By Jane Mack
For Variety

I HEARD a teacher mention recently that his students have a difficult time visualizing about things he says to them in the classroom. They need props. They need to see and touch, as well as hear the lesson. And seeing words on the page isn’t enough, they need pictures in their minds’ eyes.
One of the greatest strengths of children’s books published now is that they include an emphasis on the visual. Most children are familiar with picture books, which come in large format with equally large illustrations. The graphic element may be colorful or muted, bold or diffused, linear or layered, but whatever is used, it not only illustrates the text but adds its own subtext to the story. And children who read these picture books learn to find important clues about the story in the illustrations.
Picture books aren’t only for toddlers and primary school children. There are picture books on subjects that appeal to older students as well. The DK Eyewitness series is one example where information is organized visually to lure readers into the pages of history and science.
As students “graduate” to other types of books, like easy readers and chapter books, the illustrations change, but they still play an important role. Not only do they illustrate the text and lend subtext, they help break up the text into easy-to-read segments. This use of illustration for “paragraphing” helps readers learn where ideas begin and end, where the plot changes, where a new character is introduced. And by giving these visual clues to the text, the illustrations help a new reader get a better grasp on how to read for information, learning, and enjoyment.
In children’s literature, pencil sketches still adorn the pages of novel length stories. Fans of Harry Potter know who Mary GrandPré is, although her interior illustrations are limited to small iconographic images at the start of each chapter. And a growing segment of the young adult market is the graphic novel or manga book. Like long comic books, these tell stories with dialogue and pictures, with little to no exposition or description. These books succeed when they combine a good story with strong visuals.
Juvenile books without pictures need the visual element embedded in the words, to stimulate the reader’s ability to visualize what is happening, the character’s appearance, the setting, and more. As children learn the technique of visualizing through their experience with a wide range of books, they become more interested in reading, more connected. This love of the visual supports the popularity of magazines and television, but with proper encouragement and a steady use of reading materials, it can help make life-long readers of our children.
Here are some children’s books with successful visual elements. Hope you enjoy these or find others that appeal to your sense of “lovely.”
THE MIGHTY ASPARAGUS, by V. Radunsky (Harcourt, 2004). Visit a magical European kingdom in the middle ages on the pages of this story. The story is ridiculous in a fun way, with royalty facing a mighty challenge. An asparagus has grown in the wrong place. It is hated by some, and loved by others, and a plan is devised to give it to the queen, who finds it beautiful. The illustrations combine tapestry-like detail of costumes and headgear, architecture and countryside, with bright colors and bold text. A silly, fun read. (Ages 4 to 8).
ZELDA AND IVY, THE RUNNAWAYS, by Laura McGee Kvasnosky (Candlewick Press, 2006). This easy reader joins Zelda and Ivy as they take revenge on their parents for the indignity of having cucumber sandwiches for lunch. In chapter two they have a different adventure, and in chapter three they have yet another close encounter. These chapters do not build on each other as far as plot goes, but they do follow Zelda and Ivy as they enjoy being children. Other Zelda and Ivy books offer the duo in more familiar adventures, with both familiar and unexpected results.
The words on the page are large print with space between the lines, making them more accessible, but they also push the easy-reader envelope for word knowledge, with words like “pussy-willow” and “scurried” finding a home in the story.
The visuals are yummy. This book has an apple green and lemon yellow cover. The sunny yellow is also found on the endpages, with an ivy design. Bright colors plump the illustrations that appear on every page. This is a fun book, just the right size and weight to appeal to its audience, and with strong visual appeal. (Ages 5 to 9).
TO DANCE, by Siena Cherson Siegel, illustrated by Mark Siegel (Atheneum Books, 2006). This graphic novel tells the story of a girl from Puerto Rico pursuing her dream to become a ballerina in New York City. As a tiny dancer in the Caribbean, her dreams seem almost foolish, but she persists and succeeds, to find that a ballet student’s life in NYC is a tough lot. The illustrations capture both the discipline and the fluidity of dance, being tightly boxed in most places, and then spilling over into each other at places. As a memoir, it offers a wonderful glimpse inside the American Ballet. I thought the ending was too abrupt and anticlimactic, but the realism visually and verbally realized through the rest of the story makes this a worthy read. (Ages 8-14).
ROOM ONE, a Mystery or Two, by Andrew Clements (Simon 7 Schuster, 2006). Ted is the only sixth grader in his school in this mid-grade novel. And while all of his school lessons take place in Room One, he learns some interesting things as he bikes around his community in Nebraska. One thing he learns is that someone is looking out of a window in an abandoned home, and that mystery leads him to more discoveries, about himself, about his teacher, and about his community. This story is a true mystery without murders or violence, and it is totally captivating. Black and white line illustrations are scattered throughout, helping paint the picture of the settings, the characters and the mood. Highly recommended. (Ages 9+).
GARAGE BAND, by Gipi (First Second, 2007). This graphic novel is aimed at teens. It follows a teen rock band as it searches for a place to practice, confronts the searching and ennui of youth, and deals with the rules and moral code of adults. The art is exceptional—both gritty and young. The story covers a lot of ground philosophically, without preaching, without final conclusions, but with both tenderness and courage. One member of the band is enraptured with the iconography of the Nazis. Another is distracted by his girlfriend. Differences in wealth and commitment play out as the band tries to move forward. This book, although something student musicians would find appealing, speaks to teens on issues beyond music. First Second is on the cutting edge of graphic novels, and this example shows what they’re doing right. Also highly recommended (Ages 14+).
(Ages 12+).