Z 392A3547la a S, AD 20:82) ca Ae WeightContents and Introduction 1 How to draw 3 2 Settings 35 3 Topics, behaviour, notions 33 4 Illustrated vocabulary and grammar 81 5 Pictures for composition m 6 Some basic ways of using pictures in language teaching 19 Further reading, 124 Index 125 Many teachers recognise the usefulness of simple draw- ings in their teaching. Drawings have many advantages: they are quick to do; their content can be determined exactly by you, the teacher; they are easy to reproduce But many teachers think they cannot draw! Or if they can draw they feel they have not got enough time. This book is based on years of enjoyable experience gained in helping teachers to learn how to draw. It con- tains a careful introduction to drawing and over one thousand drawings for teachers to copy. Who might use this book? The main users of this book will be language teachers. However, teachers of other subjects and indeed anyone whose job involves communication will find this material relevant. I have met speech therapists, sociologists, youth leaders, yoga teachers as well as teachers of history, geography and economics who all make use of simple representations. ‘The organisation of the book and the selection of language items The sections, topics and language items in this book are based on the Threshold Level, a document produced by the Council of Europe for language syllabus designers. Thave also referred to the Cambridge English Lexicon Language is enormously rich. A word can have many meanings depending on context. Ihave had to be selective and have often only been able to illustrate one of several possible meanings. I have omitted concepts that are impossible to represent pictorially and language items which are relatively infrequent, i.e. within stages 5 or 6 of the Cambridge English Lexicon Ambiguity Of course, pictures are ambiguous, thanks to the variety ‘of human minds and experiences. In the early days of audio-visual language teaching, every picture was ex- amined for its ambiguity and all were found ‘guilty’ However, there is an increasing awareness today of the way people respond to and interpret information. Above all we realise that objects, actions and words gain meaning through their association with other information. An object in isolation can itself be ambiguous. Is a cow a religious object, a dangerous animal or a source of milk? A word can mean different things according to time, place, cultural context, people concerned and so on. A picture usually contributes to understanding by being a part of a context. It is not surprising that a picture con- sidered in isolation is often found to be ambiguous. See section 6 (pages 119-123). for further discussion on the teaching of meaning through pictures. Pictorial language It has often been stated that people who are not familiar with the conventions of pictorial language are unable to interpret a picture adequately. However, it is my con- tention that these conventions have gained a universality in recent years due to large scale printing and an increased flow of information, making pictures such as the ones in this book more accessible worldwide Are simple drawings insensitive and a threat to artistic vision? Teachers of art and others concerned with the develop- ment of their students’ artistic vision are often critical of teachers who make use of crude symbols. However, the fault lies, not in the notion of simple drawings, but in the use of crude generalisations and clichés . .. and these can also be found in speech. I hope you will feel that the majority of ideas given for drawing in this book are not based on a closed system but on the development of a sensitive awareness of forms in life Using pictures in language teaching Traditionally, pictures have been used for description or for illustrating a recorded dialogue. In recent years, how- ever, there has been an emphasis on the communicative use of language. Pictures are very useful in this respect. They provide references to which the learner can make a personal response, such as expressing likes or dislikes. Group work is essential if communicative competence is the ain... Phere is no alternative if each leameris to have the opportunity to try to use the language he or she has earned. Pictures provide a focus for this essential activity This is only a brief look at the role of pictures in language teaching. Further ideas for using pictures are given in Section 6.1 How to draw In the first section I have reproduced the way in which I help people to draw more effectively. The level is higher than you need for copying the drawings in this book. However, I have decided to put it at the beginning of the book because you need basic help even for copying, Essentially, in order to copy (i.e. without photocopying!) you must: 1 judge proportions (is a line is longer or shorter than another, or a shape thicker or thinner); 2 judge the angle of the lines (whether they are lines or the edges of shapes). ‘These are the main things. However, it will also help you to study how I draw solid people. When you learn my approach you will be able to copy my solid people much more easily. Similarly with the settings: when you learn how I have avoided using perspective, you will be able to copy them much more easily. So, please, even if you are only going to copy the pictures in this book (and not produce your own), do look through this first section. Thanks. Materials and techniques Card or paper Teachers’ flash cards should certainly be on card and not paper. Card lasts longer and is easier to handle. For pupils it may be as cheap to use duplicated sheets rather than card. In Britain it is possible to get cheap ot free offcuts of paper and card from printing houses. Adhesives Sometimes you may want to stick thin paper to card. You can: Luse a rubber based glue which does not wrinkle the paper. Professional designers do this. 2 use a paste. If you use a paste put it on the thin paper and leave the paper to expand for some time before putting it onto the card. Photocopying 1 Don't go to the edge of your paper. 2 Don’t use larger areas of black than your machine can reproduce. 3 If you stick smaller pieces of paper down so that the levels are different put typist’s white opaque along the edges to remove the shad- owed line. Grids To give a sense of organisation to your text and pictures arrange them within a frame and align their edges. A frame (in British English — a ‘grid’) may be made of one, two or even more columns, Tracing If your top piece of paper is too thick for you to see the image clearly put them both against a window pane and copy it like that. How big? Letters should be about two cms high. But guiding rules like this are not very useful. Try a sample ~ see what it looks like from the back of the class, Colour Itis so tempting to use lots of bright colours in order to please the students. Much better to choose colours for other purposes: ° 1 to make an object more recognisable if the shape is rather ordinary, for example, an orange; 2 to direct attention to something, particularly if it is small within a picture, for example, one person giving another a present. The people could be drawn in black line and the present in a colour; 3 expressive or decorative reasons for using colour are probably less important for the language teacher making his/her own pictures.How to draw stickpeople — no necks, no shoulders — no hips, no hands Amazing facts about the human body The head and body are equal in length to the length of the legs. The arms are as long as the body. More amazing facts 1? Don't bother with handls pt unless yon Wank bin So a elbows are halfway fo hold something or poi down the arms and point backwards > knees are halfway down the legs and point forwards 1 don’t like these shckmen, nr G x 0d Welepen The flicky style is distracting and even hard to ‘read’ especially if there is a background.How to draw stickpeople We can only interpret a stickman’s actions The ‘real’ people you must copy could be if he has the essential features of a‘real’ _you (yourself, acting out the position and person: so you must copy real peoples copying each bit, starting with the body) actions, Don’t try to draw from memory _ ora friend or someone in a photo. until you are more confident. ai? If yn ov your friend are aching owt a position, then dose the curtauns and lock the door in case yomare looked upon and judyed crazy ! Here are some actions to copy. Study the angles of the body, then the arms and legs, Judge the angles of each bit by comparing it with either a vertical or a horizonal line. & y on oy & £ aero" a \e>How to draw stickpeople Copy these drawings. Start with the body. BALK Start with the chair, then do the body. Make drawings from these photographs, stick by stick. Start with the body. Compare the angles with vertical and horizontal lines. nheHow to draw stickpeople Characters Note: noses show which way the beALS 8 Balance Thus ballet dancer 13 falling over because her weight 15 not over her foot. He can't pick up the box because bus foot 1's not ben Y athe v a weight eee J C , Draw furniture, cycles first: Two thicknesses of line (and/or colour) make the drawing less confusing.How to draw boxpeople Box people are useful because they have character and can be seen more easily than stick people in a complicated picture. The vitoh achon of the baxman 15 achieved exactly like that of @ stickman. However, stat with the body: day Whak sor of body do yon want bo gwe him ? Choose one! HUAOO Draw the bodly frst. Then draw stickmen tumbs wr the acon you wank. Drow the timbs from the corners of the box.How to draw boxpeople Now draw wn lines representing the other side of the limbs Thase Wines should not unitate subte Od of cloth etc. Draw wr the feck as angles. Don't try to represent real shoe>; it us to difficult and not worth the effort. Draw un the heads and. hands. C Now the patterns, tones and textures can go tnHow to draw boxpeople Here ave some move boxmen all drawn un the same stages as ouklined above. Note how lines ‘disappear’ behind bodies or other \umbs. A f i: e Most of the drawings in dis book ave of stickpeople because _ they are fast to do. Hower yor cam make any of then soia by the techugme gwen hee.How to draw faces Any rugh cide will do for a face, partiulady if bis urreguiar ond Sumpy | O00 O Put wn the eyes and nose first: they don't show expression tn simple drawing. OOO You hae three tines left, one for the mouth and two for the eyebrows . With these lines an extraordinary mumber of expressions can be made. However, as wn life, the faciad expressions yon make will remem ambiguous. Fauad expressions contribute t meaning together with other body commumi.atin, verbo comrnmnication, Seturg and the percetver’s expectakions ek. It 3 almost unpossible tp draw an expressionless fuce ! TH it. High eyebrows — Low eyebrows Angled eyebrows show surprise. show concentration, _ show pain.How to draw faces Getting sadder ! ~ = (3) () (63) The eyebrows rise in the centre. There must bea gap between them or he will look too determined. The mouth turns down. The eyebrows are Eyebrows still more Now the head is now slightly concave and further back. The brows concave — this gives apart. The mouth, — are nearer the that look of pain. down-turned, is __ eyes dueto the The mouth is now weakly down more concentration longer and weaker on one side. of the outburst. and further down. The mouth must turn down, Getting more surprised | “=~ 9 \O J ° Arching eyebrows. Small mouth, in this case very slightly upwards, giving a hint of pleasure. High eyebrows, not High eyebrows. Surprised horror. too close together. Smalleyes, rather Bulging eyes. Slightly larger eyes. intense.Small Tiny mouth. Mouth shows hint down-turned of pleasure inthe mouth. surprise. vHow to draw faces Getting happier all the tme ! The eyebrows rise The eyebrows are The distance Now the head goes and curve not only high and between the back (you show this The mouth begins rounded but are eyebrows isso _by placing all the tocurve upwards. now further apart. important for that’ features higher on The mouth, of simple open smile. the face). The eyes course, is now a close. The mouth fuller smile. opens Getting grommer ! OOO® This face is The eyebrows are The eyebrows now One eyebrow rests surprised, almost now nearer tothe touch the eyes. They. on the eye: the sad! The eyebrows eyes and nearer to nearly meetandthey other has flown are rather high. The the centre. The tipdownwards upwards. There mouth looks alittle mouth is bunched towards the centre. is a compressed weak-perhaps _andallittle nearer fold of skin because it is rather _ the nose. between the low. eyebrows. Note the corner of the mouth is down. BHow to draw faces Here are more faces showing how the positions and shape of the three lines can produce many expressions. Note the combination of angry eyebrows with a smiling mouth. Note: wr younger people the features are lower down theface. “ Plus a few more tunes | 0.0) (aa g @® Se:How to draw faces How to make more individual faces Hau, different eyes, clothes, make all the difference !How to draw caricatures Essentially caricature means exaggeration. If someone has a squarish head it is made square. If he has a longish pointed nose it is drawn very long and very pointed. Position of features: if the eyes are near the top of the head they are drawn at the top of the head. A real test of a caricature is if you can redraw it from memory. For people with poor visual memories this means being able to remember the appearance of the caricature in words. Try it with the caricatures drawn above. Look at them for a few moments, describe them to yourself, and then, remembering this verbal description, try to draw them from memory. 16How to draw caricaturesHow to draw caricatures pear head eyebrows small ana ok top of head eyes big and dark nose begurs ak tsp oF head and echoes shape of head mouth srnwlr pear body smaler than head Shek arms legs a Wkkle longer than head legs dose together smal tnangwiar fect walking _ sitting/eating PE seeing ghosts pointing carrying sitting & se cycling, running picking 2 Fy lying in bedHow to draw caricatures a lucky charm. short haar; he rejects the He wears it ak al tines. tong hav’ style. wen un bed. enue by ears and eyes; he tikes to know every thing that (s happening: Sly smile : big dun; he tikes to think he looks bsugh. pouting; he likes tdllng people money, buk not t00 much, he 15 sawing lus money to fase car? delay large bowts; he 13 rather rovgh with other peuple and tas “bool Symbouse this characterishc. Having invented a caricature like this, ask the students to suggest the kind of characteristics given here. To show he can do things on 8 playing riding a motorcycle drinkingHow to draw caricatures ‘dir pone Gop v owy 24 IP Sayoy 2H -YnIpwir op PeLUeW ©: “snp Js ow ee WM eduen peg 6 3 vn sapow 2y safe AvwH $21} DY5 “Aya poumpoy “pre saook amp cl YS aa 2 w24INNZC L O G \\ weyuq Sumpne si wage ‘a QB ‘peut < 3524 494 oF yrods pu dep mq -ussied siapvir Ay SAN TH “wy sv DYYJo pasmyou. paob pvo Moos 2 a Sy OH Guan v si ays prariz}pnb suoy ci 246 swagoy Huuaor % tod a \Waco/ Smve 1 (;) 24S XS iy ~~ x wys LS, Cs Exe 4a pn v0 ssayol Suny “sayol yciawe, - wo ss Ge £1 ays 2 sylbrrg) 2H pro ysul sayy 2H : Wd AQNY NoyHow to draw caricaturesHow to draw caricaturesHow to draw caricaturesHow to draw animals and objects If you want to draw from a real object or a photograph of it, there are, basically, two things to think of: first of all, the proportions of the basic shape(s) and secondly the angles of the edges of the shape. Basic shape of objects If you wank to make a drawing of a car, furst of all fit ut unto a very basic shape like a redangle. Ger the rectangle correct! Ise too fuk ? Make i& slunmer ! Is ik too slun? Make ie fatter ! These are the only two questions to answer at this singe. Angles of the edges of the shape When yout have got the poportion of the mann rectangle correct, look for unpottunt intemal shapes and get the angles correct. Now you have got the main propsytions and shapes correct you can add dhe few essential details wich wil confirm to the viewer that ie is a cam. 74How to draw animals and objects Exactly the same approach can be applied to any objective drawing you do. f the box con I~ De removed, ond a fees curver puk inHow to draw animals and objects Here are more examples of how to find basic shapes in a variety of creatures. Once you have this basic shape you can put ina few important curves and details. Nola: | prefer to find a rectangle a3 a basic shape. It mach easier to judge the proportions of a rectangle ora triangle than a circle or oval. Try find o reetounrgle fer Huis thety" EHow to draw animals and objects There are many animals and objects drawn in this book which you may wish to copy On these two pages ( pages 27-28) you wil see how | made the fnalHow to draw animals and objects i ac 28How to draw scenes and objects and avoid perspective The idea of concentrating on basic shapes and their proportions together with the angles of the main sides can be used for anything. You do not need to know about perspective if you can copy shapes and angles! “oi a Vertical site of Pletire, Fete te angle af. {Pavement Although the first aim of this book is to give you drawings to copy, you will still need these basic approaches to get your copying right. 29How to draw scenes and objects and avoid perspective Avoid all perspective drawing if at all On the right nearly all the lines of the possible. Draw buildings and similar furniture and the buildings are either objects face-on rather than going away from _ vertical or horizontal, Also note that the you. It is nearly always possible! Compare chairs, the table and the people's feet are the drawings below. On the left aresome on the ground line. typical attempts to draw perspective. On the right is the easy and effective solution. Here are two more. There are many more in the section on settings.How to draw scenes and objects t Of course, when you draw something ‘flat on’, without perspective, you must still make decisions. You must decide which view to take. Some objects are easier to recognise from the front, some from the side AA Televisions are most easily recognised from the front. Chairs are most easily recognised from the side. From the front - fess / Brtish post box Frsm the side From the top Both areoK! __ He fr Se | | 31How to draw special effectsHow to draw special effectsHow to draw Materials and techniques Thick and thin Two thicknesses of line used on the same artwork look very effective. On the blackboard you can use the point of the chalk and the side of it, e.g. note the thin box and the thick lines of text and drawing. ll Big and small Any contrast of shapes gives a stimulating effect Gestalt perception Some of the principles of gestalt are useful to the designer. The idea of grouping information so that it has an obvious connection is seen on this page Similarity and proximity Similarity of shape, of tone, of colour or of size all suggest a connection. *%ol" Square and round Contrast of roundness and of squareness and of angularity are attractive because of their variety. Regularity and irregularity Irregular shapes contrast with regular shapes in an attractive way. be Dark and light A line may not be bold enough by itself. Filled in shapes have strength by their contrast with background, Ithelps to group the information (gestalt)2 Settings When people say they cannot draw they often mean they cannot draw things in perspective. In fact, perspective (in the sense of parallel lines converging toa vanishing point) is usually unnecessary! Indeed, it is often clearer not to use perspective and it is certainly much faster. On page 36 I have drawn one of the pictures of the street in perspective in order to demonstrate that there is no particular gain. If you draw flatly across the picture all the lines on buildings will be either vertical or horizontal. But avoid perspective even in the case of objects like cars or even a brush! (See pages 29-30). Thick and thin lines In a scene there are a lot of lines: this can be confusing for the student. Of course, you can use colour to identify one subject from another. If you cannot use colour, as I cannot in this book, you must use different thicknesses of line. For example, draw all the stickpeople with, athick line and the background with a thin line. Another way of separating people away from the background is to draw them as solid people or boxmen. In the following section I have used both stickpeople and boxpeople to show what the effect looks like. Lines which are sketchy and which do not join up with other lines of the same object also cause confusion. All these points relate to the ‘gestalt’ theory of visual perception, which argues that we gather together visual information we think belongs together. For uses of settings by language teachers, see Section 6, pages 119-123 35Settings Street kocerR| SAGER | NENSAGENTSettings Park and gardenSettings Terrace and countrysideSettings Beach and mountainsSettings Bus station and bus Hts AC.Settings Train and aeroplane To be effective thy drawug must AU the blackbowwd !Settings Kitchen and bathroom a | ge] © Sih ie 14 = — |L- = —al iit | ant 1 |Settings Dining roomSettings Sitting room and bedroomSettings Baker and supermarket 7068. abSettings Restaurant and caféSettings Travel agent and hotelphone Settings Post office and tele boothSettings Hospital and doctor’s waiting roomSettings Classroom and police stationSettings Library and museumSettings Art gallery and cinema3 Topics, behaviour, notions How to draw In order to copy these drawings you will have to make judgements about angles and pro- portions. Have you looked at Section 1 How to draw? Subjects covered The subjects are taken from the Council of Europe Threshold Level contents list. I have omitted Education — you will find some pictorial reference in Section 2. Household articles are under ‘House and home’. Ambiguity These pictures are not expected to illustrate unambiguously the word you are trying to teach (see introduction). 53,lopics, behaviour, notions Personal identification (appearance) note: the head is large in comparison with Ader people. i young (child) young (adult) note: the features | note: plenty oF hair are feito, and cute the chin is small middle aged young (adult) middle aged strong broad-faced dark-haired fair-haired note : thin hair, hollow cheeks, lines. thin-faced curly-hairedTopics, behaviour, notions Personal identification (appearance) note: Features low clown on the head. Head laye Yelated +0 body. Body sma. very young nore: = (>) showdder Cte) larger. chin slim. QZ middle- aged middle- aged wider hip> more nde pice eps very young young note: heads lower down. note: bowed body and nole: although Bowed legs. legs bowed. head 13 upright, it is well (s) : ©. /aurA the Foweot | | chest U 0% p) | j Ss old old old 55Topics, behaviour, notions Personal identification (moods and emotions) Dent expect these ate scat Ee C2)! ¢ Di ¢ ) paeees angry bemused contented curious ) depressed determined disbelieving disgusted ae _— N aN q 9/9 D ( QO 1 ( ) = ° dismayed frightened happy irritated . Oo (J (4) oF loving malicious puzzled sad/unhappy self-satisfied sleepy/tired (Deo surprised thoughtfulTopics, behaviour, notions Personal identification (family relationships) JOHN BROWN MARY BROWN (1910-1960) (b. 1915) GF 5 & Ss grandfather | grandmother GEORGE BROWN BARBARA BROWN, HAROLD GREEN te ANDREW BROWN (6. 1950) RACHEL BROWN (1940-1980) JANET GREEN (b. 1942) (b. 1955) (b. 1950) uncle father mother aunt uncle aunt JOHN BROWN PETER BROWN NANCYBROWN _ ELIZABETH GREEN © 3 ©) CoP CP 3) 57Topics, behaviour, notions Personal identification (professions/occupations) si businessman/ ‘wom. © footballer greengrocer labourer mechanicTopics, behaviour, notions Personal identification (professions/occupations) @) musician office worker photographer a ae eo ¥ pianist policeman policewoman Ll @ {\ YF") L] . postman soldier seaman teacher unemployed ne waiter writer yoga teacher 59Topics, behaviour, notions House and home (rooms etc.) fe] BOL house flat/apartment bungalow caravan attic bedroom Lyte sitingroom bedroom bathroom oO TA lavatory/toilet first floor sitting room dining room Kitchen’ fi parage ground floor garden 6 6 ae basement. cellar window cupboard‘Topics, behaviour, notions House and home (furniture and amenities) chest of drawers cooker cupboard Ana, ait hand basin. dishwasher a a H tnt £ co Ma, hot and cold water 61Topics, behaviour, notions House and home (furniture and amenities) radiator (central heating) @) record player refrigerator HR go shower switch table cloth (24 [ F] LS LL television toilet/WC wardrobe washing machineTopics, behaviour, notions House and home (household articles and tools) aa — brush and pan cy cup and saucer mixer pliers scissors screwdriver spanner spoon Cy teapot vy vacuum cleanerTopics, behaviour, notions Regions core ooo one a canal city g YZ Ss fields forest island lake seaside town factory/ industrial area as — Se flat country mountain farm/farming area aa hill << f-a~ river a ASL) OG villageTopics, behaviour, notions Animals bear cat cock(erel crocodile L) dog elephant 65Topics, behaviour, notions Animals ume chicl iTopics, behaviour, notions Plants » hedge leaf marsh seed chrysanthemum | daffodil rose tulipTopics, behaviour, notions Free time and entertainment (playing computer games) | cricket (playing)Topics, behaviour, notions Free time and entertainment liding ef g ah photography picnics (going on/having) poetry (writing) 6Topics, behaviour, notions Free time and entertainment radio (listening to) television table tennis (watching)Topics, behaviour, notions Travel and places (types of transport) by bicycle by hovercraft by motorcycle _} by scooter SS EES uf by plane by roller skates | by ship by taxi =e pq pants by train by underground by unicycle 71Topics, behaviour, notions Travel and places (road features) UJ Ties J Sey roundabout junction | { - comer ‘one-way street traffic lights no waitingTopics, behaviour, notions Relations (invitations and correspondence)Topics, behaviour, notions Health and welfare (parts of the body) C/ shoulders : back / thigh thumb foot body leg icshis finger stomach body ley 5 heart a breast elbow n face __— forehead eyebrow eye cheek nose lips i" tongue cn neck throat 74Topics, behaviour, notions Health and welfare (ailments, accidents, medical services) Pe dentistTopics, behaviour, notions Clothes jersey O] P purse raincoat scarf : shorts/belt skirt socks stockings suit suit tights, trousers underwearTopics, behaviour, notions Food and drink Y a ete } bacon beef chicken ny ha | pork sauce [ sausage |Topics, behaviour, notions Food and drink (2 |p lettuce/salad mushrooms onions potatoes tomatoes pastry (Danish)Topics, behaviour, notions Food and drink raspberries strawberry cheese cake beer coffee cream juice milk mineral water tea water i | oO Sy, b bread sandwich barbecue 8 ee fry grill roastTopics, behaviour, notions Weather Zp ee overcast storm thunderstorm Y raining very cold very hot I'mcold I'm wet umbrella L/71\ vA sun shining lightning wellington boots4 Illustrated vocabulary and grammar In Section 4 there are over 500 drawings illus- trating prepositions, verbs, passives, adjectives and nouns. In some cases you could copy the drawing onto the blackboard and use it to teach the meaning of the associated word. (See ‘Teaching meaning with pictures’ p 117). In other cases the picture is best used to contribute to an overall experience which helps the student appreciate the meaning of the associated language. These drawings are more useful for practice than for presentation. The drawings can be used to cue alternatives in sentence pattems, or to cue answers to questions or as reference and the starting point for discussion, con- versation and stories. (See ‘Some basic ways of using pictures in language teaching’, pages 119-123). 81Illustrated vocabulary and grammar Prepositions 1b LAN } pe O h about (the room) | above across after against go along the path before behind below beneath ono oo =o between by down dl SENG from/to in inside into TASIllustrated vocabulary and grammar Prepositions outside round (the moon) with ) Q up (abroken handle) _| come with us without 83Illustrated vocabulary and grammar Verbs FoR [For SALE ] Coad allow, ipa SOTEY . Lb = f apologise | arrive ask attack Q Wes bath bathe a blame bleed aS: blow boil brake breakIllustrated vocabulary and grammar Verbs - Pie By burn buy : 7 w y catch catch “a = climb close — a come (on) come (down) cook SO wy" Se count cough crawl cryIllustrated vocabulary and grammar Verbs descend dig Co CMH Ae V Es NI hl él disagree disappear dive divide a) [ACRE draw dress drink PG drip eat enter oO 86Illustrated vocabulary and grammar Verbs Ads © fall fall off fetch ~~ O33 59 fight finish fire saya & Sia seston float follow frighten 3 e) Zr. Z, Z, go gather get/receive get (down) Q Cle fil get (in) get (on) get (on) get (up)Illustrated vocabulary and grammar Verbs give hitch-hike introduce keep (quiet)Illustrated vocabulary and grammar Verbs fe 42 kick knock laugh lean learn leave 1 WW AM. lie lift light cd a ana Baek 7} JSS dD like live listen listen (to) Gq 0 a | lock look look (after) look (at)Iustrated vocabulary and grammar Verbs 7 7 ms a Cy look for make marry e mix move ik open pack paint part pass : h pass pay pick pick (up)Illustrated vocabulary and grammar Verbs + cS TT wh, polish post pour pull push put —— put (on) quarrel (No thanks) a ce . raise receive refuse remain : § (ON repairIllustrated vocabulary and grammar Verbs return run sail search Ps shoutIllustrated vocabulary and grammar Verbs ST sleep’ smile speak spill stand’ stand (up) start te aN ? stay stamp Ot stroke study support sweepIllustrated vocabulary and grammar Verbs nr] LR 1 take take take take (off) 8 Be thank ae touch CG [ tum (off)Illustrated vocabulary and grammar Verbs wash i watch wear wipe work wrap write yawn 5Illustrated vocabulary and grammar Passives She’s having her photo taken. They're having their house painted. (2 It’s eleven o'clock. She wants to go to bed: the cat - has been put out. The garage has been locked The lights have been switched 64] { L off. The radiator has been turned off. The washing up has been done. ° PORT OF FICE OIE Oo being posted being collected __| being taken being sorted —= VICTORIA lo o being put on. being taken by _| being taken off IE ILSI S Being sorted again being deliveredIllustrated vocabulary and grammar Adjectives A \ wit ‘absent afraid aggressive Oo Ny 7 tte ii © z alone ancient apart asleep AO te A Ss ce aks D | lt g bi bald bare Ad AS ft Yo | fi NAG beautiful # blind o blond(e) ff Wy) TAL 4 p § See 2 oh J Gis \ Ons i” yy bloody brightIllustrated vocabulary and grammar Adjectives “sae ds broad a Catteas mirlake careless cautious cheap cheerful cloudy comfortable content | Ge cool ‘correct costly crookedIllustrated vocabulary and grammar Adjectives w dangerous 8 bn deep () A different diry | bp eldest electric ee) PRIllustrated vocabulary and grammar Adjectives Oo Che, expensive false fast fat af fi favourite formal = Ske generous gentle greedy half happy heavy helpfulIllustrated vocabulary and grammar Adjectives impossible | inside intelligent ¢ a jealous kind large last \ Ye = & \ \ late left light little 101Illustrated vocabulary and grammar Adjectives Pe nite a i @ ail ShitIllustrated vocabulary and grammar Adjectives oO ~ all quiet respectful LS responsible rich right right ripe f eS seriousIllustrated vocabulary Adjectives strictllustrated vocabulary Adjectives thin C thirsty SS thoughtful tiny Ci a B unconscious a one) = untidy & unwilling violent wealthy AY | \ ey ® iad wicked ae wide | wita Zs ERS. Say Ca} 5 oS wise woollen wrong youngillustrated vocabulary Nouns g Exe! balloon banana bracelet brick camera chimneys cart : K om nae.) kere] i comb compassIllustrated vocabulary and grammar Nouns cork | . devil | doll drum dustman MZ earring _| envelope family feather QO flag (Si cushion fire fireplace fist flame freezerIllustrated vocabulary and grammar Nouns g A QS hairdrier handbag handkerchief handles r {) ®& ice cream ink jail pe iapaceres u Z| RRE knot lift/elevator lipstick loaf A Bald! t lock luggage matches (box of) | microphoneIllustrated vocabulary and grammar Nouns A mosque mosquito moustache © (( DV English / & @.) f f (American nest nuts overcoat pants pen pencil piano pie pigeon pipe pond prison pyjamas queen rat razor 109Illustrated vocabulary and grammar Nouns Ty) ST eh sack saddle shirt sleeve spade stick sword tap tie toothbrush/paste | towel tractor vase violin volcano watch windmill »5 Pictures for Composition It is quite easy to invent speculative pictures and story sequences. However, people do not, usually think it is going to be easy so they do not even try. When you have copied some of these you will feel more confident in doing, your own. Individual speculative pictures The secret of inventing these is to clear your mind of any specificincident. The picture must be ambiguous! For ways of using these pictures, see page 122. Story sequences Once more I think it is better to allow a certain ambiguity in the story. Fairy stories and other traditional tales give a clear story to illustrate, see ‘Beauty and the Beast’, page 116. For ways of using these pictures, see page 121. 11Rye ee es! At |} 2 Pictures for composition Individual speculative pictures ctr tint fad By siPoliPictures for composition Individual speculative pictures SagasPictures for composition Story sequencesPictures for compositio: Story sequences ta | a. @OL e m We ast Bt Leas =ictures for composition Story sequences i ANOLE SS & iw By Aa Z SP Se cy apo tS Fe nO Att aTeaching meaning with pictures Using one picture eh foe happy walking reading tree Usually a sige prture is too ambiguous to teach the meaming of a new item. It waght be ensugh to teach ‘tree’ with a single pictwe Using several pictures PRY & They are reading, (i ch They are working. is heaped or eee gied the leamer’s attention Contrasting pictures {f; ©@ man woman girl happy unhappy bs He is going to drink his tea. He is drinking his tea He has drunk his tea Je 1ssometunes easter to teach contrasting concepts rather than one by itself. 7Comparing pictures ~ sprint Fine comparisons rather than broad contrasts are essential fov some concepts. Sequence pictures Cala. Th. Th The idea of 4 ‘raning) back’ 1s only understandable if one knows where he has come frm. run back Cause and effect 7 © [7 He was sick because he ate some He caught cold because he got wet. bad mushrooms. The dea of something happening dure to another happening needs a ana ot aisles! Some concepts can only be perceived and understood within a sequence of events. 1186 Some basic ways of using pictures in language teaching Lhope that people with concerns very different from those of language teachers will find this book useful as a source of pictures. However, language teachers and in particular teachers of foreign or second languages will probably be the chief users and it is for them that I am adding this section. It is not possible in the space available to describe the nature of language teaching aims and methods, for example contrasting recent movements towards communicative compe- tence with the more traditional emphasis given to formal accuracy. I have concentrated, there- fore, on listing basic ways in which pictures might be used and not on evaluating these uses in terms of learning outcome, The methods and the roles of visual materials in listening and reading activities as well as in speaking and writing have many similarities. Partly for this reason and partly due to the need for brevity lam discussing these four activities under two headings rather than four. There are a number of recent books rich in suggestions for using pictures in language teaching at all levesl; reference is made to these in each of the following sections. Listening and reading Some roles for visual materials 1 To interest the student 2 To help to ‘translate’ the meaning of the gist, of the text or of individual items of language 3 Togivea context for the language and student activity 4 To give cultural information 5 To contribute to the search for specific in- formation in the text and to help the student demonstrate non-verbally that s/he has found that information and understood it. A single picture may be used to teach the meaning of a word or phrase new to the student, However, pictures are usually ambiguous: people interpret them differently, The most useful contribution a picture can make is to contribute to the student's under- standing of a more general context which may be made up of pictures, the teacher's actions, sound effects and words. And it is in the understanding of this overall context that the language new to the student will have meaning, There is another way of thinking about the role of pictures. It is normally assumed that the picture is supposed to illustrate the new mean- ing. And this is one way of using pictures (see the two previous pages) However, sometimes it is the way the picture is used and referred to which gives meaning to the ‘new’ language. The most obvious example is to put away a picture and then to challenge the students’ ability to remember it. This im- mediately calls for the use of a past tense form. (For example, show a picture of an action or actions and, putting it away, ask, ‘What was he doing?’ Thus the past tense form is illus- trated not by the picture but by the way in which the picture has been used and referred to.) The way in which pictures can be used to promote language which is not actually illus- trated in the picture is discussed at length in a number of books: see McAlpin, J., The Magazine Picture Library, and Maley and Duff, Drama Techniques in Language Learning. (See section on Further reading). This exploitation of the picture has great significance in all areas of language learning Demonstrating understanding Essentially, all the techniques listed here in- volve the student in matching information in the text, heard or read, with non-verbal infor- mation in the picture. Texts describing people, places, objects, etc. A number of pictures are shown to the student and s/he must point to, tick, number, colour or complete the drawing of the appropriate picture according to the text. The text may be the simple naming of objects. or actions or the qualities of them or their position. Longer texts in which there is delib- erately distracting information can be used n9with some advanced students, A simple way of following up this idea would be to photocopy a page of, for example, objects from the book (removing the text), give each studenta copy and then describe each object or its use out of order. The students would simply number the pictures in the order you described them. (Altematively, a page of characters, pages 20-23), Bingo is a game based on the same basic idea. Each student has a set of pictures. Pictures are named or described by the teacher. When the student hears one of his/her own pictures named he crosses it out. The first student to cross out all his/her pictures calls ‘Bingo’ and has won the game. Alternatively, the students might have a copy of a composite picture (a scene with various people in it, see pages 36-52). They then tick or encircle and number the order in which these features of the picture are described. Dialogues Pictures of people talking, either separate pictures or in a composite scene are shown to the students. A conversation is played on the tape recorder or reproduced in written form and the student indicates which people are speaking. (You might use some of the scenes pages 36-52, the pages of characters, pages 20-23, on the people on pages 54-55) Sequences A number of pictures presented out of sequence are studied by the students. After listening to or reading a text these are then numbered or arranged in the appropriate order. Story sequences are the most relevant for this purpose but lists of objects or actions can also be represented in this way. Sequences or arrangements of objects and people in a setting can also be represented on the magnet board, flannelboard, blackboafd or OHP. The magnet board is particularly useful for this purpose as figures can be added, moved or taken away with such ease. (See pages 114-116). Writing and speaking as a demonstration of comprehension By studying selected pictures a student can complete gapped sentences, choose and write out multiple-choice answers or simply answer questions in which the content of the answer is to be found by studying the picture(s) given. These are the more traditional tasks set for 20 demonstrating comprehension and associated with testing Speaking and writing Some roles for visual materials 1 To motivate the student to want to speak or write 2To create a context within which his/her response will have meaning 3To provide the student with information to use in controlled practice work. Pictures showing objects, actions, events and relation- ships can cue answers to questions, substi- tutions and sentence completions. 4 To guide spoken and written descriptions or narrations or dialogues 5To promote discussion and to provide reference Pictures providing information for answers The simplest way of using a picture is to ask a question about it. The answer may be a single word or may require the student to structure a sentence and thereby test and give practice in the use of structures and tenses, The infor- mation represented in the pictures can be used to cue answers to the questions, to cue substi- tution of vocabulary items or the completion of sentences. This may be done orally or in writing and is a well-established use of pictures. The pictures may all be seen together on a chart, blackboard, OHP or on a student sheet. Alternatively, separate pictures may be placed face down and thus not seen, but be picked up and seen for the first time. They can then be picked up and used as the information is required. This is preferable as it contributes interest and, more importantly, contributes a reason for speaking if no-one except the speaker can see the picture. For example: A pile of pictures showing foods, placed face down Student A (picking up a picture), Do you like pears? Student B Yes./No./Sometimes. Very much, They're delicious. Ican’t stand them! For more example of this use of pictures see Kerr, J.Y.K., Picture Cue Cards for Oral Language Practice, and Buckby and Wright, Flash Cards, There are a number of interesting variants onthese well-known ways of using pictures for controlled practice. Spot the difference Two or three pictures which are the same except for a number of details are examined by the students. Each difference is described. The differences can be designed so that the sen- tences used to describe them can be of the same construction; for example, ‘In the first picture the cat's tail is longer than in the second picture. In the first picture the table is higher than in the second picture.’ Technically, such drawings are relatively easy to produce. Make a photocopy of your first drawing (one of the settings from pages 36-52). Then, on the photocopy, white out the details you wish to omit or to change. Memory Various memory games involve the student in making use of a fixed sentence pattern. For example, fifteen pictures of men and women, each with an identifying feature are placed face down. One student picks up a picture. The other tries to remember what that card was. If s/he is right s/he is given it, otherwise it is replaced ‘Is it the woman with the cat?” ‘Is it the man with the hat?” ‘Is it the boy with the curly hair? For more ‘game-like’ controlled practice activities, see various games books Wright, Betteridge and Buckby, Games for Language Learning, Lee, W.R., Language Teaching Games and Contests, Buckby and Wright, Flashcards, Pictures as cues in dialogues Pictures can be used to cue substitutions within dialogues in which the basic sentence patterns are determined by the teacher. Such dialogue work, after an initial demonstration, would normally be done in pair or group work. The pictures would either be printed on a single sheet and taken in turn or each picture would be ona single piece of paper or card and turned over or taken by a student. The advantage of the latter lies partly in the element of surprise and interest; more importantly, however, the advantage lies in the creation of an ‘information gap’ between the students. If only student B sees the picture there is some reason for student A asking the question. The importance of ‘information gap’ and ‘opinion gap’ to language learning is discussed fully elsewhere. (Johnson, K., Communicative Syllabus Design and Method- ology, McAlpin, J. The Magazine Picture Library, to name two of the many sources.) Any pictures of single objects or actions may be used. For a wealth of ideas for using pictures for the practice of structures and tenses, see Heaton, B., Practice through Pictures. For ideas for using pictures for more functional orientated exchanges see, Kerr, J.Y.K., Picture Cue Cards for Oral Language Practice. For ideas for the use of pictures in practice generally, see Byrne, D., Teaching Oral English, Wright A., Visual Materials for the Language Teacher, Buckby and Wright, Flash Cards, McAlpin, J., The Magazine Picture Library, Pictures as cues for guiding written composition There are several basic ways of using pictures in order to guide written composition. ‘A written text with gaps may be given to the student and a picture or pictures provide the source of information for completing the gaps. Alternatively, the text is given in jumbled order. By reading the different sentences and studying the pictures the student is able to rewrite the text in sequence. A composite picture or a sequence of pictures is necessary for this activity. (See pages 114-116) Pictures as a stimulus for spoken and written composition Written composition Asingle picture or sequence of pictures without textual guidance is the traditional test in written composition. This established use of pictures need not be described further. A variation which provides for more interest and is quite easy for the teacher to organise is as follows: show the first picture by itself and ask the students to start writing a story based on it. After five minutes ask them to read what they have written to their neighbour. You might ask one student to read out his version to the whole group. Then show another picture which may not have any obvious relationship with the previous one. Tell the students they must continue their story without any break. Continue in this way with three or four pictures. Other well known techniques include show- ing a sequence with one picture missing. The students write the story and are expected to guess at the content of the missing picture. 121Speaking A single picture for interpretation: A reasonable development of conversation between the teacher and students would be broadly as follows Description First of all, the students should describe in very simple terms what they can see. What can you see in the picture? How many people are there? What's this? ete. interpretation Very quickly individual interpretations of what is represented become apparent and should be encouraged as they lead to genuine exchanges of views. It is advisable for the teacher him/ herself not to allow anyone's interpretation to ‘crush’ another's. For example, experience using this picture shows that people imagine the scene is inside a house, others believe it takes place outside a house What is happening? (What do you think? Do you agree?) What has happened? What will happen next? Why do you think it is a house/hut/factory/ school/, etc? Why do you think it is a back door and not a front door? Personal experiences Such an incident can naturally lead to the question ‘Have you ever broken a window” Students will usually be quite keen to tell you. To release the flood of stories you could ask them to tell their neighbour of their experi- ences. And you might, finally, invite students to tell the rest of the class about their neigh- bour's ‘doings’ Broader issues Very often a broader issue can be discerned and highlighted by the teacher. For example, the question of punishment, initially for the breaking of windows but finally the role of punishment in society. Do you think that was fair? What do you think should happen? What is punishment for, do you think? Written and acted conversations Ask the students to imagine a conversation between the people (or other people not de- picted, e.g. aneighbour) before, during or after 1 the incident depicted. They should write the conversation down, perhaps with another student, and then act or read it out. A sequence of pictures If there is a degree of ambiguity in the pictures, all the better! The ambiguity provides a reason for speaking. The students might discuss the sequence in pairs, evolving their story and writing it down. The stories may then be read aloud to the class and the differences discussed, particularly in so far as they derive from a literal interpretation of the pictures. Other ways of using the sequence Dialogues may be written and acted out; the story may be written from the viewpoint of one of the participants; an interview on behalf of a newspaper can be carried out and an article written; a related social or philosophical issue might be discussed; a simulation might be played out. For some of these in practice refer to Fletcher and Birt, Newsflash Media Blackboard Whenever possible do your drawings on paper/ card or on OHP transparencies so that you can use them again. (Preparing pictures at home also means you can draw in peace and produce them the instant you need them.) If you do wish to draw on the blackboard it is of tremendous help if you have at least tried out the drawing beforehand, perhaps copying it from this book or from a photograph. Many teachers say that the very inadequacy of their drawings catches the students’ atten- tion. However, even a good joke begins to lose its attraction when relentlessly repeated! Pro- fessional illustrators would find it difficult to draw any action or animal or object on the board if they had not previously studied it. So, if you find it difficult to draw on the board without some preparation you are quite normal! One way of retaining interest and class dis- cipline while you draw is to ask the students to guess what you are drawing. Growing, changing drawings are possible on the blackboard: they are not possible when pre-prepared. This factor plus the interest on seeing something being made is the black-board’s great strength. (See Mugglestone, P., Planning and Using the Blackboard.) Magnet board/flannel board In recent years a new substance rather like plasticine has in many ways overtaken both these media in convenience. Small balls of the substance on the back of a piece of paper can. stick to most surfaces. Drawings or magazine pictures can thus be instantly displayed and moved about, Solid people rather than stick- people are essential. People, animals and objects can be stuck and moved around on a setting, providing reference for the practice of specific language items or for less controlled composition or a support for listening com- prehension, (Gee Byrne, D., Using the Magnet Board.) Wall pictures The scenes in this book will prove invaluable here. A composite picture, as Donn Byrne has shown (Byrne, D., Wall Pictures for Language Practice and Teaching Oral English) can provide information cues in controlled practice as well as a stimulus and reference for composition. As with all pictures it is essential that the vital details are big enough and clear enough. Solid figures would normally be clearer than stick figures in a walll picture. Picture cards for class use: flashcards Such cards must be one of the most flexible of the media — particularly now that Bluetack and its equivalents allow the teacher to stick the cards on to the board or on to cupboards, etc. Their chief role is in intense oral work both controlled and open. The ease with which a picture can be produced, shown to the class or to an individual and then put away helps the teacher to create a sense of urgency and drama. A picture card can, of course, simply cue a response as described above. However, there are more game-like activities with cards in which ‘information gaps’ or ‘opinion gaps’ can be created thus giving a reason for speaking. For example, a series of action cards are shown to the students. When they are familiar with the ones in your hand (about six or seven of them) show one card to half the class (group A). Then tell everyone to concentrate and feel the telepathic waves! Group B then has three guesses: ‘Is he swimming? Is he jumping? Ishe playing football?’ See if telepathy works: try the experiment twenty times and record each time a group guesses correctly within three guesses. This simple sentence pattern is an intrinsic part of the activity. Furthermore, it is used as a genuine question. The students really want to know, Even a drill can be com- municative! Here is another example of the use of a picture card, in this case for open unguided communi- cation; take any picture card showing a few objects or peopie on it. Hold it so that the class see the reverse side of the card, then spin it very rapidly! They will only see a flash of the picture and will protest! However, experience of playing this game shows that people do see something. Gradually, as you spin the card again and encourage discussion the picture is established, For many more ideas on the use of the picture card, see Buckby and Wright, Flash Cards, Picture cards for group use The cards can obviously be smaller than for class use. Their main purpose is to cue language in controlled practice. A single sentence pattern or a mini-dialogue is set by the teacher and written on the board or on a piece of card which all the group can see. The picture cards are usually placed face down. When it is a student's tum to speak, s/he picks up a card and refers to it in his sentence. For example, pictures of foods: Student A (picking up a card), Do you like (chips)? Student B Yes, Ido./No, Idon’t. Yes, Love them./No, I hate them. There are many examples of the use of picture cards in Kerr, J.Y.K., Picture Cue Cards for Oral Language Practice, or Buckby and Wright, Flash Cards. The overhead projector Pictures can be shown on the OHP with ease. They can be prepared beforehand, produced at the right moment, moved around on the screen, have text added to them and then be stored away to be used again . . . and again. Such is the flexibility of the OHP in terms of the way in which pictures and text can be used that all the skills at all levels can be catered for. For ideas on the use of the OHP, see Jones, R, The Overhead Projector.Further reading Aytoun and Morgan Photographic Slides in Language Teaching George Allen and Unwin ByrneD. (ed) Conimunication Games British Council Byrne D. Interaction Packages Modern English Publications (Sets of materials for group work, about £5 each) Byrne D. Progressive Picture Composition Longman Byrne D. Using the Magnet Board George Allen and. Unwin Byrne D. Teaching Oral English Longman Byrne D. Wall Pictures for Language Practice Longman(TB, PB and wallpictures, about £15) Byrne and Wright Say What You Think Longman Byrneand Wright What Do You Thntk, Books I and 2 Longman Buckby and Wright Flash Cards Modern English Publications (80 flashcards and TB, about £6) Candin C.N. (ed) The Communicatioe Teaching of English Longman Davies and Whitney Reasons for Reacting Heinemann Dakin J. The Language Laboratory anal Language Learning Longman Fletcher and Birt Newsflash Edward Arnold Geddes and Sturtridge Listening Links Heinemann Granger C. Play Games With English Heinemann Heaton B. Practice Through Pictures Longman Hill and Mallet Teaching With Cartoons Oxford University Press Holden S. (ed) Viswal Aids for Classroom Interaction Modern English Publications Johnson F. Stick Figure Drawing for Language Teachers Ginn Johnson K. Communicative Syllabus Design and Methodology Pergamon Jones R. The Overhead Projector George Allen and Unwin 124 Kerr J.Y.K. Picture Cue Cards for Oral Language Practice Evans (TB and 300 picturecards, about £32) Maley and Duff Drama Techniques in Language Learning Cambridge University Press Maley, Dutf and Grellet The Mind’s Eye Cambridge University Press McAlpin J. The Magazine Picture Library George Allen and Unwin Mugglestone P. Planning and Using the Blackboard George Allen and Unwin Romo and Brinson Visual Delights Mary Glasgow Publications Wright A. Visual Materials for the Language Teacher Longman Wright, Betteridge and Buckby Games for Language Learning Cambridge University Press Modern English Teacher, Modern English Publications, PO Box 129, Oxford OX2 8]U, Practical English Teaching, Mary Glasgow Publications, 140 Kensington Church Street, London W8 4BN Source of the topics and language in this book: Hindmarsh R. Cambridge English Lexicon Cambridge University Press Oxford-Duden Pictorial Dictionary Oxford University Press Trim J.L.M. (et al) Systems Developmertt in Adult Language Learning Pergamon Van E.K, and Alexander Tiireshold Level English Pergamon Van E.K, and Alexander Waystage English PergamonIndex about (prep), 82 above (prep), 82 absent (ad), 37 accident (9), 75 across (prep), 82 act), 68 actor (), 68 aeroplane (n),28, 41,71 atraid (ad), 97 ater (prep), 82 against (prep), 82 aggressive (ad), 97 agrees), 84 alive (ad) 97 allow (¥), 84 alone (ad, 97 along (prep), 82 ambulance (9), 75, among [prep), 82 ancient (ad, 97 angry (ad), 1,56 ankle (a), 74 answer (0), 84 anxious (ad, 32 apart (ad), 97 apartment (n) 60 apologise (v), 84 apple in), 78 architect), 58 arm (0), 74 armchaie(n), 61 arrive (0), 84 art gallery (e), 82 artist (n), 52 ask(), 84 ‘sleep (ad, 97 asparagus (n),77 {sstistant (shop) (a) 47,61 at (prep), 82 atte), 60 dunt), 57 axe(n), 106 baby (n), 106 back (n), 74 (ad), 97 ‘bacon (n), 77, bad (adi), 97 bake (v), 4 baker (n), 45,58 bald (adj), 54, 97, ball (n), 106 ballet (n), 68 balloon (n), 105 banana (n), 106, band (n), 105 bandage (n), 75. barbecue (¥),79 bare (adj), 97 bark (v), 84 ‘baseball (n), 68 basement (x), 60 basket bal (n), 68 bat (n), 65 bath (n), 6(v), 84 athe (v),8, 84 bathroom (n), 42,60 beach (n), 39 beans (n), 77, bear, (n),65 beautiful (ad), 97 bed (n), 61 bedroom (n), 60 Bee (n) 65 beef (n), 77 beer (n), 79, before (prep), 82 begin (v), 8 behind (prep), 82 below (prep), &2 belt (n),76 bemused (adi), 56 beneath (prep), 82 between (prep) 82 bicycle (n),28, 71 big (adi), 97 Bird (n), 28, 68 bird watching (v), 68 biscuits (n), 78 bite (v), 84 blame (v);84 blanket (n),61 bleed (v), 84 blind (adi), 97 blonde) (ad)), 97 bloody (adj), 97 blouse (n), 76 blow (w blunt (adj), 97 boat (n), 71 bomb (n), 106 bone (n), 75 ‘book (m), 51 bookshelves (a), 61 bottle (in). 79| bowl (n), 63 boy (n), 54, 55 bracelet (n), 106 brake (v), 81 branch (n), 67 brave (adi), 97 bread (n), 79| break (v), 84 breast (n), 74 brick (n), 106 bridge (a), 72 bright (adj), 97 bring (v), 73,85 broad (adi), 38, broad-faced (adi), 54 broken (ad)), 29, 75 brother (n), 57, browse (¥), 51 brush (n), 63 build (v),85 bun (n), 78, bungalow (n), 60 burn (), 85 burned (partie) 85 bus (n), 40,71, 106 bus stop (n), 40 bush (n), 67 business man/woman (n), 58 busy (adj), 98 butcher (n), 58 butterfly (n), 65 button (n), 106 buy (), 45,85 by (prep), 71,82 cabbage (n),77 ‘actus (n) 67 cafe in) 46 cake tn), 78,79 call), 85 alm (ad), 98 camel (a) 65,71 camera), 106 camp (0) 68 anal (n), 64 cap (n), 79 arn), 28, 68,71 earavan (60 careful fad 98 eareess (ad), 98 farts (n),77 carry (6). 88 eat te), 27, 65 catch (0), 85 califlower tn), 77 fautious (ad, 98 cave (), 106 eedar (0), 67 cella (3), 60 celery (n),77 central heating (n), 62 chain (a), 106 chair), 31,61 ‘heap (ad), 38 check (in), 47 cheek (a), 74 cheerful (ad), 98, cheese (n), 79 chemist (n), 38 chess (a). 68 chest (x), 74 chest of drawers (n), 61 chick/chicken (a), 28,77 chill (n,54 chimney tn), 106 chin tn), 74 chips (o},77 chocolate (n), 78 choose (). 85 chrysanthemum (), 67 church (n), 106 cinema (n), 52,68, reus (a), 106 city (9), 64 lassroom (e), 50 lean (0) 85, (ad), 98 lear (ad), 98 clever (ad, 98 lira (0), 70, 85 lock (n), 61 lose (¥), 85, (a), 98 clothes shop (n) 68 loud (80 loudy (ad, 98 oat (9), 76 oat hooks (a), 61 cock (n), 65 cocktail party (n), 73 coffee (n),73, 79, 80, cold (n), 75 2d, 80,98, collect (0), 68 comb (n), 106 comfortable (ad), 98 compass (n), 106, computer (0,61, 68 concentration (o), 1 concerts (n), 68 contented (ad), 34 cook (v), 85, 98, (n), 58 cooker (n), 42,61 ool (ad), 98 ‘copy (v) 85 ‘cork (a), 107 «corn (n), 67, comer (n), 72 correct (ad) 98 costly (adj), 98, ‘couch (n), 62 ‘count (v), 85 ‘countryside (n), 38 cousin (a), 57 cow (n), 27, 65 crab (n), 65 crawl (¥), 6 cream (a), 79 cricket (), 68 erocodile (n), 65 crooked (ed), 98 1055 (¥), 86 crowd (n), 107 ‘crushed (ad), 99 cry (V1, 85 ‘cucumber (n),77 cup (a), 63 cupboard (n), 60,61 curious (adj), 56,98 ‘crly-haired (adi), 54 ‘curtain (n), 107 cushion (n), 107 cut (¥), 75,86 dato), 67 ance (0), 68 86 dangerous (ad), 99 dark ad), 99 Sarkchared (ad, St dead (ad, 99 Seat (ad) 99 tea (ad), 98 deep (ad), 99 deer (a, 65 delicate (ad, 9 delighted (ai, 99 delivered (parc) 96 demand (0,86 Stents (n) 95, deny) 80 descend), 86 depressed (ad), 34 desk (61 determined (a), 56 evil 107 Sifferent oa, 9 digo) 86 dining room (n) 43, 60 dinner (a). 73 dirty (ad) 99 disagree (0), 86 disappear (0), 86 disbelieving ad), 56 disgusted ad), 6 dishwasher (n), 61 dismayed (ad) 65 dive (e),86 divide (0), 86 125dizzy (adi), 32 doctor (n), 58,75 doctor's waiting room (n), 49 dog (n), 27,65 doll (x), 107 done (partic), 96 door (n), 60 down (prep), 82 draw (v), 86 dress (v), 86 dressing table (n), 61 drink (¥), 38, 46,73, 86 drive (v), 68, 86 river (a), 58 drop (v), 86 drum (n), 107, dry (ad), 99 dlustman (n), 107 cear(n), 74 earring (n), 107, easy (adj), 99 eat (v), 43, 86 gg (n), 77 elbow (n), 74 eldest (adj), 99 electric (adi), 99 elephant (n), 65,71 elevator (n), 108 ‘empty (adj), 9 endless (adj), 99 enormous (adi), 9 center (v), 86 envelope (n), 107 equal (ad)), 99 examine (¥), 86 exhibition (n), 52 expensive (adi), 100, extraction (n), 75 eye (n), 74 eyebrow (n), 74 face (n), 11-15,74 factory (n), 64 factory worker (0), 58 fail), 87 fair-haired (adj), 54 fall(v),87 false, (ai, 100 family (a), 107 farm (n), 64 farming area (n), 64 farmer(n), 58 fast (ad, 100 fat (ad, 54, 100 father (n), 57 favourite (adj), 100 feather (n), 107 fence (¥), 69 fetch (v).87 fields (74 fight (0), 87 fil (up) (0), 87 filling (n),75 film (n), 68 finger (n),74 finish (v), 87 fir(n),67 fire (9), 107 fireman (n), 58 fireplace (n), 107 first (adj), 100 first oor (n), 60 fish (n), 65,77, (v)38, 69 fist (n), 107 flag (n), 107 flame (n), 107 fat (n), 60,100, (ad), 64 flat country (n), 64 oat (v), 87 flower (n), 67 Ay), 87 126 fying saucer, 52 fog (n), 80 follow én), 80 follow (v).87 fond (ad), 100 foot in), 74 football (n} 69 footballer (n), 58 for(prep), 82 forehead (a), 74 forest (n), 64 forgetful (adi), 100, fork in), 63 formal (ad, 100 freezer (n), 107 French fries (77 fresh (adi), 100 friends (n), 73, frighten (87 frightened (ad). 56 frog in), 6 from (prep). 82 fruit juice (n), 79 fry (y),79 full (ad, 100 funny (adi), 100 garage (n), 60 garden (n), 37,60, 69 gate (n), 107 gather (0), 87 generous (ad), 100 gentle (ad), 100, Bet (v),87 Bhost (n).32 itt), 73 ffe(n), 6 Bive (v), 73,88 slove (n),31 oat, (0), 66 goose (n), 66 randfather/mother (n), 57 ‘grapes (n), 78 ‘ras (n), 67 ‘greedy (ad), 100 sreengrocer(n), 93 gril), 79 grim (ad), 13 ‘grocer (n), 45, 58 sround floor (n), 60 Brow (v), 88 Buide (v), 88 Buitar(n), 107 hair (n), 74 hardier (n), 108 half adi), 100 hammer (9), 31 hand (n),74 handbag (n), 108 hand basin (), 61 handkerchief (9), 108 handle (n), 108 hang (¥), 8 hang glide (¥), 69 happy (ad), 13, 100,117 hat (), 76 head (n), 74 headache (n),75 heart (n), 74 heat (n), 32 heavy (ad), 100 hedge (), 67 hedgehog (n), 6 help (¥), 88 helpful adi), 100 hen (n), 28,66 hide (v, 8 high adi), 101 hike (¥), 68 hill (9), 64 hips (n), 74 itv), 88 hiteh-hike (v), 88 hockey (n), 69 hola (v), 88 hollow (adj), 101 hhonest (adj), 101 horse (n), 27,71 hospital (n), $9 hot (adj), 80 hot and cold water (n), 61 hotel (n), 47 house (n), 60 hovercraft (n),71 dhuge (ad), 101 humorous (adj), 101 hunt (¥), 69, 88 ice ream (), 108, ice (n), 80 ill(adj, 101 inmate (v), 88 important (adi), 101, impossible ad), 101 improve (), 88 in prep, 82 Industral area 4 information dk (), 40 ink to inside (prep), 82, (a), 101 instane (adp, 101 insule(v), 88 intelligent (ad), 101 into (prep), 82. roduce (¥), 88 vite (0), 88 itated (ad}), 56 island (n), 54 jacket (n), 76 jail (n), 108 jar), 108 Javelin (n), 69 Jealous (adj, 101 Jersey (n}, 76 Jog (0), 69,88 join (v), 88 joiner (n), 58 jug (m), 108 Jump (v), 69, 78 junction (n), 72 juice (n), 79| kangaroo (n), 66 Keep (v), 88 Kettle (n), 32, 63, ey (n), 108 kick (v), 89 kind (ad), 101 king (9), 108 kiss () 89 kitchen (n), 42, 60, kite (nm), 108 kneel (v), 89 knife (n), 63 knock (¥}, 32, 89 knot (n), 108) Jabourer(n), 58 lake (r), 64 lamb (n), 77 lamp (a), 61 large (ad, 101 Jastad)), 101 late (ad), 101 laugh (), 89 lavatory (n), 60 leaf (a). 67 lean (y), 88 learn), 89 leave (89 Teft (ad), 101 leg (n),74 lend (s), 89 letter (2), 96 letterbox (n), 31 lettuce (a), 78 brary (a) 51 ie), 89 Jie), 89, 108 light (), 8 (ad), 101, lightning (0), 80 like (v), 89 lion (n), 66 pete 108 lipstick (n), listen (0), 70,88 litle ad), 101 live (v.89 leat), 108, Tock (}, 89, 96, (9), 108, lonely (ad 65, 102 Took (¥), 69,89 Foose (adi), 102 lorry 71 Tose (, 80 loud (ad, 102 Tove (¥), 90 lovers (n), 73 loving (ad, 56 Juggage tn), 108 make (v), 90 malicious (adi), 56 marry (n), 90, marsh (n), 67 ‘matches (n), 108 ‘meal (having a) (n), 30,43, 46 ‘mechanic (n),58 meet (v), 90 mend (v), 90 microphone (n), 108, middle (ad), 102, middle-aged (adj), 54, 55, 102 silk (n), 79 milkman (n), 58 miner (n), 58 ‘mineral water (n),79 mirror(n),61 miserable (ad)), 12, 105, mix (¥), 90 mixer (n), 63 ‘model (n), 69 monkey (n), 65 ‘moon (n), 80 ‘mosque (a), 109 ‘mosquito (n), 108 mother (n), 57 motorcycle (n), 28,71 motor scooter (a), 71 ‘mountain (n), 39, 64 mouse (n), 66 moustache (n), 109 ‘mouth (n), 108 ‘move (v), 90 movies (n), 52, 68, 69 ‘museum (n), 51 ‘mushrooms (n),78 ‘musician (n),59 narrow (ai), 102 near (prep), 83 neck (n), 74 nervous (ad, 102 nest (n), 108 new (adi, 102 next (prep), $3, (ad), 102 noisy (ad), 103 noodles (n), 77 nose (n), 74 rnurse(n), 59,75 rut (), 108oak (n), 67 obey (8), 90 offer (v), 73,90 oe (a), 53 old fed) 54, $5,102 omelette n), 77 fon (prep), 83 one-way sree (n), 72 ‘onion (n), 78 onto (prep), 8 ‘pen (9), 90, (a, 102 opera, 69 opposite fa), 102 orange tn), 73 ut tprep), 83 outside (prep), 83 over (prep), 83 overcast (aj), 8 overcoat (9), 109 own), 66 pack (), 90 pain (n), 11,32, painful (adi, 102 Paint (), 68, 90 Painted (partic), 96 palm (n),67 an (n), 63, pancake (n), 78 Pants (n), 109 park (n), 37 parsnip (0), 78 part (v},90 Party (n), 73 pass (¥), 90 past (prep), 83 pastry (n), 78 Patient (n), 49 pay (v), 45,90 pear (n), 78 Beas (0) 78 pedestrian crossing (n), 72 pena) 109 pencil (n), 108 petrol station (n),7 pets (n) 68 hone (48,94 photographer (n), 59 Photography (x), 69 pianist (58 Piano (n), 109 pick (¥), 90 ick up(v), 6,90 Picnic (n), 68 Picture (n), 61 pie (a), 78, 109 Pig (n), 28.66, pigeon (a), 109 Pillow (n),62 Pills), 73 pilot (n), 58 Pipe (n), 109 plant (), 62 plate (n),63 Play (v), 6, 69,70, 91 pliers (n) 63 poetry (n), 69 point (v),4, 91 policeman/woman, 50,59 police station (n), 30,81 polish (v), 91 polite (adi), 102 ppond (n), 109 poor (ad, 102 poplar (n),67 pork (n), 77 porter(n), 47 post (¥), 91 posted (parti), 96 postman (n), 58, 96 postoffce(n), 48 potatoes (n), 78 potted plants (n), 62 pour(s),91 poweeul (ad, 102 prefer(¥) 91 precious (ai), 102 present (a), 73 prison (a), 109 proud (ad), 102 pull(v),3t Pullover (a), 76 pupil (n), 50 purse in), 76 Push (s),91 put (), 91,96 puzzled (ad), 56 Pyiamas(), 108 quarrel (x), 91 queen (n), 109 queue (v), 48, 49 quiet (adj), 103 rabbit (n),28, 66 race (v), 68 radiator (n), 62 redio (n), 31,70 rain (v), 80 raincoat (x), 76 rainy (adj), 103 raise (¥), 91 rapid (ad), 108, raspberry (n),79 rat (n), 108 razor (n), 109 read (¥), 55, 70,91, 177 receive (v).87.91 * record (n),70 record player (n), 31, 62,70 refuse (v), 91 refrigerator (n), 62 relax (¥), 37 remain (v), 91 remind (v),91 repair (v), 91 est (0), 91 respectful (adi), 103 responsible (ad), 103 restaurant (n), 46 return (v),92 fice (n), 77 rich (adj), 103, Fide (v), 7,19, 70,92 right (adj), 103, pe (adj), 108, ise (v), 92 sky (ad), 103, fiver (n), 64 roast (¥), 79, roller skates (n), 71 root (n). 67 rose (n), 67 rough (ad), 103 round (prep), 85, (adi), 103, roundabout (n),72 rucksack (n), 39 rude (ad), 103 run (¥), 4,5, 9, 18,92, 118 rusty (ed, 103 sack (n), 10 sad (adj), 12,56, 108 saddle(n), 110 sail(v), 37,70, 92 salad (n), 78 sandwich (n),79 sauce (n), 77 saucepan (n), 31,63 saucer (n), 63 sausage (n), 77 save (v), 92 saw (n), 63, scarf (n), 76 scalded (patie) 75 Scissors (63 Scooter (0), 71 serewdriver (n), 63 Seaman (n),59 Search (¥), 52 Seaside (a) 64 seed (9), 67 seize), 92 selfish (ed), 103 Sell-service(n), 46 self-satisfied (ad), 56 sell), 92 Send (\), 92 Serious (adi), 103 Serve v), 92 settee (n), 62 shake (0) 52,92 shallow (adj), 103 share (v), 92 shark (n), 66 sharp (adi, 103 shave (0), 92 sheep (n), 28, 66 sheet (n), 62 shine), 80 ship (71 shire(a), 110, shoe (n), 31,76 shop (a), 70 shop assistant (n), 45,59 shopping (go), 43 Shor (ad) 38,103, shorts (n), 76 shoulders (n),74 shout (v), 92 show (), 92 Shower (ov), 42,62 shut (¥), 92 shy (adj, 108 Sick (ad), 104 Sigal (rfc) (n), 72 silly (ad, 102 mila (ad), 102 sing (0), 33,70,92 sink (), 62 Sister (n),57 St(0), 6, 37,38, 46,92 sitting room (a), 4,60 skifal aap, 108 ki (W), 70 skirt (9), 76 sleep (),93 sleepy (ad), 56, 104 sleeve (n) 110 slide (), $3 slip (93 slow (adj), 108 small (ad, 108 ‘smell (v), 93 smile (v), 93. smooth (ad), 104 snake (), 66 snorkel (¥),70 snow tn, 80 snowy (ad), 108 socket (n), 62 Socks (9), 76. soldier (9), 59 sore (ad), 108 sorted (partic), 96 soup (n), 77 spade (n), 110 spaghetti (0), 77 spanner (n),63 speak (), 98, speed (n),33 spill), 93 splash (0), 93 spoon (n), 63 sprain (n), 75 sprint (v), 118 squash (ni), 70 staircase (n), 60 stairs (n), 60 stamp (n), 91, (¥),93 stamp collecting (9), 68 stand (v), 93, star(n), 80 start (v), 93, station (n), 40 stay (v), 93 steam (n), 32 stick (n), 110 sting (v), 93 stir), 93 stockings (n), 76 stomach (n), 74 stool (n), 62 storm (9), 80 stormy (adj), 104 Straight (adj), 108 strawberry (9), 79 Street (n), 30, 36 Street cleaner (n), 59 stretcher (n), 75 strict (adj), 104 stroke (y), 93 strong (ad) 54, 108 study (v), 93 suit (n), 76 suitcase (n), 47 sun (n), 80 sunbathe (v), 38, 70 sunburn (n), 75, sunny (adi), 104 Supermarket (n), 45 support (v), 93 surprise (a), 11 surprised (ad), 12,56 swan (n), 66 sweep (v), 93, swim (¥), 70 ‘switch (n), 62,96, sword (n), 110 table (n), 62 tablecloth (n), 62 table tennis (n), 70 tablets (n), 75 take (), 94 taken (partic). 9 take 3 tall (adi), 54, 108 tame (adj), 104 tap (n), 110 tar (a), 78 taste v), 94 taxi (r),71 tea (a), 79 teapot (n), 31,63 teeth (n), 73 telephone (n) 62.94 telephone booth (n), 48 television (n), 31,62, 70 tell v), 94 temperature (n), 75 tennis (n),70 tense ad), 104 terrace (n), 38, thank (¥), 94 theatre (n), 70 thick (ad, 108 thigh (n), 94 thin (ad 54 think (W), 94 thirsty (ad), 105 thoughtful adj), 105 throa (74 through (prep), 83 Uhre (0) 6,68,98 thumb (n), 74 thunderstorm (n), 89 tie (7), 94, 110tiger (n), 66 tulip (n), 67 video (n), 70 wide faa, 105 tights (n), 76, turn (9), 98,96 village in, 4 wvld (oa) 108 tiny ad), 105 trip (78 Violen ad), 105 wings tired (adj), 56 type (v).4 violin (n), 10 ‘windmill (n), 110 totprep), 83 typewriter), 59 visit) 94 swindow (0), 60 toetay 74 typist (n), 99 volcano (n), 10 windy tad) 80 toilet (a), 60, 62 tyrein), 110 wagon (n), 71 wine (a, 79 tomatoes (n), 78 wait (v), 46,49, 94 wipe (v), 95 tongue (o).74 cambrella (n) 80 waiter (a) 4,59 sve ad, 105 tooth (n), 74 tinct np, 57 ‘waiting room (49 ‘wish (0,95 toothbrush/paste(n), 110 * unconscious (adj), 105 walk (v), 7, 70, 94 with (prep), 83 torch (n), 63 tinder (prep), 83 wardrobe (a), 62 without prep), 83 tortoise (n) 66 tindergrourd n), 76 wash (0), 42,95 ‘woolen (nS touch (v) 94 Sinderwear (x), 76 washing machine(o).62 work w),95, 117 toue(s), 70 ‘inemployed (ad), 59 watch (93,0, 110 worry (W983. towel (n), 110 unhappy (adj), 56, 117 water (n), 61,79 wounded (partic), 75 town (n), 64 up (prep), 83 water-ski (v),70 wrap (v), 95 tractor (n), 10 unieyele(n),71 wave ),95 worst 28 traffic lights/signs (n),72 untidy (adj), 105 WC (n), 62 Wweite (01,73, 95 train (a), 71 unwilling (a), 105, weak (ad, 54,105 verter 0), 38 Mansstorradi(g) 1 ela 3 eat ah 15 wwrong (ad, 105 travel agent (n),47 wear (i), tree (n) 37,117 vacuum cleaner (n),63, Mrellington Boots (n,80 Ya). 98 trousers (n), 76 valley (n), 39, 64 vet (ad) 105 Yous. 70 frank (n)67| van (a), 110 whale (n), 66 You ache) 39 try, 94 vase (a), 110 sricked (ad), 105 young (ad) 5 zipin), 10 Collins ELT HarperCollins Publishers 77-85 Fulham Palace Road Hammersmith London WospB (© Andrew Wright 1984 First published 1984 Reprinted 1985, 1987, 1988, 1989, 1990, 1991 10987 ‘The photocopying of material inthis book is permitted within an institution, where multiple copies may be distributed to students for class use only. Otherwise, all rights are reserved, and no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without the prior permission in writing of the Publisher. Printed in the Netherlands by Comproject b.v. ISBN 0 00 370663 X Illustrations by the author Photographs by Robin Lord ABIPP 128Z 392R35471a 1000 Pictures for Teachers to Copy Andrew Wright Many teachers recognise the usefulness of simple drawings in their teaching. For such teachers (and indeed for speech therapists, sociologists and anyone else whose work involves communication) drawings have many advantages: they are quick to do; their content can be determined exactly by you; they are easy to reproduce. But many teachers think they cannot draw! Or if they can draw they feel they do not have enough time, For these people, 1000 Pictures for Teachers to Copy is @ unique and invaluable resource. A dear introductory section on the basic techniques, such as stick figures and box drawings, is followed by over 1000 pictures which can be copied on to the blackboard, the ‘overhead projector or worksheets, The humerous themes and subjects covered by the illustrations (organised according to the Council of Europe Threshold Level) include people, animals, everyday settings, common lexical sets, grammatical points and sequential narrative. A final section suggests ways in which teachers can use drawing in their teaching. A comprehensive index completes the book, & CollinsELT A Division of HarperCollinsPublishers TSBN 0-00-370665- 16635! IM 9 37