Visual Literacy Pack:
The CILIP Kate Greenaway Top Ten Books
Gree
na
Winn way
er
1999
Alice’s Adventures in Wonderland
Illustrated by Helen Oxenbury
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:
• to increase the interaction with and enjoyment of picture books for
children of all ages
• to develop children’s confidence and vocabulary to respond to what
they see – to observe and describe
• to encourage them to build on their previous experience,
imagination and understanding to make sense of visual
information – to interpret
• to consider a variety of graphic forms and their interaction with a text in
order to convey layers of meaning – to appreciate
• to recognise different styles and techniques used and developed by a
variety of illustrators – to analyse
• to begin to recognise and appreciate visual metaphor, irony, puns and
jokes etc. – to participate
The following questions have been designed to help children to look
more closely at the illustrative work of Helen Oxenbury. By moving from
the whole picture to the smallest part children are encouraged 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.
2
TELL ME ABOUT HELEN OXENBURY’S ILLUSTRATIONS…
Please select/adapt questions, which you think are most
appropriate for the children you are working with…
This page is very similar to a scene from a play or pantomime. The stage is set with scenery and
props. As the curtain rises there is action…
Who do you notice first?
How has the illustrator put the cook in a position of power?
Where has she been placed on the page?
Look at the athletic poise of her body. What does it remind you of?
How would you describe the expression on her face?
Does it give you any clues about her motives for such a violent attack?
What is the cook wearing?
Why do you think that the illustrator has chosen to dress her in the traditional clothing of her trade?
What do you notice about the staining on her apron?
What does this suggest about her character and behaviour?
What is the dramatic effect of the billowing black smoke, which hangs between
the cook and the Duchess?
What does the style and content of this kitchen suggest to you about the setting of this story?
If you were in this kitchen what would you smell?
What sounds would you hear?
What has the cook thrown?
Why do you think that the Duchess does not respond or retaliate?
How would you describe the Duchesses response to her attack and the danger
it poses for her child?
How would you expect a mother to respond?
What do you notice about her body language and facial expression?
3
Why do you think that the baby has been illustrated naked?
Look at the proportions of the Duchess, the size of her head in comparison to the
rest if her body and the length of her nose. What do these exaggerated features
remind you of?
What signs of her wealth and status are given through her clothing and jewellery?
How do the caricatures of the Duchess and the cook contrast with the portrayal of Alice?
What is Alice wearing?
What do you know about her from her clothing?
What do you notice about the way she is standing and the position of her arms?
What might she be saying to the cook?
What is the dramatic effect of putting a small girl between two grown women
who are fighting?
How does this scene influence your opinion of the women and Alice?
How has the illustrator grabbed and sustained your attention?
Why is there a cat in the room?
How is it responding to the scene?
What do you notice about the use of colour?
How have these characters been drawn?
Is this book contemporary? Does the style and presentation of these illustrations
give you any clues about when it was published?
Consider details such as:
• Page layout
• Fashion
• Use and application of colour
• Definition of colour
• Amount of colours used
• Appearance of characters
• Illustrative style
• Artistic movements
When do you think it was published?
1950s?
1960s?
1970s?
1980s?
1990s?
2000s?
WRITE IT DOWN
Harvest children’s responses and record their descriptions and comments on a whiteboard/flip chart.
Are there any aspects of the picture that they find particularly interesting or puzzling?
4
way
Greena r
Winne
1963
Borka
By John Burningham
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:
• to increase the interaction with and enjoyment of picture books
for children of all ages
• to develop children’s confidence and vocabulary to respond
to what they see – to observe and describe
• to encourage them to build on their previous experience, imagination
and understanding to make sense of visual information – to interpret
• to consider a variety of graphic forms and their interaction with a
text in order to convey layers of meaning – to appreciate
• to recognise different styles and techniques used and developed
by a variety of illustrators – to analyse
• to begin to recognise and appreciate visual metaphor, irony, puns and
jokes etc. – to participate
The following questions have been designed to help children to look
more closely at the illustrative work of John Burningham. By moving
from the whole picture to the smallest part children are encouraged
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.
5
TELL ME ABOUT JOHN BURNINGHAM’S ILLUSTRATIONS…
Please select/adapt questions, which you think are most appropriate for the children you are working with…
What does this page tell you about the story?
In what ways has the illustrator grabbed your attention?
Who or what is the focus of this page?
Notice how Mrs Plumpster’s shape dominates the left hand page. What is the impact of
her presence on you and Borka?
What shape has the illustrator based her body upon?
Her knitting needles frame her face. How would you describe her facial expression?
What does her face tell you about her character?
What do you notice about the way in which John Burningham has drawn her face neck and wings?
Consider:
• the thickness and shape of his lines
• the application and intensity of colour
• brush strokes/diffuser
• the medium used; ink, charcoal, pastel, paint etc
John Burningham has represented these geese using their key characteristics what are they and
which shapes has he used to portray them?
How would you describe John Burningham’s style?
Consider:
• caricature
• bold
• two-dimensional
• striking
• sensitive
• well-observed
• simple
• immediate
• confident
What do you know about this place?
What information has the artist offered to help you construct the setting?
Consider: time of year and time of day
6
What do you notice about the tones of colours that have been used?
In what ways do they reflect the natural environment, where Borka lives?
In what ways do these colours develop the mood and atmosphere of this scene?
What is Mrs Plumpster doing?
The strand of wool from the knitting takes your eyes down to the basket of wool, which bridges the
gutter of the page and leads you to the place where Borka stands.
How has John Burningham depicted Borka?
What is she doing?
What do you think she is waiting for?
What do you notice about Borka’s appearance?
How does her appearance make you feel?
How do you think she must be feeling?
Who is Borka looking at?
How would you describe her facial expressions?
What do you think her feelings are for her mother?
How does her environment contrast with that of her mothers?
How has the illustrator created an open less hospitable place for Borka to stand in contrast with the
warmth of her mother’s position in the bulrushes?
In what ways does the illustrator connect with your emotions through his depiction of Borka’s vulnerability?
Do you think that the jumper will solve Borka’s problems?
In what ways do the illustration and text work together to engage you further with these characters?
Is this book contemporary? Does the style and presentation of these illustrations give you any clues
about when it was published? Consider details such as:
Consider details such as:
• Page layout
• Fashion
• Use and application of colour
• Definition of colour
• Amount of colours used
• Appearance of characters
• Illustrative style
• Artistic movements
When do you think it was published?
1950s?
1960s?
1970s?
1980s?
1990s?
2000s?
WRITE IT DOWN
Harvest children’s responses and record their descriptions and comments on a whiteboard/flip chart. Are there
any aspects of the picture that they find particularly interesting or puzzling?
7
Greenawa
y
Winner
1977
Dogger
By Shirley Hughes
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:
• to increase the interaction with and enjoyment of picture books for
children of all ages
• to develop children’s confidence and vocabulary to respond to
what they see – to observe and describe
• to encourage them to build on their previous experience,
imagination and understanding to make sense of visual
information – to interpret
• to consider a variety of graphic forms and their interaction with
a text in order to convey layers of meaning – to appreciate
• to recognise different styles and techniques used and developed
by a variety of illustrators – to analyse
• to begin to recognise and appreciate visual metaphor, irony,
puns and jokes etc. – to participate
The following questions have been designed to help children to look
more closely at the illustrative work of Shirley Hughes. By moving
from the whole picture to the smallest part children are encouraged
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.
8
TELL ME ABOUT SHIRLEY HUGHES ILLUSTRATIONS…
Please select/adapt questions, which you think are most appropriate
for the children you are working with…
How is this part of the story being told?
What do you notice about the layout of this page?
How do you know which picture to read first?
What do you notice about the shape and format of each frame?
What effect does this have on the mood created over the pages?
What are Mum and Dave doing?
What do you think they might be looking for?
Go through each picture and watch Dave. How does his mood change as the search progresses?
In what ways has the illustrator depicted his growing sense of hopelessness?
What information has the illustrator provided to suggest the different parts of the house
they visit in their search?
What is the effect of breaking the frame? For example the bed being pushed aside to search,
the Wellington boot as the cupboard under the stairs is cleared?
How has the illustrator achieved a sense of movement in these pictures?
What do you know about these characters in the pictures?
Who do you think they are?
What are their relationships to one another?
Where is the girl going?
What is she hiding behind her back?
Why do you think she doesn’t want Dave to see her teddy?
What does this action tell you about her understanding and sympathy for Dave?
How does it enhance your understanding of their relationship?
9
Look carefully at each frame. What has the artist used to create the pictures?
Consider her use of:
• colours
• lines
• application of colour
• light and shade
How are you involved in these pictures, as an outside observer, a bystander, or a
participant in the search?
Consider how Shirley Hughes takes you under the bed and into the cupboards?
Look at Mum’s changing body shapes as she bends and reaches to explore each
place. How does this trigger a response from the reader?
In what ways do the pictures work with the text?
In what ways do the illustrations offer further layers of meaning beyond those
given in the words?
Who is active in making this meaning?
In what ways does the illustrator engage the reader to also become the storyteller?
IIs this book contemporary? Does the style and presentation of these illustrations
give you any clues about when it was published?
Consider details such as:
• Page layout
• Fashion
• Use and application of colour
• Definition of colour
• Amount of colours used
• Appearance of characters
• Illustrative style
• Artistic movements
When do you think it was published?
1950s?
1960s?
1970s?
1980s?
1990s?
2000s?
WRITE IT DOWN
Harvest children’s responses and record their descriptions and comments on a whiteboard/flip
chart. Are there any aspects of the picture that they find particularly interesting or puzzling?
10
Greenawa
y
Winner
1978
Each Peach Pear Plum
Illustrated By Janet Ahlberg
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:
• to increase the interaction with and enjoyment of picture books for
children of all ages
• to develop children’s confidence and vocabulary to respond to
what they see – to observe and describe
• to encourage them to build on their previous experience,
imagination and understanding to make sense of visual
information – to interpret
• to consider a variety of graphic forms and their interaction with a
text in order to convey layers of meaning – to appreciate
• to recognise different styles and techniques used and developed by
a variety of illustrators – to analyse
• to begin to recognise and appreciate visual metaphor, irony, puns
and jokes etc. – to participate
The following questions have been designed to help children to look
more closely at the illustrative work of Janet Ahlberg. By moving
from the whole picture to the smallest part children are encouraged
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.
11
TELL ME ABOUT JANET AHLBERG’S ILLUSTRATION…
Please select/adapt questions, which you think are most appropriate
for the children you are working with…
In this book you are encouraged to play I spy. Who do you think you are playing it with?
Can you describe how your eyes travel across these two pages?
What icon is used before the text on the left hand page?
What is this dog doing? What nursery rhyme do you think of when you look at the little dog and
then see the words, ‘Mother Hubbard?
Why do you think Janet Ahlberg chose to place the dog there?
In what ways does the text direct how you first look at this illustration?
How has the illustrator engaged you with both the words and pictures on these pages?
What is the focus of this picture?
What emotions are being expressed - how does it make you feel?
What do you know about the characters that live in this house? What clues does the illustrator
give the reader?
Why can we only see part of Mother Hubbard?
What do you know about Mother Hubbard from the information in this picture?
What do you think she is doing?
Old Mother Hubbard is going to bake, what do you think she is going to make? Has she got all
the ingredients she will need?
Using your mind’s eye, can you imagine the rest of this room?
Where are the characters looking? Do they know you are watching them?
Why do you think that the illustrator has chosen to give you this view of the kitchen, which includes the door and the window?
What sort of place do you see through the door?
Can you spot the images of food and drink in this picture?
12
Say the nursery rhyme:
Old Mother Hubbard went to the cupboard,
To get her poor dog a bone,
But when she got there,
The cupboard was bare,
And so the poor dog got none.
• Does the rhyme give you the same view of Mother Hubbard, her cupboard and the
dog as those depicted by the illustrator?
• Why do you think Ahlberg has chosen to contrast them in this way?
Look at the overall colours and content of this picture. How do they make you feel?
What are the predominant colours? Can you describe the tones of these colours?
Why do you think that the artist chose to use mainly pastel shades?
What medium do you think the artist has used to achieve these effects?
If you could smell inside this kitchen, what would you smell?
If you could hear things in the picture what would you hear?
Where are you, as you look at this picture? Are you an outside observer looking in, or
are you in the kitchen with them?
Why do you think that the illustrator has drawn the thin blue border around each
page? Does this affect how you view the content of each page?
What kind of place has the illustrator created for the reader?
Does it affect how the rest of the story is told?
How would you describe Janet Ahlberg’s illustrative style?
The nursery rhymes in this book are very old and the characters look very traditional
but that doesn’t necessarily make it an ‘old’ book. Does the style and presentation of
the book give you any clues about when it was published?
Consider details such as:
• Page layout
• Fashion
• Use and application of colour
• Definition of colour
• Amount of colours used
• Appearance of characters
• Illustrative style
• Artistic movements
When do you think it was published?
1950s?
1960s?
1970s?
1980s?
1990s?
2000s?
WRITE IT DOWN
Harvest children’s responses and record their descriptions and comments on a whiteboard/flip
chart. Are there any aspects of the picture that they find particularly interesting or puzzling?
13
Greenaway
Winner
1973
Father Christmas
By Raymond Briggs
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:
• to increase the interaction with and enjoyment of picture books for
children of all ages
• to develop children’s confidence and vocabulary to respond to
what they see – to observe and describe
• to encourage them to build on their previous experience,
imagination and understanding to make sense of visual
information – to interpret
• to consider a variety of graphic forms and their interaction with a
text in order to convey layers of meaning – to appreciate
• to recognise different styles and techniques used and developed by
a variety of illustrators – to analyse
• to begin to recognise and appreciate visual metaphor, irony, puns
and jokes etc. – to participate
The following questions have been designed to help children to look
more closely at the illustrative work of Raymond Briggs.
By moving from the whole picture to the smallest part children are
encouraged 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.
1
14
TELL ME ABOUT RAYMOND BRIGG’S ILLUSTRATIONS…
Please select/adapt questions, which you think are most appropriate for the
children you are working with…
Is the setting of this picture significant?
What kind of place is it?
Do you know when it is taking place?
What is your immediate response to this scene?
Where are the sources of light coming from?
What are the qualities of this light?
How has Raymond Brigg’s contrasted the warmth inside with the icy chill outside?
Consider his choice of colour and the intensity of their application.
Does anything surprise you about this illustration?
Do you think they are expecting Father Christmas?
Why has the illustrator cut away the fronts of two of the houses?
What is your response to this?
How do you try to find out about the interiors of the other houses?
What have you found about the people inside?
Does anything puzzle you about this picture?
Look at the boy looking out of the bedroom window on the left hand side.
What do you think he’s doing?
There’s a little girl at the window of number 65. What do you think she’s thinking about?
What is the effect of all the parked cars covered in snow?
Why do you think the illustrator has chosen to show a space where one car has pulled out?
• How long ago did it leave?
• Where do you think it was going?
• Who was in it?
15
What do you know about the people who live in the end house on the right hand side?
Why do you think there’s a light on in the shed?
Why do you think that the illustrator has given so much information about each house?
What do you notice?
How would you describe Father Christmas?
Is there anything that surprises you about him?
What do you notice about his size, body language and facial expressions?
Do you think anyone knows that Father Christmas is on the roof?
Do you think he will visit all these houses?
How do you think Father Christmas feels about being alone on the roof in contrast to the
family groups in the houses?
What is your response to him?
Is he how you imagine him to be?
What do you know about his character from this illustration|?
Do you think he enjoys his work?
How would you describe the deer?
Look at their stance and the way that the sleigh is parked on the roof.
What does this tell you about their training and Father Christmas’s experience?
How has Raymond Briggs created this picture?
What do you notice about his use of line and colour?
What medium do you think he has used?
Consider how this picture is framed.
Why do you think that the picture does not cross the gutter at the centre of the book?
What is the effect of the white border around each page?
How has the story on this page been told?
How much of the story has been told by you?
In what ways did the illustrator help you?
In other parts of this book, Raymond Briggs uses speech bubbles. Who would you like to
give a speech bubble to in this picture? What would they be saying?
Much of this book is told in a cartoon style. Why do you think Raymond Briggs chose to
use a close up of this frame rather than incorporate it as series in a comic strip?
16
Is this book contemporary? Does the style and presentation of these illustrations give you
any clues about when it was published?
Consider details such as:
• Page layout
• Fashion
• Use and application of colour
• Definition of colour
• Amount of colours used
• Appearance of characters
• Illustrative style
• Artistic movements
When do you think it was published?
1950s?
1960s?
1970s?
1980s?
1990s?
2000s?
WRITE IT DOWN
Harvest children’s responses and record their descriptions and comments on a whiteboard/flip chart.
Are there any aspects of the picture that they find particularly interesting or puzzling?
17
Greenawa
y
Winner
1983
Gorilla
By Anthony Browne
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:
• to increase the interaction with and enjoyment of picture books for
children of all ages
• to develop children’s confidence and vocabulary to respond to
what they see – to observe and describe
• to encourage them to build on their previous experience,
imagination and understanding to make sense of visual
information – to interpret
• to consider a variety of graphic forms and their interaction with a
text in order to convey layers of meaning – to appreciate
• to recognise different styles and techniques used and developed by
a variety of illustrators – to analyse
• to begin to recognise and appreciate visual metaphor, irony, puns
and jokes etc. – to participate
The following questions have been designed to help children to look
more closely at the illustrative work of Anthony Browne. By moving
from the whole picture to the smallest part children are encouraged
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.
18
TELL ME ABOUT ANTHONY BROWNE’S ILLUSTRATIONS…
Please select/adapt questions, which you think are most appropriate for the children
you are working with…
Look at the first picture. What do you notice about its size and layout on the page?
What is the effect of the thin black border?
Why has the black drainpipe been included in this composition?
Why has this character been placed towards the right hand edge of the frame?
How would you describe his appearance and movement?
What sort of work do you think he does?
Is there anything in the background, which tells you about his setting?
What do you notice about his shadow?
On the second page who’s shadow do you notice? Why do you think it is so dark and
dominant?
Look at the precise detail given to the furnishings and furniture in this room.
Why then has the photograph in the frame been left as a blur?
The strong downward pattern of the drainpipe in the first picture is reflected in this picture,
where do you notice it?
What is the effect of these lines/
Look at the ones on the chair what do they remind you of?
Even the curtains fall in neat lines. How would you describe their fabric and colour?
In what ways do they contrast with the colours and textures of the rest of the room?
The angle poise lamp serves as a spotlight on and for Hannah’s father.
What is he focussing on? What do you notice about him?
Do you think he is aware of his daughter standing behind him?
How would you describe his posture, look at the tension across his shoulders. How has the
illustrator achieved this?
19
What does his posture tell you about, his character, mood and feelings?
There is a frame around this illustration. How has Hannah been framed within it?
What is the source of the light surrounding her?
What is the effect of putting her in this soft light in contrast to the harsh light her father is in
from the lamp?
Look closely at Hannah?
What do you think she is trying to do or say?
Why can we only see a back view of her?
How would you describe her posture?
Where is the tension coming from?
Why do you think she holds her hands behind her back?
What do you think she is doing with the fingers on her right hand?
What can you tell about her feelings/mood from this view?
Is the distance between Hannah and her father significant?
Where do you notice warmth and colour in this illustration?
Consider:
• tones of colour
• texture
• use of light and dark
In what ways do you work with the text to further explore the relationship
between Hannah and her father?
Is this book contemporary? Does the style and presentation of these illustrations give you any
clues about when it was published?
Consider details such as:
• Page layout
• Fashion
• Use and application of colour
• Definition of colour
• Amount of colours used
• Appearance of characters
• Illustrative style
• Artistic movements
When do you think it was published?
1950s?
1960s?
1970s?
1980s?
1990s?
2000s?
WRITE IT DOWN
Harvest children’s responses and record their descriptions and comments on a whiteboard/flip chart.
Are there any aspects of the picture that they find particularly interesting or puzzling?
20
way
a
n
e
e
Gr
r
Winne
2000
I Will Not Ever, Never Eat a Tomato
By Lauren Child
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:
• to increase the interaction with and enjoyment of picture books for
children of all ages
• to develop children’s confidence and vocabulary to respond to
what they see – to observe and describe
• to encourage them to build on their previous experience,
imagination and understanding to make sense of visual
information – to interpret
• to consider a variety of graphic forms and their interaction with a
text in order to convey layers of meaning – to appreciate
• to recognise different styles and techniques used and developed by
a variety of illustrators – to analyse
• to begin to recognise and appreciate visual metaphor, irony, puns
and jokes etc. – to participate
The following questions have been designed to help children to look
more closely at the illustrative work of Lauren Child.
By moving from the whole picture to the smallest part children are
encouraged 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.
21
TELL ME ABOUT LAUREN CHILD’S ILLUSTRATIONS…
Please select/adapt questions, which you think are most appropriate for the children you
are working with…
Look at the first page. This is a long shot of Lola. What information has the artist given you
about where she is?
What part of the room is she in?
What do you notice about angles and perspective?
Look carefully at the background. What do you notice about the wallpaper and the way it
has been applied to the picture?
How has the flooring been created?
Why do you think the illustrator has chosen collage rather than painting the whole picture?
What tones of colours have been used here?
How would you describe the pattern on the wallpaper?
What colours are on it?
In what ways do the walls and the floor contrast with the kitchen table?
Describe the table. Why do you think that Lauren Child has made it so blank?
What is the focus of this page?
How has the illustrator achieved this?
Look at the hanging lampshade. Is the light on?
Why has the illustrator placed it over the table?
What is on the table?
Look at the rabbit. Cutting out photographs and sticking them on to another picture is
called photomontage. Why do you think the illustrator has chosen this rather than painting
a rabbit herself?
Is the carrot photomontage?
Where has the rabbit come from?
How old do you think Lola is?
22
How and why has the artist made her look so small?
How can you tell what type of mood Lola is in?
What do you notice about her body language and facial expression?
Why can’t you see her hands?
Look at the colours on Lola’s jumper, are they reflected anywhere else in the picture?
Look at the second page. What has changed?
This is a close up of Lola. What are her most prominent features?
How would you describe the look in her eyes?
How has the illustrator achieved this?
Consider:
• shape
• angle
• size
• intensity of line and colour
• position on face
Look at Lola’s mouth, what do you notice about it?
What is the effect on her whole face of placing her mouth so low down on her chin?
How would you describe the shape and size of her head?
Strong black lines delineate her hair. What does this achieve?
What do you notice about the position of her body now?
Is there any movement here?
How has the illustrator achieved this?
What is Lola pointing at?
Can you see the cut out lines around her fingers?
What is the impact of placing Lola’s drawn hand inside the photographed bowl of peas?
Lauren Child often uses a strong black line to outline her drawings. Where do you notice
them in this picture and what is there effect?
There are no borders around these pictures. Where are you watching Lola from?
Read the text, who is telling this story, where are they as you read?
In what ways does the text work with the illustrations?
What do you notice about the style and layout of the font? What effects does it create?
Is this book contemporary? Does the style and presentation of these
illustrations give you any clues about when it was published?
23
Is this book contemporary? Does the style and presentation of these
illustrations give you any clues about when it was published?
Consider details such as:
•
•
•
•
•
•
•
•
Page layout
Fashion
Use and application of colour
Definition of colour
Amount of colours used
Appearance of characters
Illustrative style
Artistic movements
When do you think it was published?
1950s?
1960s?
1970s?
1980s?
1990s?
2000s?
WRITE IT DOWN
Harvest children’s responses and record their descriptions and comments on a whiteboard/flip chart.
Are there any aspects of the picture that they find particularly interesting or puzzling?
24
way
a
n
e
e
Gr
r
Winne
1980
Mister Magnolia
By Quentin Blake
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:
• to increase the interaction with and enjoyment of picture books for
children of all ages
• to develop children’s confidence and vocabulary to respond to
what they see – to observe and describe
• to encourage them to build on their previous experience,
imagination and understanding to make sense of visual
information – to interpret
• to consider a variety of graphic forms and their interaction with a
text in order to convey layers of meaning – to appreciate
• to recognise different styles and techniques used and developed by
a variety of illustrators – to analyse
• to begin to recognise and appreciate visual metaphor, irony, puns
and jokes etc. – to participate
The following questions have been designed to help children to look
more closely at the illustrative work of Quentin Blake. By moving
from the whole picture to the smallest part children are encouraged
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.
25
TELL ME ABOUT QUENTIN BLAKE’S ILLUSTRATIONS…
Please select/adapt questions, which you think are most appropriate for the children you
are working with…
Look at where Mr Magnolia is on the page. What does this tell you about his speed, the direction
he has come from and the route he’s going?
Look at how the road sweeps broadly into the foreground and the hill slopes up and off to the
right. How does this affect your perception of the landscape?
Where is this picture taking place?
Consider the time of year and the time of day. How has the illustrator drawn your attention to
these details?
What do you notice abut the use of colour in the setting?
How does it contrast with the colours used on the figures of Mr Magnolia and the children?
How does Quentin Blake draw his pictures?
What do you notice about his lines and brushstrokes?
Does he use: watercolours, pen and ink, or chalk?
How would you describe his style?
Consider:
• cartoon
• sketchy
• zany
How does the illustrator involve you in the picture? Are you part of the action, one of his characters
or an outside observer looking in on the scene?
How do the words and the picture work together?
Look at the other characters on the page. What do you notice about the rabbit’s expressions?
Why do you think one of them has got its ears back?
What’s happened to the old man and his bike?
Do you think Mr Magnolia saw him?
26
How is the old man looking at Mr Magnolia and his scooter?
Why have the cows and the dog got out of the way?
How can you tell that Mr Magnolia is going fast?
What techniques has the illustrator used to convey his speed?
What do you know about the children from their body language and facial expressions?
What is their relationship with Mr Magnolia?
What is the little boy on the back of the scooter thinking/looking at?
Look at all the characters on these pages. Notice how they are drawn. They are all
formed of simple lines with dots for eyes, but they all have unique personalities. How do
you think Quentin Blake achieves this?
Does Mr Magnolia remind you of any other characters created by Quentin Blake?
How would you describe Mr Magnolia’s clothing?
What does it suggest about his character/personality?
What kinds of people do you see wearing tailcoats and stripy waistcoats?
Is this book contemporary? Does the style and presentation of these illustrations give you
any clues about when it was published?
Consider details such as:
•
•
•
•
•
•
•
•
Page layout
Fashion
Use and application of colour
Definition of colour
Amount of colours used
Appearance of characters
Illustrative style
Artistic movements
When do you think it was published?
1950s?
1960s?
1970s?
1980s?
1990s?
2000s?
WRITE IT DOWN
Harvest children’s responses and record their descriptions and comments on a whiteboard/flip chart.
Are there any aspects of the picture that they find particularly interesting or puzzling?
27
Green
away
Winne
r
1981
The Highwayman
By Charles Keeping
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:
• to increase the interaction with and enjoyment of picture books for
children of all ages
• to develop children’s confidence and vocabulary to respond to
what they see – to observe and describe
• to encourage them to build on their previous experience,
imagination and understanding to make sense of visual
information – to interpret
• to consider a variety of graphic forms and their interaction with a
text in order to convey layers of meaning – to appreciate
• to recognise different styles and techniques used and developed
by a variety of illustrators – to analyse
• to begin to recognise and appreciate visual metaphor, irony, puns
and jokes etc. – to participate
The following questions have been designed to help children to look
more closely at the illustrative work of Charles Keeping. By moving
from the whole picture to the smallest part children are encouraged
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.
28
TELL ME ABOUT CHARLES KEEPING’S ILLUSTRATION…
Please select/adapt questions, which you think are most appropriate
for the children you are working with…
How do these two pictures make you feel?
In what ways do they work together on your emotional response?
First Picture:
What do you notice about the Highwayman?
Why has the artist chosen to exaggerate the size of his mouth?
How would you describe the expression on his face?
In what ways do you observe the illustration working with the text?
For example how is the madness of the man portrayed in the illustration?
Consider:
• The depiction of the horse
• Where the energy and movement are coming from
• The juxtaposition of straight and curving lines, angles and shapes
• The creation of confusion
• Intense images of passion/violence/aggression
• Where attention to detail is given
The illustrator has filled this page with sound. Where is it coming from?
What can you hear in your imagination?
How has the illustrator used the space on this page?
Consider:
• The position of the horse and rider
• How the intensity of ink at the foot of the page has created a border.
What is the effect of the horse’s hoof stepping over that border?
• What is the effect of the Highwayman’s rapier going off the edge of the page?
What tools and devices has the artist used to create different intensity of line and colour?
The language of this narrative verse is filled with colour. Why do you think Charles Keeping
chose to work in black and white?
In what ways do you think that the lack of colour helps the reader work with the words and
the picture?
29
Now look at the second page. How does the layout of this contrast with the first page?
What has happened to the energy that ran through the rapier?
Where has the illustrator given attention to detail in this picture?
How has the stillness been achieved?
Consider:
• The perspective
• The shape created by the body
• The way that the body fills the page
• The application of ink and the boldness and intensity of line and colour
Where are you, as you look at this dead body?
In what ways has the illustrator drawn you in so close?
Why has Keeping chosen not to show ‘the bunch of lace at his throat’?
In what ways do the two pictures contrast with one another?
Does the style and presentation of these illustrations give you any clues about when it was
published?
Consider details such as:
•
•
•
•
•
•
•
•
Page layout
Fashion
Use and application of colour
Definition of colour
Amount of colours used
Appearance of characters
Illustrative style
Artistic movements
When do you think it was published?
1950s?
1960s?
1970s?
1980s?
1990s?
2000s?
WRITE IT DOWN
Harvest children’s responses and record their descriptions and comments on a whiteboard/flip chart.
Are there any aspects of the picture that they find particularly interesting or puzzling?
30
Green
aw
Winne ay
r
1956
Tim All Alone
By Edward Ardizzone
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:
• to increase the interaction with and enjoyment of picture books for
children of all ages
• to develop children’s confidence and vocabulary to respond to
what they see – to observe and describe
• to encourage them to build on their previous experience,
imagination and understanding to make sense of visual
information – to interpret
• to consider a variety of graphic forms and their interaction with a
text in order to convey layers of meaning – to appreciate
• to recognise different styles and techniques used and developed by
a variety of illustrators – to analyse
• to begin to recognise and appreciate visual metaphor, irony, puns
and jokes etc. – to participate
The following questions have been designed to help children to look
more closely at the illustrative work of Edward Ardizzone. By moving
from the whole picture to the smallest part children are encouraged
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.
31
TELL ME ABOUT EDWARD ARDIZZONE’S ILLUSTRATION…
Please select/adapt questions, which you think are most appropriate for the children
you are working with…
Where is this place?
What do you notice about the setting?
• The time in history
• The time of year
• The time of day
What do you think happens here?
Which character is the focus of this story?
How has the illustrator drawn your attention to him?
In what ways has the illustrator encouraged you to empathise with Tim?
In the three scenes depicted, how would you describe the changes in Tim’s mood?
Consider his:
•
•
•
•
•
Body language
Body shape
Gestures
Position on the page
Relationship with /proximity to other people
How would you describe the mood of the first scene?
Consider:
•
•
•
•
•
•
•
•
•
How this illustration is positioned on the page
The colour and the amount of sky depicted.
The type of clouds
The colour of the sea
The way in which the left hand side of the illustration is unfinished
What you can see in the distance
The general openness of the scene
The men’s body language
The facial expression of the taller man
What do you think Tim has said to the men?
Why has the author chosen to give a speech bubble to the man and not Tim?
In the second scene the illustration is pushed into the gutter of the book by the text.
What effect does this have on your perception of how Tim is feeling?
32
How would you describe the boat, which Tim is about to board?
Why has the illustrator chosen to give you a restricted view of this scene?
Why has the illustrator chosen to put Tim at the bottom of the gangplank?
In the third scene, what do you notice about the colour tones used by the illustrator?
How would you describe the colours of the sea and the sky?
Do you notice any movement in the sea or the sky?
In what ways do these elements impact on the mood created?
What do you notice about Tim’s position on the page?
In what ways is your attention drawn to Tim?
What is the effect of putting the men on the bridge so that they look down on him?
Why do you think that the illustrator has not used any colour on these two men?
How would you describe their body language and facial expressions?
The sky and the sea are still, where does the movement in this picture come?
How would you describe the behaviour of the sailor standing with Tim?
What is the effect of the speech bubbles in this scene?
How would you describe Ardizzone’s illustrative style?
Do you think he would have worked quickly on these pictures or have spent a long time on each one?
What has he used to achieve this effect? For example: Pen/ink/wash , Pastels, Watercolours etc
When do you think that Edward Ardizzone was writing and illustrating this book?
Where do you think he got his story ideas and knowledge about boats and the sea?
Is this book contemporary?
Does the style and presentation of these illustrations give you any clues about when it was published?
Consider details such as:
• Font
• Page layout
• Fashion
• Use and application of colour
• Definition of colour
• Amount of colours used
• Appearance of characters
• Illustrative style
• Language style
When do you think it was published?
1950s?
1960s?
1970s?
1980s?
1990s?
2000s?
WRITE IT DOWN
Harvest children’s responses and record their descriptions and comments on a whiteboard/flip chart.
Are there any aspects of the picture that they find particularly interesting or puzzling?
33