A picture is not the same as an illustrated story; there the words alone could tell the story and the illustrations simply break up the words or decorate the text… In the best picture books, the illustrations are absolutely necessary. They carry parts of the story or narrative and in some cases the language is dropped and the pictures alone are all that is needed. The wonderful combination of visual and textual story that picture books offer is a valuable literary experience to a wide audience.
Picture books are valuable texts as they entertain and educate a wide audience. Picture books are no longer the only domain of the very young. These contemporary picture books have become more sophisticated, encourage multiple readings and often deal with controversial or complex issues relevant to mature readers. The methods in which pictures are illustrated in picture books also contribute to the entertainment and education of readers.
For example, simply sketched but precisely coloured drawings suggest the target audience to be young children, although an older spectrum would study in-depth what the style of drawing and emotions implied from colours mean based on their life experiences. The transition from the traditional young target audience into older readers reinforces the idea that picture books have a broad influence amongst people of all ages. Ape is told in third person’s point of view which means both younger and older readers could interpret the text in different ways.
The Essay on Wordless Picture Books
By David Wiesner A bright, science-minded boy goes to the beach equipped to collect and examine flotsam — anything floating that has been washed ashore. Bottles, lost toys, small objects of every description are among his usual finds. But there's no way he could have prepared for one particular discovery: a barnacle-encrusted underwater camera, with its own secrets to share... and to keep The ...
Symbolic codes are the secondary meaning represented by particular objects or symbols in picture books. We can find symbolism in objects (such as a cross symbolising Christianity), setting (beach symbolising reflection, contemplation), costumes (tartan shirt symbolising someone who belongs to the working class), colours (black symbolises evil, white symbolises peace and purity) and many more. The neutral; black, white, taupe, colour palette in Ape demonstrates the contrast from the ordinarily bright and colourful pictures in picture books.
This contrast draws attention from young children who are used to viewing the bright and colourful while the more mature readers reflect on the obscure, complex side of imagery. Since the recognition of symbolic codes requires extensive knowledge of the world, they are used to entertain the younger crowd rather than educate, and subsequently are to be recognised as a repetitious exercise in familiarising analysing pictures for the future years of study. Written codes include any text that appears in the picture book.
Written codes can often communicate specific information more easily than visuals. For example, if it is very important that the viewer know the exact setting of the frame, the name of the town or country will be written in a dialogue or label somewhere in the frame. This setting may have some symbolic significance, so the written code ensures we know where it is. Written codes are demonstrated in the picture book Ape. Large, bold text in a black, universal font on a white background captures the attention of children who wouldn’t observe any smaller detail otherwise.
There are snippets of extra text, in a fraction of the size of the larger font, and in a stylised font almost imitating an adult’s handwriting. The type of information in the various customised texts is also important. In the larger font intended for a younger audience, basic descriptions of the lifestyle of apes are indicated while the smaller font contains non-fictional details acts as an extension. Written codes are used to target both young and older audiences in picture books. In conclusion, picture books do in fact target a wide audience and may be read in different ways.
The Essay on Anatomy of a Picture Book
Format/Size •Rectangular—This is the shape of most books •Horizontal—Often used to in stories about journeys •Vertical—May be used for “larger than life” characters oCohn, Amy L. Abraham Lincoln. oIsaacs, Anne. Swamp Angel. •Cutout forms—cutout in the form of buildings, animals, etc. Book Jacket/Dust Jacket •Think of a book jacket as a small poster wrapped around the book with flaps on the front ...
An author and illustrator’s manipulation of symbolic, written and technical codes educate and entertain varied audiences while reaching diverse inferences. These codes urge the reader to discuss central ideas, issues, mood and tone. The message of picture books can be interpreted in several ways; reading it using a different tone of voice (angry, sad, comical) influences the interpretation. Picture books identify linguistic features including imagery, emotive language, personification, symbols, exaggeration, and conventions such as setting, characters and genre.
Symbolic codes justify unique interpretations of ideas in visual texts using individual knowledge of narrative structures and evidence from the text. Written and technical codes present a wide variety of forms exploring complex and challenging issues in imaginative and thought-provoking ways. Picture books target a wide audience and may be read in different ways because both immature and mature readers gain the same information but they are processed in unparalleled formats.
