‘In order to make sense of a …picture,…I must…perform the complex operation of interpreting different parts of the pictures in different ways.’ Discuss in relation either to illustrations in texts or picture books, or both.
...owledge of sand or a deckchair, have already experienced them, even if only in other books, in order to recognise their representation in the picture. The deckchair is shown through its rectangular shape, with a centre square patterned with red stripes. We are not fooled by the fact that it is folded up, because our previous knowledge informs us that this is the nature and purpose of the deckchair. However, if we were to take these rectangular shapes out of the picture and look at them against a blank page, what they represent would be harder to decipher. Their recognition is aided by the presence of lots of circles on the ground, that we have learned represent sand, the light blue sky, which infuses the picture with fresh air, and the dog off his lead and free to roam. The deckchairs as they have been illustrated in this picture, are only recognisable because all the other shapes and colours in the picture work to create a context. With all the elements pulling together, we realise we are at the seaside. The text, which reads, “Of course it’s far too cold for swimming, Shirley”, also contributes to our connotative process. Through our own experiences of the use of language, we deduce that the dialogue, which appears well informed and matter-of-fact, is being spoken by one of the adults to the child, who we consequently conclude is called Shirley. The tone of the text has helped us to perceive the adults as Shirley’s parental figures, and the actual dialogue has reinforced our presence on the beach through the mention of the word “swimming”. The experienced mind is so finely tuned in decoding both verbal and visual representations, that every element of the page is broken down and reconstructed within a matter of seconds, to form a coherent storyline. Illustrations in picture books are not generally left entirely to the interpretation of the viewer. In order to convey the message of the book, and ensure that the picture adheres to its original purpose, the author must give guidelines for its interpretation. The presence of text, “controls and defines the words we might ourselves provide for a picture.” There is a “complex interrelationship [at work] between words and pictures”, and to interpret one without the other, leaves half of the message unread. However, occasionally the text and the picture appear to be working against each other, and two perspectives exist simultaneously. Rosie’s Walk is a perfect example of the dual narrative at its best. The text of this story is just thirty-two words long. The text As narrative goes, this is not very eventful, and certainly not particularly inspiring. This verbal narrative is so simple, that it fails to evoke any tone of voice, other than a dreary monotone. In this story, the pictures do all the talking. Whilst the text embodies a complete lack of excitement, the visual narrative is hard at work. As Rosie meanders through the farmyard, the audience are given privy information as to the treachery that lurks behind her, in the form of the evil fox. The humour evoked through this dramatic irony, becomes a shared joke between the reader and the author. The irony draws attention to the fact that both narratives have been constructed. The contradictory pictures, promote the recognition of an essential bond between the writer and the viewer. The reader is invited to enter into “…a partnership with the artist through the picture itself.” The author promises to satisfy, providing the reader is attentive. Picture books are perhaps at their most exciting and rewarding, when this relationship between the reader and writer is at its most interactive. Come Away from the Water, Shirley, uses pictures that “…tease readers away from the text…directing readers into other fantasies.” The opening page, that has already been discussed, serves to set the basic scene. Once the reader is established at the seaside, we see the introduction of another visual narrative. Each double page spread now consists of two contrasting pictures, one running counterpoint to the other, and an accompanying dialogue. picture The delicate pencil and crayon illustration on the left hand side has already been established as the ‘real’ time and space. This is reiterated by the placement of the text on the same page, as the dialogue quite clearly takes place in ‘reality’. Everything about the adjacent page is a stark contrast to the previous one. The use of a different medium to create the picture, makes the colours bold and bright. There is no longer a vast expanse of blank page, every inch within the frame is an abundance of colour. The intensity of the colour suggests an atmosphere that is brimming with exuberance and youthful vitality. This shift in the use of colour, heavily suggests to the reader that we have been transported into a new time and space. We are being invited into a secondary world of childhood dream and fantasy. It has been suggested that, “pictures divert from the learning process…because the illustrations direct the child’s imagination away from how he, on his own, would experience the story.” However, I would argue that books such as Come Away from the Water, Shirley, rather than limiting the child’s imagination, encourages them to explore the depths of their own ability to create, and experience the story as they would a game of role play. The emotional tone of this book, is formed through the tension created, due to the interaction of the two worlds. The contrast between the delicate routine of the everyday landscape, and the turbulent ride on the waves of colour in the land of make believe, serves to immerse the reader in a playful experience, where anything is possible. The two forms of picture in Come Away from the Water, Shirley, are linked to such a degree, that if you were to read one without the other, the elements of fantasy would be entirely lost. Without the picture of reality, Shirley’s skirmish with the pirates would become ‘real’, and the tone of the book would alter from one of fun and frolics to a frightening game of dodge and evade. This dependent relationship is more often found between words and pictures in many interactive picture books. Where the Wild Things Are is one such example. The pictures in this book serve to create sub-textual meaning, by filling in the gaps within the written text. Similarly to both Rosie’s Walk and Come Away from the water, Shirley , the emotional tone of this story is evoked through the pictures. This is largely achieved through Sendak’s carefully orchestrated use of framing. The story opens on, “The night Max wore his wolf suit and made mischief of one kind and another.” The first picture uses little of the available space of the book, but rather confines itself to the centre of the page. Max is almost as tall as the frame itself and is lodged up against the right hand side, hammering holes into the walls that are containing him. The nature of the frame is to confine the action and keep it neat and tidy. Max is quite literally trying to break through these restrictions. The frame not only acts as a boundary for Max, but also puts up a barrier between the reader and the subject matter. Max’s facial expressions suggest to us that he is wallowing in his own moody thoughts, and we can perhaps begin to build up an empathy with him, based on our own experiences of anger and frustration. When Max is finally sent to his room for misbehaving, the young reader is undoubtedly on Max’s side, we all know how it feels to be sent to our rooms, when all we were doing was trying to have fun! It is then that we begin to see Max’s environment function, “as a concrete expression of his mental state.” As he sat in his room, stewing over the injustice of his confinement, “a forest grew.” The picture of his room from the previous frame, begins to alter. Picture We can still see the pink bedspread and his pillows, but his bedposts are now made of tree trunks. Previous knowledge informs us that this is an unusual context in which to see a representation of a tree, and we consequently try to make sense of these unusual circumstances. The only rational explanation is that this picture is no longer a ‘real’ representation, but a fantasy landscape. Once again we have been transported into the imagination of the central character. As the frame gets larger, we can feel the building up of tension. The colours become the dark greens and browns of the forest, the green conveying a sense of vibrancy and life, but the darker tones creating a feeling of unease and apprehension. The use of cross hatching causes the picture to feel very compact, we get the impression that he artist could not fit any more strokes on the page even if he wanted to. Both the framing, the colours and the pencil marks are creating an unbelievably intense atmosphere. We are just waiting for the explosion. As we leave the room behind, the colours begin to brighten and the cross hatching fades. Once safely aboard his ship, which he mans independently, the frame is no longer confining him. He is master of his own realm, and will go wherever he pleases. Picture The picture begins to encroach on the opposite page, and once he is literally made “king of all wild things”, there is no need for words at all. The pictures take over the double page spread, and we see Max indulge in his “wild rumpus”. We can almost envisage another picture simultaneously, of Max back in...