The Power of Open Licensing!

Posted by Remya Padmadas on August 09, 2019

“Open source is a philosophy and a movement, and what makes open source thrive is the community that grows up around it.” says Abby Kerns in The Newstack. Community has no physical or geographical definition but rather is defined by a shared attitude, interest and goal and spans  geography, religion and political affiliations. Stories are the soul of open-source platforms, which prompt children to rapid fluency in their mother tongue, before they can read simple sentences in English. 

Illustration by Huynh Thi Kim Lien for 'Don't Wake the Baby!' 

Pratham Books’ StoryWeaver and Room to Read are partnering to combine the power of open, community and stories so that children can read over 400 storybooks in English, Bengali, Chinyanja, Chitonga, Hindi, Khmer, Lao, Marathi, Nepali, Sepedi, Sinhala, SiSwati, Kiswahili, Tamil, and Vietnamese. “Room to Read and Pratham Books share a common commitment to providing underserved children with high quality storybooks. We are delighted to have Room to Read’s books on our digital platform, StoryWeaver,  which are now available under open licences, so that children everywhere can discover the joy of reading”, says Suzanne Singh, Chairperson Pratham Books.

Room to Read is a non-profit organization that seeks to transform the lives of millions of children in low-income countries by focusing on literacy and gender equality in education. Founded on the belief that “world change starts with educated children," the organization focuses on working in collaboration with local communities, partner organizations and governments to develop literacy skills and a habit of reading among primary school children. 

They have partnered with StoryWeaver to publish 200 of their original language titles and their English versions on the StoryWeaver platform under the Creative Commons CC BY 4.0 license. The StoryWeaver team has worked closely with Room to Read on editing these titles for publishing in Engalish, doing image enhancements and migrating the books to the platform. Alisha Berger, Global Publisher at Room to Read says “We are thrilled to partner with Pratham Books’ StoryWeaver to bring our books into the digital space for the first time. We hope these 400 openly-licensed books will inspire, motivate, and share the joy of reading with the wide and engaged audience on Storyweaver, as well as showcase Room to Read’s 20-year commitment to making exciting and fun books for children in their local languages.” 

Having these storybooks under the CC BY license on StoryWeaver takes these Room to Read stories to a larger audience, worldwide. At the same time, it gives the StoryWeaver community new stories to read and translate, thereby giving children around the world access to more stories in their mother tongue. Many of these stories have already been versioned into other languages like Punjabi, Filipino, Malayalam, French, Italian and others. Here’s hoping the stories continue to grow so as to put a book in every child’s hand. 

If you would like to partner with us please write to [email protected] 

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StoryWeaver is open sourcing its code!

Posted by Pallavi Krishnan on June 24, 2019


Hello, Developers! On Pratham Books’ StoryWeaver, all storybooks are open-licensed, and can be used and adapted freely - with appropriate attribution - to suit a user’s needs. To amplify our reach, we are open sourcing the code under the OSI-approved MIT license, so that developers across the world can use it as is, or adapt it to meet their needs.

It’s also your chance to help make StoryWeaver even better!

StoryWeaver is built on Rails, a web application framework with ReactJS as its front-end technology. The third-party libraries we use are also open-source. All our code is on GitHub where anyone can view and participate in the further development of StoryWeaver - make sure you take a look at our participation guidelines. All the code that we release is mature. The platform continues to be actively developed by Pratham Books and new code will be released as soon as it passes internal QA processes.

Your contributions - in any kind, like bug reports, patches, suggestions, and feature requests - are not just welcome, they’re eagerly anticipated.

Having seen the rapid adoption and extensive usage of StoryWeaver in India, as well as globally, we believe that many more can benefit from our platform. Educators can customise reading material for their classrooms. Parents can co-create stories with their children. Readers, of all levels, can discover storybooks of their choice and language.

Developers may wish to contribute to the standalone components and algorithms - the recommendation engine, image processing tools, cropping and formatting features, and more.  

If you’d like to adopt StoryWeaver as a platform for your needs, our developer team would love to connect. Drop us an email at [email protected]

For more information please go to

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Illustrator and tattoo artist Barkha Lohia has created stunning art in Walking in the Wild for Pratham Books this year. 

Barkha lives in Gurgaon, Haryana. She loves working on morbid illustrations, tattoos, paintings of bird and trees and can be found drinking chai at any given time. She is currently working on a poem-based picturebook.

In this short email interview, Pratham Books' Assistant Editor Zeba Imtiaz talks to Barkha about her illustration approach and inspiration.


 How do you find inspiration for your work?

I take inspiration from everywhere, but mostly nature. I love reading, so that influences my work as well. Then there are events in your life and people around you that also flow back into the work. Sometimes it’s a conscious decision, sometimes it just flows - without much thought about what should be the subject or the output.

We know that you are a tattoo artist as well. Could you tell us more about your journey as a tattoo artist - the decision to be one, what drew you to it, and so on?

My maternal grandmother and paternal great grandmother had a lot of tattoos on their bodies. In India, communities have had a rich tradition of tattooing and the case was same here. As a child I was very fascinated with the ink on their body and would often ask them what it meant, or why they got it done. Growing up, shows like Miami Ink, LA Ink influenced me as well. The creative process of it all was really intriguing. How one took a concept and made something so personal for the client, to be permanently inked was very fascinating to me. Also, I really connected to this art form, I'd often keep doodling on myself or my friend's skin in school and college. I decided to go for it when I was working as an illustrator at my second job. I ordered a kit for myself to practice and decided later on to join a studio as well. It’s been great fun.


Do you find that your work as a tattoo artist influences your other work, or vice versa?

I don't think it has till date. In my case, since I love working with nature - the theme has trickled down to the various mediums I use - be it tattooing or illustration. I also feel that I'm still experimenting and not really down to one style, so I think I have the liberty to go at different styles in different mediums. With tattooing, you have to keep some aspects in mind while drawing - with regards to what will work on a live canvas. So, it has its own limitations and set rules that are not there for traditional illustrations for books and such. Illustration on paper, digital illustrations are more freeing.

Is this your first time illustrating for children? What do you most enjoy about illustrating for children, and what are the challenges?

Yes, this was my first time illustrating for kids. I have worked on smaller projects before but not on a complete book. I learned a lot during the process and it was great fun. I remember as a kid, I would pore over pictures and paintings in books and really look at them for long hours. Simply in terms of story, what must this character be doing, why is this cat here in drawing, etc. I was just creating a different world altogether. And I think kids tend to do that. They will put more into text, drawing and story in more ways than we do. So, I was trying to create that. I can't say what works for them since this is my first time illustrating for them, but if asked to do something I'd probably make a completely wacky world for them, filled with strange characters, peculiar sights, familiar sights. They would connect more with a talking bird than we'd ever. I think my style would be like that. With this book, the challenge came with the brief to have a more realistic character rather than cartoony. So, mostly it was to get the real look of a forest and the ongoing events and to do justice to the story of Zakhuma. And still make it engaging for the kids.

What kind of preparation and research went into illustrating Walking in the Wild?

I was provided with a brief about the place and Zakhuma. I was given his picture and his daily activities and asked to make a character that was more realistic than cartoony. I developed the character of Zakhuma first and then later on worked on the surroundings of the forest. I looked through a lot of pictures and articles on Dampa tiger reserve and the forests in Mizoram to get a feel of the place. Same goes for the animals, birds in the story. Rough layouts were then made for the pages, which were then discussed with the art director - for suggestions and iterations before working on the final drawing. Similarly for colouring in the pieces, some rough coloured layouts were shared with the Pratham Books team to collectively decide on which would suit the overall theme better.

Walking in the Wild is filled with beautiful and detailed drawings of different animals. What did you most enjoy drawing?

I really loved the scenes where different animal descriptions were to be given. I particularly enjoyed illustrating the opening scene and the moonlit scene of the Dampa forest reserve.



If you had to choose one medium for your art, what would you pick?

I don't think I can decide on one. I love working with different mediums. Each lends a different feel to the work. That being said, I enjoy doing more hand drawn stuff than digital - be it acrylics, oil paints, posters etc.

Who are some artists you admire?

There are many! When it comes to picture books - Shaun Tan is someone I'm really inspired by. His work is phenomenal. Lots of tattoo artists as well - Dzo Lama, Balaz Bercsenyi, Sol Tattoo in particular. Lots of Indian artists - Hemlata Pradhan, Rajiv Eipe, Sajid Wajid Shaik, Abhishek Singh. There are many actually. I can only think of a few right now. 

How do you deal with creative blocks?

Not well. I don't like that part at all. I think I take to binge watching T.V. series and books to get over it and walks.

You can read Walking in the Wild on StoryWeaver for free. This is available in Hindi, Marathi, Kannada, Tamil, and English. 

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