ملخصات تاريخ و حضارة الكويت GR131
EA300B: Analyising Little Red Riding Hood Pictures
ملف خارجي مهم جدا للأسبوع الأول من بلوك 5 في الملف الشرح مصور.
How Pictures Work
By using a few clear principles, anyone could build a powerful visual expression that is emotionally charged by simply using arrangements of shapes on a page. This exercise will help you to understand Pictures can be built up element by element to produce specific feelings in the viewer.
Building a Picture
We see shapes in context, and our reaction to them depend in large part on that context.
When we see the shape of a hexagon, we invariably see a stop sign. But what if we use shapes to represent figures of our imagination.
Say, for example we were to use a triangle to represent a soft and cuddly little girl, like Little Red Riding Hood.
This figure is not exactly soft and cuddly. It isn't huggable because of the 3 points. But it seems stable with its flat, wide and horizontal base. It has a sense of equanimity or balance, becasue its three sides are equal. If it were sharper, it would feel sharper and pointier.
What about the color red? We call red a warm color, bold, flashy; sometimes referenced as danger, blood and fire.
These, then, are the feelings we can associate with this red triangle: stability, balance, sharpness or alertness, warmth, strength, vitality, boldnesss and a sense of danger. This then seems appropriate to represent Little Red Riding Hood.
How should we represent her Mother? We could show her mother as a bigger red Triangle, a bigger version of Litte Red.
What happened to Little Red? Now, the mother has become the more important object in the picture and has overwhelmed Litter Red. Little Red no longer appears to be the main character. ليش؟ لان الام اكبر حجم
Though this shape imples a mother who is warm, strong and protective, she is also overbearing and decidedly not huggable. How can we make her seem more huggable?
By rounding off her pointed corners, she does seem softer. But she still DOMINATES the picture. She draws attention away from Little Red because she is a bigger mass of red. How can we keep the mother large but also give Little Red more prominence in the picture?
By making the mother a paler color, she and Little Red are more equal in the picture. The CONTRAST helps Little Red to appear comparatively perky and bold. Now the EMPHASIS of the picture is now on Little Red. How do you feel about the mother now? Doesn't she feel more soft and huggable now?
______________
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EA300B: STUDY GUIDE WEEK 21
Study Guide ||| WEEK – 21 |||
A classic in words and pictures:
The Tale of Peter Rabbit
•
Joyce Whalley noted that
conditions of book production, and attitudes towards the role and
purposes of books for children, can profoundly affect final form
that a book takes.
•
Mackey uses Peter Rabbit
as a case study through which to explore importance of words,
illustrations and their combination
on the page, and other elements of book design like size, positioning
of words and images and space between and
around them.
ــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ
Activity 5.9 / P.225 = important issue
R2/ Aesop in the shadows by Peter Hollindale
•
Peter
Rabbit can be considered as an
animal fable.
•
Peter’s
behavior is rash, impolitic as well as disobedient.
•
Hollindale rejects
the notion that Potter wrote ‘moral’ or
‘improving’ tales for her younger readers.
•
Rather than
categorising Potter as a ‘fabulist’. Hollindale sees her as ‘post-fabulist
naturalist’: someone with keen focus on nature and its realities and an author
whose work derives in part from forerunners like
Aesop, but without an instructional agenda.
•
Hollindale takes
to task those who frame Potter as a moralist.
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Activity 5.10 / P.227: thinking about
perspective = important
R2/ Perspective and point of view in The
Tale of Peter Rabbit by Carole Scott
Scott
explores the issue of Potter’s ambivalent moral perspective in Peter Rabbit
raised by Mackey and Hollindale, by focusing closely on the text.
How readers are encouraged to identify with
Peter?
How Peter is framed as the hero of the tale,
visually and in words?
•
In Peter Rabbit, Peter is often shown in close-up and
near
to the ground- where a
rabbit would be.
•
We often share Peter’s line of sight, his point of view
becomes ours and we participate in his predicaments.
•
For these reasons, we identify with him against authority represented by Mr. McGregor.
•
Scott notes narrative importance of images in Peter Rabbit.
•
Peter’s
motivation is rebelliousness and an unwillingness to submit to
authority, rather than hunger.
•
This information is
gathered by reader from pictures,
not words.
ما من عبد مسلم يدعو لأخيه بظهر الغيب إلا قال الملك ولك بمثل.
EA300B: STUDY GUIDE WEEK 20
Study Guide ||| WEEK – 20 |||
Starting to look at images in children's books
·
Children's books contain illustrations and images of a
variety of types.
·
We will look to their functions, meaning and
significance.
·
They are decorative embellishment to a story whose
real meaning lies in the word.
THIS IS IMPORTANT ACTIVITY FOR
FINAL EXAM. THIS IMAGE COULD BE COME TO ANALYSIS
Activity 5.1 / P.206+207: What might we
already know?
•
Illustration is a
representation of Little
Red Riding Hood.
-
The small red triangle is the most
salient element here; it stands out because of its colour
and positioning, even though it is smaller than black lines
surrounding it. A hood may take a similar
triangular shape; so aided by colour red, we can make link to Red Riding Hood.
-
The strong black vertical lines have
an air of permanence and stability, as do
trees. Their number and proximity suggest a ‘forest,’ even though
illustration is actually just an arrangement of geometric shapes on a page.
-
If black lines can be
interpreted as ‘trees,’ red triangle can be seen as ‘hiding behind a tree.’
•
These
illustrations are by Molly Bang: an American illustrator and teacher of
illustration.
•
She shows how a
fairy tale can be constructed visually using a series
of shapes.
•
She starts with
a simple red triangle,
and adds ‘trees.’
•
As scene
progresses, Bang resizes Little Red Riding Hood to make her smaller,
places her further from the foreground
to emphasize her vulnerability,
and tilts a tree onto the diagonal to add a
sense of threat.
•
Starting with 3
black triangles, she begins to make the wolf.
•
Finally, she darkens
the background to portray a
more threatening sense of
darkness and night-time, and adds more geometric shapes to develop the wolf further.
•
Bang
bring to fore much background knowledge we already have, making this explicit
by showing at once surface simplicity
and deeper complexity
of knowledge we need to read, see and understand
picturebooks.
Activity 5.2 / P.208: How pictures 'tell' = important
ما من عبد مسلم يدعو لأخيه بظهر الغيب إلا قال الملك ولك بمثل.
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