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NZTA Feet First 2011 getting started help pack

NZTA Feet First 2011 getting started help pack



2011 help and support Manual for the NZTA Feet First Safe Active Travel Picture book competition

2011 help and support Manual for the NZTA Feet First Safe Active Travel Picture book competition
For Year 1 -8 Schools / competition opens 1 August and closes 18 November 2011



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    NZTA Feet First 2011 getting started help pack NZTA Feet First 2011 getting started help pack Presentation Transcript

    • 2011 Feet Firstsafer journeys for childrenpicture book competitionGetting startedCompetition closes 18 November 2011 For more information visit www.feetfirst.govt.nz
    • These guidelines Resources create a mock-upaccompany the You will need: • cardboard, paper, scissors, pencils and erasers foractive travel unit making and modifying thumbnails, storyboards and mock-ups identify pictureplan for writing a • a ready to read book • a selection of picture books book elementspicture book. • art material for creating illustrations • tissue paper to separate original artwork explore • a computer (optional) illustration stylesThey explain the process for • a selection of interesting photos cut out from magazines and taken from a variety of angles,producing a picture book including wide shots and close upsto enter into the Feet First • a camera (optional). write the textcompetition.The following lesson plan sets draw upout ideas to use over several thumbnailsdays in a series of sessions.The amount of time you create full sizedevote to each session pencil sketchesdepends on the age of thechildren. get feedback final art page 2
    • Your class will create a mock-up What is a picture book? Students can see how a 16-page picture book works16-page picture book with a cover (measuring 260 mm down and 210 mm across) by comparing the blank mock-up with a 16-page ready to read title. Students can: Students can cut out a piece of light cardboard measuring 260 mm long and 420 mm wide. • discuss the job this illustration has. (It tells a reader Help them measure this accurately. what the book’s about) Fold it in half (so that it measures 260 mm long and 210 mm wide). • discuss the idea that this picture could hint at the story to come. What else could it do? Repeat with four big pieces of paper. • consider: Put the folded pieces of paper inside the folded piece of cardboard. Tell them that they’ve – if every page, from page 2 to page 16, each had just made a mock-up of a 16-page portrait picture book 260 mm high by 210 mm wide. This one illustration, how many would there be? is the size and shape of the book they need to write, edit, design and illustrate. – if page 8–9 was a double-page spread (one illustration running across both pages)? How Note: An A4 piece of paper is 297mm x 210mm. An A3 is 297mm x 420mm. many illustrations would there be in the book? – what the double-page spread could do. What would be a great part of a story for it to tell? • discuss if the illustration can go right across both the front and back outside covers. In that case, what part of the illustration can go on the front? page 3
    • Angles and points of view Students can note that illustrations in picture books are like photos. They are also taken from different angles Students can note that the same point of view, the same angle, on every page can be boring.Have students cut photos out from magazines. and points of view. Look at the selection of picture Tell your students that when they come to do theirImagine they are behind the camera. Discuss different books you have chosen. Find a variety of angles and illustrations they can use different angles and pointsangles and points of view in some of the photos. For points of views. For example, an illustration: of view, but remind them that whatever they chooseexample: • that looks like it was drawn from far away for each illustration, it needs to help tell the story• ask students to find: • that looks like the illustrator has flown up into the otherwise it will just confuse the reader. – a long/full/wide shot (showing the entire subject air and drawn the picture from above, looking A bird’s-eye shot or extreme long shot can be used to in their environment) down establish a scene. – a medium shot (close enough to show facial • in which the point of view is looking up from the • Close-ups can add drama. expression, but far enough back to show body ground • A high-angle shot can make the subject look small, language) • in which the point of view is looking over someone’s vulnerable or insignificant; or establish the viewer – a close-up (eg just the upper part of the body, shoulder. as large and powerful or threatening. the head or eye)• ask students to find more specific shot types (eg looking directly down on the subject – a bird’s-eye shot)• ask students to identify different angles (eg low and high).Write these terms on a big sheet of paper and add itto the knowledge bank you are building up. This couldbe pinned up on your classroom wall. page 4
    • Deciding on illustration stylesIllustrations need to back up the narrative and addextra interest and information.Students should decide on a style for their illustrations.For example, are they going to be realistic and lifelikeor fanciful and bizarre? What medium are they goingto use. Suggestions are:• line art, eg cartoons• a collage of line art and photos• photos• photos of scenes created in shoe boxes using models.Rearrange the example picture books by illustrationstyle. Get students to label the different illustrationstyles.Think about consistency of style from page to page. Iflots of people are going to work on the book, how willthey make the illustrations look as if they all belongtogether?Think about the age group that the picture book isaimed at and the kinds of illustrations that appeal tothat audience. Identify which illustrations appeal to theaudience. Which illustrations are the most successful?Why? page 5
    • page 6Writing the text Beginning, endings and page-turnersThere are lots of different kinds of picture books, eg Work in groups and challenge students to come up The next task is to gradually build a story and planfiction, non-fiction and poems (where a line or two of with the beginning that is the most attention-grabbing a series of illustrations that get the reader from thethe poem appears on each page). and the ending that feels the most satisfying. beginning to the end with as many page-turner moments built in as possible.A great place to start is writing the beginning and the Using examples from a range of picture books, discussending. Picture book stories are essentially beginnings two features that epitomise great picture book text: Remember that the text for each page needs to lendthat grab the reader’s attention, endings that feel itself to the illustration. • The text constantly creates ‘and what happens next’deeply satisfying, and journeys from one to the other. moments (page-turners). • It is hard to draw an invisible ghost. A story thatAnswer the following questions: • The text on each page can be illustrated (it mentions consists of a conversation between two people a single, important action taking place at one time, tends to look the same in every illustration.• Who is this story about (the characters)? in one place). • You can’t show someone getting on and off a bike• Where is the story happening (the setting)? in the same illustration.• When is this story taking place? Find out why a paragraph that involves multiple activities should be spread over a few pages. For A good way for the groups to work is with thumbnails• What’s happening to the characters (the plot)? example, leaving a house, walking past the shops, arranged into a storyboard. Thumbnails are roughTry writing these questions on a whiteboard and and arriving at school is really the text for three pages. sketches of what a page might look like. Arrangedbrainstorm possible answers. Highlight the most Rewrite this paragraph into a series of page-turners, into panels, thumbnails become a storyboard.popular response to each question. for example, ’and then where did they go?’... (turn the page)... past the shops etc). • At the start of the mock-up (on page 2, after the title page), have the students write their attention- grabbing beginning. • On the last page of the mock-up (either page 15 or 16), The story could end on have them write their deeply satisfying ending. the last double-page titlefront inside page spread (p14–15) andcover cover an illustration could go page 1 here (p16). SToRY SToRY SToRY SToRY SToRY SToRY SToRY SToRY SToRY SToRY SToRY SToRY SToRY SToRY SToRY 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 inside cover page 2 page 3 page 4 page 5 page 6 page 7 page 8 page 9 page 10 page 11 page 12 page 13 page 14 page 15 page 16 The centre of the book is the best place to pop a double-page spread. The same sheet of paper (folded in half) is used across the spread. back On other pages, you’ll need to consider that the two halves of the illustration cover might not line-up perfectly when the book is put together.
    • ceshipWords Linking text to the illustrations s paWhen writing the text, it is important to consider how: After creating first drafts in the form of a rough storyboard, it is important that on every page there• words hook the reader from the outset is a link between what they’ve written and what the• words build into sentences and paragraphs and stars illustrations will show. finally, an organised story with a logical progression of ideas – a beginning, middle, and an ending Find examples of good picture/text links. (The ready to read series is also a good source.) With each moon using transition words to connect everything together example, find the link between the text for a page and the proposed illustration. For example, for text• sentence fluency makes a story flow that is about a pukeko, is there a pukeko (or part of a space• precise word choice makes for better pukeko) in the illustration? communication. For example, ‘nice dog’ could be replaced by friendly, gentle or respectful dog• words bring a story to an appropriate ending travel• words enable readers to hear the writer’s style/ voice/personality, or make the writer sound like someone else. o range fish yellow duck friends page 7
    • Illustrating the book Discuss where the words should be placed on the pages: • Will they be in a separate box from the illustrationBefore launching into illustrations, take time as a class or in the illustration? If in the illustration, suggestto carefully reconsider the chosen storyboard. planning illustrations with big, pale areas of sky,• What really needs to be shown on each page? grass or floor where the words could go. Ask them• Would a different angle or point of view create to consider how much grass or sky is needed for more interest? the number of words on the page.Adjusting the thumbnails in the storyboard is a good • Can words go on pages facing the illustrations?time to think about where the text will be placed. • What about underneath the illustrations?Words are yet to be added. Find examples of textplacement in the picture book selection. ‘When youturn a page in a picture book, do you look at theillustration or read the words first?’ Have a show ofhands to see who does what. From the thumbnails, have students draw simple, full-size pencil sketches (this isn’t the final art work). Use erasers to correct mistakes and make the sketches look better. Lay them out on the floor as a big storyboard. Discuss: • Does everything look good? • Do the roughs still make sense? • Is there enough room for the words? • Are characters walking towards the direction of the story (left to right)? Photocopy and glue or tape the copies into the mock-up. page 8
    • Getting feedback Background information required Looking ahead for successful illustrations One entry will win the competition. It could be anAt this stage it might be useful for entry from your class. As part of the prize, the winning Students can start drawing or assembling the final,the students to share their work colour pictures using the black-and-white roughs to class will take part in a three-day workshop with a professional picture book writer/editor and a picturewith a another class to gain some guide them. book designer/illustrator.feedback. • Not every page needs to be completely coloured If your entry doesn’t win, why not create a copy of in. A nice technique is to have some busy pages,Establish a list of specific questions what you’ve made for the school library for students to followed by a clean one, with clear-cut foreground take home to share with their families.to ask the audience to measure characters on a plain white (or one-colour) background.what works well. • Lots of bright, strong colours, with block areas of To finishUse the feedback to improve the colour reproduce well. Go through the entry checklist (see Entry pack) withfinal book. Possible problems: your class. Have all the entry conditions been ticked off? • Feltpens, coloured pencils and uneven colouring-in don’t reproduce well. • Pale colours don’t reproduce well. • Out-of-focus or slightly out-of-focus photos don’t Tip for teachers: Children know what reproduce well. children will want to read.For more information www.feetfirst.govt.nz E Raewyn.Baldwin@nzta.govt.nz T 04 894 6468 page 9