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The CILIP Kate Greenaway Medal -
Visual Literacy Activities AUGUSTUS AND HIS SMILE |
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Banana! Use the red double page spread with the red and white stripy topped monkey having a tantrum.
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 Ed Vere 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 ED VERE'S ILLUSTRATION. . . Please select/adapt questions, which you think are most appropriate for the children you are working with. . . Look at the background colour of this page. How would you describe it? What kind of emotion is it helping to depict? What is the focus of this picture? How has the illustrator drawn attention to it? Who's got it and who wants it? What is the effect of the distance between the two monkeys? How has the illustrator given attention to the speech bubble and the word 'Banana!'? Describe how the word 'Banana' has been written. What do you notice about the lines? How does the look of the word help you to know how it is being spoken by monkey? The 'gutter' is the centre of the book where the pages are sewn together. What is the effect of the first monkey's tail overlapping the gutter? Who is the dominant character on this page? How has your attention been drawn to them? There is a lot of movement throughout this page, how has that been created? What effect do the lines around the temper tantrum monkey's arms and legs have on your understanding of his behaviour? Describe his/her tears. What sort of tears are they? What do you notice about his/her facial expression? Notice the crumpled lips, what does this suggest for you? How do you know that this monkey is having a temper tantrum rather than being the victim of a banana burglar? Look at the second monkey's facial expression, what does this tell you about him/her? Which other features and bodily gestures do you notice about this monkey? What do they tell you about his/her personality and character? Who do you think s/he is looking at? How do you think s/he is feeling about the temper tantrum monkey? How would you describe this illustrative style? What do you notice about the outlines and the application of colour on the characters and objects? What medium do you think has been used? There is no white border around this page, what is the effect of the blanket of red? Why do you think the second monkey has not been given any dialogue or for example thought bubbles? What do you think s/he would be saying or thinking? What would you do about the monkey having a tantrum?
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 Mouse's Big Book of Fears Use the double page spread depicting the Visitors' Map of the Isle of Fright.
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 your initial impression of these two pages? What is the effect of the stain down the gutter of the book and to the edge of the left hand page? Describe how you imagine these dirty pages might smell. How would you describe the nibbling of the pencil, what sort of character do you think has chewed into this and the edge of the pages? What do you notice about the quality of the writing and its direction across and over the two pages? Who do you think wrote this? Who does the pencil belong to? How are the dictionary definitions in the top corners delineated from the rest of the page? Are these real words? What are the predominant colours used on these pages? Now look at the map's cover. What is your initial impression of it? What kind of place do you think the Isle of Fright might be? Open the map. Who or what do you first notice and how do you feel? Why is the mouse clinging onto a paper clip? This map at first appears to be an ordinary ordinance survey map. How has its authenticity in terms of layout and features such as the legend and detail contributed to the humour of these pages? What do you notice about the colours used on the map? Why do you think Emily Gravett has chosen to use such muted tones? The island looks like a biological drawing of the inside of a mouse? How does looking inside a mouse make you feel? How would you describe the humour on this page? How do you set about reading this map? Where do you start? How has the illustrator directed how you read this page? Look on the back of the map, how do these personal details affect your interaction with this book and its creator, Emily Gravett? Whose fears do you think these are the Mouse's or Emily's? What is the effect of having this fold out map in the middle of the book? In what ways does it contribute to your involvement and enjoyment with the story? How do the treatments and page effects contribute to the overall atmosphere of the story telling? When do you think this story was set? What clues have you used to answer this question?
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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The Lost Happy Endings Use the double page spread depicting Jub sitting on the oak tree emptying her sack of happy endings.
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. . . Describe how your eyes are drawn across these pages, what do you notice? In what ways has Jane Ray grabbed your attention? How would you describe the way in which Jane Ray has presented this tree? Look at the way the oak tree is cut in half by the gutter of the book, we do not see any other trees or the floor of the forest. Now read the text. How has the illustrator worked with the text to help you draw the rest of the forest in your mind's eye? How tall and wide do you think this tree is? How would you feel about being in this forest? What is your overall response to the picture, how does it make you feel? What is the effect of the gold lettering and gold stars? What do they remind you of? Where is the movement in this picture coming from? How does it make you feel? What do you notice about Jub? Look at the contrast between her heavy brown coat and her delicate white lacy edged dress. What do her clothes tell you about her personality? Why do you think Jane Ray has chosen to give Jub red wellington boots? Notice how the birds are used across the pages, what do they bring to this illustration? If you were able to hear sounds from these pages, what would they be? How has the illustrator suggested these sounds? What do you notice about the night sky? How would you describe this blue? Look at the complete oak tree and the way the text grows around it. In what ways has the illustrator linked these two pages together? Who do you think wrote the happy endings in the illustration, Jane Ray or Carol Ann Duffy? What materials do you think Jane Ray has used to create these pictures? Look at her use of brush strokes and colour, where has she given most attention to detail? In what ways do these pictures interact with the text of the story? Have a go at reading the story endings. What stories do you think they might be from? What do you notice about the different styles of font? Can you hear the voices speaking them?
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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Monkey and Me Use the double page spread depicting monkey and me asleep at the kitchen table.
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. . . There are only three words of text on this page, how do they work with the illustration? How would you describe the atmosphere on this page? How do the colours and tones help to create the peace and quiet? Where is the colour in this picture and how is it used? Focus on Monkey and me, how would you describe their bodily gestures? How do you know 'me' has fallen asleep exhausted? Describe Monkey and me's facial expressions. Do you think they are dreaming? What do you think they are dreaming about? This is the end of the day and the end of the story and on the edge of the table is a picture. Why do you think Emily Gravett has included this? What is it telling you about? How would you describe Emily Gravett's illustrative style? What do you notice about the way she draws? What tools do you think she's used to draw with? What do you know about this little girl from this picture and how does it help you understand the story? 'Monkey' is 'me's' cuddly toy. Where do you think the other monkey may have come from? How has the illustrator differentiated between the two monkeys so that you know which one is 'real'? Consider this monkey's bodily gestures and facial expressions. What do they tell you about its character? How do you know what it is thinking? Why do you think that Emily Gravett has only showed us part of the monkey's body? What effect does this have? What is that monkey looking at? What do you think it wants? How has this picture been arranged on the page? Why do you think it has been drawn on the bottom of the page? Why do you think that the illustrator has chosen to keep a white background? There are no borders around this page, the picture goes right to the edge. How does this affect how you view the scene? Are you in it, on the edge of it or are you an outside observer? In what ways does the uncluttered nature of this picture add to the tranquillity of the scene? There is potential for this story to continue, where is that impetus coming from? 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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Ottoline and the Yellow Cat Use double page spread on pages 164 and 165.
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 Chris Riddell, 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 interactive whiteboard or visualiser to enlarge the pages so that everyone can see. TELL ME ABOUT CHRIS RIDDELL'S ILLUSTRATION. . . Please select/adapt questions, which you think are most appropriate for the children you are working with. . . How do your eyes scan these two pages? Do you read the words or the pictures first? How has Chris Riddell influenced the way you read the words and pictures? What is the effect of colour on these pages? Where is it and how does its use impact on the mood created? What do you notice about the position of the bear on the page? Look at the bear's left foot. Where do you think the bear is going? How does this make you feel? In what ways has Chris Riddell portrayed the strength and power of this bear? Chris Riddell has maintained an essence of real Canadian bear. In what ways do you notice the bear's anthropomorphic qualities? Why are these important in terms of the development of the story? What attitudes and emotions are being expressed by the onlookers on this page? How would you describe the expressions on their faces? Describe how the Yellow Cat might be feeling whilst caught in Ça big bear hug.' How has Chris Riddell helped you interpret the cat's response? How would you imagine that Chris Riddell has drawn these pictures? What do you think he used and how quickly do you think he works? How does he use lines to create shading and contrast? Look at page 165. The Yellow Cat is much taller than Ottoline but who do you think is the more dominant character? Consider the Yellow Cat's:
Why hasn't Chris Riddell coloured the Yellow Cat yellow? Does it matter? Now compare Ottoline's posture and body language to that of the cats, what do you notice? What effects do the pointed patterns on her dressing gown and the way her hood hangs have on your response to her? Each chapter has been given a different decoration to border page numbers. What do you notice about these page numbers and their position on the page? Why do you think they have been presented in this way? Which character is the focus of these two pages? What has helped you formulate your response? 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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Augustus and His Smile Use the double page spread of Augustus dancing and racing in the raindrops.
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 Catherine Rayner, 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.
Please select/adapt questions, which you think are most appropriate for the children you are working with… How does the colour on this page make you feel? Where do you think this part of the story is taking place? Is the setting important at this point? What do you notice about the application of colour and the textures created? How does the use of colour make you feel and respond to this page? In what ways has the illustrator helped you to imagine the quantity and depth of this storm? Consider the angle of the lines coming across the right hand page and the droplet effect used to give emphasis to the weight of the raindrops. What materials do you think the artist has used to achieve these visual effects? Consider her use of light and shade and the way in which she has used this to almost spotlight the antics of Augustus. How are we given a sense of Augustus’s size and power? Look at his position on the page and the way his tail has had to curl round in order to fit into it. Shapes are often used to convey emotions, what are the predominant shapes used by the illustrator to depict the changes in Augustus’s mood? How has Catherine Rayner maintained Augustus’s tiger qualities? Look at the power and shape of his limbs, shoulders and body. Why do you think she has chosen to give Augustus a square shaped face and a pink nose? What do you notice about his whiskers, in what ways do these help to establish this character and mood? What age group would you imagine this book is aimed at? We can see many of the drawn lines of the tiger and beneath his striking black stripes we can still make out how the illustrator has applied colour and shading to give depth and texture to his limbs and body. Why do you think she has chosen to apply the stripes in this thick black ink? How would you describe the colours used to depict Augustus at this point and how do they accentuate the mood created on the page? What do you notice about the layout of the text, its size and prominence amongst the illustrations? Why do you think they chose not to use a bolder larger text that would have contrasted more with the background? In what ways do the words and pictures work together? There is no frame to this picture, which fills this double page spread. What does this suggest to you about the tiger’s environment if you were able to see beyond the page? Where are you as you look at this, are you a bystander getting splashed in the picture or and outside observer watching Augustus dance?
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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The
Adventures of the Dish and the Spoon Use the double page spread depicting the moneylenders.
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.
How would you describe the layout of this page? How many sections has it been divided into? What effect does this layout have on the way in which you read this page? Which section has the most impact and why? Look at the first section, how would you describe the perspective of this scene? What is the effect of placing it at an angle and the addition of the notices? What sort of place have the dish and the spoon arrived at? What does the environment tell you about the dish and the spoon’s current situation? Look at the position of the dish and the spoon and how they are placed on the page. How does this impact on their vulnerability and the atmosphere created? What do you notice about the posture of the spoon and how the handle sits on his legs, what does it tell you about his feelings? Why do you think the illustrator has chosen to give the dish a hat with a rose on? What is the rose sometimes used to symbolise? Does this heighten the tension? How do you know that this is an area in decay? What do you notice about the fabric and structure of this building? Do you think it was always like this? What do you think has happened to the teacup, what clues has the illustrator given you? How would you describe the tones of colour used in this section? How do they make you feel? In what ways do you notice the changes to the illustrative style in the middle section of this page? How do you think the effect of the wooden table top has been achieved? What do you notice about its surface? Is this significant? What is the effect of the ripped veneer on the edge of the table? How does this echo themes from the previous frame? The colour of the table and the light on it brings it into sharp focus and is in stark contrast with the first and last frames. What is the effect of this on the reader? How has the illustrator given the Carving Knife Gang dominance on the page? What do you notice about Mini Grey’s use of light and shade? How has she animated these characters? What do learn about their individual personalities and physical attributes? Consider particularly the posture and expression of the fork. How is our attention drawn to the text of the story and in what ways do the illustrations bring added layers of meaning? Why do we only catch a glimpse of the money at edge of the page?
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? How do these pictures interact and work with the rest of the book? |
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The
Elephantom Use the double page spread depicting bedroom with elephant dung aromas wafting out of the door.
Working in pairs, encourage children to explore the picture discussing their responses and working together to make meaning of what they see. Ask them to jot down words and phrases, which reflect their responses to looking. The aims of this activity are:
The following questions have been designed to help children to look more closely at the illustrative work of Ross Collins, 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.
How do you read this page, do you look at the pictures or the words first? At first glance the elephant’s behind could be mistaken for a thought or speech bubble. How has the illustrator drawn your attention to what it really is - and that it is dropping dung as we watch! How do your eyes travel across the page? How has the illustrator controlled this? Consider the dropping elephant dung, the pile of elephant dung and the vapours from it which curl outside the door. How does the text influence how you interpret the different scenarios which are given on this page? Consider how the text is laid out on the page and how the words of the father drift into the room as the aroma drifts out. What effect does this movement have on your engagement with the page? How would you describe the colours in the girl’s bedroom and what do they tell you about her? Circumstantial detail in this bedroom is used to visually describe what it’s like to live in this house, what do you notice for example about her clothes, her toys, the lamp, the wires and so on? How would you describe the overall state of her bedroom? Similar colours are used for her parents’ clothes but they appear differently – why? What is the effect of the open door and what devices does the illustrator use to take us on to the landing? What do you notice about the posture and facial expression of the girl’s mum? What is she doing? What do these things tell you about her character? What do they suggest about her relationship with her daughter? What do you notice about her father? Where do you think he is going? What do you think he is going to do? What is he holding under his arm? How are the parents framed, what do you notice about the background colour here? Why do you think the illustrator has chosen this darker contrasting shade? What do you notice about the flowers on the windowsill and the addition of the adjacent watering can? What sources of humour do you notice in this picture? What is the effect of the opalescent finish to elements of this illustration such as the Elephantom, the dung and the aroma? How does this impact on the atmosphere and the tension created between the daughter, the Elephantom and the parents? In what ways does the girl’s appearance depict her response to the elephant dung? She and her parents have got stylised hair, how would you describe it and in what ways does it contribute to their characters and the atmosphere created in this house?
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? How do these pictures interact and work with the rest of the book? |
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The
Emperor of Absurdia Use the double page spread of the dragon coming out of its cave – chasing the Emperor.
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 Chris Riddell, 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.
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? How big do you think this dragon is? In what ways has Chris Riddell helped to give this dragon length? Consider for example how his body has crossed over the gutter of the page and his tail is still hidden within the dark recess of the cave. 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? How does this page help you to empathise with the fear of the Emperor? How has the illustrator helped you to know how the Emperor is feeling? Can you describe the feelings of the Emperor as they are expressed through his body language and facial expression? What do you notice about the size of his eyes and mouth? Consider the position of the Emperor on the page, what is the effect of placing him in the bottom left hand corner? How has the illustrator conveyed the speed at which the Emperor is moving? Look at his physical gestures and the way his clothing has been drawn in contrast to the almost static posture of the dragon. How would you describe the dragon, does it remind you of dragons from other stories and if so which ones? What features of this dragon demonstrate his power, strength and
ferocity? How would you describe the spines along his back, the
talon on his wings and the claws on his feet? The illustrator has used a variety of shades to create the surface features of this dragon, how would you describe the quality of these tones? Compare the bold block of colour created by the dragon on contrast to the intricate pattern and variety of colours on the Emperor. In what ways does this give emphasis on the Emperor’s vulnerability and fear? On the other pages of the book the sky has always been depicted as a natural blue, what effect does this yellow sky have on you and what does it make you think about? How has Chris Riddell introduced humour into this page? How do you know these dragons are related? Do you think they have the same personality? Can you imagine the rest of this cave? 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?
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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Orange
Pear Apple Bear Use the double page spread depicting Orange pear, Apple bear.
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.
What is the first thing you notice about this page? How is your attention drawn to the bear? Consider his position on the page and his posture. What is the effect of his raised leg and facial expression? What is he looking at? How do you think the bear is feeling? How did the illustrator use the blush of the apple to colour his embarrassment? Which part of the bear’s body has the apple created? How would you describe the colours of the apple bear? In what ways do the colours on the bear compliment those on the pear? The pear has been created with a very simple pencil outline. How has the artist created three dimensional effects which make the pear stand out on the page? What medium do you think has been used to colour the pear? What colours can you see in its skin and what effect do they have on its surface detail? Can you describe how the colour has been applied? In what ways does the pear look different if you hold the picture further away from you? Both the pear and the apple appear to have been drawn quickly using a soft pencil in a sketchy style. Why do you think the illustrator has chosen not to erase unwanted lines? In what ways do they compliment the mood and movement in these pictures? What is the effect of placing these images on completely white backgrounds? Why do you think Emily Gravett has not included a background for them, such as a plate or a tree for the pear or a cage or a forest for the bear? How does the lack of background affect your perception of these images? In what ways do the words and pictures work together? The font is in a grey colour which is much paler than the outline black of the images. Why do you think the page has been designed in this way? Who do you think is the intended audience for this book? How does the content of the page inform your answer? Where is the humour to be found ion this illustration? What kind of bear is this? A wild bear? A teddy bear? Does the type of bear make a difference to your interaction with the story?
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? How do these pictures interact and work with the rest of the book? |
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Scoop Use the introductory credits double page spread showing Molenski’s office.
The aims of this activity are:
The following questions have been designed to help children to look more closely at the illustrative work of John Kelly and Cathy Tincknell, 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.
What do you notice about the way your eyes travel across this double page spread in an attempt to absorb all the visual information on offer? Is your attention drawn to the words or the pictures? How do you know where you are and what clues have the illustrators given to suggest the setting? Who does this office belong to? Use the black and white photograph of his ID card to consider what it says about his personality? What opportunities have the illustrators created for visual puns and humour at the expense of Molenski? What do you know about his character from the artefacts and objects which clutter his desk? Can you identify his role on The Daily Roar? What clues do the illustrators give you to establish the time in history, e.g. computer, post-it notes? In what ways do they contrast with the genre of the story which has a 1940’s/1950’s retro atmosphere created by the inclusion of details such as the telephone and Molenski’s suit. Does this picture remind you of anything you’ve seen before? What tones have the illustrators chosen to use and how do these affect the mood created and your response? What have you noticed about the book titles? What more does this tell you about Molenski’s beliefs? In what ways do you think that the illustrators are trying to control your responses to the information on this page? Look at the mug of pencils, what do you notice about the tentacles emerging from it or the spacecraft hovering by the heart which has casually picked up a paper clip. How does the addition of these effects at the opening of the story affect what you anticipate will happen next? How do Molenski’s colleagues view his credibility as a journalist? How do you locate this information? How do your read the text which is offered on this page? Does this kind of detective work with words influence the ways in which you search for visual clues? Where is the humour in this illustration? Where are you observing this picture from – are you in the office, outside the book or in an adjacent office? In what ways are you able to empathise with Molenski after closer scrutiny of his office? When you first noticed the presence of aliens did it change your attitude towards him? This page is laid out like a setting from a film, how have the illustrators achieved this cinema-graphic atmosphere? How have the illustrators introduced additional characters and where do you imagine them to be located in terms of the setting? If you were able to hear sounds on this page, what would they be?
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? How do these pictures interact and work with the rest of the book? |
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