The Picture Book Audience

 The Picture Book Audience

Article 6

by Lyn Lacy

2500 words

For Gail Haley, whose gracious mentorship and friendship I’ve been fortunate to enjoy.

Note: In this Article 6 is a discussion of what constitutes definitions for the picture book and its audience. Both Article 5 and this article are recommended reading as elucidation of the author’s point of view in Article 7 for reviewing a choice of eighteen 21st century award-winning titles. For purposes of these articles, “Medalist” refers to a year’s winning title, “Honor Book” refers to a title of merit and “Caldecotts” refers to the entire collection of Medalists and Honor Books.

ALSC Definitions of “picture book”

The American Library Services for Children of the ALA defines “picture book” as follows: “A picture book for children, as distinguished from other books with illustrations, is one that essentially provides the child with a visual experience; has a collective unity of story-line, theme or concept developed through a series of pictures of which the book is comprised; and displays respect for children’s understandings, abilities and appreciations.”

This excellent definition of a picture book demonstrates the depth of knowledge and appreciation on part of the ALSC and its Caldecott Committees about the uniqueness of an art form that provides a “visual experience” with a “collective unity” of pictures that “displays respect” for an audience of children. 

In the past, a majority of “story-lines, themes and concepts” in Medalists and Honor Books have been stories, folklore, how and why stories, history, biography, poetry, rhymes and songs. Conventional formats for fiction as well as nonfiction are 32 pages with illustrations that complement the text on a majority of the pages. Also included are other formats, such as concept books, interactive books and graphic novels. All such formats are “distinguished from other books with illustrations,” in which a long text has more verbal images than are pictured and illustrations are not a structural part of the book itself. 

A complication arises when Illustrated storybooks, controlled vocabulary easy readers and books with easel art are often called picture books even though they stand outside the above parameters. Added to this is that as many high-quality picture books have become viewed as objects of art and literature, they have become more expensive to publish and are increasingly made attractive not only to older children but to adults as well, who are after all the ones to actually buy books. The result is controversy surrounding the definition for picture books that seems to stem from the conflicting views regarding a most appropriate audience—those for whom the illustrations, text and literacy set are intended to play a role.

ALSC Definition of “children” 

Added to the confusion is that the ALSC defines “children” as “persons of ages up to and including fourteen and picture books for this entire age range are to be considered.” In the past, the Caldecotts had visual and textual content intended for pre-readers and emerging readers (preschool-grade 2, up to age 7). This was not meant to deny that people of any age enjoy the art, humor, excitement and sensitivity in picture books aimed at this group. Older children can benefit greatly from experiences with picture books but should still be read aloud to or encouraged to tell themselves the story. Indeed, a most appropriate picture-book audience is anyone for whom the books are read aloud by someone else, resulting in a pictorial and aural experience rather than a reading experience. The best picture book audience, whether young or old, should be one who looks, listens and talks about what is going on. 

However, when some illustrators leave behind concerns of the very young to apply their skills to the interests of older children, the resulting suitability for middle readers (grades 3-5, ages 8-10) or older readers (grades 6-8, ages 11-14) has not generally presented a “story-line, theme or concept” that also displays respect for “understandings, abilities and appreciations” of children who are much younger. In fact, topics of interest to preteens and early adolescents can often be confusing or even downright unsettling to the very young. 

Thus, expanding the definition of picture books and extending an age range are both thought to be too broad, raising the fear that prereaders will be left behind if Medalists and Honor Books beyond a younger audience’s comprehension and appreciation become the norm. Each year’s list of Honor Books could and perhaps should include at least one title that appeals to interests of an older audience, but the majority of Honor Books and the Medalist itself should remain appropriate for prereaders.

Prereaders as Audience

The specific importance of picture books for an audience of prereaders and emerging readers has been fully explained in research by Meghan Cox Gurdon, author of The Enchanted Hour: The Miraculous Power of Reading Aloud in the Age of Distraction (2019). 

Gurdon explains that “Prereading youngsters have general characteristics that make them the most receptive to a picture-book format, and the medium can play a vital role in this particular audience’s development. By and large, prereaders still believe in fantasy, hold images in awe even when they do not move, are curious about visual images as symbols since their verbal language is more limited, and are intuitive rather than literal, empathetic rather than self-conscious, innocent rather than experienced.” 

Gurdon further points out that “Younger children have not yet seen a preponderance of book and do not realize from firsthand reading the variety of information in them. They are just beginning to grasp the idea of sequencing and connotative as well as denotative expression in pictures as well as words. They have just discovered that action in pictures can have more than one outcome, and they can predict what happens before a last page is turned. Its slighter text appeals to shorter attention spans but encourages thoughtfulness of response; it can be picked up again and again to divulge new and different delights. This competes well against electronic and digital visuals because a book’s format can be enjoyed at leisure.” 

Gurdon concludes that “Finally, it provides through a shared read-aloud experience a strong feeling of kinship with others. A small child can relax into the experience of being read a picture book. There is a bit of pleasurable challenge in making sense of what he’s seeing and hearing…and crucially, the sight of illustrations that stay still and allow him to gaze at will, all have the combined effect of engaging his deep cognitive networks…The early experiences he’s having, and the wiring and firing of neurons they produce, will help to create the architecture of his mind and lay the pathways for his future thought and imagination.” (“The Secret Power of the Children’s Picture Book,” The Wall Street Journal, January 18, 2019)

Visual Literacy 

For whatever age group, picture books are a unique tool for discussing basic areas of visual literacy, and many in the audience may be ready for some or all of the exercises in critical viewing. Visual literacy is, like verbal literacy, a communication skill, implying that a language exists which must be decoded if visual information is to be understood. Such visual exercises should not be done with every picture book and never for a first reading, but they are useful as a review of the book on another day or during a different part of the curriculum such as art or social studies. 

Exercises for “reading” both content and art in picture books involve a sequential framework from fine arts adapted to the well-known questioning strategies from Benjamin Bloom’s Taxonomy of Educational Objectives: Cognitive Domain (1956). The goal of the questioning exercises are that children will become more creative and critical viewers and thinkers.

“What do you see?” (Identification) 

“How is it put together?” (Analysis) 

To discuss what we see, the first objective in visual literacy is to refine definitions of real, realistic, nonrealistic and unreal visual imagery. Picture books offer an excellent avenue for this because a brief text and series of illustrations offer opportunities for slowly paced appreciation of images. Exploring the differences takes time for children to refine, but such analysis can lay a vital foundation for other visuals encountered on television, video games and the computer.

Youngsters often proclaim that true-to-life, representational illustrations are “real.” However, only existing, palpable, actual beings are real. Important to realize is that all recorded images (in whatever medium) are realistic, nonrealistic or unreal. 

A realistic illustration is one that reproduces, represents, idealizes or imitates true-to-life existence. An example in the 20th century is John Steptoe in his 1988 Honor Book Mufaro’s Beautiful Daughters: An African Tale (1987), who faithfully represents the people and landscape of the Zimbabwe region. For realism in the 21st century, 2020 Medalist The Undefeated (2019) by Kadir Nelson offers representational portraits of notable African Americans, present and past. Ironically, very realistic illustrations are created by line drawings on scratchboard by Christopher Bing for a an entirely fictitious legendary hero, in 2001 Honor Book Casey at the Bat (2000), the comic ballad by Ernest Thayer.

Nonrealistic illustrations also depict true-to-life scenarios but with a stylized slant that is abstract, symbolic, nonliteral, impressionistic or fanciful rather than representational. Figures may be exaggerated, sketchy, flat or otherwise distorted. A nonrealistic image thus imitates a real subject but is not idealized, as in 20th century art in1991 Honor Book “More More More,” Said the Baby: Three Love Stories (1990) by Vera B. Williams and in the 21st century is 2012 Honor Book A Ball for Daisy (2011) by Chris Raschka. 

Unreal illustrations portray imaginary, fantastic, supernatural, impossible situations. Many Caldecotts portray a favorite theme in which a true-to-life person enters an unreal, dream world, often through a portal, such as a door or window. In the 20th century, 1992 Honor Book Tar Beach (1991) by Faith Ringgold is a stylized portrayal (nonrealistic) of a little girl and her brother taking a nap on their mattress (a portal) before they go flying over the city among the stars (unreal). In folklore, unreal characters act out plots in an unreal world, such as in 1970 Medalist A Story, A Story (1969) by Gail E. Haley. An original plot in a 21st century picture book has a similar unreal scenario—2017 Honor Book Du Iz Tak? (2016) by Carson Ellis. Equally as unique, 2015 Medalist The Adventures of Beekle: The Unimaginary Friend (2014) by Dan Santat has an unreal creature visiting our own world in a nonrealistic, cartoonish style.

A second aspect of visual literacy is recognizing use of detail that contributes to the whole. After establishing the degree of realism in illustrations, “What do you see?” encourages children to identify people and objects. Closely attuned is “How is this illustration put together?” which prompts them to recognize what is largest or smallest, far away or close. Through exploration of such details about things, colors, shapes, etc. children develop a vocabulary for visual language that encourages more critical examination of all visuals in their environment. In the 20th century, intricate details are found in 1984 Medalist The Glorious Flight: Across the Channel with Louis Bleriot (1983) by Alice and Martin Provensen. In the 21st century, a fun book to compare and contrast is the 2006 Honor Book Hot-Air: The (Mostly) True Story of the First Hot-Air Balloon Ride (2005) by Marjorie Priceman.

A third aspect of visual literacy is to recognize the unique properties of picture books, such as sequential art, text placement, front matter, etc. Appealing to minds and hearts of youngsters requires that sequential pictures be properly paced so as to reflect text (or implied text as in wordless books) and include a portrayal of more rather than less in the action, scenery or characterizations described. Artistic styles of all kinds are welcomed, and whole book design may be on a grand scale or small.

In the 20th century, the 1985 Medalist Saint George and the Dragon (1984) by Margaret Hodges illustrated by Trina Schart Hyman offers elaborate margins throughout like leaded windows that are purely decorative or sometimes extend the story with scenes or characters. 1998 Medalist Rapunzel (1997) retold and illustrated by Paul O. Zelinsky established on endpapers the sense of place at Rapunzel’s home, while the book jacket folds onto the front and back, revealing replication of the endpapers underneath. The 2014 Honor Book Flora and the Flamingo (2013) by Molly Idle incorporates lift-the-flaps and fold-outs that help move Flora’s story along. Street noises and dialogue flow across the pages of 2020 Honor Book Double Bass Blues (2019) by Rudy Gutierrez. For discussion of the art and design of picture books, see Article 7.

“Why is it as it is?” (Interpretation) 

A fourth area of visual literacy is the need for understanding a picture book’s main idea, and again children need education in the conceptualization of concrete versus generalized experiences. This is usually a teachable moment, in which the reader provides youngsters with background information about the illustrator or about the picture book’s creation or compares an illustrative style with a work of fine art. A depiction of activity in a picture may provide youngsters with opportunities to form value judgments they can apply in their own lives. They can learn how to generalize about role modeling, group behavior and problem-solving, all of which expand a concept of self and lead toward adoption of a world view that values other environments aesthetically, emotionally and intellectually.

In the 20th century, 1989 Medalist Song and Dance Man (1988) by Karen Ackerman illustrated by Stephen Gammell presents positive ideas about grandparents for youngsters to articulate. In the 21st century, the 2005 Medalist, Kitten’s First Full Moon (2004) by Kevin Henkes gives young children a fun opportunity to feel superior and protective (which five-year-olds love to do) about a little kitten who mistakes the moon for a bowl of milk.

“Is it successful?” (Objective Evaluation)

“Do you like it?” (Subjective Evaluation)

“Can you make one?” (Production) 

For the last area in visual literacy, many youngsters believe that everyone sees things the way they do and indeed feels about them in ways similar to their own. They may be quick to offer opinions about “pretty” or “ugly” and about “good” or “bad” pictures, easily confusing personal taste with artistic excellence and subjective appreciation with objective criticism. Offering suggestions about whether illustrators have satisfactorily  accomplished what they intended—no matter if the result is likeable or not—is important for children to understand the different uses for art in their lives. Following up with respect for youngsters’ individual opinions is also crucial and can lead to art projects during which children express themselves in ways that are alike or different from what they have seen.  

In general, identification, analysis and interpretation are needed by most young viewers before they can evaluate art and produce visuals of their own. Such a study in visual literacy may plant the seed of life-long tolerance for diversity in art and appreciation for other aesthetic points of view.

Some of this Article 6 is excerpted from  Art and Design in Children’s Picture Books: An Analysis of Caldecott Award-Winning Illustrations by Lyn Ellen Lacy (ALA, 1986); Visual Education: An Interdisciplinary Approach Using Visuals of All Kinds by Lyn Lacy (Minneapolis Public Schools, 1986); and Imagine That: Developing Critical Thinking and Viewing Skills Through Children’s Books by David Considine, Gail E. Haley and Lyn Lacy (Libraries Unlimited, 1994).