Picture books: Explore relationship between text and

illustrations and the role of illustrations as art color,

technique, line composition, shape
Objectives
• Gain a deeper understanding of the
relationship between text and illustration and the role of
illustrations and their elements.
• Develop awareness and appreciation
of learning the significance of determining the relationship
between text and illustrations
• Accomplish all the activities outlined in this lesson.

Introduction

In this lesson you will be gaining an extra milestone in learning the relationship between text and
illustration as well as its elements and how this relationship or connection creates and impacts the reader.
In this lesson you will also meet extra challenging activities that will give you extra fun and enjoyment.

Direction: Evaluate the picture what does it show and

explain your answer.
 Let’s Analyze!

• What do you think is the significance of learning the relationship

between text and illustration? Briefly explain your answer

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Abstraction:
Artistic Elements
Line
There are many types of lines, all characterized by length greater than
width. Lines can be static or dynamic, depending on how the artist uses them.
They help determine a work of art's motion, direction, and energy. We see the
line around us daily; telephone wires, tree branches, jet contrails, and winding
roads are just a few examples. Lines define objects, but lines suggest movement,
distance, and feeling. Curves and circular lines suggest warmth, coziness, and
security. Diagonal and zigzagging lines suggest action, excitement, and rapid
movement. Horizontal lines suggest calm and stability. Vertical lines suggest
height and distance
 Shape
A shape is defined as an enclosed area in two
dimensions. By definition, shapes are always flat, but
combining shapes, color, and other means can make shapes
appear three-dimensional forms. Shapes can be created in
many ways, the simplest by enclosing an area with an
outline. They can also be caused by surrounding space with
other shapes or placing different textures next to each
other—for instance, the shape of an island surrounded by
water. Because they are more complex than lines, shapes are
usually more important in the arrangement of compositions.
The examples below give us an idea of how shapes are
made.
Space
is the empty area surrounding or between real or implied objects. Humans categorize space: there
is outer space, that limitless void we enter beyond our sky; inner space, which resides in people’s minds
and imaginations; and personal space, the essential but intangible area that surrounds each individual and
which is violated if someone else gets too close. Pictorial space is flat, and the digital realm resides in
cyberspace. Art responds to all of these kinds of areas.
Many artists are as concerned with space in their works as they are with color or form. There are
many ways for the artist to present ideas of space. Remember that many cultures traditionally use pictorial
space as a window to view the realistic subject matter through, and through the subject matter, they
present ideas, narratives and symbolic content. The innovation of linear perspective, an implied geometric
pictorial construct dating from fifteenth-century Europe, affords us the accurate illusion of three-
dimensional space on a flat surface and appears to recede into the distance through a horizon line and
vanishing point(s). You can see how a one-point linear perspective is set up in the examples below:
One-point perspective occurs when the receding lines converge at a single point on the horizon
and when the flat front of an object is facing the viewer. Note: Perspective can be used to show the
relative size and recession into space of anything but is most effective with hard-edged three-dimensional
objects such as buildings.
A classic Renaissance artwork using one point
perspective is Leonardo da Vinci’s The Last Supper from 1498.
Da Vinci composes the work by locating the vanishing point
directly behind the head of Christ, thus drawing the viewer’s
attention to the center. His arms mirror the receding wall lines
and, if we follow them as lines, would converge at the same
vanishing point.
Value and Contrast
Value (or tone) is a shape's relative lightness or darkness in relation to another. The value scale,
bounded on one end by pure white and on the other by black and in between a series of progressively
darker shades of grey, gives an artist the tools to make these transformations. The value scale below
shows the standard variations in tones. Values near the lighter end of the spectrum are termed high-keyed;
those on the darker end are low-keyed.
 Color
Color is the most complex artistic element
because of the combinations and variations
inherent in its use. Humans respond to color
combinations differently, and artists study and use
color in part to give the desired direction to their
work.
Color is fundamental to many forms of art.
Its relevance, use, and function in a given work
depend on the medium of that work. While some
concepts dealing with color broadly apply across
media, others are not.

Texture
At the most basic level, Three-dimensional works of art (sculpture, pottery, textiles, metalwork,
etc.) and architecture have an actual texture which is often determined by the material used to create
them: wood, stone, bronze, clay, etc. Two-dimensional works of art like paintings, drawings, and prints
may try to show implied texture through lines, colors, or other ways. We call that impasto when an
artwork has much actual texture from thick paint.
The Importance of Illustration
The children's books featured on the Power of Pictures have been chosen because of the quality
of the illustrations they contain and how they work with the text to create meaning for the reader.
Children will need time and opportunities to enjoy and respond to the pictures and to talk together about
what the illustrations contribute to their understanding of the text.
Responding to illustration
In the best picture books, illustration and text work closely together to create meanings. Children
are naturally drawn to the drawings in a picture book and are frequently far more observant than an adult
reader. Children’s interest in images and their ability to read them can be developed through carefully
planned interventions emphasizing talk.
Discussions about illustrations can include all children and help to make a written text more
accessible. Time spent focusing on illustration can contribute to children’s ability to read for meaning,
express their ideas and respond to the texts they encounter.
Gallery Walk
A gallery walk allows children to walk the story of a picture book. The illustration spreads
without text are displayed in sequence around the classroom or larger hall space, and the children walk
individually or in groups around the room, building their picture of the narrative through the illustration.
Children can discuss their different interpretations of the story by discussing the images and working out
what is happening and the possible motivations of the characters. They can also empathize with other
characters and situations by drawing on personal experiences.
 Illustrating Characters
Illustrating characters alongside an illustrator or enabling adults gives children a starting point on
how to bring characters to life through illustration. Children who are less confident at the beginning of
this process can see where starting points are, the shapes used to build up characters and how detail such
as proportion, facial expression, clothing, and props can add layers of understanding about feeling and
emotion.
Drawing characters focuses attention on how they look, what they say, and behave. Children have
to refer to the text to build their ideas of what a character is like. They can also be encouraged to draw on
the text's language in annotations around the drawings.
Illustrating own Characters and settings
Giving children the time to illustrate their own characters as part of their idea development
focuses on how they look, say, and behave. Children will need lots of time to explore and experiment
when creating a character, trying out different ideas in various media. They can then talk about which
ideas work best for them and which characters they feel speak their story.
To build their ideas of what a character is like, children may have to create and re-create them in
different ways. It is important to give children time to experiment with proportion, facial expression,
clothing, and props to give their intended reader further clues about the characters they create.
Visualization
Asking children to picture or visualize their ideas is a powerful way of encouraging them to move
into a fictional world. Children can be asked to picture the scene in their mind's eye or walk around it in
their imaginations. Finally, they can bring it to life by recreating it in drawing, painting, or other media.
Illustrating story settings or key events prompts children to imagine what a scene looks like or
visualize it from a particular viewpoint. Like drama, it enables children to enter the world of the story and
provides support for writing

ASSESSMENT!

Direction: With the given picture below, evaluate how

does all the element of artistic visual create an impact
to the reader.