ILLUSTRATION GLOSSORY ASSIGNMENT 1
1.AUTHENTICATION OF CHILDRENS LITERATURE- Verifying and ensuring truth is conveyed and portrayed in fiction and non-fiction literature. Truth evaluated contextually historically, scientifically, through social semantics and critical and open synthesis of events, insights, actions and experiments. Non-fiction story books/biographies have become popular and in particular require authentication. Authentication can be verified through evaluated selected book lists by a distinct cultural/religious/professional literacy groups such as from librarians here: jewishlibraries ; Indigenous Peoples story books list here.strongnations.com list and a guide including visual authencity bcerac.ca Evaluating.selecting and aquiring Learning resources. First person literature and illustrations helps to bring authenticity throughout the verbal(lexico grammer),narrative(settings, story elements, characters) and image systems in constructing meaning and being relevant. Below is an example of a true story of an Inuit girl told by an Inuit author.
Understanding how photographs can be fraudulently distorted and evaluating sources especially online and citations assists authentication. Children need to be aware that there are divergent points of views based on their experiences and how/or not this literature is authentic. Use/model critical thinking/reading and visual/media literacy skills to bring awareness to children through guided reading. Children literature that contains bias/stereotypes, outdated text/images and misinformation should be weeded.
Below is an example of a true story of an Inuit girl told by an Inuit author (sequel to Fatty legs) Monique Grey Smith is a Indigenous author of storybooks about Indigenous resilience and reconciliation so her books are considered authentic. 
2.BLEED-amount of material/ artwork that extends outside of the print bounding box where the artwork is trimmed(cut) which generally is 1/8th of an inch to allow for misalignment or margin of error. Bleed refers to the outside of the finished piece and full bleed setting is printing from one edge of the paper to the other as in a double page spread layout in a story book . Example below. It's often seen with marketing info graphic materials such as brochures, flyers, two page ads and posters.
3. BURLESQUE-Italian derived from burla meaning joke,ridicule or mockery. Form of literary genre is satire; often parody. Multi modes of formats include literary, illustrations, artwork ,drama, musical that mocks or imitates through either a highly dignified or improper trivial response expressed ridiculously or humorously . An example of a burlesque poem is "The Flight of the Duchess" by Robert Browning.
4.COHERENCE-Latin for "stuck together"; organizational quality seen through the 5 systems of resources within a sequential narrative format. There is an overall deliberate and meaningful purpose that is cohesive behind the form. Coherence enables the reader/viewer/listener to grasp/understand the main ideas/meaning better throughout a sequential narrative form/format. Coherence is met through the composition using the 5 systems of resources and rhythm for constructing meaning especially seen in multi modal texts and collaborative composition work choices of all creators. Coherence elements include salient colours,language registers,limited colour palettes and layout. Young children utilize cross coherence modality to construct greater understanding with the visual/verbal modes in the reading of storybooks and construction of communication with the characters facial expressions and gestures. For example below; Quentin Blake uses coherence with the consistent naming, form and coloring of his three monkeys in his storybooks . The 5 systems are: topographical, verbal, typographical, narrative and image. As Halliday noted these systems usually simultaneously communicate across representationally, interpersonally and textually creating coherence.
5.COHESION- visually the viewing of pattern ,repetition and rhythm: through design composition, salience, information value, framing, colour and typography. Visual cohesive techniques include: to frame and follow a narrative through use of ;salient placement, colour, shape as well as introducing modulations repeated to frame and follow more then one major character. Altman in his "Theory of Narratives" suggests cohesion through a limited colour palettes and use of framing. Framing can be formal or informal with use of branches, windows, doorway to create foregrounding emphasis on a character or action and a cohesive visual point of view.
Verbal techniques include repetition and patterning, use of relational pronouns, synonyms, repeating a phrase/jingle and transitional linking expressions. I see this often in children's storybooks and children love to repeat orally the repetitive patterning of phrases in the narrative. For example in the storybook; "We are all Welcome" by Penfold and Kaufman (below) this verbal phrase and title is repeated on each page and placed in a prominent position clearly and in the same typographic text, colour, and placement on each page. Cohesiveness coherence can be facilitated through developing a storyboard to ensure sequential continuity/flow across each scene/set/slide within the whole mode.(film,storybook etc,)
6. COLLAGE-French for Glue, technique of creation of divergent/varied and unlikely assemblage/collaboration of multiple forms/ multi modal formats that take on a new meaning in these new contexts. Visual forms include objects, cut photographs, newspaper clippings, magazine images etc . Visual collages are often used in storybook illustrations, art installations and Popart. Eric Carl's; The Very Hungry Caterpillar is a collage illustration example.
Literature collage forms include the collaboration of divergent quotations, phrases, dialogue, narrative views not normally seen together through the format of essays, poetry,lyrical prose,audiobooks, podcasts etc. Multi modal formats include combinations of speech clips, visual images, musical and text collage expressions.
7.COLOPHON-Summit in Greek; inscription of publication details, author, date, name and in some cases the typographic details at the end of the book or manuscript begun in 6th C. With the invention of the printing press in 15th C a visual identifying monogram, small artwork, publishers imprint or emblem was added. Evolving proliferation of literature began the writing of praise/merit reviews beginning the creation of a title page. Here is an example using visual and print colophon of "The wonderful world of Oz ".
(wordpress.com/bookgloss/colophon)
8.COMIC FEATURES: comic Greek for "revel", historically this genre developed due to the standardization of picture book to 32 pages motivating illustrators to use more panels for illustration and the similarity of colour palettes because printing colours differ from printing pigments because of the mechanical separation of colours in comics.
Key features include: primarily visual sequential framing of characters, setting and plot with narrative captions in the gutter and/or dialogue often in speech bubbles. Framing can be formal or informal with patterning of recognizable denotative images combined with connotative details. Comics are multi modal by design(text/visual) as well as digitally/animated through e platforms like Powtoon and created into audio visual films/movies/TV shows. Comic Graphic novel is an example of a comic genre with a more indepth/longer narrative that can be fiction or non-fiction. Other formats include multi modal visual sequential narrative with multi forms such as voice clips, music, photos, graphics etc; and Manga cartoons originating in Japan. Comics provide a format option for visual learners and practicing visual literacy.
Graphic Novel: Super Amoeba written/illustrated by Jennifer and Matthew Holm
9.CONNOTATIVE- Connotative words/ images/ symbols have personal meaning that adds deeper layers visually and when referred to in literature. Connotative implied choices creates more depth contextually and can have a positive, neutral or negative connotation beyond the actual meaning. Connotative words/images paint a picture and invoke emotions. An example would be an authors choice of words to describe a large gathering: club, protesters or insurrectionists and an illustrator adding details for meaning by not just a simple denotive person image but one with a person holding a Confederate flag and hateful face and use of colour like blue to convey sadness or expressive typography.
10.CONTEXT-all influences on the creation, illustrative, literature, multi modal that influenced the creator(s) including chronologically, geographically, historically, personally etc in order to DEEPEN the reader/viewers cohesive understanding within many contexts that make an impact with the goal of a elevated empathetic/affective response/connection to reader/viewer though greater contextual analysis. A visual point of view is a helpful way to convey information quickly contextually while giving deeper meaning as well as scale influences and is the primary mode for young children. Context reference can come from within the text-ENDOHORIC or outside the text-EXOPHORIC.
An example is a voice recording of motivation behind an illustration, artist biography and portrait,texts that connect to visual that provide specific historical context etc;. Context can be found in the front or back matter of a text.
ONE LAST WORD by NIKKI GRIMES provides contextual reference to the compilation of poets and illustrators biographies and other works. Combining modes to bring context deepens the connection to creation such as Sue Blackwells paper cut sculptures within the context of The Snow Queen book.
Below is an example of our grades 7/8's who provided context in their statement to their comic strip(use of gutters example too)
11.CONTINUITY-a principle of description to explain modes of sequential narratives through patterning, matching settings, textures, characters, colours, icons/symbols and use of composition, rhythm and salience choices. Overall enhanced flow of consistent narrative especially multi modal continuity makes sense through the colour and typographic systems that fit together. An example of storybook continuity is Quentin Blake (illustrator) and Emma Clarke(writer) collaborate on Three Little Monkeys and Three Little Monkeys Ride Again which use the same characters, common patterning of phrases and similar setting. Blake like most illustrators have a distinct use of line, dot and texture in his lively drawings to assist in creating continuity. Multi modal continuity is most obvious within the acts in a play/dramas as well as in comic book series/strips and literature series/set so the reader/viewer garners greater connection/insight.
12.CULTURE- shared and learned within illustrations,artwork,literature and multi modal works that express a descriptor of every humans experience of patterns in characteristics of life including their religion, customs, arts, beliefs that form a recognizable cultural grouping. Abby Willowroot said; "Art speaks the soul of its culture" in a physical manifestation. For example, geometric patterns in bright colours and stark contrast are culturally Kenyan textiles and cultural storybooks/text should be evaluated to ensure an authentication of their culture.
13.DENOTIVE-literal direct representation visually of an object from real life or of a explicit definition of a word so its easily understood and straight forward with no hidden or deeper messages/meanings. Visually can take many representational forms, cartoonized or realistic and is often seen in graphic design for advertisements/TV commercials, posters, info graphs and in storybooks. Denotive symbols/icons are shared meaning amongst a group such as a flag, women/man symbol, Olympic rings ,wear a mask poster for COVID, etc for quick identification/meaning. Connotative symbols have personal meaning that adds deeper layers visually and when referred to in literature.
This is clear denotive representation of a T-Rex that didn't need further clarification in this storybook "What kind of car does a T-Rex drive?" by Mark Lee and Brian Briggs.
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14.DOGGERAL-simple poetry verse/jingle often comic/humorous irregular rhyme and rhythm often combined with images and illustrations. It is a characteristic of children's nursery rhymes and songs. I believe this format is a predecessor of print advertisements and TV commercials with the catchy jingles combined with eye catching images, illustrations and symbols. For example Three Little Pigs storybook with the huff and puff verse , Jack and the beanstalk verse and Geico magazine ad below.
15.DUMMY-mock up of a purposed work to be published/created that includes key narrative elements in intended order with key images. Story boards can be used in the dummy process to help cohesion in the 5 resource systems of topographical, verbal, typography, narrative and image before the finished work. Creating a dummy can be a collaborative process of author and illustrator overseen by publisher to ensure agreement before the final work. The format can be done by hand or digitally with the goal being a published illustrated book,story book,graphic novel,cartoon etc.
Cathy Kirk Noll example of Dummy for story book
16.EPISTOLARY-Greek for letter; literary genre in the form of a series of documents in a variety of first person narrative formats most often letters, diaries, memoirs, podcasts, photographs, interviews, audio-visual(Skype)emails, blogs along with artifacts/realism/photographs/illustrations creates an affective, realism connection to the authors narrative(s). Epistolary form allows for divergent points of views and perspectives of characters narrative within a story giving the reader/viewer a more empathetic connection and response. Epistolary novels examples created with a series of letters is ;Diary of a Young Girl by Anne Frank and Dracula by Bram Stoker.
17.EPONYMOUS-Greek meaning "name"- related to synonymous and pseudonym. A term when a name/clan is transferred to representational/represent a larger work/manifestation/entity. Within the illustrative literature realm an example could be Robert Munch and Dr. Seuss illustrations and narrative in storybooks are recognizable patterns of verbal, topographic and visual design composition unique choices. Theodore Seuss Geisel pseudonym "Dr Seuss" eponymous works extend to animated cartoons and films such as, "The Grinch who stole Christmas" and the character, Yertle the Turtle. Traditional artistic eponymous manifestations include tartans, shields, flags and totem poles representing the naming of clans, nations and well known persons.
18.GUTTER-in comic illustrations refers to the blank space between 2 panels. In literature the additional vertical seam margin between right-recto and left-verso pages to allow space for binding/finishing book features. The comic/strip/book uses gutters to create transitional framing from movement/action/scene/subject from one panel to the next as its not in real time like a play. Illustrators can use the gutter intentionally to create continuity and cohesiveness while allowing the reader/viewer to formulate their response in participation. The gutter acts as a framing of the parts within the whole visual/verbal multi modal narrative in graphic novels and can be part of a multi modal format of animation as in Powtoon. Story books can use gutters in a playful, post modern topographic way as part of the story as in; This book just Ate my Dog; by Richard Byrne.
Example of gutters in space between panels below: http/csmt/uchicago/glossary
http://csmt.uchicago.edu/glossary2004/images/graphicnovel-3.gif
http://csmt.uchicago.edu/glossary2004/images/graphicnovel-3.gif
19.HALFTONE- are creative visual use of dots with varying sizes, colour and spacing to stimulate a tone, texture, pattern or gradient giving artwork, comics, picture storybooks and edited photographs a more unique appeal. Adobe Illustrator/Photoshop are useful in creating halftone patterns and textures overlaying dot patterns over solid colour artwork/photos. By using scratch boarding technique of black line indentations then it is cheaper for publishers because it doesn't require screening for halftone.
Example from creativepro.com
20.HYPERTEXT-Greek prefix means "over" or "beyond".
Non-linear way to present information beyond the original authors/creators original format quickly(digitally through hyperlinks ) so the reader/viewer chooses their own path and meaning making of text, graphics,audio; and multi modal formats. Hypertext allows for the reader/viewer to choose a path of variety of works with differing views related to the same subject including, audio, images, charts, graphs, artwork and various forms of text such as poems, diaries, fiction and non-fiction. Important factors to keep cohesiveness is the organization of hypertext so as to not create too much fragmentation in a text and lack of understanding. Gamebook novels is an multimodal(comes with game pieces) hypertext example where readers choose their own path/ending. Click here for list.goodreads.com/genres/gamebooks, Steve Jackson/Ian Livingstone are authors in this genre. See book cover below. The world wide web is an overarching example of use of hyperlinks which students often need direction to navigate their path.
21.ILLUSTRATED BOOK-pictures/images that enhance a fiction or non fiction book aesthetically/representational in assisting/enhancing certain parts of the text narrative but are not essentially relied on; in its connection to the narrative of the story as in a story book. Examples include illustrated novel, guidebooks, pictorial maps, instructional manuals enabling visual literacy of complex/difficult themes/ideas and increasing the comprehension in understanding since the brain perceives visual information more quickly. Illustrated books being multi modal assist with the reader/viewers fluency and simulate their imaginations and ability to infer outcomes and relate to the affective domain of characters. Illustrations can in collaboration become an authors brand identity and used in BOOK COVERS to be eye catching to readers causing an increase in sales for publishers. Illustrated novels examples are "Oliver Twist" and "The Invention of Hugo Cabret" by Brian Selznick.
Illustrated novel for younger children by John Dougharty and Illustrated by David Tazzyman
22.IMPLIED READER-literary critic Wolfgang Iser terms it as "an implied reader is a hypothetical figure who is likely to get most of what the author intended"(2017)
This contrast between the implied and actual reader extends to the constructive linkage of all creators/illustrators , their work/image and the viewer. The implied reader/viewer is like an evolving second persona as imagined by the creator who can understand their intended complexity and based on their implied age groups( understanding metaphor/ironies/intratextuality influences)
Implied reader/viewer is grown through critical thinking/literacy and semiotic visual literacy skills in understanding better the "implied reader" as intended by the creator and its impact/response and being aware of your bias/assumptions throughout the meaning making interaction of reader to text and viewer to image. TL's and teacher have an interactive ,important role in constructing meaning and awareness of authenticity in storybooks in closing the gap of implied and actual reader/viewer.
23 INTERTEXTUAL-the fact that illustrated literature especially multi modal(ex; Vooks; animated e- storybooks) and all modes are a creative collaboration of interconnectedness and influences on mode personally, socially and culturally past and present. This principle is collaborated on by illustrator/writer/designer/publisher within the focus on composition integrating their influences on the visual, verbal, typographic and topographic systems. Intertextual principal is applied to many multi modes including all texts: fiction and non-fiction: novels, works of philosophy, newspaper articles, films, songs, paintings, animation, comics, all art work, illustrations, music and literature is affected by what came before it and their cultural aesthetic influences. For example; Quentin Blake was influenced by Cruikshank and Dickens illustrators in his lively drawings and Ulysses is the retelling of Homers Odyssey.
24. METAFICION- IS fiction that is aware that it is fiction within literature/illustrations and multi modal formats. The creators self consciously bring awareness of the fiction through parody and creative topography to the audiences attention(reader/viewer).Therefore making aware the traditional constructed conventions of literature/image making .Metafiction is more often seen in plays. ( a story within a story)Metafiction is explored through experimental techniques such as the author/character speaking to the audience directly as in Grover speaking in "Who is the monster at the end of the book?" and Snoopy's cartoon; "It was a dark and stormy day" as he was typing on his typewriter portraying the struggle of writing/story process. In illustration it's seen in the creative playful use of the gutter to tell a story rather then as a blank space separating pages seen in; "This book just ate my dog" by Richard Byrne. Other techniques include being creative against the norms with playful topography and layout.
Example by Jon Stone below:
25.PARODY: spoof, work that is created to mock, commentary on, or poke fun at any original work usually well known and has familiarity in topography,image and narrative for mass appeal and popularity. The parody can be of any aspect of the work including the illustrations,( such as The Mona Lisa or The Scream) characters, style, compositions, subject(more relevant often) or the author.
This mother; Stephanie Trilling used well known storybook covers to create parody illustrations using similar typography but changing the title to comment on COVID life. Some examples are; Goodnight Zoom(instead of moon) and The Very Hungry Coronavirus (caterpillar) Click here for more:-mothers-covid-19-childrens-book-parodies-go-viral. Here is an example of a storybook spoof; "If you give a Mouse a Cookie" by Laura Numeroff to the spoof;"If you give a Mouse an iphone; A cautionary tale" by Ann Droyd.
26. READING PATH- the movement of your eyes as it creates a non linear ,non- sequential or patterned path through decoding visual / written and multi modal work. This path can vary depending on what most catches your eye but usually follows the path to the most salient focal point element(s) and illustrators will often compose salient elements at the end of the reading path to draw attention to them. This allows for visual sense making aiding the narrative and cognition. Illustrators/creators influence the path through repetition and patterns of salient elements. Our eyes in most western literature text move linear from top to bottom ,left to right(except Hebrew text) so bottom right would be the end of our reading path traditionally. The use of hypertext creates a more fragmented often multi modal reading path with digital links to videos/images and a variety of text and visual points of views. Example below draws your eye down the snow path and connects to the words.
27. SALIENCE- Resource system for composition in visual texts that assists cohesion. Kress and Van Leeuween(2006) put it best so I decided to use their encompassing definition here: "salience is a dynamic construct by the position, size, degree of prominence, and relationship between elements or an element in the page composition that attracts the viewers immediate attention" The salient element(s) grab your attention as a focal point through: high information value, beat, scale in relation,use of patterning and repetition and/or highly saturated colour that stands out as in the red in "Little Red Riding Hood" as well as the modulations in story books of introductions of NEW(usually on the right) as opposed to GIVEN-known (left side usually) and framing to create salience. TL's and teachers can teach to attending to salient elements as a visual perception skill.
28.STORY BOOK-images and text are closely interconnected and meaningfully connected to each other and not just an enhancement as in illustrated books. By connecting strongly the printed text(typography) and the verbal system written and spoken and visual systems helps to create cognition cohesion through conveying meaning both visually as well through the lexico -grammer.Story books; multi modal by design combine both connotative and denotive meaning and especially help young children, immigrants and ELL students in their fluency as they connect hearing words/sounds to images in learning to read. Story books can also sometimes be ONLY images and no text and be a source for understanding/practicing visual literacy with learning to read pictures.
29.TYPOGRAPHY- one system of resources for constructing meaning in multi modal texts through use of composition in typeface words, phrases, sentences (printed or digital) through creative use of text in font; size, style, colour and layout. Typography and colour integrating systems are key in constructing cohesive, multi modal texts. Teachers and TL's have a role in developing metalanguage of typography and image visual rendering of line dot, texture, colour scheme interactions especially when reading story books to young children. ;Unsworth is a leading researcher into this field. Expressive typography conveys tone, mood, gesturing (as a "speaker")and image cohesion meaning through the visual/verbal(lexico grammar) multi modes. Creative typography formats include sculptures,paintings ,story books and e-storybooks. A playful example of layout and typography is "We're in a book" story book by Mo Williams. TL's and teachers should be aware of typography when reading aloud to fully express the connotation behind HOW the words/sentence is composed. For example read loudly with expression if in BOLD CAPITOLS .
Example of typography and importance of lexico grammer in reading aloud by B. J Novak.
30.WORDLESS OR SILENT BOOKS-genre of visual only sequential narratives introduced first through cave drawings and religious wordless books then comics, graphic novels and films; they precede the printing press. Wordless books are relevant because they are more easily accessible within the cultural/ideological images embedded to all regardless of ability to read and understand language. Of particular they register with young children, diverse learners and ELL adults as well in understanding the conventions of a story ,visual literacy and perceptions (real/depicted). Story books can also sometimes be ONLY images and no text and the viewer can use their own imagination by taking a visual point of view. Shan Tan in THE ARRIVAL is an example of a visual story without words. Story books developed because of natural human curiosity and the desire to relate and learn about our world. 
Click here for wordless story book examplesreadbrightly.com/8-wonderfully-wordless-picture-books/
Free Fall wordless picture story book by David Wiener
Click here for wordless story book examplesreadbrightly.com/8-wonderfully-wordless-picture-books/
Wordless books give the opportunity for the audience to co author the narrative verbally , make inferences and make real life connections.
