in pictures and in words

7/31/2019 In Pictures and in Words

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Chapter 1Why Illustration Study Matters

to the Development of Young Writers

Illustrations help develop children’s imagination and potential asthey become proficient writers. The illustrations convey much morethan a picture because students are sharing vivid events. Theprocess of pictures allow students to feel confident and acquire thelove of writing.

I jumped from my chair and ran for the highlighter when I read thisexcerpt from In Pictures and In Words by Katie Wood Ray, “Children understand that when they make books, they’re not drawing instead ofwriting, and they haven’t been asked to make picture books becausethey don’t yet know how to write. They’ve been asked to draw picturesto make meaning-along with words-because that’s what makers ofpicture books do.”

Pre readers often pay attention to the illustrations to assist inreading the text. It’s a balance in communication. When childrendraw specific details, the illustrations can serve as support to theirwritten word.

This chapter really dives into understanding the importance of

illustrations and text working together to develop meaning!



Chapter 3Writing and Illustrating as Parallel

Composing Process

Katie writes, “the verb compose best captures the parallel processesof writing and illustrating.” This statement was derived from themeaning: to make something by combining together to form a whole.The process of composing is developed over time through prewriting,drafting, revising, editing, and publishing.

Understanding the writing process evolves and is constantly ongoingthroughout the creative process thereby knowing pre-writing, editing,and revising can happened at any point. Why teach the writingprocess in advance? I don’t write the way I’ve taught in the past, sohow can I expect my students to understand the process as defined ina mini lesson? My opportunity to use the language of the writingprocess with my students is during discussions and reflections. As

they “tell” their story, I’m able to name their thinking by describingthe stage in which they are writing.

The art of composing is comprised of all the small elements added topictures and words. Elements as small as color detail are helpingdefine the meaning of the story. My goal this year will be todetermine the purpose behind students actions when illustrating.



Chapter 4Teaching an Essential Habit of Mind

This chapter began with a powerful quote by Joyce Carol Oates, The

Faith of a Writer. “Read widely, read enthusiastically, be guided byinstinct and not design. For if you read, you need not become awriter; but if you hope to become a writer, you must read. The goal ofthis chapter is to learn to “read like a writer”.

Students are aware of so many details, many beyond where I wasthinking. Talking about what illustrators do and understanding the

decision making process is one part of the whole. Through our bookstudies we need to look at perspectives of the pictures. What’s thepicture telling us? And what’s the result of an illustrator’s decisions?

Book studies are evident in my classroom. I’m not certain I’ve doveinto purposeful illustrations. I’m certain my students would noticethe mud on a shoe but no so much the mud on the heel and pads only.Incorporating instructional repetition makes goals become habit.Katie suggest making a question about illustrations predictable andexpected so it becomes routine. A question such as, “What do younotice about the illustrations in this book?”



Chapter 5Learning Qualities of Good Writing

from Illustration Techniques

Katie states, “By looking at the decisions illustrators make inpicture books, teachers can help understand many of the mostimportant concepts about quality writing.” In a nut shell,illustrators and writers make meaning with their decision.

One technique discussed was tone and voice. So what’s the differencebetween the two words? Voice is the personality of the story, andtone set the mood. The tone in a story can be joyful, serious, humorous,sad, threatening, formal, informal, pessimistic, and optimistic. Yourtone in writing will be reflective of your mood. I’m inspired to lookat the illustration to determine the tone with my students prior toreading the book.

Another technique discussed was how to bring all the illustrateddetails from throughout the book and include them in the finalillustration to remind the readers of the journey they’ve taken. Thepatience and attentiveness this would take for a young writer isimmense.



Chapter 6The Writing Workshop

The first six chapters were intended for the reader to understand

that a study of illustrations raises the level of thinking anddecision making. Chapter six breaks down how to start theillustration study in the form of a workshop.

The framework for an illustration study includes: gather, expect,immerse, study, and write.

Gather: breadth (variety of books enough for each to have one orshare between partners) and depth (two or three with rich potential)

Expect: take tours, show excitement, define expectation for the end ofthe study

Immerse: students work with partners noting details with post-itnotes and exposing themselves to a breadth of books. THEN reading

and discussing whole group.

Study: charting discussion points, providing visual from book inchart for connections later.

Write: Display children’s book along side picture books to showcomparison.



Chapter 6The Writing Workshop

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