The illustration of The White Duck, just like six other fairy tales, is significant in that Bilibin was able to develop and actively introduce into his work a special technique of drawing - ink, highlighted in watercolor.
Bilibin was a supporter of the use of Russian ornament in the design of his works. In this regard, he often visited the Russian hinterland, where he noticed the features of local folklore, the identity of the villagers.
Illustrator paints many tales. In this work he found himself, and he has no equal. Bilibin surprisingly interwoven modernity with ancient motifs in his design plots, which markedly distinguishes him from his contemporaries.
Simple colorful motifs of fairy tales are inimitable. The details of the White Duck are written with such love that they are understandable not only to children, but also to numerous critics and art critics. Largely thanks to Bilibin, interest in ancient Russia is still supported.
Once the artist writes that ancient Russia was rediscovered by people again, as America once was, and despite the dust of oblivion on it, love for it grows stronger, and interest does not fade.
In addition to the images, the artist actively uses Slavic script in the design, which he owns perfectly. In addition, Bilibin is studying the fonts of various eras, especially the old Russian half-mouth.
Bilibin had a wonderful artistic experience in Munich, where he was an apprentice of the famous Ashbe. Returning to Russia, he entered the workshop under the guidance of Repin himself. After the workshop was the Higher Art Academy, which Bilibin easily graduated from.
After living the bulk of his life in St. Petersburg, he died, unable to withstand the blockade in 1942. Bilibin was buried in a mass grave along with other professors of the Academy of Arts.