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REPRESENTATION IN PICTURE BOOKS
Picture books and graphic novels
Picture books and graphic novels offer an alternative avenue to reading by combining words and images in a format that is appealing, attractive and fun. These visual texts range from texts comprising images to sophisticated sequential art in print or online formats.
Engaging with picture books and graphic novels requires the ability to read a range of visual images, understand a sequence of events, follow the story’s narrative in sequential panels and make inferences and judgements about language choices.
Popular graphic novels such as The Invention of Hugo Cabret have a strong visual and filmic quality. Films based on the Marvel Comics continue to be box office successes. Both forms rely on the images to tell the story.
SHAPE AND SIZE OF PICTURE BOOK
GENERAL DESIGN
- Many, but not all, picture books are 32 pages long. This is simply because it is easier and cheaper to bind pages together in groups of 8. Some picture books will be 24 pages, 40 pages or 48 pages, but 32 is the standard.
- Picture books do not often have more than 100 words of narrative text.
Picture books are almost always either rectangular or square in shape. If rectangular, then they are either presented vertically or horizontally. A rectangular picture book that is horizontal will have very wide double-spread pages compared with a rectangular picture book that is vertical. You will need to consider the effect and the choice for each picture book that you study, according to its overall design. Some possible effects and practical reasons are as follows.
Rectangular horizontal
- Appropriate for landscapes
- Can include action (such as an animal running from left to right)
- Ideal for stories that involve travel
- Appropriate for demonstrating tall buildings, characters and objects
- Better for narratives involving a change in an individual rather than a change of location as they cannot present as much action as if they were rectangular
- Appropriate for stories that examine or express emotions of characters.
- An unusual shape for a book of any sort
- Can add to a sense of solidness
- Notice that a double- page spread in a square-shaped picture book is, in fact, a rectangle
THE FRONT COVER
The cover of a picture book is part of the design. The purpose of a front cover, as with a novel, is primarily to attract potential readers and viewers. Another important aspect of the front cover of a picture book is that it will also have the same design style as the remainder of the picture book. This may include borders, font, colours and images. Often a theme or character will be introduced via the front cover.
THE BACK COVER
The back cover of a picture book is slightly different. As with novels, the back cover will often contain a blurb (a short promotional description). It will also continue the design features of the book such as borders, font colours and images. It differs, however, in that the back cover of a picture book often contains elements of the story that are at a tangent (not directly relevant) to the main plot. In other words, where a world has been created by an author and illustrator, the back cover may contain another element of the world not directly related to the plot. Another example that you might come across is where a minor character is depicted on the back cover.
END PAPERS
When a picture book is first opened, there is usually a page glued into the binding before there are any titles or acknowledgements. This occurs at the end of picture books also. These pages are designed in line with the overall design concept of the picture book. End papers are usually used to enhance mood rather than to directly influence plot or character development.
FRONT MATTER
At the beginning of a picture book, before the plot begins and after the end paper, there is front matter. This front matter includes title pages, author, illustrator, publisher, editor and publication date, much like in a novel. The difference, again, is that in picture books these pages fit the overall design of the picture book and incorporate elements of design such as font, format size, colour, border and images.
END MATTER
The same elements apply to end matter, except that end matter includes topics such as acknowledgements.
BORDERS
Borders are used to frame any part of the page that does not have image or text. This can be simple or complex and intricate. Often borders are used to add to the overall tone and mood of the picture book.
The cover of a picture book is part of the design. The purpose of a front cover, as with a novel, is primarily to attract potential readers and viewers. Another important aspect of the front cover of a picture book is that it will also have the same design style as the remainder of the picture book. This may include borders, font, colours and images. Often a theme or character will be introduced via the front cover.
THE BACK COVER
The back cover of a picture book is slightly different. As with novels, the back cover will often contain a blurb (a short promotional description). It will also continue the design features of the book such as borders, font colours and images. It differs, however, in that the back cover of a picture book often contains elements of the story that are at a tangent (not directly relevant) to the main plot. In other words, where a world has been created by an author and illustrator, the back cover may contain another element of the world not directly related to the plot. Another example that you might come across is where a minor character is depicted on the back cover.
END PAPERS
When a picture book is first opened, there is usually a page glued into the binding before there are any titles or acknowledgements. This occurs at the end of picture books also. These pages are designed in line with the overall design concept of the picture book. End papers are usually used to enhance mood rather than to directly influence plot or character development.
FRONT MATTER
At the beginning of a picture book, before the plot begins and after the end paper, there is front matter. This front matter includes title pages, author, illustrator, publisher, editor and publication date, much like in a novel. The difference, again, is that in picture books these pages fit the overall design of the picture book and incorporate elements of design such as font, format size, colour, border and images.
END MATTER
The same elements apply to end matter, except that end matter includes topics such as acknowledgements.
BORDERS
Borders are used to frame any part of the page that does not have image or text. This can be simple or complex and intricate. Often borders are used to add to the overall tone and mood of the picture book.
GUTTERS
Gutters in picture books refer to the place between two pages where the binding meets. Designers of picture books need to be aware of gutters to avoid parts of images disappearing. Be on the lookout for the way in which designers avoid this difficulty.
MOTIFS
It is common for picture book design to incorporate motifs. Motifs are recurring images, symbols or text. Have you ever read a picture book that makes you want to re-read it so that you can find all the examples of a recurring image? These are motifs. The meaning of motifs is dependent on the picture book. You will often find that a picture book is designed in such a way that motifs and symbols are included in all parts of the book and not just in the storyline.
Gutters in picture books refer to the place between two pages where the binding meets. Designers of picture books need to be aware of gutters to avoid parts of images disappearing. Be on the lookout for the way in which designers avoid this difficulty.
MOTIFS
It is common for picture book design to incorporate motifs. Motifs are recurring images, symbols or text. Have you ever read a picture book that makes you want to re-read it so that you can find all the examples of a recurring image? These are motifs. The meaning of motifs is dependent on the picture book. You will often find that a picture book is designed in such a way that motifs and symbols are included in all parts of the book and not just in the storyline.
Techniques for Analysing a Visual Text
A list of techniques when analysing a visual text.
Allegory
A story or visual image with a second distinct meaning partially hidden behind its literal or visible meaning. A common technique of allegory is personification; thereby abstract qualities are given human shape. An allegory may be conceived as an extended metaphor.
Angle
Angle is often used to convey point of view. In order to make something look powerful and commanding the eye or the camera is positioned below the subject in a low angle shot, looking upwards. To create a sense of equality between the subject and the viewer, the camera is positioned at eye level. In a high angle shot, the camera is above the person or object, often making the person or object appear weak, inferior or under pressure.
Also see Framing.
Body language and gaze
Facial expressions, gestures, stance or position – can convey the attitude, feelings or personality of the individual shown. Take note of the direction of the subject’s eyes.
Composition
What is included is deliberately placed (also applies to what is omitted). Consider all inclusions and omissions e.g. surroundings, objects, clothing etc. Also see layout
Colour, Hue and Tone
In black & white images examine the use of contrast, light and darkness. In a colour image, colours are used to signify feelings and evoke a response. E.g. Red = passion, anger, hell, vitality, etc. blue = peace, harmony or coldness.
Context
Cultural, historical, social, situational and personal circumstances in which a text is composed and responded to.
Contrast
Comparing "before" and "after". Changes in perspective, point of view, and colour and saturation style can be made to evoke comparisons.
The arrangement of opposite elements (light and dark, large and small, rough and smooth) to create interest, excitement or drama.
Framing
The same camera shots and angles relevant to film. Close ups, extreme close ups, medium shots, long shots, tilted up or down shots etc.
Layout
The organisation of the elements on the page
Omissions
What has been deliberately left out.
Orientation, Point of view
Relates to framing and angle: is the responder positioned above the image (looking down), below or at eye level?
Positioning
Consider which objects have been placed in the foreground, middle ground or background.
Rule of thirds
Divide an image into thirds from the top and sides and look at the placement of people and/or objects. An object in the top third is usually empowered whereas anything in the bottom third is disempowered.
Salience
The part that your eyes are first drawn to in the visual. Colour, image and layout determine what the salient image is.
Symbols /Symbolism
Symbols represent an object, action, idea or concept.
Text Style
Consider the font, colour, size and placement used in the text.
Texture
The roughness or smoothness of an image
Title
Consider the significance of the text and the language of the title.
Tone
This refers to the attitude or voice of the composer
Vectors
The line that our eyes take when looking at a visual. Composers deliberately direct our reading path through the vectors. E.g. If all of the subjects are tall, long and upright our eyes follow straight vectors that lead to the top of the frame. This could make the subject seem powerful or inflexible.
- See more at: https://www.matrix.edu.au/techniques-for-analysing-a-visual-text/#sthash.AUMUD8qg.dpuf
A list of techniques when analysing a visual text.
Allegory
A story or visual image with a second distinct meaning partially hidden behind its literal or visible meaning. A common technique of allegory is personification; thereby abstract qualities are given human shape. An allegory may be conceived as an extended metaphor.
Angle
Angle is often used to convey point of view. In order to make something look powerful and commanding the eye or the camera is positioned below the subject in a low angle shot, looking upwards. To create a sense of equality between the subject and the viewer, the camera is positioned at eye level. In a high angle shot, the camera is above the person or object, often making the person or object appear weak, inferior or under pressure.
Also see Framing.
Body language and gaze
Facial expressions, gestures, stance or position – can convey the attitude, feelings or personality of the individual shown. Take note of the direction of the subject’s eyes.
Composition
What is included is deliberately placed (also applies to what is omitted). Consider all inclusions and omissions e.g. surroundings, objects, clothing etc. Also see layout
Colour, Hue and Tone
In black & white images examine the use of contrast, light and darkness. In a colour image, colours are used to signify feelings and evoke a response. E.g. Red = passion, anger, hell, vitality, etc. blue = peace, harmony or coldness.
Context
Cultural, historical, social, situational and personal circumstances in which a text is composed and responded to.
Contrast
Comparing "before" and "after". Changes in perspective, point of view, and colour and saturation style can be made to evoke comparisons.
The arrangement of opposite elements (light and dark, large and small, rough and smooth) to create interest, excitement or drama.
Framing
The same camera shots and angles relevant to film. Close ups, extreme close ups, medium shots, long shots, tilted up or down shots etc.
Layout
The organisation of the elements on the page
Omissions
What has been deliberately left out.
Orientation, Point of view
Relates to framing and angle: is the responder positioned above the image (looking down), below or at eye level?
Positioning
Consider which objects have been placed in the foreground, middle ground or background.
Rule of thirds
Divide an image into thirds from the top and sides and look at the placement of people and/or objects. An object in the top third is usually empowered whereas anything in the bottom third is disempowered.
Salience
The part that your eyes are first drawn to in the visual. Colour, image and layout determine what the salient image is.
Symbols /Symbolism
Symbols represent an object, action, idea or concept.
Text Style
Consider the font, colour, size and placement used in the text.
Texture
The roughness or smoothness of an image
Title
Consider the significance of the text and the language of the title.
Tone
This refers to the attitude or voice of the composer
Vectors
The line that our eyes take when looking at a visual. Composers deliberately direct our reading path through the vectors. E.g. If all of the subjects are tall, long and upright our eyes follow straight vectors that lead to the top of the frame. This could make the subject seem powerful or inflexible.
- See more at: https://www.matrix.edu.au/techniques-for-analysing-a-visual-text/#sthash.AUMUD8qg.dpuf