Children Reading Pictures

Children Reading Pictures has made a huge impact on teachers, scholars and students all over the world. The original edition of this book described the fascinating range of children's responses to contemporary picturebooks, which proved that they are sophisticated readers of visual texts and are able to make sense of complex images on literal, visual and metaphorical levels. Through this research, the authors found that children are able to understand different viewpoints, analyse moods, messages and emotions, and articulate personal responses to picture books - even when they struggle with the written word. The study of picturebooks and children’s responses to them has increased dramatically in the 12 years since the first edition was published. Fully revised with a review of the most recent theories and critical work related to picturebooks and meaning-making, this new edition demonstrates how vital visual literacy is to children's understanding and development. The second edition: Includes three new case studies that address social issues, special needs and metafiction Summarises key finding from research with culturally diverse children Draws upon new research on response to digital picturebooks Provides guidelines for those contemplating research on response to picturebooks This book is essential reading for undergraduate and postgraduate students of children’s literature as well as providing important reading for Primary and Early Years teachers, literacy co-ordinators and all those interested in picturebooks.

This book describes the fascinating results of a two year study of children's responses to contemporary picturebooks. Children of primary school age, from a range of backgrounds, read and discussed books by the award-winning artists, Anthony Browne and Satoshi Kitamura. They then made their own drawings in response to the books. The authors found that children are sophisticated readers of visual texts, and are able to make sense of complex images on literal, visual and metaphorical levels. They are able to understand different viewpoints, analyse moods, messages and emotions, and articulate personal responses to picturebooks - even when they struggle with the written word. With colour illustrations, and interviews with the two authors whose books were included in the study, this book demonstrates how important visual literacy is to children's understanding and development. Primary and Early Years teachers, literacy co-ordinators and all those interested in children's literature will find this a captivating read.

A new, interactive approach to storytime, The Whole Book Approach was developed in conjunction with the Eric Carle Museum of Picture Book Art and expert author Megan Dowd Lambert's graduate work in children's literature at Simmons College, offering a practical guide for reshaping storytime and getting kids to think with their eyes. Traditional storytime often offers a passive experience for kids, but the Whole Book approach asks the youngest of readers to ponder all aspects of a picture book and to use their critical thinking skills. Using classic examples, Megan asks kids to think about why the trim size of Ludwig Bemelman's Madeline is so generous, or why the typeset in David Wiesner's Caldecott winner,The Three Pigs, appears to twist around the page, or why books like Chris Van Allsburg's The Polar Express and Eric Carle's The Very Hungry Caterpillar are printed landscape instead of portrait. The dynamic discussions that result from this shared reading style range from the profound to the hilarious and will inspire adults to make children's responses to text, art, and design an essential part of storytime.

This book describes the fascinating results of a two year study of children's responses to contemporary picturebooks. Children of primary school age, from a range of backgrounds, read and discussed books by the award-winning artists, Anthony Browne and Satoshi Kitamura. They then made their own drawings in response to the books. The authors found that children are sophisticated readers of visual texts, and are able to make sense of complex images on literal, visual and metaphorical levels. They are able to understand different viewpoints, analyse moods, messages and emotions, and articulate personal responses to picturebooks - even when they struggle with the written word. With colour illustrations, and interviews with the two authors whose books were included in the study, this book demonstrates how important visual literacy is to children's understanding and development. Primary and Early Years teachers, literacy co-ordinators and all those interested in children's literature will find this a captivating read.

Children Reading Pictures: New Contexts and Approaches to Picturebooks offers up-to-date research evidence on the responses of the primary audience for picturebooks – children. The new edition has retained the best of the original while expanding its scope in several directions, including the role of the art museum in helping children and their teachers to broaden and deepen their appreciation of the visual, and the significance of understanding diversity and inclusion while looking at illustrations in picturebooks, in digital form and in the art museum. In particular, the third edition: uses new case studies to bring to life exciting initiatives from teachers and art museum educators in the UK and beyond, examining the potential of picturebooks for overcoming cultural, educational, linguistic and other barriers in the classroom and in other settings continues to draw readers’ attention to significant international theoretical work in the field and provides structured advice for teachers and graduate students who wish to carry out their own research focuses on new research with pupils, teachers, art educators and researchers working on young people’s responses to a variety of visual texts, including digital forms and fine art, and through children’s own artistic creations, to develop a more nuanced understanding of visual literacy celebrates the glorious variety of outstanding picturebooks and their makers who offer rich challenge, amusement, pleasure and consolation to young readers in a changing, often troubling world Children Reading Pictures is essential reading for undergraduate and postgraduate students of education, art and children’s literature, as well as providing important information for primary and early years teachers, literacy coordinators and for all those interested in picturebooks and visual literacy.

You might think a book with no pictures seems boring and serious. Except . . . here's how books work. Everything written on the page has to be said by the person reading it aloud. Even if the words say . . . BLORK. Or BLUURF. And even if the words include things like BLAGGITY BLAGGITY and MY HEAD IS MADE OF BLUEBERRY PIZZA! That's the rule. That's the deal. Brilliantly irreverent and very, very silly, The Book With No Pictures will delight kids and have them begging for more. From award-winning US comic writer and actor, B.J. Novak.

A beautifully illustrated exploration of how Victorian novelty picture books reshape the ways children read and interact with texts The Victorian era saw an explosion of novelty picture books with flaps to lift and tabs to pull, pages that could fold out, pop-up scenes, and even mechanical toys mounted on pages. Analyzing books for young children published between 1835 and 1914, Playing with the Book studies how these elaborately designed works raise questions not just about what books should look like but also about what reading is, particularly in relation to children’s literature and child readers. Novelty books promised (or threatened) to make reading a physical as well as intellectual activity, requiring the child to pull a tab or lift a flap to continue the story. These books changed the relationship between pictures, words, and format in both productive and troubling ways. Hannah Field considers these aspects of children’s reading through case studies of different formats of novelty and movable books and intensive examination of editions that have survived from the nineteenth century. She discovers that children ripped, tore, and colored in their novelty books—despite these books’ explicit instructions against such behaviors. Richly illustrated with images of these ingenious constructions, Playing with the Book argues that novelty books construct a process of reading that involves touch as well as sight, thus reconfiguring our understanding of the phenomenology of reading.

One night, when Ethan reaches under his bed for a toy truck, he finds this note instead: "Monsters! Meet here for final test." Ethan is sure his parents are trying to trick him into staying under the covers, until he sees five colorful sets of eyes blinking at him from beneath the bed. Soon, a colorful parade of quirky, squeaky little monsters compete to become Ethan's monster. But only the little green monster, Gabe, has the perfect blend of stomach-rumbling and snorting needed to get Ethan into bed and keep him there so he falls asleep—which as everyone knows, is the real reason for monsters under beds. With its perfect balance of giggles and shivers, this silly-spooky prequel to the award-winning I Need My Monster and Hey, That's MY Monster! will keep young readers entertained.