Notes to support Greenaway shadowing groups
to sG
upport Greenaway hadowing Notes tNotes o artistic
support reenaway shadowing groups groups Evaluating
quality:
start
with colour,
line,
shape and s
space
Evaluating artistic quality: start with csolour, hape alnd space Evaluating artistic quality: tart wline, ith csolour, ine, shape and space KING
THE
DRAGON
King JACK
JKack the Dragon
ing aAND
Jnd ack and the Dragon
Title: Title: Title:
Author: Peter Bently
Author:Author:
Peter Bently
Illustrator: Helen Oxenbury
Illustrator:
Helen Oxenbury
Publisher:
Puffin
Illustrator:
Publisher: Puffin
Peter Bently
Helen Oxenbury
Publisher: Puffin
1. First Look 1. First Look High quality drawing is what stands High quality drawing is what stands out in this book. On every page you out iOn xenbury’s this book. On every page you can see Helen beautifully High quality
drawing
is what
out in this
can see Helen Ostands
xenbury’s beautifully crafted l
ine d
rawings. book. On every page you can see Helen
crafted rawings. *Share this book wline ith crafted
tdhe whole Oxenbury’s
beautifully
line drawings.
*Share t
his b
ook w
ith it tby
*Share
book with
whole
group
group by rthis
eading it athe
loud. Make ahe n whole readinggroup it aloud.
it an uninterrupted
bMake
y w
reading it aking aloud. read
Make it an uninterrupted read ithout m
without making comments and holding it up so
uninterrupted ead comments and holding it urp so without making everyone can see the pictures as they listen.
aictures nd holding it up so everyone comments can see the p
as they *Go through
the book
again
– this
time
looking as they listen. everyone can see the pictures at every
saying
anything that
*Go tclosely
hrough the b picture
ook aand
gain – this listen. strikes you as interesting.
time looking closely at e tvery picture *Go he book again – this through and sNotice
aying a
nything t
hat s
trikes y
how the
written and
visual texts
bothpicture time looking closely at ou eare
very presented
the
perspective.
interesting. as from
children’s
nything that sReality
2. and s aying atogether
trikes you Look Again and
imagination
work
without
anything
Notice h
ow t
he w
ritten a
nd v
isual interesting. * Tell e ach o ther y our first as dividing
It offers a perfect
Look texts a re both them.
depiction
of
2. Again presented from the responses t
o t
he a
rtistic q
uality. free-flowing,
child-led
imaginative
play.
Notice he written children’s h ow t R
and and visual * Tell e ach o ther y our first eality p erspective. * Try to e
xplain w
hy y
ou l
ike o
r both presented from the texts a re responses to the artistic q uality. imagination w
ork t
ogether w
ithout s omething. dislike children’s perspective. R eality and * Tell each
other
your
first
responses
to the
* T
ry t
o e
xplain w
hy y
ou l
ike o
r anything d
ividing t
hem. I
t o
ffers a
* Colour is used in most pictures imagination w
ork t
ogether without quality.
artistic
dislike are a lso perfect depiction of free-­‐flowing, something. but there some porlain to
like
dislike
* Try
explain
why you
pictures child-­‐led dividing them. It offers a ianything maginative p lay. in m
ost drawings. Hatching s u sed o
n b
oth something.
* Colour is ui sed depiction perfect o f free-­‐flowing, High
* Colour
there
used
but
t here a re also types o but f disrawing. quality
drawings
start
in most
pictures
some plain with close are also
plain drawings.
imaginative child-­‐led play. is
observation
of the
drawings. Hif atching on some
out there Hatching
both subject.
Look at how *Can you work is is a u sed 1. FIRST LOOK
2. LOOK AGAIN
3. CLOSE LOOKING
used on both
types of drawing.
Helen
accurately
depicts
children’s
in between the Oxenbury
difference urpose types o out
f difrawing. *Can you
p
there
is a difference
3. Close l
ooking work
in
expressions,
bearing
and
In a pencil
attitudes.
drawings purpose
*Can yp
ork out coloured a
nd lain p
ictures? between
the
coloured
and
plain is aHigh ou w
i
f t
here q
uality s
tart w
ith close or
charcoal
drawing,
try
to
capture
the
whole
pictures?
*Why d
o y
ou t
hink t
here a
re t
hree of lose the slubject. Look at does
a
Helen
by
difference purpose between observation of3. person
as
Oxenbury
C
ooking *Why do
in three
the spirit
you think there
are
double observing
and
taking
time
to
look
and
draw.
double h ave age spreads w
how accurately elen O dxenbury p
p
a nd phich lain ictures? High qH uality rawings s tart with close
page coloured spreads which
have
no boarders
(i.e.
no boarders (i.e. tyedges
hey ‘bleed’ to the depicts children’s expressions, they
‘bleed’
to
the
of the tpages)?
*Why d
o ou t
hink here a
re t
hree observation o
f t
he s
ubject. Look at edges odouble f the pages)? Talk about
every
visual
aspect,
i.e.
end
bearing a
nd a
ttitudes. I
n a
p
encil o
r which h ave how accurately Helen O xenbury page spreads papers,
fontevery choices,
title page
and ilayout,
Talk about v
isual a
spect, .e. charcoal d
rawing, t
ry t
o c
apture t
he no oarders (How
i.e. do
they ‘bleed’ depicts children’s expressions, aspwell
the
pictures.
these
extras to the as b
end apers, font choices, title page whole s
pirit of a person as Helen edges of overall
the pages)? contribute
to the
impact of the book.
bearing and attitudes. In a pencil or and layout, as well as the pictures. Oxenbury does by observing and Talk about every visual aspect, i.e. charcoal drawing, try to capture the How do these extras contribute to taking time to look and draw. end ipmpact apers, choices, whole spirit of a person as Helen the overall of font the b
ook. title p age and layout, as well as the pictures. Oxenbury does by observing and How do these extras contribute to the overall impact of the book. taking time to look and draw.