Research+Interests

=Masters Research=

The Symbiotic Relationship Between Art and Text in Picture Books
Picture books offer the mechanism to bridge the ever widening gap in comprehension, critical thinking, creative interpretation and navigation of nonfiction text. The question of whether picture books belong in the intermediate classroom or not is obvious. Finding the theoretical backing is one of the goals ofmy project. The other goal is to explore the relationship between text and images in picture books and the role they play in thinking and learning in the classroom.

Picture Books
Picture books can be defined in a multitude of contexts; professional, technical and literary. To further clarify and define the concept of picture book, one must look at the principle components that characterizes its’ structure, form, and style, in order to construct a working definition of the term picture book

Definitions
Each year the American Library Association (ALA) bestows the Caldecott Award on picture books demonstrating notable contributions in the field of illustration. The ALA’s defines a Caldecott winning picture book as:

...one that is distinguishable from other books with illustrations, and essentially provides the child with a visual experience. A picture book that has a collective unity of story-line, theme, or concept, developed through the series of pictures of which the book is comprised. (American Library Association, 2006)

Miller (1998) offers a technically, broader interpretation which includes any book whose message is reliant upon the illustration to supplement the written text. But it is Bishop and Hickman (1998) who capture the essence of the symbiotic relationship between text and images in their description of the role of pictures within the picture book. They speak of pictures as providing “their own narration...both illuminating and expanding on the text” (Bishop & Hickman, 1998, p.1). Each component is a separate identity, one utilizes verbal, linear dialogue, while the other, the visual, sits next to its companion. Yet, they join forces with one purpose in mind, to expand the readers comprehension (Schwarcz & Schwarcz, 1991).

(i) Characteristics
While definitions may vary, there is consensus in regards to the boundaries of the category, picture book. The North American publishing companies would characterize picture books as having:

(Bishop & Hickman, 1992; Benedict & Carlisle 1992; PBIL)
 * 32 pages (with inner and outer boundaries of 24-48 pages)
 * illustrations that dominate the text
 * usually less than 500 words (exceptions may range as high as 2000)
 * illustrations integrate with narrative
 * overall design of the book (cover, back, flaps, etc.) are integral to the relationship between the text and images

(ii) Form
Discussions banter back and forth as to whether picture books are a genre, with subcategories, modeled after adult literature genre classifications, or, a distinct format within it’s own, with its own genres and subcategories. In adult literature, genre is often organized by the length, complexity, and content. Mirroring adult classifications, genres in children’s literature include picture books, traditional literature, historical fiction, modern fantasy, nonfiction, biography, and poetry. Sub categories for the genre of children’s books would include alphabet, nursery rhyme, wordless, and simple concept books, to name a few (Huck, Hepler, Hickman, Kiefer, 1997). Conversely, Serafini (2006) and White (1998) view picture books with uniqueness due to their physical framework. It is the “format, not the content that determines their definition” (White, 1998, p. 18). Although there are fewer genres identified under this style of literature, one will find both familiar and new genres that include concept books, realistic stories, magical realism, traditional literature, and nonfiction. Framed by format, “any book of any genre can be a picture book” (White, 1998, p. 18).

(iii) Subcategories
Text, or verbal art refer to the written word which verbally tells the story, while illustrations, images or visual art are the art work within the picture book,. A picture book is comprised of text and illustrations which work symbiotically to extend or deepen the meaning of the publication. The extent to which the illustrations support or enhance meaning, further subdivides this form into the industry specific categories of picture storybook, illustrated book, and picture book. Visual art in a picture storybook serves the purpose of visually filling in details absent in the text. For example, it is responsible for enhancing the particulars of setting and the physical characteristics of characters, absent in the simplicity of the text. (Bishop & Hickman, 1992) In an illustrated book, text and images “are equally balanced”(PBIL), each complimenting the other, but able to stand on their own while maintaining the integrity of meaning. A picture book is a fusion of words and pictures, seamlessly melding together to form a unique reading or learning experience. Here the art work is at the centre of this experience, inspired by the text, but responsible for deepening the meaning extracted from the book’ (PBIL).

The previous discussion on picture books serves to explore issues such as definitions, components and styles in order to construct a working definition of the term picture book. For the purposes of this literature review, a picture book will be defined as a book satisfies the following criteria:

• 32 pages (with inner and outer boundaries of 24-48 pages) • has a textual component • illustrations appear on every page or cover a double page spread • contains illustrations that both dominate the text and integrate with narrative

The most important criteria in defining a picture book is the interplay between text and image, for it is this element which illuminates and extends meaning for the critically minded reader. For this reason, wordless, picture storybooks, and illustrated books have been eliminated from consideration in this definition.

Applicability to the Intermediate Class Setting
Picture books have matured over the past twenty five years, offering greater variety specifically written for an older audience. They capture their audience, transforming them into willing prisoners who explore age relevant issues. Careful detail to book selection ensures that the picture books selected will enhance thinking and learning in the classroom.

Appropriateness
There is a perception among intermediate and middle school teachers that picture books are reserved for primary classes due to their traditionally simplistic illustrations and shallow text (Billman, 2002). Never before, could they be so wrong. In the last quarter century picture books have emerged with new levels of sophistication in both text and illustrations, and in content areas which address complex and even controversial issues. Over thirty-five thousand picture books have been published in the last fifteen years in the United States alone. The Australian Children’s Book Council Picture Book of the Year Awards not only honour exemplary books, but five different categories of picture books, which include a division for older readers, who by their definition are under eighteen years of age (CMIS, 2006).

Value, The Why? Factor
Inclusion and use of picture books in the intermediate classroom provides personal enjoyment, allows students to make personal connections, infuses cultural understanding into the classrooms. informs, and builds background knowledge. Picture books for older readers offer: • mature themes, issues, and topics • unique, complex illustrations • more difficult and longer text components • deeper meaning beyond detection of young readers, and • subtle humor, bordering on satirical (SEC, 2006; & CMIS, 2006)

Educational Applications for Teachers
Picture books are applicable to all content areas in the curriculum: math, science, social studies, fine arts, and play an important role in the development of readers and writers. Their short length allows for completion of readings in one session. The read aloud models fluency, expression and ‘gives permission’ for older readers to read picture books. These style of books act as “springboards for discussion” (Goodson, 2001) from the students, setting the stage for active engagement. Shorter reading time encourages in-depth exploration of concepts, themes, and topics. One result of thoughtful discussion, whether whole group, small group, or partners is that it builds background schema, upon which curriculum units can be built. Jeffery Wihelm (1997), author of You Gotta Be the Book, expounds the benefits of visual art in picture books for providing struggling readers with a mental model they are usually unable to independently provide.

Guidelines for Selection
Selecting picture books for older students in the classroom, requires prior consideration in a number of areas. The first is ensuring that the visual art is aesthetically pleasing. Artistic quality can be checked by asking whether of not the illustrator has effectively used the elements of design to suit the text. Another is choosing books where the literary quality of text matches the illustrations. The magic of quality picture books lies in the harmony produced between the verbal and visual art form, and how they enrich and complement one another. Attention to these type of details is applicable to all picture book selection, however, for older readers, consideration must be given to the degree in which content, length or complexity, and sophistication vary. Keeping in mind, the content must be appropriate for the age, one would not necessarily select books on the horrors of war for beginning readers. In the area of social studies and science, depth and detail of topic can be important. Longer books require an audience with a sufficient attention span, an element often missing in the primary grades. However, length does not guarantee complexity or depth of a topic. Shorter texts have the ability to be complex as well. (Benedict & Carlisle, 1992)

Recognition of the value of picture books, from K-12 is growing exponentially. Picture books are even being used at university level in teacher training programs. Writers in this genre are deliberately writing for the older reader, choosing age appropriate issues and topics of interest to this age group. Careful attention to both text and image selection, will yield shelves of rich literature to be enjoyed by all.

Interplay of Text and Illustrations
There are many theories and theorists to draw from whose input will eventually frome this project; Iser with his Theory of Aesthetic Response, Sandoski and his Theories of Literacy, and Jakobsens’ work on linguistics and semiotics, to name a few. As interplay between contradictory illustrations is a relatively new field, consensus among theorists is inconsistent and still developing. But, Louise Rosenblatt’s transaction theory fits comfortably into the framework of constructing meaning from the symbiotic relationship between text and illustration.

Reader Response Theory
Under the premise of the reader response theory, the reader actively constructs meaning in transaction with the text and illustrations contained in the picture book (Serafini, 2003), Rosenblatt theorizes that “meaning is constructed in the transaction between a particular reader and a particular text in a unique time, place, and socio-cultural context“ (Serafini, 2003).

Symbiosis
But what is the relationship between text and illustration? In order to answer this, one needs to first consider the individuality of each. Text is linear, usually flowing from left to right, and top to bottom. Readers of fiction start at the first word, finishing at the last. Nonfiction readers have liberty to use their own unique style to process this style of text. Conversely, illustrations are not linear. Unlike text which reveals itself in pieces, visual images appear as a whole entity. Although we may gaze and observe selected sections of a picture, it is still presented as one whole. It is the sequencing of illustrations within the picture books that “adds complexity to the format” (Serafini, 2003) Excluding the front and back covers, each picture is either preceded or followed by another image. Therefore, the meaning of each illustration “becomes dependent on its relationship to the other illustrations in the story” (Serafini, 2003). As previously mentioned in the subcategory section, the text and illustrations work symbiotically to extend or deepen the meaning of the publication. The terms symmetrical, complementary, and contradictory not only act to determine the subcategory of the picture book, but describe the interaction, or interplay, between text and image.

Making Meaning
Symmetrical relationships do not add to the meaning extracted from the story, Each element simply repeats itself, telling the same story. In enhancing interactions, the images either add to the text, or work conversely. When text and image are not identical, the two elements work together to create a more complex meaning than symmetrical relationships. Contradictory interplay produces a challenge to the reader, as there are significant differences between the verbal and visual. It is here that readers create individual meaning. To quote Rosenblatt (1989) once again, “meaning does not reside ready-made in the text or in the reader; it happens during the transaction between reader and text” ((p. 157). Dialogue, personal schema, and interplay, when applied to learning situations, all contribute to the construction of this meaning. Text and illustrations are not separate identities working together. Their relationship goes beyond the sum of the two parts. Serafini (2003) agrees with Lawrence Snipe’s view that the interplay between text and image is a “’synergistic’ one, suggesting that the whole is greater than the sum of its constituent parts” (Serafini 2003). The visual and the verbal work as a unit, a concept beyond two parts, Readers “transmediate or transfer knowledge” (Serafini,, 2003) by visiting text and illustrations in a recursive manner, moving back and forth as necessary, enhancing meaning with each move.

Visual Literacy
For the purpose of this literature review, visual literacy is constructing meaning from visual images found in a picture book, it’s cover or back. Serafini’s (2005) study on how readers responded to the contradictory illustrations of Anthony Browne’s, Voices in the Park, demonstrates the readers ability to creatively envision meaning above and beyond that found in the actual text, This is an entirely different level of interpretation, based on the illustrators use of the artistic elements. These elements include line, colour, space, shape, and properties of light and dark. (Giorgis, Johnson, Bonomo, Colbert, Conner, Kauffman, & Kulesza, 1999) Students detected changes in mood not indicated by the verbal information, but by the artists use of gray, symbolically indicating sadness, and colour, indicating happiness. Throughout the story, the trees change form and species, an uplift in the mood is indicated by trees with colourful leaves, while conversely, trees on fire indicated anger.

Picture books are a perfect training ground for visual literacy, as this format allows young developing readers to “return to the visual images to explore, reflect, and critique those images” (Galda, 1993, p.506). Thus allowing them to “attain deeper meanings from literature and an awareness of how visual images are used in their own meaning making” (Galda, 1993, p.506).

Final Thoughts
There is no substitute for real books. They are rarely boring or sanitized or squeezed into a reading system that children can smell a mile off. So logic says if we want read readers we must give them real books; give our young people good literature, good art, and surprisingly, these young people may do the rest.

(Tomie DePaola, Children’s Literature in the Reading Program)