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The CILIP Kate Greenaway Medal -
Visual Literacy Activities |
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Arthur Spiderwick's Field Guide to the Fantastical World Around You Use the double page spread depicting the 'Greater Bull Goblin' and the letter from Robert.
LEARNING TO LOOK This activity is to encourage children to look more closely and critically at illustrations. It can be modelled whilst working with the whole class or a mixed ability group, it encourages children to offer their personal interpretation of the illustration and to share and shape their ideas orally in a collaborative setting. The aims of this activity are:
The following questions have been designed to help children to look more closely at the illustrative work of Tony Di Terlizzi, moving from the whole picture to the smallest part and to search for and use all available clues given by the artist to make meaning. Please select and adapt the questions to make them appropriate for your setting. If possible give children one copy of the picture to share between two or use an enlarged picture that everyone can see. TELL ME ABOUT TONY DI TERLIZZI'S ILLUSTRATIONS. . . Please select/adapt questions, which you think are most appropriate for the children you are working with. . . What is your initial response to this page? How do you start to read the words and images on these pages? In what ways does the design and page layout dictate how you look and read? Look at the colours used for the page backgrounds and consider why these might have been chosen? When do you think these pictures and texts were first written? What clues has the illustrator given to you? How do you make decisions about whether this is a work of fiction or fact? In what ways does the illustrator manipulate your decisions about this? Consider for example the letter on the bottom left hand page- how is it presented to you-in terms of its age/condition, means of communication etc. The background on the left-hand page is filled with annotated sketches-how have they been drawn? Where do you imagine they originated from? How do these sketches interact with the text? Focus on the colour plate of the 'Greater Bull Goblin'-have you seen this style of illustration before-if so what kind of book did you see it in? Why do you think the illustrator has chosen to present his creatures in this style? What medium has been used to paint this creature? What do you notice about the textures of its skin? Consider this creature's stance - why has a more relaxed pose been chosen? What do you notice about its facial features and what is your response to them? Does this creature remind you of anything that you have seen before? Notice the hands and feet do they connect with your understanding of the features of the rest of the body? What is the effect of the annotations on your interaction with this illustration? What do you notice about the font used for the annotations and what atmosphere/mood does it convey? How would you read the rest of this book? What kind of audience do you think would want to read this book and why? In what ways does this illustrator convey humour? WRITE IT DOWN Harvest children's responses and record their descriptions and comments on a flip chart. Are there any aspects of the picture that they find particularly interesting or puzzling? |
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Wolves Use the double page spread depicting rabbit sat on a bench reading about wolves who live in places 'such as forests and woodland.'
LEARNING TO LOOK This activity is to encourage children to look more closely and critically at illustrations. It can be modelled whilst working with the whole class or a mixed ability group, it encourages children to offer their personal interpretation of the illustration and to share and shape their ideas orally in a collaborative setting. The aims of this activity are:
The following questions have been designed to help children to look more closely at the illustrative work of Emily Gravett, moving from the whole picture to the smallest part and to search for and use all available clues given by the artist to make meaning. Please select and adapt the questions to make them appropriate for your setting. If possible give children one copy of the picture to share between two or use an enlarged picture that everyone can see. TELL ME ABOUT EMILY GRAVETT'S ILLUSTRATION. . . Please select/adapt questions, which you think are most appropriate for the children you are working with. . . What is happening on in this page? Does the text work without the illustration and vice versa? In what ways does the picture compliment, elaborate, embellish, or extend the detail of the written text? How has the author/illustrator engaged you with both the words and pictures on this page? What attitudes and emotions are being expressed - how does it make you feel? How has Emily created the tension between the rabbit and the wolf? Describe the two settings-in what ways has Emily Gravett differentiated them? Can you describe the wolf woodland and what it would be like to walk and play there? What effect does the layout of the page have on where you put yourself in this part of the story? Are you for example looking over rabbit's shoulder to read the text or are you an outside observer looking in on the pages? The 'gutter' is the centre of the book where the pages are sewn together. Why do you think the artist has chosen to draw an extra 'gutter' on the right hand page? Who or what is the focus of this illustration, how is your attention drawn to it? What do you notice about the use of colours and tones in the illustration-how would you describe them? Do the colours affect the way this story is being told and your responses to it? How has she used light and dark in this illustration? How has Emily drawn your attention to detail in this picture, what effect does it have on you? How would you describe Rabbit at this point? Consider:
How would you describe wolf at this point? Consider:
Why do you think the illustrator has chosen to create the wolf from the natural surroundings of his habitat? What affect does this have on the atmosphere of this page? How does the kite hanging from the wolf's teeth make you feel-what does it make you imagine? Does what you already know about wolves in stories influence your interpretation of this wolf? What medium has the illustrator chosen for these illustrations? Look at the quality and density of shading given to the wolf in contrast to the softer lines and edges used to depict the rabbit. How does this affect your interpretation of their characters? How would you describe this illustrative style? WRITE IT DOWN Harvest children's responses and record their descriptions and comments on a flip chart. Are there any aspects of the picture that they find particularly interesting or puzzling? |
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Traction Man Use the double page spread at Granny's house with Traction Man wearing his new knitted green jungle suit and bonnet.
LEARNING TO LOOK This activity is to encourage children to look more closely and critically at illustrations. It can be modelled whilst working with the whole class or a mixed ability group, it encourages children to offer their personal interpretation of the illustration and to share and shape their ideas orally in a collaborative setting. The aims of this activity are:
The following questions have been designed to help children to look more closely at the illustrative work of Mini Grey, moving from the whole picture to the smallest part and to search for and use all available clues given by the artist to make meaning. Please select and adapt the questions to make them appropriate for your setting. If possible give children one copy of the picture to share between two or use an enlarged picture that everyone can see. TELL ME ABOUT MINI GREY'S ILLUSTRATION. . . Please select/adapt questions, which you think are most appropriate for the children you are working with. . . What is your immediate response to this page? How do you find your eyes scanning this page? Who or what do you focus on first Can you describe the atmosphere in Granny's lounge as she gives out the Christmas presents? Where are you - are you an outside observer, are you in the picture or just out of sight? How does this page make you feel? Which characters do you empathise with? Do you think Granny is aware of people's responses to her knitted gifts? How has the illustrator helped you to know how people feel about their presents? Consider the position of the boy and Traction Man on the floor in contrast to the size, posture and position of his granny. How has the illustrator made the boy central in this picture - can you see the triangle created around him, with Granny, the sister and the hands at the three points? Look at how Granny's feet point at the boy and how the sister's arms and the other arms are outstretched towards him. What is the effect of this? How easy it to notice Traction Man on the floor? What does this say about his role in the story at this point? Why has Mini Grey chosen to reveal the suit in its wrapping in this way? What is your response to the suit? Do you think your response is similar to the boy's? Can you describe the feelings of the boy as they are expressed through his body language and facial expression? What do you notice about the size of his eyes and mouth? Who is the boy looking at? - Think about through whose eyes the illustrator is making you view this double page spread. What is the impact of the full size image of Traction Man on this page? How has the artist achieved this effect? Consider:
How would you describe Granny's house? How do you know that she is a knitting fanatic? - look at the tree, the pictures on the wall, the table lamp and the magazine rack. What do you notice about the table set for tea and the effects of the perspective used? This page holds many of the characters and artefacts which appear later on in the story. Why do you think these have been included? Where is the humour found in this picture? Can you imagine the rest of this house-how has the illustrator helped you to do this? How is the text integrated into the overall design of the page? How does the layout of the text influence how you read the words and pictures? Why do you think that different font sizes have been used? What do you notice about the paper that the text has been printed on? What is the effect of this WRITE IT DOWN Harvest children's responses and record their descriptions and comments on a flip chart. Are there any aspects of the picture that they find particularly interesting or puzzling? |
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Lost and Found Use the double page spread depicting the storm at sea.
LEARNING TO LOOK This activity is to encourage children to look more closely and critically at illustrations. It can be modelled whilst working with the whole class or a mixed ability group, it encourages children to offer their personal interpretation of the illustration and to share and shape their ideas orally in a collaborative setting. The aims of this activity are:
The following questions have been designed to help children to look more closely at the illustrative work of Oliver Jeffers, moving from the whole picture to the smallest part and to search for and use all available clues given by the artist to make meaning. Please select and adapt the questions to make them appropriate for your setting. If possible give children one copy of the picture to share between two or use an enlarged picture that everyone can see. TELL ME ABOUT OLIVER JEFFERS' ILLUSTRATION. . . Please select/adapt questions, which you think are most appropriate for the children you are working with. . . Where has the artist placed you in relation to this storm - in the action, a bystander or an outside observer? Does where you are affect how you respond to the picture? What is your initial response to this expanse of water? Why do you think that the illustrator has chosen not to have a border around this picture - do you notice how the pages have been cropped? Can you imagine the sea beyond the edge of the page - what would it be like? How would you describe the waves? Consider their size, shape and texture. Why do you think the waves are on such a large scale? What do you notice about the rowing boat in terms of its position on the page and where it is in relation to the crest of the wave? How do you read this picture - do you go from left to right with the sweep of the wave, or do you get sucked down into the centre with the lightning strike? Look at the rain. How is it falling and how does it help you understand the weather conditions? How do you think the artist has achieved the effect of this rain - how would it feel if you were able to touch it? Can you smell anything in this picture? What noises can you hear - where are they coming from and how do these add to the atmosphere? How do you feel as you look at this picture - does anything concern you? The illustrator has packed a lot of movement into this picture. Consider how he has done this:
Look closely at the quality and texture of the waves - how has this been achieved? What materials do you think have been used? How would you describe them? What do you notice about the application of colour and the texture of the sky in contrast to the waves in the foreground? Where is the darkest part of the picture - do you think that is significant? What do you notice about the illustrator's use of colour and shades of colour? To what effects has the artist used white? Do you think it's always applied in the same way? How would you describe the rowing boat in relation to the rest of the picture? What is your emotional response to this? How is the tension dispersed in this picture? What do you think the characters' responses are to their situation What do you think is going to happen next? How do the words interact with the picture? Why do you think black font has been chosen on a dark background? WRITE IT DOWN Harvest children's responses and record their descriptions and comments on a flip chart. Are there any aspects of the picture that they find particularly interesting or puzzling? |
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Mirrormask Use the double page spread at the beginning of scene 111.
LEARNING TO LOOK This activity is to encourage children to look more closely and critically at illustrations. It can be modelled whilst working with the whole class or a mixed ability group, it encourages children to offer their personal interpretation of the illustration and to share and shape their ideas orally in a collaborative setting. The aims of this activity are:
The following questions have been designed to help children to look more closely at the illustrative work of David Mckean, moving from the whole picture to the smallest part and to search for and use all available clues given by the artist to make meaning. Please select and adapt the questions to make them appropriate for your setting. If possible give children one copy of the picture to share between two or use an enlarged picture that everyone can see. TELL ME ABOUT DAVID MCKEAN'S ILLUSTRATIONS Please select/adapt questions, which you think are most appropriate for the children you are working with: What are you immediately drawn to on these pages? How do your eyes move across the page to read the images and the text? Are you concerned by its random nature? How does this enhance the dreamlike quality of the words? How does the jagged and jerky nature of the page layout influence your attitude to reading this? Consider the angles at which the text lands on the page and the impact of the black shapes advancing into the text from the left hand page. What is your physical and emotional response to this? As you look at this picture where are you? Are you an outside observer, a bystander in the picture or one of the characters portrayed? As an observer, does your viewpoint change as you look at different aspects of these pictures? How would you describe what's going on in this picture-why has the artist made it difficult for you to bring the composition into clearer focus? What do you think the images in the foreground of the picture might be? How do they make you physically feel? How do the words of Helen and the characters from the text influence what you see and hear in the visual images? What can you hear as you look? What can you smell as you look? How would you describe the colour and tones of this picture? How do you think this mixed media composition has been made? There is a strong sense of movement on these pages-where is it coming from and how has the artist achieved these effects? What experiences of visual literacy are influencing your interpretation of these pages e.g. moving image? Look at the use of borders and the definition of edges-how do they impact on the mood and atmosphere created here? Look at the shadow on the right hand edge of this spread-what is its function? Who is the man in the mask-what is he doing and why is he there? Where is the light coming from in this picture? -is there any sense of colour? What is the effect of the man's mask on your emotional response to the scene What is the focus of this picture? How would you describe the atmosphere it evokes? Consider the size and style of the font the effects of bold print and of placing white text on a black background. Look at the last two sentences on the page-what is the significance of their placement? |
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Jinnie Ghost Use the double page spread showing Jinnie Ghost gliding up the staircase.
LEARNING TO LOOK This activity is to encourage children to look more closely and critically at illustrations. It can be modelled whilst working with the whole class or a mixed ability group, it encourages children to offer their personal interpretation of the illustration and to share and shape their ideas orally in a collaborative setting. The aims of this activity are:
The following questions have been designed to help children to look more closely at the illustrative work of Jane Ray, moving from the whole picture to the smallest part and to search for and use all available clues given by the artist to make meaning. Please select and adapt the questions to make them appropriate for your setting. If possible give children one copy of the picture to share between two or use an enlarged picture that everyone can see. TELL ME ABOUT JANE RAY'S ILLUSTRATION. . . Please select/adapt questions, which you think are most appropriate for the children you are working with. . . What is your first impression of the mood and atmosphere created in this place? How does this picture make you physically feel? Would you like to be the child in that bed? Why/why not? How do your eyes travel across this page? How does the illustrator want you to read this picture? How does the illustrator involve you in the illustration, e.g. an outside observer, a bystander, a friend, a participant in the action etc? Where is this picture-what clues does the illustrator give you? Is the setting significant? When is it taking place? Consider: time in history, time of year, time of day How has the illustrator drawn your attention to these details? In what ways has the artist brought the outside world inside this house? Why do you think Jane Ray has done this? Does the use of light and dark affect your response to the picture-how does it make you feel? Is the same atmosphere consistent throughout the picture? What do you notice about the use of colours and contrasts in the illustration? There are certain parts of the picture that have been given translucent qualities-where do you notice them and how do they affect what and how you see? Jane Ray uses gold and applies some colour in a be-jewelled way, how does this affect your engagement and response to the illustration? What do you notice about the textures created by the artist? What medium do you think has been used to create these effects? Where has the artist used contrasts of light, dark and shadows to generate atmosphere? Is there anything that surprises you here? What do you notice about the ghostly figure in the illustration for e.g. facial expression, bodily gestures, position in the picture etc?
What other characters can you see in this illustration-what is their function in your understanding of the story? What clues has the illustrator given to help you build the character of the child in the bedroom? How would you describe the posture and reaction of the cat? What is the focus of this illustration, what is it about? What do you notice about the text, its position on the page, the size and colour of the font? What is the relationship between the written text and the illustration on this page-in what ways does the picture elaborate the words? WRITE IT DOWN Harvest children's responses and record their descriptions and comments on a flip chart. Are there any aspects of the picture that they find particularly interesting or puzzling? |
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Little Red Use the double page spread with the wolf swallowing Grandma when she turns her back on him.
LEARNING TO LOOK This activity is to encourage children to look more closely and critically at illustrations. It can be modelled whilst working with the whole class or a mixed ability group, it encourages children to offer their personal interpretation of the illustration and to share and shape their ideas orally in a collaborative setting. The aims of this activity are:
The following questions have been designed to help children to look more closely at the illustrative work of David Roberts, moving from the whole picture to the smallest part and to search for and use all available clues given by the artist to make meaning. Please select and adapt the questions to make them appropriate for your setting. If possible give children one copy of the picture to share between two or use an enlarged picture that everyone can see. TELL ME ABOUT DAVID ROBERTS' ILLUSTRATION. . . Please select/adapt questions, which you think are most appropriate for the children you are working with. . . What do you know about wolves, how much is the illustrator relying on your knowledge to help create the violent greed of this scene? Why has the artist placed the characters diagonally across the page? How does this impact on the speed with which the wolf consumes the grandma? From which part of the page does the wolf pounce and what effect does this have in terms of our understanding of his power, energy and greed? Why do you think the picture has been cropped so that part of the wolf's tail and Grandma's wig are unseen? Look carefully at the clear definition of this illustration and the way in which the illustrator has outlined everything with thin black lines, except for a large smudge of red around the back and tail of the wolf. Why has David Roberts used this effect and how does it work on your imagination? How would you describe the style of this picture and what materials do you think have been used? Why do you think the artist has chosen not to include any background detail on this particular page? Apart from the red of the jacket, how would you describe the tones of colour? Look at the shape of the wolf's paws, claws, ears, snout and teeth. How would you describe them and how do they make you feel? What words would you use to describe how the wolf eats Grandma? What does this picture tell you about Grandma's character and how, for example, she would move? What does the position of Grandma's dress, hands, feet and shoes suggest about how she is being swallowed by the wolf? Look at the difference between the speed of the pouncing wolf and the almost slow-motion effect created by the falling walking stick, the spectacles and the flying wig. Why has the illustrator chosen to use these contrasts? How has the illustrator used shadow to emphasise dramatic effect? Consider the layout of this double page spread:
WRITE IT DOWN Harvest children's responses and record their descriptions and comments on a flip chart. Are there any aspects of the picture that they find particularly interesting or puzzling? |
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Russell the Sheep Use the double page spread showing the sheep getting ready in the morning.
LEARNING TO LOOK This activity is to encourage children to look more closely and critically at illustrations. It can be modelled whilst working with the whole class or a mixed ability group, it encourages children to offer their personal interpretation of the illustration and to share and shape their ideas orally in a collaborative setting. The aims of this activity are:
The following questions have been designed to help children to look more closely at the illustrative work of Rob Scotton, moving from the whole picture to the smallest part and to search for and use all available clues given by the artist to make meaning. Please select and adapt the questions to make them appropriate for your setting. If possible give children one copy of the picture to share between two or use an enlarged picture that everyone can see. TELL ME ABOUT ROB SCOTTON'S ILLUSTRATION. . . Please select/adapt questions, which you think are most appropriate for the children you are working with. . . Where has the artist made you be, in the action, a bystander or an outside observer? How has he achieved this? -consider size of border and position of text. Focus on the background sky. What do you notice about the way in which the artist has suggested the passage of time across the page from dawn to early morning? Consider:
How do you think Rob Scotton achieves the almost 3D effect sheep's fleeces? Look carefully at his technique and application of paint and colour. The sheep are basically created using similar body, head and limb shapes. In what ways does the illustrator draw our attention to the different characters' natures and behaviour? In what ways does the illustrator allow you to identify with the different characters? Focus on the sheep's eyes. What do you notice about them? What is the effect on the reader of giving animals human characteristics? In what ways does this illustration enhance the text? What sort of reader will these illustrations appeal to and why? How do you read this picture and how does that impact on the overall atmosphere and busyness of the scene? Why do you think that the illustrator has chosen to stylise, for example the setting, in contrast to the realism of the shower and other artefacts? Which character are you drawn to and why? Whereabouts on the page is this character placed - does the position of a character influence your choice? How does the illustrator use humour in this picture? Is there anything unusual in this picture which leaves a question in your mind? Why do you think that the illustrator has included this? WRITE IT DOWN Harvest children's responses and record their descriptions and comments on a flip chart. Are there any aspects of the picture that they find particularly interesting or puzzling? |
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