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Art allows us to look within ourselves, to learn who we are and what inter­ests us. It connects us to our thoughts, our feelings, our perceptions, and our external reality and experiences. Artistic expression enables students to think about themselves and their feelings, take the perspective of an­other while evaluating their artworks, set goals and organise the course of their creative work. Therefore, it is not difficult to establish a connection between artistic expression and strengthening social emotional compe­tencies. In a study conducted in the 2023/24 school year, a case study ex­plored whether creating a visual journal in the form of an artist’s book can help students recognise their thoughts, emotions and values. In the case study, we included one class of first-year secondary school students, who participated voluntarily, as well as their teacher. We first presented the CASEL model to the students in connection with the artworks of artists whose works deal with topics related to social and emotional competenc­es. The mentor presented the artist’s book in the form of a visual journal as a special artistic form. The students’ task was to think about themselves, their wellbeing, values and actions, and to make real-time reflections on their day with the help of their own visual journal. In their spare time, the students compiled a visual journal over a few weeks, occasionally consult­ing with the teacher. Data were collected through an analysis of the result­ing visual journals, a questionnaire for students and an interview with the teacher. Umetnost nam omogoča, da pogledamo vase, spoznamo, kdo smo in kaj nas zanima. Povezuje nas z našimi mislimi, občutki, zaznavami ter z našo zunanjo realnostjo in izkušnjami. Umetniško izražanje omogoča dijakom, da razmišljajo o sebi in svojih občutkih, zavzamejo perspek­tivo drugega pri vrednotenju svojih likovnih del, si postavijo cilje in organizirajo potek svojega ustvarjalnega dela. Zato ni težko prepozna­ti povezave med likovnim izražanjem in krepitvijo socialno-čustvenih kompetenc. V raziskavi, izvedeni v šolskem letu 2023/24, smo s pomočjo študije primera ugotavljali, ali lahko ustvarjanje vizualnega dnevnika v obliki knjige umetnika pomaga dijakom prepoznati njihove misli, ču­stva in vrednote. V študijo primera smo vključili en razred dijakov 1. letnika srednje šole, ki so sodelovali prostovoljno, in njihovo učiteljico. Dijakom smo najprej predstavili model CASEL v povezavi z likovnimi deli umetnikov, ki se ukvarjajo s temami, povezanimi s socialnimi in čustvenimi kompetencami. Mentorica je kot posebno umetniško obliko predstavila knjigo umetnika v obliki vizualnega dnevnika. Naloga di­jakov je bila razmišljati o sebi, svojem počutju, vrednotah in o dejanjih ter s pomočjo lastnega vizualnega dnevnika razmišljati o svojem dnevu. V prostem času so dijaki nekaj tednov sestavljali vizualni dnevnik, ob­časno pa so se posvetovali z učiteljem. Podatki so bili zbrani z analizo nastalih vizualnih dnevnikov, vprašalnikom za učence in z intervjujem z mentorico.

This article introduces the results of a research survey that involved 443 preschool and classroom teachers. The objective of the investigation was to discover teachers' views on making picture book reading a part of the teaching process, how picture book reading was incorporated, and how a productive visual response to a picture book was designed. The results indicated that the surveyed teachers do consider picture books to be appropriate, not only for very young children, and they had no difficulties selecting an appropriate picture book. Half of the respondents noted that children or students visually expressed their impressions after reading a picture book. The replies also indicated that, as regards picture books within the teaching process, unused potential remains in terms of developing children's visual and multimodal literacy. (DIPF/Orig.).

The article presents the characteristics of original Slovene rebus stories that have been published in book form in the last five years. Systematically also older (original and translated) rebus stories were looked at, so we are able to suggest that the findings can be applied more generally to this particular form of reading material that has a distinctly didactic function in the learning to read or developing reading literacy phase. Our research focuses on the types of literary genre and themes that appear in rebus stories, the place of illustrations in these stories, and into the characteristics of quality rebus stories. Through the analysis of 24 rebus stories, we identified the genre and themes of these stories as well as their design aspect (the position of illustrations). Through a multimodal analysis of selected work we also identified the basic characteristics of quality rebus stories.

The article presents the characteristics of original Slovene rebus stories that have been published in book form in the last five years. Systematically also older (original and translated) rebus stories were looked at, so we are able to suggest that the findings can be applied more generally to this particular form of reading material that has a distinctly didactic function in the learning to read or developing reading literacy phase. Our research focuses on the types of literary genre and themes that appear in rebus stories, the place of illustrations in these stories, and into the characteristics of quality rebus stories. Through the analysis of 24 rebus stories, we identified the genre and themes of these stories as well as their design aspect (the position of illustrations). Through a multimodal analysis of selected work we also identified the basic characteristics of quality rebus stories.

Picture books discussed with pupils in primary school are considered multimodal texts, as they combine at least two communication codes (verbal and visual). A discussion involving picture books will normally be included in Slovenian language lessons, with pupils focussing mostly on the text. The visual aspect, which equally carries a message, is often neglected. The objective of the present case study that was conducted among fifth-grade primary school pupils in the 2018/19 school year was to explore how a cross-curricular approach to planning and executing the lessons in the Slovenian language and visual art can help pupils learn about the characteristics of the picture book as a multimodal text. We conducted a set of didactic activities entitled Getting to know the picture book, introducing selected picture books to pupils as part of their Slovenian language classes, which resulted in them developing their receptive skills while observing and defining the structure of the texts. In visual art classes, the pupils learned about the visual features of the picture book. As a productive response to the picture book discussed, the pupils were instructed to complete the following tasks: design a cover for their own picture book, design endpapers, illustrate their own poem, and produce their own leporello. The survey involved 21 pupils, a generalist teacher, and a researcher in art didactics. The case study was completed in five weeks. The data were obtained by means of initial and final testing, questionnaires for pupils, and participant observation. (DIPF/Orig.).

Art allows us to look within ourselves, to learn who we are and what inter­ests us. It connects us to our thoughts, our feelings, our perceptions, and our external reality and experiences. Artistic expression enables students to think about themselves and their feelings, take the perspective of an­other while evaluating their artworks, set goals and organise the course of their creative work. Therefore, it is not difficult to establish a connection between artistic expression and strengthening social emotional compe­tencies. In a study conducted in the 2023/24 school year, a case study explored whether creating a visual journal in the form of an artist's book can help students recognise their thoughts, emotions and values. In the case study, the authors included one class of first-year secondary school students, who participated voluntarily, as well as their teacher. They first presented the CASEL model to the students in connection with the artworks of artists whose works deal with topics related to social and emotional competenc­es. The mentor presented the artist's book in the form of a visual journal as a special artistic form. The students' task was to think about themselves, their wellbeing, values and actions, and to make real-time reflections on their day with the help of their own visual journal. In their spare time, the students compiled a visual journal over a few weeks, occasionally consult­ing with the teacher. Data were collected through an analysis of the result­ing visual journals, a questionnaire for students and an interview with the teacher. (DIPF/Orig.)

Avtorici predstavljata izsledke raziskave o vlogi ilustracije pri interpretiranju leposlovnega besedila. V raziskavo sta vključili študente razrednega pouka in predšolske vzgoje, ki so ob pesmi Nika Grafenauerja Učenjak odgovarjali na vprašanja o značaju in videzu lirskega subjekta, književnem prostoru idr. Prva skupina anketiranih je odgovarjala ob pesmi z ilustracijo Lidije Osterc, druga pa ob pesmi z ilustracijo Marjana Mančka. Rezultati so pokazali, da ilustracija bistveno spreminja sporočilo besedila, predvsem kadar ilustrator z upodobitvijo okolja (ki v pesmi ni eksplicitno določeno) dodaja kontekst. Rezultati kažejo na nujnost celostnega branja ilustriranih besedil, saj je interakcija med besedilom in ilustracijo tista, ki podaja ključne informacije za razumevanje sporočila literarnega dela.

V članku so predstavljene značilnosti izvirnih slovenskih slikopisov, ki so iz šli v knjižni izdaji v zadnjih petih letih. Sistematično so bili pregledani tudi starejši (izvirni in prevedeni) slikopisi, zato smemo trditi, da lahko ugotovitve posplošimo na to posebno obliko bralnega gradiva z izrazito didaktično funkcijo v času opismenjevanja oz. razvijanja bralne pismenosti. V raziskavi nas je zanimalo, katere književne vrste in teme se pojavljajo v slikopisih, kakšen je položaj ilustracij v slikopisu in kakšne so značilnosti kakovostnih slikopisov. Z analizo 24 slikopisov smo identificirali književne vrste in teme ter oblikovni vidik slikopisa (položaj ilustracije). Z multimodalno analizo izbranega slikopisa smo identificirali temeljne značilnosti kakovostnih slikopisov.

In this paper, the two authors showcase the results of a research survey on the role of illustrations in the interpretation of literary texts. The survey sample included students of primary education and preschool education, who were given the poem Ucenjak (Scholar) by Niko Grafenauer and asked to answer questions regarding the character's personality and appearance, the literary space, and other factors. The first group of interviewees was given the poem illustrated by Lidija Osterc and the other the same poem illustrated by Marjan Mancek. The results showed that the illustration had a significant impact on the message conveyed by the poem, particularly when the illustrator added the context by representing the character's environment (which was not explicitly given in the text). Furthermore, the results showed the need for the comprehensive reading of an illustrated text, given that it is the interaction between the verbal and the visual that provides vital information necessary for the reader to understand the message of the dedicated literary work. (DIPF/Orig.).

Spatial (architectural) design is one of five fields introduced to pupils as part of art education. In planning architectural design tasks, one should take into consideration the particularities of the architectural design process and enable pupils to experience space and relationships within space through their own movement. Furthermore, pupils should have an opportunity to play the roles of (critical) users as well as co-creators or spatial planners. In this respect, the field trip plays a vital role, as it allows pupils to experience (architectural) space through their own movement, their senses and in a real environment. The architectural experience that the pupils gain differs from their everyday experience of moving through space, as the former is based on education and training, and thus helps pupils develop architecture appreciation. (DIPF/Orig.).