An advent calendar of sorts

The holidays are upon us, a time of family, giving, quiet reflection and ... the shameless Hollywood exploitation of picture books. Quick, clear your mind of images of Mike Myers' Cat or Jim Carrey's Grinch; you'll only soil the grey matter. Instead I offer you a YouTube-inspired Advent Calendar for you and all the young children you happen to know.

These animated picture book adaptations are fun and sophisticated. What's more, they are true to the original text. Most were developed by Weston Woods Studios and many are available through the Scholastic Video Collection which I strongly encourage you to buy.* A goodly number were produced in the great Czech animation studio under the direction of Gene Deitch. Enjoy one a day until Christmas or save them for a slow January Saturday. Oh, and don't forget to pick up each of these classic picture books the next time you're at your local library.

December 1st
Rosie's Walk by Pat Hutchins, 1968

December 2nd
Very Hungry Caterpillar by Eric Carle, 1969

December 3rd
The Foolish Frog by Pete Seeger from Pete Seeger's Storytelling Book, 2000; also published on its own in 1973.

December 4rth
Changes, Changes by Pat Hutchins, 1971

December 5th
Chicka Chicka Boom Boom, by Bill Martin Jr. and John Archambault, 1989

December 6th
Goodnight Moon by Margaret Wise Brown, 1947

December 7th
Goodnight Gorilla by Peggy Rathmann, 1993

December 8th
Bill Martin Jr. reading his book Brown Bear, what do you see? published 1983

December 9th
Green Eggs and Ham by Dr. Seuss, 1960

December 10th
Dr. De Soto by William Steig, 1982

December 11th
Happy Birthday Moon by Frank Asch, 1984

December 12th
Fox in Socks by Dr. Seuss, 1965

December 13th
There Was An old Lady by Simms Taback, 1997

December 14th
Trashy Town by Andrea Zimmerman, 2001

December 15th
The Zax by Dr. Seuss in The Sneetches and Other Stories, 1961

December 16th
Mercer Meyer telling his story There's An Alligator Under My Bed published 1987

December 17th
How Do Dinosaurs Say Goodnight by Jane Yolen, 2000

December 18th
How Do Dinosaurs Eat Their Food by Jane Yolen, 2005

December 19th
Where the Wild Things Are by Maurice Sendak, 1963

December 20th
The Caterpillar and the Pollywog by Jack Kent, 1892

December 21st
Pete's A Pizza by William Steig, 1998

December 22nd
Harold and the Purple Crayon by Crockett Johnson, 1955

December 23rd
A Picture for Harold's Room by Crockett Johnson, 1955

December 24th
Harold's Fairy Tale by Crockett Johnson, 1956


Bonus holiday offer
These three Hans Christian Andersen adaptations used to appear on TV all the time in the 1970s. I remember them distinctly from my childhood. The subject matter is heavy, so make sure you watch them first before you decide whether or not to share them with a child.

The Selfish Giant

The Little Match Girl

The Happy Prince

And here's a final link that is definitely fun but I know it would frighten my four-year old. Slightly older kids will definitely enjoy the shivers.
What's Under my Bed? by James Stevenson, 1980

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*Not a paid advertisement. The Scholastic Collection has far more videos than are linked to here.

Mum's the word

There are numerous, excellent wordless or near-wordless picture books out there that foster solitary reading for the pre-literate child or, better yet, that enable children to interact with an adult whose sole focus can now be on pictures instead of words. Wordless picture books help to level the playing field between adult and child, and they give imaginative children free reign in building their own stories. They're not just for young children either; many are aimed at older children specifically. Others are acutely aware of the adult reader. No matter what the target audience, though, good art is never meant for any one category of person alone.

You can't go wrong with any of these:

The Carl books by Alexandra Day wherein a beloved Rottweiler minds the baby, while the baby's mother gets on with her errands and her life. There's at least a dozen in the series now.


Eric Rohman's wordless or near wordless picture books:

Time Flies depicts the journey of a bird through a prehistoric, dinosaur-laden landscape. It's a must for any dinosaur-crazed kid.


My Friend Rabbit should've been left alone as a book. The TV show knock-off is all talk, talk, talk. Who needs words when the pictures say it all?


Peter Spier's Noah's Ark and Rain, Raymond Briggs' The Snowman and Quentin Blake's Clown are classics in the genre,








as are Pat Hutchins' Changes Changes and a personal favourite of mine, Picnic, by Emily Arnold McCully.




Both these works have been adapted into excellent short films that have now become part of the Scholastic video collection.

More recent works include several of the books by David Wiesner. My daughter loves Tuesday, Flotsam and especially Sector 7.






There's also Australian Jeannie Baker's Window


And finally, here are two that are colour-themed:

Jae-Soo Liu's The Yellow Umbrella and Barbara Lehman's The Red Book.




There's also books like Chris van Allsburg's The Mysteries of Harris Burdick and the Imagine a Day/Night/Place books that use the paintings of Rob Gonaslaves. These books are neither wordless nor do they tell a continuous narrative; instead, they provide an evocative caption for each illustration that prompts the reader to take control of the storytelling. It's like having 10-20 individual stories per book.




There's plenty more books in the wordless genre than the ones I've listed here. Do you have a favourite? Have you read any of these with children? Did you enjoy the experience or did you find yourself awkwardly sputtering, trying to fill in the story? Do you leave them lying around for kids to stumble on? Pack them in the car for long road trips? Use them as prompts for crafts or writing assignments? Tell me. I'd like to know.

Visual Literacy and the Picture Book, pt 3

This three-part series explores the role of picture book art in creating a foundation for visual literacy. In writing these posts, I have relied on The On-line Visual Literacy Project at Ponoma College for my terms of reference in defining the 11 basic design components of all visual communication. I have grouped these components into 4 broad categories:

Part 1. The building blocks (dot, line, shape, and texture)
Part 2. Movement (motion and direction) and Perspective (scale and dimension)
Part 3 (today's post). Colour (hue, value, and saturation)

Colour has become a dominant design principle in illustrated books for children over the last several decades. Classics, such as Johnson's Harold books and McCloskey's Make Way For Ducklings or Blueberries for Sal, however, are evidence that illustration can be divine on a monochromatic scale.



From Blueberries for Sal (1948)

Other books, such as Richard McGuire's Orange Book (1992), which uses only the complementary colours of orange and blue, or Cathy Stinson's Red is Best (1982), which emphasizes the narrator's preferred colour, or the wordless picture book Yellow Umbrella (2001) by Jae Soo Liu deal in the essence of hue.






Hue is plucked straight from the colour wheel and comes in the infinite combinations of those three primary colours: red, blue and yellow.

Bob Staake's The Red Lemon (2006)

from Fish Eyes: A Book You Can Count On by Lois Ehlert (1990)

A picture can comprise mainly warm hues:

a cross-section of the old white cabin in Delicious by Helen Cooper (2007)

Or cool hues:

From Rob Gonsalves' Imagine a Place (2008)

Sometimes the lifeblood of the image is a pocket of warm colour lying in a sea or sky of cool:

Marie-Louise Gay's Stella: Star of the Sea (English language version) (1999)

Christopher Myers' Wings (2000)

Value refers to the amount of light or dark in an image and the interplay between them.

From Peggy Rathmann's The Day the Babies Crawled Away (2003)

From Creation by Gerald McDermott (2003)

Whereas Beatrix Potter uses value to show the warmth of the hearth in winter,


Chris Van Allsburg plays with value to eerie effect in The Mysteries of Harris Burdick (1984), a suggestive, imaginative picture book for elementary aged children.



Ed Young's mice sparkle against their black backdrop in Seven Blind Mice (1992), and

Ted Harrison's depiction of the Aurora Borealis feels like stained glass, so filled with light are his colours. From O Canada (1992).

Saturation deals with the amount of grey that influences a colour.
In Janell Canon's Stellaluna (1993), the contrast of the bats who lack colour saturation with the highly saturated night sky provide maximum visual impact. The resulting ultra-realism emphasizes the vulnerability of the bats, creatures that the reader may not normally sympathize with.


In Knuffle Bunny (2004), Mo Willems splashes highlights of mid-saturated colours over top of black and white photo stills of a Brooklyn neighborhood to add a family atmosphere to the city backdrop. His illustrations often look like animation stills.

The use of water colours produces a canvas of lightly saturated colours.

In many books, and Barbara McClintock's Dahlia (2002) is a fine example here, such illustrations have a rural or old-fashioned feel to them, no doubt because they hearken back to the 19th and early 20th styles of early masters in the genre:

Randolph Caldecott

Kate Greenaway

Leslie Brooke


and Beatrix Potter

And then there is Norton Juster's Hello, Goodbye Window, illustrated by Chris Raschka, that conjures up a rustic nostalgia by using mid-saturated, high value colours.

If you want to see what Rashka has to say about his approach to illustrating this book, read the engaging caption he put on one of his pictures that was reproduced for the New York Times.

Raschka uses a similar style for a cover of the Horn Book Magazine.


Highly saturated colours often, but not always, suggest an urban or contemporary setting, partly because contemporary printing technology allows for the mass reproduction of rich colours.

Here is Raschka again with Yo! Yes? (1993)

Vera B. Williams' A Chair for My Mother (1982).

Then there's the tropical feel of Dayal Kaur Khalsa' My Family Vacation (1988):

Highly saturated colours also feature prominently in many folk tales. Different colour combinations can be suggestive of different cultures or ethnicities:

Leo and Diane Dillon's Why Mosquitoes Buzz in People's Ears: A West African Tale (1975)

Ricardo Keens-Douglas' The Nutmeg Princess; illustrated by Annouchka Galouchko (1992) (a folk tale from Grenada)

Gerald McDermott's Raven: A Trickster Tale From the Pacific Northwest (1993).


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In regaling you with examples of how the 11 design principles work in picture books, it was my hope that you would see how smart illustrations, when combined with visual literacy skills on the part of the reader, can contribute to the overall experience of reading a book. Do I kid myself that my daughter sees all this when she is looking at books?

No. Not for a second. But she does see a lot of things in illustrations that I don't catch right off. We also spend a lot of time talking about the pictures in her books in an effort to tease out both our ways of seeing. Books that are flatly illustrated don't allow us to open up the conversation. They don't influence our mood or emotions as we are reading. The really good books do, though, and each time I come back to those books to figure out why, the answer is usually right there in front of me in their finely crafted illustrations.

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The images in this post have been used as part of a work of criticism and under the clause of "fair dealing" in the Canadian Canadian Copyright Act. I have not used more than 10% of any given work.