Picturebook Study: The Glance Curve

The Glance Curve

Perry Nodelman makes use of the term ‘glance curve’ in relation to our reading of picture books:

[O]ur tendency to read pictures from left to right has other effects…In a discussion of how pictures seem quite different if we reverse them photographically and look at their mirror images, Mercedes Gaffron suggests that we conventionally look at pictures in terms of “a certain fixed path which we seem normally to follow within the picture space”. Gaffron calls that path the “glance curve” and suggests that it moves from the left foreground back around the picture space to the right background. Because we look first at the left foreground, we tend to place ourselves in that position and to identify with the objects or figures located there: “we not only feel that the objects represented here are near to us, but also that they have greater importance to us. People represented here belong to our side in the figurative sense of the term, in contrast to the people on the right side“. In fact, the protagonists of many picture books — the characters we are asked to identify with — do tend to appear on the left more often than not…In illustrated versions of Little Red Riding Hood, the young girl almost always stands to the left of her mother in the first picture–at least in many versions of the story in which the first picture shows mother holding up a finger while she offers her daughter instructions.

– Perry Nodelman, Words About Pictures

Honestly, this is something I hadn’t noticed particularly, but it’s funny how things sink in regardless. When I illustrated a retelling of Little Red Riding Hood earlier this year, I indeed had placed Lotta to the left of the mother, although this particular retelling does not include the ‘mother holding up a finger’ scene that Nodelman describes. I’m not sure what this says, exactly, except that everything we’ve ever read is obviously an influence, because things get embedded in the brain without us knowing it.

Page 2 of Lotta: Red Riding Hood
Page 2 of Lotta: Red Riding Hood, in which the grown-up empathetic character is introduced

Sure enough, a cursory glance tells me Perry Nodelman is right, and why have I not noticed it before?

Little Red Riding Hood, as illustrated by Trina Schart Hyman
Little Red Riding Hood, as illustrated by Trina Schart Hyman

 

I’m guessing part of the reason why a child protagonist situated to the right seems more daunting is because of the ‘chasey’ nature of it; pages are turned from left to right, and typically in picture books, the child character leaves safety, has an adventure, meets with peril and returns home to safety. A child on the right means that no one is propelling/chasing the character forward.

Nodelman offers other examples of ’empathetic character placed to the left’, and mentions Rosie’s Walk. At first glance, Rosie is the empathetic character — after all, the book bears her name — but Nodelman argues that because the fox is consistently drawn to the left of Rosie, then it is actually the fox with whom the audience is encouraged to empathise. This is the fox’s story. I liken that to Road Runner, in which the Road Runner is indeed the title of the show, but the poor old coyote engenders sympathy.

Roadrunner Coyote

Of course, none of this suggests that the empathetic character is always placed on the left in picturebooks. Nodelman has noticed that:

  • If this rule is a thing, then if an empathetic character is placed to the right, the reader senses that the character is in peril. Where The Wild Things is a good case study in this technique.
  • Once a dangerous event is over, the positioning of a protagonist on the right might in fact suggest rest rather than tension, particularly in the last picture in a book. This is because the last thing we look at signifies an ending.

 

Skeuomorphism: What is it?

Here’s an infographic.

Skeuomorphism is one of those words you keep hearing, once you’ve learnt what it means. I’m even starting to hear it outside tech blogs: Has Morality Become A Skeuomorph? from The Society Pages.

It’s oft-talked about in app world because developers each decide how much an app needs to emulate the real world. For storyapps, one form of skeuomorphism is in the page-turn. There’s no real need for digital books to emulate the turning page — technically an entire story could exist on a single screen. But we’re at a time in history when most readers are well-adapted to print books, in which the transition to digital needs to feel intuitive to that cohort. Hence the ‘page turn’ icon.

We made use of a page-turn icon in The Artifacts. The button looks like a dog-eared page. That was at the end of 2011.

After a year and a half, certain conventions have started to emerge, and right now the dog-eared page icon indicates the user needs to swipe in order to get to the next page. We don’t like the swipe to turn because younger readers tend to find it difficult to do. Also, swipe to turn the page limits the touch-interactivity possible on each page, with hotspots limited to the centre of the screen.

skeumorphic page turn dog ear button

So with Midnight Feast we’ve decided to use an arrow, which looks unambiguously like a button. We hope no one will have trouble working out how to turn the page, even users new to touchscreen devices. We shall see.

Arrow Page Turn Button

We’ve also played a bit with the types of page transitions available in Cocos 2D, and we’re making use of a ‘wavy’ transition to get from ‘real life’ storybook pages into ‘imaginative’ pages. This doesn’t look at all like the paper page turn of a print book.

It will be interesting to see how digital storybooks continue to look less and less like printed matter as the years roll by.

Related: Here’s a pretty cool skeumorphic page turn.

 

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