1-The narrator dumb. have to cover the text of the book before it is read, and view or to see the pictures carefully. It is only telling the story from what is in the illustrations. It is important to do this exercise several. If age permits each participant can enter text. Then compared. If not, simply counted. We suggest not to rule out any account. The important thing is to see how each one supports.
2-The narrator blind. A parallel exercise is to tell the previous text while seeing the illustrations and allow the child (or adult) imagine their own pictures and then compare. The aim is a hand, let children (or adults) develop their own pictures and, on the other, understand that the display is not the only illustrator. That is one reading.
3-The short story. An illustration has a number of narrative elements "frozen." The practice is to take a picture and see in it elements that are (the relationship between the characters, time of day, the environment, time, etc..) And thawing, ie, imagine or describe what happened before or since.
4-illustrator naughty. often gives the book illustrator narrative or symbolic elements that are not in the text and can even change its meaning. There are other cases in which the key to the story told in the text is in the picture elements (eg in the attic of Oram and Kitamura, or Martha Goodnight Lola Alexander). Through this activity is to find which items are the images that are not in the text.
5-After the hurricane. is proposed to photocopy the book's illustrations and mix (child or adult should carefully observe the pictures and give them an order. Then they should discuss why they put them in that order. Again we emphasize that it is not important if that order is identical to the book; the important thing is that the system has internal consistency. For this, the child or adult should observe the narrative elements of the artwork.
6-Separate fractions. A fun and interesting strategy is to show only fragments of the illustrations and ask what is or what his place. This perception is developed to detail and exercise the understanding of the perceptual logic of the image. You can make funny variations of this strategy (like putting the head fragment) or tending to the perceived importance of placing the composition in different areas of a picture element.
7-Compare versions. One exercise that can be very revealing to compare different versions of Illustrator on the same story. It is difficult to do this with modern texts, but relatively easy with classic, Alice in Wonderland over 250 versions of illustration; of Pinocchio as many. It is an exercise you can do with small children and also great readers and adults.
8-El detective. One of the most complicated illustrator to customize characters. This strategy suggests removing your images before you imagine reading their biographical characteristics, who she is, how is your character, what their social background and their job, what time and from culture. Then compare the results with text descriptions. You can do the reverse: pick a few sentences describing the character and imagine or draw.
9-Watch your eyes. One of the most crucial features in the picture is the look of the characters, how they look at each other, how to establish or no eye contact with us. The exercise is to look carefully at the eyes. In his talks, Genevieve Patte shows how the way the characters look at each other or we look is essential to feel the warmth of a book on black and white, like many of Maurice Sendak, appear much closer than other colors.
10-Y the story continues. is suggested to readers that the story does not end up where the book ends and they must offer the very end with another illustration.
Spaces for reading, body Network Reading Promotion of Economic Culture Fund (year 1, no. 1, 1995, p. 12)
