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Picturebook 101: An Introduction to Picturebooks — Transcript

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0:01Hi everyone. I hope you're doing okay
0:06over there
0:08in front of the screen.
0:10Um
0:11and yeah, so let's get started for
0:13today. Today we're going to learn
0:15something that's very close to my heart.
0:18We are going to talk about picture
0:20books.
0:21Picture books 101. So let's go to the um
0:24to the learning objectives.
0:27And let's have a look. Uh so by the end
0:29of this lesson, you will be able to
0:32identify and interpret visual and verbal
0:35elements in a picture book.
0:38You will also be able to analyze how
0:40images and language work together to
0:43create meaning.
0:45And through that, you will understand
0:46how picture books explore themes and
0:49reflect contexts.
0:51And from that,
0:54hopefully, you'll be able to express
0:56your personal responses using evidence
1:00from the text.
1:03Sounds good?
1:05Okay. As [snorts] I mentioned, uh this
1:07topic is really close to my heart. It's
1:09because it's something that I have been
1:12researching on. And it's truly one of my
1:18biggest interests.
1:20Um and I'd say passion.
1:24Uh
1:24for now for now, right?
1:27Let's go.
1:31So as a warm-up,
1:34let's go through your
1:36picture book memories. I want you to
1:39think back to a picture book you
1:40remember from childhood.
1:45Is there one?
1:46Or maybe
1:47a number of them for some of you.
1:50Think about a picture book.
1:54I don't know. It could be a Hikayat
1:57kisah teladan. It can also be
2:01I don't know.
2:04Peter and Jane, is that a picture book?
2:07What else is there? So many.
2:13Folk tales.
2:14Um fairy tales even, right? Classics.
2:18But you know, think of that. Like think
2:20of
2:21that one specific book. And what do you
2:24remember the most about that book?
2:27Was it the story?
2:28Or
2:30was it the pictures, the illustrations
2:32in the book?
2:35Mhm.
2:37Think about it.
2:41And when you think about that book, what
2:44feelings come to mind?
2:48I mean obviously it would be nostalgia,
2:50right?
2:52But what else? Did it make you happy,
2:55fuzzy, warm?
2:57Or did it make you sad?
3:02What kind of feeling?
3:04Um that's you know attached to that
3:06specific picture book or else you
3:07wouldn't remember that picture book,
3:08right?
3:09And why did you like it?
3:12Mhm. Oops, sorry. That's Well, you will
3:15be hearing a lot of my
3:18chair making
3:21noises, screeching
3:24and stuff.
3:25Okay, yes. So why did you like that
3:27book? Mhm.
3:30Yeah, I mean to be honest for me, I
3:32can't really tell you
3:34one
3:36picture book that I remember because I
3:38grew up reading quite a lot. Um my
3:41mother bought me a lot of books. So I
3:43don't really have a specific favorite.
3:46Um but I'm just going to say that this
3:49is one collection of stories.
3:52It's book. It's like this thick.
3:55And yeah, it's just um a compilation a
3:58collection of um different stories,
4:01classics, um fairy tales, and I just
4:04loved it. I don't really remember what
4:06was inside.
4:08Those I mean the stories that were that
4:10was included
4:12um that were included in the book.
4:16But I just remember loving it. Like I
4:18would be bored and I would just open it
4:22and I would read it. Or sometimes I
4:23would just go through the images.
4:26Right? So feelings would be warm and
4:28just happiness. I think I still have it.
4:30I just don't know where it is. But it
4:32must be somewhere. Um back home. Right?
4:35And what did I like it?
4:37I liked it because it was like
4:40such a great
4:41book with my favorite stories, but also
4:44with great illustrations.
4:47Um and you know, it's not just one
4:48story. It was a collection. So that
4:50would come in handy if I was with the
4:51first story then we go to the third one
4:54or fourth one.
4:55So that's why I liked it.
4:58Okay, I hope you had your answers.
5:01Um you know, if we had
5:02a physical class, I
5:05would love to hear from you.
5:07Anyway, we go on to the next slide.
5:10Okay.
5:11I know I've been saying picture book
5:12picture book picture book every since
5:14our very first class.
5:16And you know, some of you
5:18might be a little bit blurry but what a
5:21picture book is. So okay, let's talk
5:24about this. So what is the difference
5:25between a picture book
5:28and an illustrated book?
5:31Picture book,
5:33illustrated [snorts]
5:34book.
5:35Mhm.
5:39There you go. So this is an example of
5:42an illustrated book.
5:45This is a spread from Winnie the Pooh.
5:50I'm going to give you
5:53some time to just look at this. You can
5:56read through it.
5:59Don't you think it's beautiful?
6:01You get to see some illustrations along
6:03with the text.
6:05Um, I think the this I don't know if you
6:08can see it. I don't know if you can see
6:10my
6:12mouse.
6:13I mean, not my mouse, but you know what
6:14I'm talking about. this, this, this,
6:15this, this.
6:18I can't remember the name. But anyway, I
6:20think it's, you know, but uh the page
6:22five is particularly
6:25beautiful. Um, you know how the you have
6:29the three
6:31and then you have the text sort of like
6:32reflecting
6:34the
6:37I put it the tree, right? It's long. And
6:40look at how the words are arranged. I
6:42love it. Okay. So, illustrated book.
6:45Now,
6:46you got to remember this, right? So, not
6:48all illustrated books are picture books.
6:50The story is complete in the words. The
6:53pictures are subordinate to the text.
6:56Meaning, without the illustrations, you
6:57can understand the text completely fine.
7:01Okay? The pictures are subordinate. It's
7:04something that's
7:07like a bonus, right? Or something extra
7:09to the text. You don't need the written
7:12text for you to understand the story.
7:15Does that make sense?
7:17Right. And the illustrations depict a
7:20particular scene or moment from the
7:23story.
7:24And as I mentioned uh just now, stories
7:27can be understood without the
7:28illustrations. And you know, books that
7:32have illustrations
7:34could help reluctant readers to pick up
7:36or read the book.
7:39Okay.
7:43So, for example, let's have a look at
7:45page five here. So, as you can see the
7:49written text is he climbed and he
7:51climbed and he climbed. And as he
7:53climbed, he sang a little song to
7:55himself.
7:56It went like this.
7:58Isn't it funny how a bear likes honey?
8:01Buzz. Buzz. Buzz.
8:04I wonder why he does.
8:07All right. Now, imagine this text. This
8:09[snorts] text This written text without
8:12the illustration, would you be able to
8:13understand it on its own?
8:16Yeah, it's pretty straightforward,
8:17right? But, you know,
8:18you don't need the illustrations. You
8:20can understand
8:22what happens.
8:24Right? So, do you understand what I mean
8:25now?
8:28The illustration of the tree and of Pooh
8:31climbing, struggling,
8:33is something that's sort of an added
8:37element.
8:38Right? It's But, you know, I think it's
8:40really pleasant, right? Um
8:43to the eyes.
8:44So, you get both the written text and
8:46also the visual text.
8:49Okay. So, then
8:51that was
8:53the illustrated book. Now, what is a
8:55picture book?
8:57Mhm. Okay.
8:59Um hold on.
9:01Sorry, I just had to sneeze. Okay.
9:05Um So, what is a picture book? It's a
9:07visual text.
9:08Sorry, a visual text that often carry
9:11much of the narrative responsibility,
9:13meaning images through the interplay of
9:16word and image, neither of which would
9:18make sense when experienced
9:19independently of the other.
9:22Um it's distinct from folk tales and
9:25mythology where the goals might be more
9:27explicitly to reinforce religious,
9:30moral, or social norms and beliefs.
9:34Okay. So, if an illustrated book is
9:36something that you can understand
9:39right? without the illustration.
9:42You know, like the
9:43the illustrated is basically a book with
9:45illustrations, hence illustrated book.
9:48A picture book
9:51requires both
9:53the visual text, but also the written
9:57text for you to make sense of what is
10:00happening
10:01in the story.
10:04They are as important
10:07to each other. Okay, they are of equal
10:09or perhaps sometimes one could have a
10:10more
10:12um
10:14significant role
10:16to the story, but both of these elements
10:18are needed.
10:21Okay?
10:22I hope you got that.
10:25Okay, so other picture book definitions,
10:27um a picture book is also known as an
10:29iconotext. And what is an iconotext?
10:32It's literally icon plus text. What's an
10:34icon? Think of an icon.
10:37Um
10:40am I saying this right? Is an icon like,
10:42you know, like the Wi-Fi
10:43icon? Is that an icon? Okay, but anyway,
10:45icon is a picture, right? So, iconotext
10:48is picture plus text. When I say text,
10:51written text. You combine it.
10:53Iconotext.
10:55Right? Um so, Nikolaeva and Scott says
10:58that the unique character of picture
11:00books as an art form is based on a
11:02combination of two levels of
11:04communication, the visual and the
11:06verbal. Iconotext. Icon, picture, text,
11:10visual, verbal, verbal text.
11:13Okay? We'll see this quite a lot.
11:15And Barbara
11:17um
11:18Bader says that a picture book is text,
11:21illustrations, total design, an item of
11:24manufacture, and a commercial product, a
11:26social, cultural, and historical
11:28document, and foremost, an experience
11:31for a child. As an art form, it hinges
11:33on the interdependence of pictures and
11:36words, on the simultaneous display of
11:38two facing pages, and on the drama of
11:40the turning page.
11:42That was quite long.
11:43Okay, anyway, what is she trying to say?
11:46What she's trying to say is that a
11:47picture book isn't just a picture book.
11:48Okay, it it does it does more than tell
11:50a story. Obviously, it is, but it's a
11:53combination of text, illustrations, it's
11:54a design, the whole thing, right? Not
11:57just the story. From the cover to the
11:59end the end
12:01paper. I don't know the right word.
12:03Yeah, the end cover, right?
12:05Um it could be obviously it's a
12:06commercial product cuz you know it's
12:08being sold, but it's also a social and
12:10cultural historical document. The
12:11stories could reflect these things.
12:13Um yeah, and
12:16again, there's the mention of
12:19interdependence of pictures and words.
12:23Again, picture, words, visual text,
12:26icon, non-text.
12:28Um
12:29on the simultaneous display of two
12:31facing pages and on the drama of the
12:33turning page. So what's the drama of the
12:35turning page? It's saying that
12:37you know when you read a picture book
12:40when you turn the page, there's drama
12:42because you don't know what's going to
12:43happen in the next page. So that
12:45anticipation of like what's happening
12:48what's going to happen after, right?
12:51Again, it's because they carry meaning,
12:53both the text and the visual.
12:54Hm, huh.
12:56Confusing? No. I think it should be
12:57good. I think I think this is
12:59comprehensive for you, right?
13:04Let's have a look at types of picture
13:06books. You have traditional picture
13:08books.
13:09Um
13:11we have nonfiction picture books. Um I
13:13will show you some examples, but you
13:16also have concept picture books. So
13:17concept picture books are ones where um
13:21there is a goal to it, meaning like,
13:23okay, you want to teach
13:27children to count or the alphabet.
13:29There's a concept. So, yeah, like I
13:31wrote that counting books. Um, we also
13:34have baby books. Baby books are also
13:36considered as a type of picture book.
13:39Um, there's plenty of formats. Uh,
13:42there's alphabet books, board books,
13:44bath books, cloth books,
13:47bedtime books, counting books. Yeah, I I
13:49Yeah, it's repetitive because when I see
13:50baby books here, I'm referring to
13:53age group babies by concept. But, two
13:55books they could also be for
13:56kindergarten level kids or it could also
13:59be older kids. Remember, picture book is
14:02a format. It's any book that has
14:06picture
14:08with text.
14:09Okay?
14:11Um, okay, and then we also have post
14:13modern picture books, wordless picture
14:15books, and poetic lyrical picture books.
14:17Enough of this, let's look at some
14:20visuals. We need that. We love visuals,
14:21don't we? Baby books. So, look at it.
14:25So,
14:27um, you can see
14:29they're all very vibrant, right?
14:32Vibrant, colorful.
14:36The design just attracts you, right? It
14:38just
14:40screams at you.
14:41Um, let's have a look at Okay, so
14:44there's a cloth book here.
14:46Again, I don't know if you can see my
14:49What do you call this? What do you call
14:50this? Mouse clicker? I don't know, yeah.
14:52You know what I mean? Um,
14:55the pointer, okay. But, you can see that
14:57cat. If you don't,
14:59there's a cat there, a cat book
15:03um, with
15:05ears. So, I think that's um, cloth book.
15:08And then you can see Baby's First Noisy
15:10Nursery Rhymes.
15:12You
15:15press on it and then, you know, that
15:17would be nursery rhymes.
15:19Um, it's it's very much um,
15:24it's very very very sensory based,
15:27right? So, as you can see, don't tickle
15:29the lion, you can see
15:31the sort of fur.
15:34So, you could
15:35tickle, touch it, right? Um also, on the
15:39bottom left, you you'd see
15:43Baby's Very First Touchy-Feely Colors
15:46Table. Again, very sensorial, like you
15:49can touch them. Right? Why? Because
15:51babies um generally, they are learning
15:54the world, you know? So, they want to
15:56touch things. They're learning to touch
15:58with their senses, their sensory. And
16:00so, that's why baby books are very very
16:04sensory based.
16:05Okay, next.
16:08Okay, we also have a photographic
16:09picture book. So, it's a picture book by
16:12um
16:14the illustrations are made of
16:15photographs. As you can see, these are
16:17photographs. Um it's This is The Lonely
16:21Doll by Dare Wright. So, this story it's
16:24a series, it's a whole complete series.
16:26But anyway, it all it tells about this
16:29lonely doll, this doll
16:31who
16:32um
16:34goes
16:35through life basically, through
16:37different experiences.
16:39And Dare Wright is the author,
16:42photographer.
16:43She takes she would set up
16:47the doll and the props, right? And the
16:49photographs. As you can see,
16:51it's lovely.
16:53Lovely. I love it. I have a few of this.
16:57Next one, we have non-fiction picture
16:59book.
17:00Um let's focus on the one on the left,
17:02cuz actually there are two different
17:04non-fiction picture books here. Um
17:05non-fiction here meaning it's very It's
17:08non-fiction, okay? So, this one is a
17:10cookbook. Obviously, it's non-fiction,
17:12right? It's non-fiction. It's a
17:13cookbook. It's called The Juneteenth
17:15Jones Recipes and Activities for Kids
17:17and Families to Celebrate.
17:19Um yeah, so you have those
17:23illustrations, beautiful illustrations
17:25in pink, and the recipe on the right.
17:28Red velvet ice cream sandwiches.
17:31Is this making you hungry?
17:34Mhm.
17:36Cuz it is making me hungry.
17:38Now,
17:39moving on to the next one. Poetic
17:41lyrical picture book. It could be
17:45um made up verse or poems.
17:47Uh it doesn't have to be like poems, but
17:48you know, it's poetic, lyrical.
17:50So, let's read the first spread and
17:53really focus on the illustration as
17:55well.
17:56It's beautiful.
17:58Um this is called tumble. Is it called
18:00tumble? I feel like it's a tumbleweed,
18:02right? Is that a word for it? Let me
18:04check. Hold on.
18:06Give me a second.
18:07Yes, it is a tumbleweed. And tumbleweed,
18:09they tumble.
18:10That's why it's called tumbleweed.
18:11Anyway,
18:13so um the first spread,
18:16it says, "Wind blows."
18:20The second spread, they tumble go.
18:23Right.
18:24It's beautiful. It looks very simple,
18:26it's but it's beautiful.
18:29Next, we have wordless picture book, a
18:31personal favorite. This is Flotsam by
18:34David Wiesner.
18:36It has no text.
18:38No visual text. That's right, no verbal
18:39text, no written text at all. So, the
18:42story unfolds through just
18:44illustrations, and it's beautiful. Um
18:47let's have a second to appreciate this.
18:50And you know, look at it and see what
18:52happens.
19:07Okay.
19:08So, as you can see, it looks a little
19:09bit like comics, right?
19:13Next, we have post modern picture book.
19:18So, what's post modern?
19:21So, post modern picture books, they are
19:23known to break the fourth wall. They are
19:25super experimental and very fun. I
19:28personally love post modern picture
19:30books. Um so, how many of you um you
19:34know about fourth wall? Hm. So, when we
19:36talk about fourth wall, fourth wall, um
19:39have you watched any movie that
19:41So, in the movie, he consist he
19:43consistently,
19:45not constantly, but he would break
19:47character. Like he would be in a scene,
19:49but instead of doing it, stop and look
19:51into the camera and address the
19:54audience. So,
19:56post modern picture books, I like that.
19:58All right? And The Stinky Cheese Man and
20:01Other Fairly Stupid Tales by Jon
20:04Scieszka. I don't know how to say his
20:06name. Sorry, Jon. And Lane Smith. Um
20:09it's like the gold standard of post
20:12modern picture books because it actually
20:17it goes against the traditional
20:19ideas of a picture book. But in the
20:22story, it's a compilation of sort of um
20:25fairy tales,
20:26but they just change it.
20:29Um
20:32it's just really strange, but fun.
20:35Hm, so you know how traditional
20:38children's stories, they always try to
20:40teach you a lesson,
20:42right? Or give you like some sort of
20:43comfort. But with post modern picture
20:45books, that is not That's not the goal.
20:49Right? That That's not the goal.
20:52Post modern picture books, they reject
20:55this sort of tidiness. They love the
20:59randomness. They love
21:01subverting
21:02those traditions.
21:04Um so, you could have a read, pause
21:08this, obviously, and have a read, but
21:10it's about the frog prince, the other
21:12frog prince. So, I think
21:17the princess sort of
21:21forces
21:22the prince to kiss her.
21:26Am I right? Hold on.
21:29Okay, I got it wrong. So, it's the frog.
21:32The frog convinces the princess to kiss
21:34him so that he will turn into a handsome
21:37prince.
21:38Right? Yeah.
21:40But,
21:41after the princess
21:43kisses him, he says, "Just kidding." And
21:46then he jumped back into the pond.
21:48The end.
21:49Like, what on earth? Anyway,
21:52um,
21:53uh, we'll talk a little bit about
21:54postmodern picture books, uh, because I
21:56am a fan
21:58of postmodern picture books. Anyway,
22:00this is one example. Next. Okay.
22:04So, when you're looking at the verbal
22:06and the visual text, they
22:09will have a sort of interaction.
22:12There's a typology for this
22:15verbal-visual interactions, okay? First
22:18of all, it could be symmetrical, where
22:20words and pictures tell the same story.
22:25Okay?
22:26The second one is complementary, and
22:28that's where words and pictures fill in
22:31each other's gaps.
22:33Then we also have enhancing or
22:35expanding. This is where pictures expand
22:39or amplify the words.
22:41Okay? Through detail, mood, character,
22:43etc., without changing what they say.
22:48And another category that we have would
22:50be contradictory or counterpoint.
22:53They're actually two different things,
22:54all right? So, words and pictures say
22:56different things, creating irony and
22:59tension. So, these typologies were um,
23:02um
23:05made or built by Nikolaeva and also
23:08Scott.
23:10Okay.
23:11Write this down, but I'm also going to
23:15show you this in that cuz then it's back
23:17to it. We're talking about picture
23:18books. We need visuals, right?
23:21So, the first
23:22one is symmetrical. What is symmetrical
23:24again?
23:25Words and pictures tell the same story.
23:28Let's read this together.
23:30On Thursday, he ate through four
23:32strawberries, but he was still hungry.
23:35This is from the very popular
23:39the classic what children's literature,
23:42The Very Hungry Caterpillar. And this is
23:45symmetrical. Why? Because you can see
23:47four strawberries with holes.
23:51And the text says that on Tuesday he ate
23:52through four strawberries, but he was
23:54still hungry. And it's about a book
23:56about The Very Hungry Caterpillar. So,
23:57[snorts]
23:59the visual text is literally reflecting
24:02the text, and the text is reflecting
24:06the we call that the
24:08visual, right? So, this is what we call
24:11symmetrical.
24:13Um but, you know, you have to bear in
24:14mind that
24:15uh it's not often that we get
24:17symmetrical.
24:20Um the symmetrical um type
24:23is just very rare.
24:26Now, next we have enhancing or
24:28expanding.
24:31Oh, let's read. Okay, so the text the
24:34written text is Princess Smartypants
24:37wanted to live in her castle with her
24:39pets and do exactly as she pleased.
24:43So, how do you think this is enhancing?
24:45Look at the illustrations.
24:49It is providing more detail, more
24:51information.
24:53All right?
24:55In the written text, it doesn't say that
24:57there's like this huge snail or whatever
25:01that pink creature is or a hedgehog
25:04resting against that pink dragon.
25:08I have no idea. Dragons, probably two
25:09different dragons, alligator, I have no
25:12idea. But, you know, and
25:16if you look at it, they don't really
25:17look like pets. But, the written text
25:20says, "Her pets."
25:22Right? So, it's enhancing. It's telling
25:24you, Okay, so that castle is her castle,
25:28right?
25:29And
25:31we understand from the illustration that
25:33Oh, this is what she means by she wants
25:35to do exactly as she pleased, and these
25:37are her pets.
25:40Enhancing, expanding, giving you more
25:42detail. All right.
25:45>> [snorts]
25:45>> And next one,
25:47complementary.
25:50So, complementary is when words and
25:53pictures filling each other's gap. So,
25:56this is from Eric Hill's Where's Spot?
25:59Also another classic.
26:02Um yeah, let's have a look at the first
26:05spread.
26:07Is he behind the door? And as you open
26:09the flap,
26:11you see a bear
26:12with his finger in a jar of honey. No.
26:17So, this is complementary. It's telling
26:19you it's filling the gap cuz
26:21Spot was looking No, sorry. The mother
26:25was Was it the mother? Anyway, that dog,
26:27the parent was trying to look for
26:29the child, right? So,
26:33So, so, you know, he was trying to look
26:35through the window to open the a window,
26:39the door. Sorry.
26:41And yeah, you see the bear. Again, it's
26:44filling each other's gaps. It's
26:45complementary. Whatever that said, and
26:47then it's providing you with that emo uh
26:49that um information to fill that gap.
26:53This is complimentary.
26:57On to the next one, we have
26:58counterpoint.
26:59Let's read this, but I want you to also
27:03read it with your eyes. Meaning the
27:05visuals take Take them is not just Don't
27:08just look at What am I saying? I'm
27:11sorry. Don't just look at the written
27:12text, but also pay attention to the
27:14visuals, right?
27:16Rosie the hen went for a walk.
27:21Okay, Rosie.
27:23She's going for a walk.
27:24And you see something lurking
27:26[clears throat] behind her.
27:30Across the yard,
27:36Mhm?
27:39around the pond,
27:42Mhm?
27:44>> [laughter]
27:45>> and got back in time for dinner. So, why
27:48is this a counterpoint?
27:52Why is it a counterpoint?
27:55The words are saying something. Yes,
27:57she's going for a walk, but the visuals
27:59are telling you something else. There's
28:01also a different
28:03character
28:05that, you know, exists in the story, but
28:09Rosie does not know this, but we the
28:11readers know. So, it's a counterpoint.
28:14It creates tension and irony.
28:18Rosie doesn't know about this.
28:23All right. And then we have
28:24contradiction.
28:26So, this is contradiction.
28:29Okay. So, what's the difference between
28:34counterpoint and contradiction?
28:37Um shall we have a look at this spread
28:39first, the example that I have here? So,
28:42this is from Haunted House by Jan
28:45Pienkowski.
28:47Okay. So, the text
28:49underneath says, "No, I don't have many
28:51visitors."
28:53But look at the
28:55illustrations. This is a pop-up book, by
28:58the way.
29:01Do you think the character doesn't have
29:03many visitors?
29:06Try counting how many visitors
29:10they have. He she has.
29:13Probably more than five. One, two, cat,
29:16alligator,
29:18octopus, whatever that weird thing with
29:21tentacles.
29:23And then there's also alien, a UFO or
29:25something outside.
29:28Um
29:30Yeah, I'm pretty sure there's more, but
29:31you know, more more than five.
29:34So, the text contradicts
29:37the visual. The visual contradicts the
29:39text, right? So, that's why it's called
29:41it's called contradiction.
29:43"No, I don't have many visitors." And if
29:45you look at the text, it's also written
29:48below on the space where the text is
29:50just so small, so tiny. Right? Like you
29:53wouldn't even notice it. Okay. Now, back
29:56to my question. What's the difference
29:57between contradiction um and
29:59counterpoint? Counterpoint
30:02basically
30:04basically um it's
30:06it's it's it's it's
30:09fiction. So, it provides a different
30:12information um to each other, but
30:17they're like a music score.
30:21Imagine two musicians playing a duet.
30:24Two different
30:26musical instrument, but they work
30:27together
30:29to create a duet.
30:31It works well together.
30:33And you know, it might be different, but
30:35you still understand the story. But you
30:37know, you need to combine both these
30:39elements for you to understand the
30:42underlying
30:44context
30:46or message in the story. Now we're
30:48talking about the story. Okay? Um
30:50whereas for contradiction, it's like the
30:54extreme
30:56extreme opposite. So if a
31:00counterpoint
31:02is friction, contradiction is a bit like
31:05civil war. They're completely different.
31:07They're They are against each other.
31:10They deny each other. The visual and the
31:13verbal, they deny each other.
31:17So when it's at extreme, that's where
31:19you call it a contradiction.
31:21Is that clear? And as you can see here,
31:24it's contradicting
31:27the text 100% the visuals, right?
31:31Contradiction. Yeah, I know it it gets a
31:33bit blurry um for counterpoint
31:36contradiction. And I think the scholars
31:38also mentioned this and a lot of other
31:40scholars um also argue about this. But,
31:43you know, anyhow
31:45anyhow, I think
31:47you will understand it better
31:49um the more picture books you look at.
31:53Okay, anyway, so we've talked about all
31:55these typologies and you know, why are
31:57they important?
31:59It's important because it provides a
32:02sense of visual grammar. What's a visual
32:06grammar?
32:07So just as written language has grammar
32:09the visuals in picture books actually
32:12also have a visual grammar that guide
32:14how we read images and make meaning out
32:17of them. So it's not just a matter of
32:18looking, we are actually
32:21reading. We are actually digesting,
32:23processing um interpreting. All right?
32:26Every element on the page, color, line,
32:29space, shape, layout, composition.
32:33Okay? So it is as important as grammar.
32:37Visual grammar is as important as visual
32:39grammar. And you don't know this because
32:40we take um this for granted a lot of
32:42times, you know? But
32:45our brains are working.
32:48So, um
32:49here I have an example for a color.
32:54Let's read this together. Okay, so we
32:56see a guy there smiling. He looks kind
32:59of creepy, but anyway, this is me being
33:01sad. Maybe you think I'm being happy in
33:04this picture. Really, I'm being sad, but
33:07pretending I'm being happy. I'm doing
33:08that because I think people won't like
33:10me if I look sad. And in the next
33:12illustration, sometimes sad is very big.
33:15It's everywhere, all over me.
33:19My question for you is are the colors
33:21used for symbolism, mood, or ambience?
33:28Think about it.
33:30And you can see the difference in color.
33:32One is brighter, why? To show that
33:35he's happy.
33:37But is he really happy? Then we see
33:40the next illustration that, you know,
33:42actually he's sad and that's how he
33:44feels inside. Look at the use of color.
33:49Black, gray.
33:51And he even looks very haggard as
33:54compared to the first illustration. So,
33:56it creates what?
33:58The colors I use
34:00as symbols.
34:01Also to create with the mood.
34:04But also the ambience, right?
34:09Mhm.
34:10We also have space and layout. This is
34:14from Sam and Dave Dig a Hole.
34:17Then Sam and Dave were falling.
34:21Mhm.
34:23Okay.
34:24Look at the illustration. But not just
34:26the illustration, look at the whole
34:27spread.
34:32Sam and Dave fell down, down,
34:36down.
34:39Hm, so how is space positioning used?
34:44How do you know that they are falling
34:46down? Yes, obviously you can tell from
34:49the text, but how is the illustration
34:52conveying this?
34:55First of all, you have the white space.
34:57It's actually contributing to the whole
34:59layout, okay? To your under- to your
35:02understanding of what's happening here,
35:04visually speaking.
35:06The white space, sort of like an atlas,
35:09right? And look at the direction of them
35:11falling.
35:12Well, they aren't really fall- falling,
35:14right? But it's creating an illusion of
35:17them falling because of the
35:21flow.
35:22Look at the direction. It's going down.
35:25And so, that's how our brains understand
35:28that they are falling.
35:31Down, down, down, they continue.
35:35Right? And so, from here,
35:37say Sam and Dave fell down, down, down,
35:40this two characters are not the same
35:42characters. I mean, sorry.
35:44This characters are the same characters.
35:48It's the same dog, it's Sam and Dave.
35:50So, by right, there should be three
35:53characters, but here you have 1 2 3 4 5
35:566 7 8 8.
35:59So, it's a repetition.
36:01Okay? The repetition of of them falling
36:03down that's creating that
36:05um
36:06that
36:07idea that they are falling down. So,
36:11it's not just the white space or the
36:12direction, now it's like them
36:14falling down, that repetitive
36:17um
36:18a structure of them.
36:21Okay?
36:24Okay, um we also have visual texture and
36:26type
36:27typography with an analysis of phobias
36:30um by Annie Gravy. Okay, let's
36:34have a look.
36:38It says, "I'm alarmed by loud noises.
36:43Hickory Dickory Dock."
36:46And then you can see in the top left
36:50um what's that? Lali la la la la
36:52How do I say it? But anyway, it says
36:54fear of
36:56Oh god, what's that?
36:58I have no idea. Okay, hold on. Let me
37:00Google this.
37:02Okay, okay, okay. So, it says So, it's
37:05actually fear of loud noises. And then
37:08on the top right but not really top
37:12right.
37:13Not not not further
37:14right, but you can see
37:16it says there
37:18fear of
37:20Oh god, I really can't read. This is
37:22really bad. Okay, okay, okay, got it. I
37:25think it's fear of clocks, obviously.
37:26Okay.
37:27Um
37:30Okay, so fear of loud noises, fear of
37:32clocks.
37:34Can you tell from the illustration?
37:39How can you tell?
37:42See it. Say it out loud.
37:46So, through the visual texture and the
37:48type typography, right? So, look at "I'm
37:50alarmed by loud noises." It's in capital
37:53letters.
37:54And then it isn't it even has a
37:57exclamation mark.
37:59Right? And you see the music sheet
38:01behind.
38:02And then what else?
38:06The mouse
38:08looks like it's just
38:11flying away, jumping, running away.
38:15Right?
38:16And
38:17can we appreciate with clock in the
38:20middle as well.
38:24Is it a clock? Doesn't really look like
38:26a clock, but it is giving you that
38:29illusion of a clock.
38:30Look at how the illustration
38:34is creating this illusion as though the
38:38clock is shaking.
38:41Right?
38:43Look at Yeah, look at the numbers. Or
38:45look at the mouse, too.
38:47Yeah, it's it's beautiful. And I think,
38:50you know, this book is called Little
38:52Mouse's Big Book of Fears, and it talks
38:54about the mouse's fears, obviously. And
38:56I think this whole thing,
38:58um where, you know, we know that the
39:00little mouse is scared of
39:03clocks and loud noises. And you can see
39:06that through this illustration, cuz it's
39:08just it it gives you a sense of chaos.
39:13Right? You feel unsettled looking at it.
39:15It's just like, "Oh gosh, like it's so
39:17noisy." It looks noisy.
39:20It looks noisy, like there's a lot going
39:22on.
39:24So, yeah, again, these are some of the
39:25things uh some of the elements where you
39:28will take into consideration when you
39:30read to understand
39:34what's being conveyed in a book.
39:38Okay, shall we go back to talking about
39:42postmodern picture books?
39:44Let's go.
39:47So, um postmodern picture books is
39:50actually an umbrella term to talk about
39:52picture books that require a lot of
39:54interpretive work from the readers.
39:58So, what makes a picture book
39:59postmodern? Okay, I
40:02told you about it briefly earlier, but
40:05that's
40:07dive deeper.
40:09Shall we? Hold my hand, let's go.
40:13All right. Okay, so
40:15there are metafictional devices in
40:18postmodern picture books. So, a book
40:20that talks about being a book or
40:22breaking the fourth wall. I think I
40:23mentioned this. It's a bit like that
40:25fool, right? It
40:28it says that it it knows that it is a
40:30book. The book sometimes knows that it's
40:32a book or the character says that it is
40:34a character
40:36in a book.
40:39In this case,
40:40from Mo Willems' Don't Let the Pigeon
40:42Drive the Bus,
40:45Shall we read this first? Okay, let's go
40:46and read this first. Okay. Hey, can I
40:48drive the bus?
40:50Let me drive the bus.
40:52Right? So,
40:54this is a pigeon, right? This pigeon is
40:56actually looking at you, the reader.
40:58It's addressing you. It's breaking the
41:00fourth wall and actually asking for your
41:03permission to let it drive the bus.
41:07So, the story
41:08as the story goes, you know, the pigeon
41:11just tries
41:12very hard to convince uh you know, us
41:16for
41:17the
41:18us to let it drive the bus.
41:21Okay?
41:22Yeah.
41:23Really really funny.
41:26Okay, next, it can also play with the
41:27true status, for instance, the
41:29word-image relationship um or having
41:32unreliable narrators or undecidability.
41:35So, you know, sometimes it could say be
41:37saying something else in the um verbal
41:39text, but visually it says something
41:41else, and then you're just like,
41:42what's going on? Like, which narrator do
41:44you trust?
41:47Cuz they're both not the same.
41:50You know what I mean. Okay. Really
41:52really interesting. Um okay. Oh, or it
41:56could also um postmodern picture books
41:58um it could also
42:00most often, I'd say, they use different
42:02visual techniques. So, they might use
42:04mixed media, collage, or maybe it's not
42:07just in terms of the visual techniques
42:09or the design, but also narrative
42:10voices, styles, even sizes, shapes.
42:14Again, like I said, it's very
42:15experimental,
42:17very bold,
42:18just very different from traditional
42:22picture books.
42:24Um so,
42:25if you look at this spread here,
42:29you can see quite modern
42:33cars, right? But look at the sizes. Like
42:35it's just so weird. Like you don't
42:36actually see cars
42:40looking like that, right?
42:42I I mean, it's purposely um exaggerated.
42:47Right? It's It's It's just weird and
42:48funny. And look at the
42:50characters, the people inside of those
42:52cars. You see, I think I believe that's
42:54Charlie
42:55Chaplin. You can also see Mona Lisa.
42:57Just like really weird. And you know,
43:00there's also added um
43:02elements there that you have their hands
43:05covering their faces for all of them.
43:06Like you know, the actual Mona Lisa
43:10painting doesn't have, you know, her
43:12mouth covered, right? So,
43:16it's so playful, very playful.
43:19Okay. But anyway, postmodern picture
43:22books engage the reader as co-creator of
43:24the meaning of the work. You need more
43:27work, I would say,
43:29in understanding
43:30the story.
43:32You also see You also get a lot of um
43:34intertextuality or intervisuality. So,
43:37what is intertextuality or
43:38intervisuality? Um
43:41this is what we call
43:43when there are references to other
43:45works, maybe a different text or
43:48different visual text.
43:50Um I know. Look at these two
43:53illustrations. These are from Willy's
43:56Pictures.
43:58Um
43:59Okay. Yeah, I know. You might be
44:01laughing. Some of you might be
44:03taking photos of this illustration. So,
44:07let's talk about the one on the left.
44:11What does it remind you of?
44:14There's definitely intervisuality,
44:17but what is it reminding you of? What is
44:20it referring to?
44:22Have you heard of Marilyn Monroe? She
44:23has a really famous photograph of her
44:25posing
44:28somewhat like that.
44:30So, yeah.
44:32Okay.
44:33Um and then on the right, I know you
44:36know this. What is it referring to? Yes,
44:40you see a gorilla,
44:43but
44:45it looks like Mona Lisa, right? And
44:47yeah.
44:49There's new There's additional
44:52um elements there,
44:54right? So, you know that it's
44:58referring to Mona Lisa, but not quite.
45:01There are some
45:03um
45:04changes. But anyway, this is
45:06intervisuality, and postmodern picture
45:09books are fun. It's just fun. It's
45:11playful.
45:13Okay.
45:16Anyway, um you know, there is a gap in
45:19postmodern picture books.
45:21>> [snorts]
45:21>> Um
45:22but when I say gap, um it's more of,
45:25like I said, with postmodern picture
45:26books, it requires a lot from the
45:28readers for you to interpret, to
45:29understand
45:31uh what the
45:33story is telling you, right? And the
45:35real gap feeling is done in reader
45:38viewers' minds as they use the words and
45:40pictures to fill in each other's
45:43indeterminacies.
45:45There is a way in which the totality of
45:47the picture book, including words and
45:49pictures, as well as by textual
45:51elements, is much greater than the sum
45:53of its parts. So, this is what um
45:56Lawrence Sipe says in his work,
45:59"Revisiting the relationship between
46:01text and pictures.
46:04Okay, I think I forgot to mention that,
46:06you know, when we talk about gap, what
46:07it means here is that, you know, with
46:09post modern picture books, it's just so
46:11it can be so ambiguous and the text can
46:13be contradicting
46:15each other or
46:17you know, subverting each other. But
46:18But, you know, so that's the gap. The
46:20gap is
46:21is when you as a reader will have to
46:26make meaning through these
46:27inconsistencies.
46:29It's not just trying to understand the
46:30typology if it's like symmetrical or but
46:33it's also looking at all these details
46:35like looking at the um
46:37the the the details like the layout, the
46:39space, the
46:43the design,
46:44um what else?
46:47But, you know, basically
46:49it's when the reader has to
46:54take into consideration all these
46:56elements, all right? Um
46:59to make meaning.
47:02Because not one single element
47:05produces its
47:07own meaning.
47:09It requires all of these elements
47:11together.
47:13And, you know, what's really interesting
47:14about post modern picture books is that,
47:15you know, the book normally
47:18often would deliberately create gaps
47:23um that encourage readers to question,
47:26reinterpret, or even doubt the meanings
47:29that they construct.
47:32So, in many post modern picture books,
47:34right?
47:35Because the ambiguity is
47:37kind of intentional, so several
47:39interpretations can remain possible.
47:44Um let's see. Okay, so for example,
47:46let's say a text says
47:49"Today is the happiest day of our
47:51lives." But then, in the illustration,
47:54you see
47:57a family of four smiling
48:01but one maybe three of them are smiling
48:03one of them are looking
48:06at the ground maybe
48:08and then you see trees behind and then
48:10there's one subject looking
48:14in shadow in the shadows maybe
48:16looking at them
48:18but with a
48:20probably with a sad face. I don't know
48:22I'm just making making this up as as you
48:24know as we go. But so how are you going
48:26to understand this whole thing right?
48:29Okay I hope you understand that.
48:32Okay what's next?
48:35Okay um so McGuire says that the
48:39unconventional narratives presented in
48:41postmodern picture books have led many
48:43teachers and research researchers to
48:45recommend providing young students with
48:47explicit direction in navigating the
48:49substantial gaps in this text. The
48:52children embraced and wrestled through
48:53the newness and ambiguity playing
48:55debating flipping backwards and forwards
48:58eventually low quizzing
49:00characters raising questions voicing
49:02their own stories. Faced with this text
49:04students often labeled as deficient were
49:08in fact able to form sophisticated
49:10literary interpretations.
49:12And I would say I am one of those
49:14educators and you know even if I was not
49:17an educator I would
49:21I would recommend people to read
49:25or promote postmodern picture books
49:29cuz it
49:31it just does a lot you know and also I
49:34feel like you're also
49:36your your brain goes through like
49:38exercise.
49:40I love it.
49:41>> [snorts]
49:44>> So I would say
49:45Okay I need to remind you though that
49:47you know what all
49:49postmodern picture books are great
49:50right? Uh it's the same with any other
49:53formats or types of
49:55picture book.
49:56But it's really important for us to
49:58include good picture books um in our
50:01lessons.
50:03Why? Because
50:06complexity. Okay, but what what what
50:08what do I mean here?
50:10What do I mean?
50:13Okay.
50:14Um I think we also
50:16have to really
50:19think about what what a good book is.
50:22And I would say a good book is a complex
50:25book.
50:26Picture book. We're talking about
50:27picture books, right? So a good picture
50:29book is a complex picture book. Okay.
50:32What do I mean? So it must have layers
50:35and levels of meaning. So the story goes
50:38beyond the literal. It has challenging
50:40illustrations. How so, you know, it
50:42might be providing something. It could
50:43be complementary, it could be
50:45counterpointing, or contradicting,
50:46right? It also has depth in the in
50:49character. And it can be enjoyed by all
50:51ages.
50:52Not just the children, but also the
50:54adults who are reading them.
50:56Okay. Do you think it's easy for you to
50:58make
51:00to create a picture book that can be
51:01enjoyed by all ages?
51:04Right.
51:05Okay, so another ingredient of a complex
51:08a good complex picture book would be big
51:10ideas and emotions. So there would be
51:13generative topics, universal themes. Um
51:16for instance, you also have big bubble
51:18emotions and touches on real issues.
51:20Sometimes drawing in your controversial
51:22and emotions, death, gender, race. Um in
51:25fact, one of the examples that I showed
51:27you before, the one with, you know, the
51:29guy with a really sad face. He says that
51:31I'm really happy.
51:32And he's smiling, but you know, actually
51:34he's not. So that's a book for children.
51:38I'm not just giving you
51:40examples from
51:42random books. That's actually from a
51:45book for children. And and and um
51:47I might be remembering this wrong, but
51:49it's about the author's experience
51:51author
51:53It's not the author, the illustrator.
51:54Yeah,
51:55the picture book maker's experience
51:57dealing with death.
51:59after
52:00I'm sorry, dealing with the death of his
52:02son.
52:04Okay? So, yeah, that's for children.
52:08Um so, a complex picture book does that.
52:11Perhaps it could talk about
52:13racism.
52:15Um emotions, but not in a you know,
52:19rainbow sunshine way.
52:21It can be wrong. It can be comforting,
52:23but you know, anyhow
52:27it has
52:29it touches on real issues, right? Okay,
52:31and the last one the last ingredient
52:33would be mystery and ambiguity.
52:37And
52:38what I mean here is that you know, there
52:40are some questions left unanswered. So,
52:42it's not always black and white.
52:45You know how in certain books there's
52:47like the moral of the story and blah
52:49blah blah. No.
52:50No. I would say that's like a
52:52traditional children's story, right? So,
52:55a complex picture book must have some
52:57mystery or ambiguity.
52:59It's not always black and white and it's
53:02not didactic. It does not try to preach
53:03or educate with a clear moral of the
53:05story because let's be real. Real life
53:07in life reality, nobody's going to say
53:10like moral of the story. You know,
53:13life's difficult. Not everybody gets
53:15their happy ending.
53:17Okay, not trying to be pessimistic, but
53:20you know what I mean. It's just being
53:22real.
53:25You don't have
53:26every answers to every question. You
53:29know what I mean? And
53:32complex picture books
53:34can
53:36can also
53:38do that. You You have to have provide
53:41answers for everything.
53:42You don't have to have a happy ending.
53:45It's fine.
53:47Right.
53:50Ooh, okay. But okay, um if you
53:53wanted to be like
53:55I guess more
53:57practical. I think uh we'll have to
54:00bring in the Bloom's
54:01tax-tax-tax-taxonomy.
54:03If you read a book that wasn't
54:05challenging, a picture book that wasn't
54:06challenging, I guess we would only be
54:09the the reader would only be using lower
54:12order thinking skills. They would
54:14probably remember the story,
54:15understand the story, apply
54:18if
54:19if they do, right? Maybe apply some of
54:22the lessons that they learn from the
54:23story. But we want to go past that. We
54:26want to go into higher order thinking
54:28skills. When you're reading these books,
54:30you're not just
54:32teaching them visual literacy. You want
54:34to be
54:35um you want you want to spark
54:40you want to
54:41Sorry, you want to spark something more
54:42in young readers, right? So they will do
54:46like a deep dive analysis.
54:49And then from there, they evaluate. Have
54:51they evaluate certain things that the
54:53character has done. And then from there,
54:55they create. And that's the highest
54:57order
54:58the high-the highest on the pyramid,
55:00right? Create. So perhaps from that
55:02experience, from reading a picture book,
55:03they create
55:05something else. And we're you know, as
55:07teachers maybe
55:09um they could create their own
55:12picture book or their own
55:15Like like what happens in the ending or
55:17like it's just something creating a
55:19perspective, a letter, talking about
55:23a perspective of a character, something
55:25like that. And I'm just I'm just saying
55:27things at the top of my mind. But
55:29these are the things that we want. And I
55:31think a lot of times in
55:34school, right? In the kindergarten up to
55:36the secondary level, in fact. What you
55:39do is you remember, you understand and
55:40you apply, you analyze, but it's just
55:42like on the surface. You don't really
55:44use your higher order thinking skills,
55:46which is a disease. It's bad. We don't
55:48want that. Okay.
55:50Right. Um yeah. So, I mentioned about
55:53visual um literacy, but also let's just
55:56go through this.
55:58Uh
55:59okay. Um we want them to have like
56:02successful reading. And successful
56:05reading is a highly complex set of
56:07skills involving far more than letter
56:08and word recognition.
56:11So, reading with our eyes can be
56:13achieved by simple readers.
56:15Simple readings or worksheets, right?
56:18But you also want them to decode things.
56:23Um sorry, you want them to move
56:26past just decoding words and or
56:29translating it like or understanding
56:30what it means, right? You want them to
56:33read with their minds. You want them to
56:35be able to stop and really digest and
56:38process everything because I think I
56:41mentioned this before, a lot of times we
56:42take things for granted.
56:45You
56:46like pause, slow down when you read,
56:48taking everything, taking all the
56:49information, you are missing out on a
56:52lot of things sometimes.
56:55Okay?
56:57Um
56:59yeah, okay.
57:01Moving on.
57:05So, you know, I believe that picture
57:07books is such a great way for
57:11people, let's use people in general,
57:13people to build visual literacy because
57:16through picture books,
57:19complex, good complex picture books
57:21obviously,
57:24readers will be able to interpret
57:26symbols, moods, perspectives, and I'm
57:27just naming a few there. And they'll be
57:29able to notice and actually appreciate
57:32how design and layout and all these
57:34other elements shape storytelling. You
57:38also start questioning what
57:41you see and read. And so, through that,
57:45you develop critical awareness, right?
57:47And
57:50hopefully, hopefully, you know, you will
57:51also be able to appreciate creativity
57:56and multiple meaning. Um
57:59Yeah, cuz I think a lot of times, let's
58:01say you have a book and it's really
58:02pretty and you just like
58:04"Oh, it's beautiful." And that's about
58:06it.
58:07You don't really pay attention to all
58:08the details that
58:10is being incorporated to create that
58:14book. You know what I mean? So, think
58:16about the
58:18the little book of fear, the mouse's
58:20book of fears.
58:22Remember the fact with the like it was
58:24it's it's fear of clocks and loud
58:26noises, remember? How the illustrator
58:30creates that
58:32that that noisy
58:34um illusion of that chaos?
58:39It's a lot of things combined, right?
58:42So, we want to be able to appreciate
58:44these things.
58:46Because I think in the bigger picture,
58:47when you are more
58:49critically aware,
58:51you are more visually literate,
58:53you can also be visually literate in
58:56real life. You start to notice things in
58:59real life as well.
59:01And you appreciate things better.
59:03All right?
59:08Ultimately, good picture books sharpen,
59:11enhance, and expand visual literacy, the
59:13ability to read, think, and feel through
59:15images and words.
59:20So, when we include and use picture
59:22books as well, we're not just discuss
59:23discussing stories, we're teaching ways
59:25of seeing, too.
59:27It's just, you know, how I elaborated to
59:29you
59:31a second ago.
59:34A quick recap. What is a picture book? A
59:38picture book is a story told through a
59:39combination of illustrations and written
59:42text.
59:44Um they're not just for young children.
59:45Many picture books explore deep complex
59:48themes. And if you remember
59:50a good picture book,
59:52they can be enjoyed by everyone.
59:56Right? And for you to understand a
59:57picture book, or at least know the
59:59strategies when I'm talking about a good
1:00:00one, they require visual literacy, the
1:00:03ability to interpret meaning from images
1:00:06as well as words.
1:00:10Okay, guys. I think that's all for
1:00:12today's lesson. I hope you enjoyed this
1:00:15lesson, and I hope you now have a
1:00:21different perspective of
1:00:24what picture books are.
1:00:27Um
1:00:28I will be giving you a task
1:00:32to see if you understand this. But, you
1:00:35know, before I say my goodbye, I really
1:00:36hope you understand
1:00:38um you are able to distinguish what an
1:00:40illustrated book is and what a picture
1:00:42book is.
1:00:43Um but you also remember what a
1:00:45post-modern picture book is.
1:00:47What else? I also would love for you to
1:00:51remember the typologies or the
1:00:54relationship types of the visual and the
1:00:56verbal text, right? Symmetrical,
1:00:59counterpoint, contradict
1:01:01thing,
1:01:04enhancing, expanding,
1:01:07Right. So, please remember those things
1:01:09because I will test you and see
1:01:13if you really do understand.
1:01:15Anyway, take good care of yourself, and
1:01:17I'll see you soon.
1:01:21Bye.
1:01:22>> Bye.

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