Strategies that Work Teaching for Understanding and Engagement

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Strategies that WorkTeaching for Understanding
and Engagement
Workshop 7 Visual Literacy
Debbie Draper Julie Fullgrabe
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Visualising, Visual Texts Visual Literacy
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Visual Literacy
Visual Literacy can be defined as the ability to
understand and produce visual messages
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Young people learn more than half of what they
know from visual information
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More than NAPLaN

• reading and interpreting tables
• connecting information across an illustrated
  text
• connects ideas across labelled diagrams
• connects ideas between the text and diagrams
• identifies images and meanings
• identifies the purpose of pictures, symbols,
  photographs, diagrams
• not to mention the numeracy tests

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Refer to handout

• What kinds of skills are required for success
  with visual texts in
• Australian Curriculum
• NAPLaN
• PAT-R

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• Consider these images

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Visual Semantics

• Who created the image?
• What context?
• For what purpose?
• Who is the intended audience?
• What does the image say about
• History
• Identity
• Society
• Event
• Culture ?

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Sunday Afternoon on the Island of La Grande Jatte
painted by Georges-Pierre Seurat in 1884 1886
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• What is the author / artists purpose?
• What is your purpose?

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The images depict 106,000 aluminum cans, the
number used in the US every thirty seconds (Cans
Seurat, 2007)
http//www.chrisjordan.com/
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Visual Texts - Fiction

• Meaning is found in the words and the visual
  information, especially in picture books.
• Meaning is enhanced when the reader can read
  the pictures as well as extracting meaning from
  the text.

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Visual Thinking You Tube 647
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Artistic Elements

1. Line
2. Shape
3. Space
4. Color
5. Texture
6. Composition
7. Perspective

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Artistic Elements

• A. Line (I)
• Lines define objects, but lines can also suggest
  movement, distance, and even feeling.

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Artistic Elements

• A. Line (II)
• Curves and circular lines suggest warmth,
  coziness, and security.

The Tale of Peter Rabbit by Beatrix Potter (1902)
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Artistic Elements
A. Line (II)

• Diagonal and zigzagging lines suggest action,
  excitement and rapid movement.

Madeline by Ludwig Bemelmans (1939)
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Artistic Elements

• A. Line (III)
• Horizontal lines suggest calm and stability.
• Vertical lines suggest height and distance.

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Artistic Elements

• B. Shape
• Shapes can be evaluated for their simplicity or
  complexity, their rigidity (as in geometric
  shapes), and their size.
• Rounded shapes may suggest comfort, security,
  stability, and softness.
• Squarish, angular shapes may elicit more
  excitable responses, agitation, alarm, and
  confusion.
• The bigger a shape is in the picture, the more
  important it is.

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Madeline by Ludwig Bemelmans (1939)
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Artistic Elements

• C. Space
• Space is actually what draws our attention to
  objects on the page.
• The lack of open space on a page may contribute
  to a claustrophobic or uneasy feeling or perhaps
  confusion or chaos.
• The generous use of space in a picture suggests
  quiet serenity, but it may also imply emptiness,
  loneliness, or isolation.
• Space can also create the illusion of distance.

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No, David! by David Shannon (1998)
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No, David! by David Shannon (1998)
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Artistic Elements

• D. Colour one of the most emotionally
  evocative
• of artistic elements
• Red and yellow are warm or hot colors and often
  suggest warmth, cheerfulness, or excitement.
  However, red can also signify danger and yellow
  cowardice or fear.
• Blue and green are cool or cold colors and often
  suggests calm, serenity, or renewal. However,
  blue can also signify depression and green envy
  or illness.
• Many conventional responses to color are
  culture-specific.
• The use of black and white is making a comeback.
  Children seem to enjoy black and white just as
  much as color.

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(1989)
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Lon Po Po by Ed Young (1989)
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Artistic Elements

• E. Texture
• Texture refers to the impression of how a
  pictured object feels. It gives a flat surface
  the characteristics of a three-dimensional
  surface.
• Textual effects generally offer a greater sense
  of reality to a picture.
• Less realistic styles may make use of texture to
  enrich the visual experience and to stimulate the
  viewers imagination.
• Texture is achieved through the skillful use of
  the medium paint layers, brush strokes, pencil
  marks, and so on.

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Where the Wild Things Are by Maurice Sendak (1963)
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George Shrinks by William Joyce (1985)
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Artistic Elements

• F. Composition
• The composition of an illustration refers to the
  arrangement of the visual elements in the
  picture.
• Composition is important to the narrative quality
  of the picture as well as to its emotional
  impact.
• A very important concern of composition is the
  organization of the shapes. Grouping many large
  shapes may suggest stability, enclosure, or
  confinement, or perhaps awkwardness. On the other
  hand, lighter, delicate shapes more loosely
  grouped may suggest movement, grace, and freedom.
  

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No, David! by David Shannon (1998)
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No, David! by David Shannon (1998)
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When Sophie Gets Angry---Really, Really
Angry Molly Bang (1999)
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When Sophie Gets Angry---Really, Really
Angry Molly Bang (1999)
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Artistic Elements

• G. Perspective
• The perspective refers to the vantage point from
  which we see the object on the page. That is,
  from what angle the picture is to be viewed.
• The closer we appear to be to the action, the
  more engaged we are likely to be. The farther
  away we seem to be, the more detached we are.
• The artists make us see and think about things in
  specific ways by illustrating events from a
  worms-eye view, a small childs perspective, a
  birds-eye view, or an unreal angle.
• Most picture books give us the middle shot. We
  see few close-ups and few panoramic views.

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George Shrinks by William Joyce (1985)
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George Shrinks by William Joyce (1985)
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Willy and Hugh by Anthony Browne (1991)
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Non-fiction Texts

• In contrast to fictional texts where visual
  representations are most often used to enhance
  the written text, visual representations in
  non-fiction texts often contain essential
  information that is necessary to understand the
  ideas being presented.

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Comprehending Visuals

• A visual image is called a referent because it
  refers to what is being taught or discussed. 

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Organisation of Visual Texts
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http//k-8visual.info./
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Refer to the Visual Texts folders Amphibians
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Modelling / Think Aloud

• highlight key words in the text and matching them
  to information shown in the diagram using the
  same colour
• match vocabulary that links ideas from the words
  in the diagram to the words in the text
• model how to skim read the text
• think aloud the strategies of how you decide on
  the purpose and meaning of the text.

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Activities 1
PICTURE INTERPRETATION 1. What is happening in
this picture? Does it add meaning to the story or
does it tell a completely different story to the
text? 2. Does the picture remind you of an event
in any other story or anything that has happened
to you in real life? 3. What would it be like to
be there? Look carefully and describe where you
(the reader) are - (close up or far away?) Why do
you think the illustrator has placed the reader
in this location? 4. How do you feel when you
look at this picture? How does the illustrator
create this mood or emotion for the readers?
A.  Line Lines define objects, but lines can also
suggest movement, distance, and even feeling.
Curves and circular lines suggest warmth,
coziness, and security. Diagonal and zigzagging
lines suggest action, excitement and rapid
movement. Horizontal lines suggest calm and
stability. Vertical lines suggest height and
distance.
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Activities 2

• Describe what you see
• Describe how you feel
• Describe what you think

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Activities 3

• Describe what you see
• Ask some questions and discuss e.g.
• What is the purpose of this text and how do you
  know?
• When do you think this text was produced and what
  evidence do you have?
• Who is portrayed in the text?
• Who is the author and why do you think this?
• Who is the target audience for this text?
• How do you feel and what do you think?

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Activities 4
QAR (Question, Answer, Relationships) for picture
books
Right There In the book Literal Identifying what is in the text orientation questions What do you see? What is happening? What is the setting?
Artist / Author and You In the book and in my head Inferential Make inferences about what is happening in the text / picture. Rely on background knowledge to interpret the text inferences must be backed up with evidence from the text What do you think is doing? How do you think .feels?
On My Own In my head Inferential Make inferences about the text / picture based solely on prior knowledge. Students may not even look at the text but their inferences should be logical. What do you know about.? Why do you think this happened?-
Putting it Together Think search Inferential Synthesis Make links between aspects of the text notice patterns What do you think is going to happen?