Cuentos del Picogordo wishes books to help children to be trained spectators, with observation capacity and critical sense. Children paying attention to the background conversation that the context spreads out at their sight. Children able to understand different meanings in a single visual material, to assimilate all the meaning scope of the image, to go through the complexity of the illustrations set out following a non-verbal grammar, some of them far from realism and much closer to abstraction.
To get educated in visual reading is not a goal in itself. To understand the rules allows us to avoid a kind of ignorance reducing our chances and restricting our freedom. The language of the image makes part of the human evolution. When one understands the principles governing the visual expression, a major advantage comes through: our aesthetic sensitivity leaves the field of intuition and stands out as a knowledge experience. The art and graphic language begins to communicate with us in an intense manner.
Children are better visual readers than adults, who are finally deprived from the use of the image grammar due to education systems scheduled for exercising the verbal logics. Cuentos del Picogordo’s books are a test and teaching tool in the use of this language.
For those parents or tutors wishing to consolidate the early visual capacity and take it to high appreciation and sensitivity levels, we recommend them to explain their readers:
Precision limits expression.
The first element of the visual image is the “stain” (also known as “the dot”). On our tales, the colour is applied by hand with thin and thin/medium line paint brushes. Given the intellectual diversity of the inking team members, each of them creates a particular way of applying colour, of “staining” the drawing. The lack of skill is not a burden, but an aesthetic quality element. We recommend to teach the children on this aspect, for them to appreciate the richness coming from an irregular and imprecise line. The visual language only needs a little dose of precision, that confirming the survival of the idea or the image message.
A high resolution image does not imply a high communication content.
Our professional illustrators reduce their skill as draughtsmen willing to set out clean spaces for the future hand-colouring action. The union of both processes organises the image and provide it with aesthetic components worthy to be told to the youngest readers, so that their appreciation of the global information gives their look the capacity to identify extended communication contexts.
Attention to the draughtsman’s work: information is usually seen in the details.
The drawing reading requires a journey. Every journey hides discoveries. Look over every drawing with the child, show which figures are essential, which are given by the style and not by the message, which perform decorative purposes. The colouring mistakes are especially a sample of the effort made by the inking team members. Colour stains and drops enrich the page evoking the unexpected.