Discussing+Illustrations+with+Kids

The art world can be rather intimidating for adults and children alike. Many adults might feel that while looking at art with children, they should have discussions that focus on the theoretical information of the work such as the time period, context, the artist, and the subject. However, according to //The National Standards for Arts Education//, the arts can be embedded in our daily lives, often so deeply or subtly that we are unaware of their presence. [1] This is where the illustrations in picture books come in. The artists who create the illustrations in picture books use the same elements of art, principles of design, and artistic styles of fine artists. [2] Using illustrations in picture books can be an effective tool for even the most hesitant adult to address aspects of art in conversations with children.

Developing a basic understanding of how the picture and text interact within a picture book is important for expanding the potential of discussions about the illustrations. [3] It is also useful to become familiar with the design elements of picture books, elements of art and principals of design, artistic styles, and artistic mediums and techniques to take full advantage of the discussions that may occur. [4]


 * Picture and Text Interaction **

In Molly Bang’s book, //Picture this: How Pictures Work//, she describes numerous ways to get started thinking about and interpreting visual images. She demonstrates to the reader how different moods are created through the use of color, composition, and relative size. These interpretive devices help readers attend to the visual aspects of picture books in addition to the narrative elements of written text. The importance of the illustrations relation to the text is also pointed out in Joseph H. Schwarcz’s book //Ways of the Illustrator Visual Communication in Children’s Literature// when he states, the interdependence of word and picture creates the tone of the book. [5] The elements of a picture book work together to form a unified whole, a coherent experience fort he reader and an aesthetic composition, meanings are constructed from the constituent parts as well as the book as a whole. [6]

** Activities for Developing Visual Literacy Skills **
In Kathleen Ellen O’Neil’s article, //Reading Pictures Developing Visual Literacy for Great Comprehension//, she outlines five activities for developing visual literacy skills. For each skill, she also suggests books for each of the activities.


 * ** Skills ** ||  ** Books **  ||
 * ** Color and Cultural Associations ** || * // When Sophie Gets Angry, Really, Really Angry // by Molly Bang
 * // Night Boat to Freedom // by Margot Theis Raven
 * // Napping House // by Audrey Wood ||
 * ** Style that Implies Setting ** || * // The Ugly Duckling // by Rachel Isadora
 * // Hot Day on Abbott Avenue // by Karen English
 * // Sundiata // by David Wisniewski ||
 * ** Style that Sets the Tone ** || * // Black and White // by David Macaulay
 * // Into the Forest // by Anthony Browne
 * // Chester // by Melanie Watt ||
 * ** Composition that describes Characters ** || * // Lon Po Po // by Ed Young
 * // Coolies // by Yin
 * // Golem // by David Wisniewski ||
 * ** Composition that Generates Plots ** || * // Mud // by Mary Lynn Ray
 * // Wolves // by Emily Gravett
 * // Tuesday // by David Wiesner ||

** Advice to leading a Discussion about Illustrations: **

 * 1) Read the reviews of the picture book prior to sharing, what do they say about the illustrations in the book, do they say anything at all?
 * 2) Spend time looking through the picture book before sharing it
 * 3) What do you notice about the illustrations?
 * 4) What elements of art and principals of design stand out in the illustrations?
 * 5) What materials were used to create the illustrations?
 * 6) In what ways do the illustration express its contents and meanings?
 * 7) How do the illustration relate to the verbal text?
 * 8) In what ways does it influence, clarify, enhance, weaken, or comment on the impact, mood, and intention of the written word? [7]
 * 9) While sharing, allow children time to look at the illustrations
 * 10) Ask simple questions about the illustrations during the storytime
 * 11) Many would agree that for inquiry to be alive and well in a classroom that, amongst other things, the teacher needs to be expert at asking strategic questions not only asking well-designed ones, but ones that will also lead students to questions of their own. What do you think? Why do you think that? How do you know this? Can you tell me more? What questions do you still have? [8]
 * 12) After finishing the picture book ask children about what they liked or did not like about the illustrations, ask them how the illustrations made them feel.

** Finding Books: **
Awards: [|Caldecott Medal and Honors] - The Caldecott Medal is awarded annually by the Association for Library Service to Children, to the artist of the most distinguished American picture book for children.

[|Kate Greenaway Medal] - The Kate Greenaway Medal is awarded annually for an outstanding book in terms of distinguished illustrations for children and young people.

Books about Art: There are many books that are dedicated to the subject of art. These books will provide an easy natural discussion about art as the books encourage the development of aesthetics and an appreciation of art in young children. [9] Here is a list of some of those books.

General Art Themes: // Harold and the Purple Crayon // by Crockett Johnson // Ish // by Peter H. Reynolds // The Dot // by Peter H. Reynolds // Mouse Paint // by Ellen Stoll Walsh // Art & Max // by David Wiesner // Little Blue and Little Yellow // by Leo Lionni // The Artist Who Painted a Blue Horse // by Eric Carle // White Rabbit’s Color Book // by Alan Baker // Seen Art? // By Jon Scieszka // A Color of His Own // by Leo Lionni // I Ain’t Gonna Paint No More! // By Karen Beaumont // Beautiful Oops // by Barney Saltzberg // Sky Color // by Peter H. Reynolds // Willy’s Pictures // by Anthony Browne // My Dog Thinks I’m a Genius // by Harriet Ziefert // Perfect Square // by Michael Hall // Snail Trail: In Search of a Modern Masterpiece // by Jo Saxton // Lines That Wiggle // by Candace Whitman, Steve Wilson // When a Line Bends…A Shape Begins // by Rhonda Gowler Greene, James Jaczman // Art // by Patrick McDonnell // Meet Me at the Art Museum: A Whimsical Look Behind the Scenes // by David Goldin // The Museum // by Susan Verde, Peter H. Reynolds

Specific Artists: // Linnea in Monet’s Garden // by Christine Björk // The Great Wave: A Children's Book Inspired by Housai // by Veronique Massenot, Bruno Pilorget // Little Ballerina: A Children's Book Inspired by Edgar Degas // by Lucie Albon, Hélène Kerillis // Journey on a Cloud: A Children's Book Inspired by Marc Chagall // by Veronique Massenot, Elise Mansot // A Bird In Winter: A Children's Book Inspired by Peter Breugel //by Stépanie Girel, Hélène Kerillis The Cat and the Bird: A Children's Book Inspired by Paul Klee by Géraldine Elschner // Klimt and His Cat // by Berenice Capatti, Octavia Monaco // Sandy's Circus: A Story About Alexander Calder // by Tanya Lee Stone, Boris Kulikov

** The Parts of Picture Book **
In Frank Serafini’s article //Taking Full Advantage of Children’s Literature//, he notes the importance of looking at all the peritextual elements of the picture book, including endpapers, covers, title pages, dedications, book jackets, and authors’ notes, because they are used by the author and illustrator as an important aspect of the story, not simply as material publishers are required to include. [10] Serafini points out that calling chilren’s attention to these features helps them realize that the story often begins before the book is even opened. [11]


 * ** Peritextual Element ** ||  ** Definition **  ||  ** Example from //Hi, Cat!// by Ezra Jack Keats **  ||
 * Book Jacket || Also known as the dust jacket of a book, it is the detachable outer cover, usually made of paper and printed with text and illustrations. || [[image:full-jacket.jpg width="432" height="129"]] ||
 * Cover || The public face of the book, any protective covering used to bind together the pages of a book || [[image:cover.jpg width="193" height="176"]] ||
 * Endpapers || The endpapers of a book are the pages that consist of a double-size sheet folded, with one half pasted against an inside cover, and the other serving as the first free page. || [[image:end.jpg width="360" height="207"]] ||
 * Title Page || The title page of a book is the page at or near the front of the book and displays its title. || [[image:title-page.jpg width="211" height="196"]] ||
 * Dedication || A dedication is the expression of friendly connection or thank by the author towards another person. The dedication has its own place on the //dedication page// and is part of the front matter of the book || [[image:dedication.jpg width="216" height="193"]] ||

** Elements of Art and Principals of Design **
The elements of art are the building blocks used by artists to create a work of art.
 * Art Elements:**[12]** **


 * Line ** is a mark with greater length than width. Lines can be horizontal, vertical, or diagonal; straight or curved; thick or thin.


 * Shape ** is a closed line. Shapes can be geometric, like squares and circles; or organic, like free-form or natural shapes. Shapes are flat and can express length and width.


 * Forms ** are three-dimensional shapes expressing length, width, and depth. Balls, cylinders, boxes, and pyramids are forms.


 * Space ** is the area between and around objects. The space around objects is of- ten called negative space; negative space has shape. Space can also refer to the feeling of depth. Real space is three-dimensional; in visual art, when we create the feeling or illusion of depth, we call it space.


 * Color ** is light reflected off of objects. Color has three main characteristics: hue (the name of the color, such as red, green, blue, etc.), value (how light or dark it is), and intensity (how bright or dull it is).


 * Texture ** is the surface quality that can be seen and felt. Textures can be rough or smooth, soft or hard. Textures do not always feel the way they look; for exam- ple, a drawing of a porcupine may look prickly, but if you touch the drawing, the paper is still smooth.

The principles of design describe the ways that artists use the elements of art in a work of art.
 * Principles of Design:**[13]** **


 * Balance ** is the distribution of the visual weight of objects, colors, texture, and space. If the design was a scale, these elements should be balanced to make a design feel stable. In symmetrical balance, the elements used on one side of the design are similar to those on the other side; in asymmetrical balance, the sides are different but still look balanced. In radial balance, the elements are arranged around a central point and may be similar.


 * Emphasis ** is the part of the design that catches the viewer’s attention. Usually the artist will make one area stand out by contrasting it with other areas. The area could be different in size, color, texture, shape, etc.


 * Movement ** is the path the viewer’s eye takes through the work of art, often to focal areas. Such movement can be directed along lines, edges, shape, and color within the work of art.

of elements of design creates unity within the work of art.
 * Pattern ** is the repeating of an object or symbol all over the work of art. Repetition works with pattern to make the work of art seem active. The repetition


 * Proportion ** is the feeling of unity created when all parts (sizes, amounts, or number) relate well with each other. When drawing the human figure, proportion can refer to the size of the head compared to the rest of the body.


 * Rhythm ** is created when one or more elements of design are used repeatedly to create a feeling of organized movement. Rhythm creates a mood like music or dancing. To keep rhythm exciting and active, variety is essential.

**Variety** is the use of several elements of design to hold the viewer’s attention and to guide the viewer’s eye through and around the work of art.


 * Unity ** is the feeling of harmony between all parts of the work of art, which creates a sense of completeness.

** Artistic Styles**[14]** **



 * Abstract Art: ** The artist uses form and color only as a mean to portraying mood in this style. Simple forms and geometric shapes are common. Reality may not enter into what is perceived, although the figures may be recognizable.
 * Picture Book Ex **** ample: ** // John Coltrane’s Giant Steps // by Christ Raschka (2002)


 * Cartoon Art: ** Cartoons are simplistic, and often unrealistic, illustrations created for satire, caricature, or humor
 * Characteristics: **
 * 1) Very Simple drawings
 * 2) Black outline around figures and objects
 * 3) Unrealistic, exaggerated images
 * 4) Follow some but not all, of the conventions for three-dimensional drawing
 * 5) May be humorous
 * 6) May include personified animal and inanimate objects – animals or objects given human characteristics
 * 7) Simplified, and sometimes stereotypical, understanding of human characterisitics
 * Picture Book Example: ** // The Cat in the Hat // by Dr. Seuss (1957)


 * [[image:http://3.bp.blogspot.com/_aCBPJDVy9Dk/TOUQ6NCTiKI/AAAAAAAAACk/uuMHiQAbah8/s1600/lon-po-poO.jpg width="173" height="199" align="left"]]Expressionistic Art ** – Expressionists “express” strong emotional feelings by distorting shapes and by using strong colors, loose brushstrokes, and bold simplified lines
 * Characteristics: **
 * 1) Distorted shapes
 * 2) Strong, bold color
 * 3) Simple, bold lines
 * 4) Subjects of personal importance to the artist
 * 5) Loose, expressive brushstrokes
 * Picture Book Example: **// Lon Po Po: A Red-Riding Hood Story from China // by Ed Young (1989)

** Folk Art: ** This style arises from the culture portrayed. The art matched the sensibilities and characteristics of a particular ethnic group or nationality


 * Picture Book Example: ** // How the Moon Regained Her Shape // by Ben Hodson, illustrated by Janet Ruth Heller


 * [[image:http://thumbs2.ebaystatic.com/d/l225/m/m8OJt9hM4THUwmucriID_Bw.jpg width="252" height="215" align="left"]]Impressionistic Art ** – Impressionists paint their impression of a natural scene by working quickly in natural light, often outside. They use pure colors applied with short brushstrokes, and concentrate more on painting the quality of reflected light than on the object or subjects themselves.
 * Characteristics: **
 * 1) Paint applied in short, rapid brushstrokes or dabs
 * 2) Natural and informal scenes as subjects
 * 3) Emphasis on light, reflected light, and perceived colors of the objects or subjects
 * 4) Generally colors very light and bright
 * 5) Objects not outlined
 * 6) Shadows made by using complementary colors together
 * Picture Book Example: **// Mr. Rabbit and the Lovely Present // by Charlotte Zolotow, illustrated by Maurice Sendak (1962)


 * Naïve Art: ** Naïve art refers to the work of self-taught artists who may not have had formal artistic training.
 * Characteristics: **
 * 1) Very personal subjects and images
 * 2) Combination of real objects and dream world objects
 * 3) Great attention to detail
 * 4) Intense, non-naturalistic color combinations
 * 5) Stiff poses
 * 6) Inaccurate body proportions
 * 7) Flat, rather than three-dimensional
 * 8) Intuitive, expressive, and spontaneous
 * Picture Book Example: ** // Tar Beach // by Faith Ringgold (1991)


 * [[image:http://blogs.slj.com/afuse8production/files/2012/06/OwlMoon1.jpg width="186" height="239" align="left"]]Realistic Art ** –Realist paint familiar and ordinary obejcts, scenes, events, and people as they truly look
 * Characteristics: **
 * 1) Ordinary people and their daily lives as subjects
 * 2) Not necessarily photographically accurate, but a sincere and honest response of the artisti to his or her everyday environment; interest in using elements of art such as space, three-dimensional shapes, and value
 * 3) Not necessarily “pretty” or historically important subjects
 * 4) Use of actual color of an object or place


 * Picture Book Example: ** // Owl Moon // by Jane Yolen (1987)


 * Surrealistic Art ** – Surrealists try to paint the confusion and contradictions of mixing together the dream life (unconscious) and the wakeful life (conscious)
 * Characteristics: **
 * 1) Extraordinary placement of ordinary objects
 * 2) Mixing up of ordinary situations
 * 3) Exploring the unconscious mind and dream life
 * 4) Great artistic freedom in choosing subjects, events, styles, and media
 * 5) Fantastical landscapes
 * Picture Book Example: **// Tuesday // by David Wiesner (1991)

** Artistic Mediums**[15]** **
Acrylics: Working Cotton Gouache: Maisy Big, Maisy Small: A book of Maisy Opposites Tempera: The Day the Cow Sneezed Oils: Dust Devil Watercolors: Gideon & Otto
 * Painting: **

Charcoal: Olivia Pastels: Bad Hare Day Pen and ink: Alexander and the Terrible, Horrible, No Good, Very Bad Day Pencils:Hondo & Fabian Scratchboard: The House in the Night
 * Drawing: **

Assemblage: A World of Food Collage: Wabi Sabi Cut-paper: Wink, The Ninja who wanted to be noticed Fabric and needlepoint: Dia’s Story Cloth Modeling clay: Fox Walked Alone
 * Sculptural: **

Etching: the Little Red Fish Monotype/monoprints: Why the Sky is far Away Linoleum cuts: Ghost in the House Woodcuts: A Sick Day for Amos McGee
 * Printmaking: **

Knuffle Bunny: A Cautionary Tale
 * Digital / Photography: **

Websites:
[|Amazon’s list of Children’s Book About Art] [|Goodreads’ List of Children’s Books About Art] [|Picturing Books] [|The Eric Carle Museum of Picture Book Art] [|Picture Book Gallery at the Art Institute of Chicago] [| Education at the Getty]

Articles and Books: Alber, Rebecca. "5 Powerful Questions Teachers Can Ask Students." //Student Engagement//. Edutopia, 31 Oct. 2013. Web. 20 Nov. 2013. .

Bang, Molly. //Picture This: How Pictures Work//. San Francisco, CA: Chronicle, 2000. Print.

Cianciolo, Patricia J. //Illustrations in Children's Books Second Edition//. Dubuque, IA: Wm. C. Brown, 1970. Print.

O'Neil, Kathleen Ellen. "Reading Pictures: Developing Visual Literacy For Greater Comprehension." //Reading Teacher// 65.3 (2011): 214-223. //Academic Search Premier//. Web. 20 Nov. 2013.

"National Standards for Arts Education." //Arts Standards//. The Kennedy Center ArtsEdge, 14 June 2009. Web. 20 Nov. 2013. .

Nikolajeva, Maria, and Carole Scott. "The Dynamics of Picturebook Communication." //Children's Literature in Education// 31.4 (2000): 225-39. Print.

Nodelman, Perry. "Format, Design, Predominating Visual Features: The Meaning Implications of Overall Qualities of Books and Pictures." //Words about Pictures: The Narrative Art of Children's Picture Books//. Athens: University of Georgia, 1988. 40-76. Print.

Northrup, Mary. //Picture Books for Children: Fiction, Folktales, and Poetry//. Chicago: American Library Association, 2012. Print.

Schwarcz, Joseph H. //Ways of the Illustrator: Visual Communication in Children's Literature//. Chicago: American Library Association, 1982. Print.

Serafini, Frank. "Taking Full Advantage Of Children's Literature." //Reading Teacher// 65.7 (2012): 457-459. //Academic Search Premier//. Web. 20 Nov. 2013.

Sipe, Lawrence R. //Storytime: Young Children's Literary Understanding in the Classroom//. New York: Teachers College, 2008. Print.

[1] "National Standards for Arts Education." [2] Frohardt, xiii [3] Serefini, p. 458 [4] Serafini, p. 457 [5] Schwarcz, p. [6] Nodelman, p. 40 [7] Schwarcz. p. 4 [8] Alber [9] Nothrup. P. 5 [10] Serefini, p. 458 [11] Serefini, p. 458 [12] Information from Education at the Getty: http://www.getty.edu/education/teachers/building_lessons/elements_art.pdf [13] Information from Education at the Getty: http://www.getty.edu/education/teachers/building_lessons/principles_design.pdf [14] Information comes from both Mary Northrup’s //Picture Books for Children// and Darcie Clark Frohardt’s //Teaching Art with Books Kids love// [15] Information from the website: http://www.picturingbooks.com/