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Visual Literacy in Children’s Picture Books

Visual Literacy in Children’s Picture Books. Reading Pictures. Outcomes. Learning about Reading -Context and Text

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Visual Literacy in Children’s Picture Books

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  1. Visual Literacy in Children’s Picture Books Reading Pictures

  2. Outcomes Learning about Reading -Context and Text 7 Critically analyses techniques used by writers to create certain effects, to use language creatively, to position the reader in various ways and to (add to) and constructs different interpretations of experience. 8 Identifies the structure of a range of texts and discusses how the characteristic grammatical features work to influence readers and views understanding and response to text

  3. Some Elements to Consider in the Relationship Between the Viewer, the Image and the Image Maker • ANGLES • SIZE • FRAMING • COLOUR • DEMANDS AND OFFERS

  4. ANGLES The use of angles in images allows different relationships to be conveyed between people and between people and objects. ‘Luke’s Way of Looking’…looking up at an object-a feeling of superiority is created.

  5. A Possible Activity ‘Luke’s Way of Looking’ Look at the angle of the picture. Where does it position the reader? Whose perspective are we seeing? superiority is created.

  6. SIZE Illustrations may vary in size to establish and enhance the relationship between the viewer, the image maker and the page. ‘Horrible Harriet’. Harriet is made larger to emphasise her bullying nature

  7. FRAMING The frame determines the amount of information given to the viewer as well as sometimes signaling a social relationship with a viewer. • Long Shot • Medium Shot • Close Shot • Extreme Close up ‘The Watertower’…Close Shot

  8. COLOUR Colour is used both to create convincing images and suggest particular mood or feelings. Variation in tone and saturation can be used for a variety of purposes.

  9. A Possible Activity ‘The Red Tree’ by Shaun Tan Look at Tan’s choice of colours. How does this contribute to the mood of the picture? Why might the tree and the girl’s hair both be red? List common colours and their symbolic meanings.

  10. DEMANDS AND OFFERS The eyes of the character in the image determine either a demand or offer. When the eyes are looking directly at the viewer, they are called a demand. When the eyes are not looking at the viewer, or there are no characters in the image, this is called an offer. (Drac and the Gremlin…A demand is made of the viewer)

  11. A Possible Activity • Which frame is an offer and which is a demand? • Why? Frame A Frame B

  12. SOME TOOLS USED TO CONSTRUCT MEANING IN PICTURE BOOKS • SYNERGY • INTERTEXTUALITY • METAFICTION • MULTIPLE MEANINGS • PLURALITY OF MEANING • STEREOTYPING • JUXTAPOSITION • CONTEXTUALISED/ NON-CONTEXTUALISED • MODALITY

  13. SYNERGY Where the text and illustrations work together. ‘Too Many Pears’…French and Wheatley have worked closely to produce a unified work.

  14. INTERTEXTUALITY The re-telling or transforming of well known or traditional stories. ‘The True Story Of The 3 Little Pigs’…knowledge of the original story is necessary to appreciate the humour of this story.

  15. METAFICTION The manipulation of the whole physical space of the book. ‘Faust’s Party’…Ottley has creatively placed text and illustrations in a great variety of positions.

  16. A Possible Activity ‘Faust’s Party’ by Matt Ottley Matt Ottley has placed the text in various places on the pages. • What is the effect of not having the text in the ‘normal’ place? • Why do you think he has chosen this particular type of text?

  17. MULTIPLE MEANINGS • Picture and text work together to convey the same message or • Picture and text can speak together in different voices. ‘The Rabbits’…Picture and text are giving different meanings.

  18. A Possible Activity ‘The Rabbits’ Author: John Marsden Illustrator: Shaun Tan • Is this story ONLY about the infestation of rabbits in Australia? • Make a list of all the topics you think John Marsden is dealing with in this text

  19. PLURALITY • Many different meanings working together to produce a unified text. ‘Hyram and B.’…there are many meanings layered on top of each other.

  20. A Possible Activity ‘Hyram and B.’ Author: B Caswell Illustrator: M Ottley Discuss the themes of abandonment, abuse, neglect, loss of ‘home’? • How are some of these ideas presented in this image? • What is the effect of contrasting the child with the junk yard?

  21. STEREOTYPING Characters in the text are given certain traits that are considered common to all characters of that type. ‘Willy The Wimp’… Willy is the stereotypical wimp – he is the victim.

  22. A Possible Activity ‘Willy the Wimp’ by Anthony Browne Willy displays many of the characteristics of the ‘victim’. Make a list of these characteristics evident from the image.

  23. JUXTAPOSITION The placement and variation of text and illustration in relationship to each other. ‘Willy’s Pictures’…Browne places illustrations in a variety of places to add meaning to text.

  24. A Possible Activity ‘Willy’s Pictures’ by Anthony Browne What technique has Anthony Browne used to make you feel that you are inside an art gallery? How has he used both text and illustration to achieve this effect?

  25. Background The background of a visual text can be either contextualised or non-contextualised. A contextualised background provides a place, time or setting for the audience. A non-contextualised background can be saturated colour and provides less information. Compare the images. ‘John Brown, Rose and the Midnight Cat’ by Jenny Wagner uses both to develop the viewer’s understand-ing.

  26. A Possible Activity • Identify whether the images below are contextualised or non-contextualised. • What does this suggest about the subject/s in each image? Frame A Frame B

  27. Modality The level of realism within a text. High modality suggests the image looks ‘real’ while low modality suggests more conceptual or abstract images. ‘Outside, Over There’, by Maurice Sendak, contrasts high modality with low modality within the same image.

  28. A Possible Activity • Identify the modality (high or low) in each frame. • Does modality make an image more or less effective ? Why? Frame A Frame B

  29. BIBLIOGRAPHY OF PICTURE BOOKS Baillie A ‘Drac and the Gremlin’ Viking,Ringwood 1988 Ottley M ‘Faust’s Party’ Hodder Children’s Society; 2000 Hobbs L ‘Horrible Harriet’ Allen& Unwin;Crows Nest 2001 Ottley M ‘Hyram and B’ Hodder;Sydney 2003 Marsden J ’The Rabbits’ Lothian;Port Melbourne 1998 Tan S ‘The Red Tree’ Lothian; Port Melbourne 2001 Wolf A ‘The True Story of The Three Little Pigs’ Penguin; Ringwood;1991 Crew G ‘The Watertower’ Era; Grange; S.Aust 1994 French J ‘Too Many Pears’ Koala Books; Mascot, N.S.W. 2003 Browne A ‘Willy the Wimp’ Walker; London 1995 Browne A ‘Willy’s Pilctures’ Walker; London 2000 Other sources: • Sandra Campbell, St Pat’s College Prepared by: Michelle Kosef

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