Molly Bang Argues That We Read Pictures as:
In 1991 picture book author, illustrator, and theorist Molly Blindside published a book chosen Picture This: How Pictures Work, which focuses on how the structural elements of pictures touch readers' emotions: scarlet is more energetic than blue, diagonals are more threatening than curves, and the placement of objects on the folio tin indicate the level of safety in the scene. To illustrate her points in Picture This, Bang used the fairy tale "Footling Reddish Riding Hood," and it's nigh impossible to read Bethan Woollvin's Little Blood-red without drawing a comparing to some of Bang'southward theories.
Color
Allow's start with colour. Bang suggests using four colors when puzzling out a scene to continue things simple. Woollvin follows suit beautifully in Piffling Ruby, using just black, white, red, and gray in her illustrations. This helps describe the eye to very specific points in the story—only Piffling Blood-red and the objects she uses are red, so we know that it's a condom color for readers to look to as the story progresses.
This consistency in colors helps us encounter exactly who owns what part of each illustration. It's piece of cake for u.s.a. to visually sympathize that the tiny house with the crimson roof is Grandma's business firm—we've already established that cerise is reserved for Picayune Red, then information technology'due south clear that this is her domain. Of form, that only serves to enhance the tension of the epitome because we run into that the Wolf is heading in the same direction.
Angle
And then how do we feel when we see the Wolf—who is notably larger than Piffling Carmine—standing over her, substantially pushing her off the page and out of the borders of the volume? If the Wolf was continuing straight up and non towering over Little Red, would the scene seem as threatening?
The Wolf is essentially pushing Piffling Red out of the book, barely giving her room to exist in the aforementioned space, making the illustration more dynamic and heightening the sense of tension we experience. Will she be able to concord her own? Will she fall prey to the Wolf's tricks? He very clearly asserts dominance over her in this illustration (and many others)—how will Little Red get well-nigh defending herself?
Placement
The positioning on the page of Trivial Cerise and the Wolf is important. When Little Red confronts an obviously-bearded Wolf, it seems like she is trapped on the left side of the page, unable to safely move to the right side and through the rest of the story. Simply Bang explains that the upper half of a picture represents "freedom, happiness, and power," due to its elevated nature. Aye, Petty Ruby is trapped, merely she'south almost on an entirely different plane than the Wolf, floating higher up the danger.
And it doesn't hurt that she has her ax with her . . .
The intricacies of Molly Blindside's work could never be sufficiently explored here, but reading Bethan Woollvin's debut picture book and noting just how well she utilizes shapes, placement, and color is illuminating. As part of the Little Ruby-red feature, I'm delighted to take co-created a Little Carmine Story Shapes mail service that focuses on all of Bang's theories in the context of Picayune Red and allows readers to play with Woollvin'southward characters to see how the story changes depending on what elements are incorporated. I suggest you grab a pair of scissors and play!
All week long nosotros're celebrating ALL THE WONDERS of Piffling Scarlet, and nosotros have then much to share, including a expect at fractured fairy tales, how writer-illustrator Bethan Woollvin weaves movie volume theory into her illustrations, and a school visit in Bethan's own words.
Source: http://www.allthewonders.com/books/how-little-red-works/
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