he was art director for RIA-Novosti, a news agency, for several years. In 2007–2015 he has also supervised the curriculum in type and typography at the British Higher School of Art and Design in Moscow. He has been very active as a consultant on Cyrillic since 2008. In 2014 he founded CSTM Fonts with Yury Ostromentsky.

Typefaces by Ilya Ruderman: BigCity Grotesque Pro, Kazimir, Kazimir Text, Navigo, Permian (a typeface-brand for the city of Perm) and Cyrillic versions of: Austin, Dala Floda, Graphik, Marlene, Moscow Sans (as a consultant), Typonine Sans, Thema.

CSTM Fonts

Ilya Ruderman and Yury Ostromentsky (CSTM Fonts)

They are both graphic and type designers. Founders of CSTM Fonts (2014) type foundry and a new font distributor type.today (2016).

Graduated from Moscow State University of Print (Graphic Design Department), where they took Alexander Tarbeev’s classes. Later Ilya Ruderman graduated from Type & Media (Royal Academy of Art), the Hague, the Netherlands. After graduation he was a tutor of Type&Typography course at British Higher School of Art and Design, Moscow (2008-2015), was an art-director of information agency RIA Novosti. He is an author of cyrillic versions of such typeface as Lava, Graphik, Neutraface and others, that was made for such studios as Typotheque, Commercial Type, Typonine and House Industries. He is an author of: Permian typeface, Big City Grotesque and several other corporate typefaces.

Before 2013 Yury Ostromentsky worked mostly as an editorial designer and art-director of BigCity Magazine, where he used his personal lettering, that was the base of the Pilar typeface, released by CSTM Fonts last year. He is an author of several book series designs and logotypes.

Both typefaces of Ilya Ruderman and Yury Ostromentsky were the winners of such type design competitions as Modern Cyrillic 2009, Modern Cyrillic 2014, Granshan 2011, European Design Award 2012. Kazimir typeface and Tele2 Typefamily, the CSTM Fonts’s latest releases, were among the winners of Granshan 2015.

Jean-Baptiste Levée

Jean-Baptiste Levée works methodically in a process where history and technology are approached altogether within the nuances of artistry. He manufactures functional, yet versatile digital platforms for designers to build upon.

Levée has designed over a hundred typefaces for industry, moving pictures, fashion and media. He is the founder of the independent foundry Production Type, and a partner in tech startup Prototypo. His work has won multiple awards and has been shown internationally in group and solo shows. It is featured in the permanent collections of the French national library (BnF), the Decorative Arts museum of Paris and the National Center of arts (Cnap); of the Newberry Library in Chicago, and several printing museums in Europe. He is a board member at ATypI (Association Typographique Internationale) and consults as a design expert advisor for the French Public Investment Bank (BPI) where he is contributing to the spread of design in innovative businesses.

Levée curates exhibitions on typeface design, organizes research symposiums and teaches typeface design at the Amiens school of Arts & Design and at the University of Corte. He is a typography columnist and editor on Pointypo.com.

Production Type

Based in Paris, Production Type is a digital type design agency founded in 2014 by Jean-Baptiste Levée. Its activities span from the exclusive online distribution of its retail type for design professionals, to the creation of custom typefaces for the industrial, luxury, and media sectors. Production Type’s collection is well known for gathering talented and innovative designers, and strives to release contemporary, unique typefaces for demanding designers. Through numerous awards (D&AD, Type Directors Club, Tokyo TDC…), the agency has also been acclaimed for its projects for Renault, Vanity Fair or Courrèges.

[sovietpostcards]

“The Flying Carriage” by Yuri Yakovlev, cover art by N. Yermolayev (1961)

(read here)

#1960s #children's books #book covers #book illustration