CONTENTS
3
Time To Reach
Understanding The Problem 7
9
Dyslexia & The Brain
13
Dyslexia & the Education Enviroment
17
Understanding Learning Styles
Look Back & Go Forward
Watch It Move
19 21
22
Cinema Gurus
23
Power in the Summary
31
Creating A Reading Culture
For Struggling Readers
37
Let It Play
38
Music Man
39
Auditory Aids
43
Improve Reading Comphrension
44
12 Tidbits
1
Hang It Up
71
In Your Classroom
50
Poster Children
72
Assistive Tools & Technologies
51
Look at Me Now
74 Sources
58
Teaching with Visuals
79 Credits
49
61
Spell It Out
62
Masters of Type
63
New Written Language
69
Christian Boer Designers Typeface for
Readers with Dyslexia
TIME TO REACH Editor’s Note
“Some of the most creative, innovative minds are at this moment atrophying behind bars. That’s all a result of a system that insists upon the most archaic form of educational medium, which is text.” -Dean Bragonier Dyslexia is often generalized by trouble with reading and comprehension but has additional
was incredibly excited that they had this newfound technology that would enable us to embed knowledge into a format that could then be scaled and distributed on a national level. Now this served society tremendously well, except for the fact that at that very moment you essentially lock the door on twenty percent of the population. Those of us with Dyslexia.”
symptoms that include: difficulty understanding
The Industrial Revolution also sparked multiple
what one is hearing, lack of sophisticated
modes of communication that found their place
language skills, and trouble finding the right
in the ideals of Mid-Century Modern Design.
words to express feelings. These symptoms are
Mid-Century design uses alternative methods of
accentuated by teaching methods that fail to
communication to express ideas and information
utilize all types of learning styles. By incorporating
to people with graphics, motion graphics, and
general learning methods in the classroom,
auditory communication. Only literacy from the
dyslexia stops being a “disability” and starts being
Industrial Revolution has continued to thrive as
what is simply an alternative learning method.
the primary educational medium in the classroom.
“There was this little twist in history; it was called
This issue of Reach Magazine is redefining
the industrial revolution. What happened is that
the limits of dyslexia by incorporating the forms
society said, ‘Okay, we’ve got this new form of
of communication from Mid-Century Modern
economy and what we need to do is we need
Design in the classroom. Then, one can begin to
to educate the masses the become efficient
remove the connotation of dyslexia as a disability
worker bees in these factories.’ Now, that
and allow all students the opportunity to learn in
dovetailed historically with the importance of
a way that is the most efficient for them.
the printing press from Europe. So everyone
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1 in 5 students have dyslexia
L UA IS
K N I I N H T GM S I N A G D I EV S E D
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SIM
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UNDERSTANDING THE PROBLEM Explaining Dyslexia
DYSLEXIA & THE BRAIN What Does Current Research Tell Us?
by Roxanne F. Hudson, Leslie High & Stephanie Al Otaiba
Developmental dyslexia and how it relates to brain
When talking with teachers about their students
function are complicated topics that researchers
who struggle with reading, we have encountered
have been studying since dyslexia was first
similar types of questions from teachers. They ask,
decribed over a hundred years ago. W. Pringle Morgan, a doctor in Sussex, England, described the puzzling case of a boy in the British Medical Journal:
"Percy, aged 14, has always been a bright, intelligent boy, quick at games, and in no way inferior to others in his age group. His great difficulty has been, and is now, his inability to read" Almost every teacher in the United States has at least one student who could fit this same
what is dyslexia? What does brain research tell us about reading problems and what does research mean for classroom instruction? The goal of this article is to explain the answers to these questions and provide a foundational knowledge that will lead to a firm understanding of the underlying characteristics of students with dyslexia. A greater understanding of the current brain research and how it relates to these students is important in education and will help teachers understand and evaluate the possible instructional interventions that will help their
description written so many years ago.
students succeed in the classroom.
This leads many school personnel to wonder why
One of the most common misunderstandings
their articulate, clearly bright student has so many problems with what appears to be a simple task: reading something that everyone else seems to easily comprehend. Having information about the likely explanation for
about dyslexia is that it is a problem of letter or word reversals (b/d, was/saw) or of letters, words, or sentences "dancing around" on the page. In fact, writing and reading letters and words backwards are common in the early stages of learning to
and potential cause of the student's difficulties
read and write among both average and dyslexic
often relieves teachers' fears and uncertainties
children, and the presence of reversals may or may
about how to teach the student and how to think
not indicate an underlying reading problem.
about providing instruction that is relevant and effective. Current research on dyslexia and the brain provide the most up-to-date information available about the problems faced by over 2.8 million school-aged children.
One of the most complete definitions of dyslexia comes from over twenty years of research: it is a specific learning disability that is neurobiological in origin. It is characterized by difficulties with accurate and/or fluent word recognition and by poor spelling and decoding abilities.
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These difficulties are typically a result of a deficit
People who have dyslexia often have trouble
in the phonological component of language that
comprehending what they read because of the
is often unexpected in relation to other cognitive
great difficulty they experience in accessing the
abilities and the provision of effective instruction
printed words.
in the classroom.
Studies of structural differences in the brains
Dyslexia is neurobiological in origin. This means
of people of all ages show differences between
that the problem is located physically in the brain.
people with and without reading disabilities.
It is not caused by poverty, developmental delay, speech or hearing impairments, or learning a second language, although those conditions may put a child more at risk for developing a reading disability. Children with dyslexia will often show two obvious difficulties when asked to read text at their grade level. First, they will not be able to read as many of the words in a text by sight as average readers. There will be many words on which they stumble, guess at, or attempt to "sound out." This is the problem with "fluent word recognition" identified in the previous definition.
The brain is made up of two types of material: gray and white matter. Gray matter is what we see when we look at the brain and is mostly composed of nerve cells. Its primary function is processing information. White matter is found within the deeper parts of the brain, and is composed of connective fibers covered in myelin, the coating designed to aid communication between nerves. White matter is primarily responsible for information transfer around the brain. People with dyslexia have less gray matter in the left parietotemporal area than non-dyslexic individuals. Having less gray matter
Second, they will often show decoding difficulties.
in this region of the brain could lead to problems
Their attempts to identify the unknown words will
with processing the sound structure of language
produce many errors. And they will not be very
(phonological awareness).
accurate in using letter-sound relationships in combination with context to identify words that they do not know. These problems with word recognition are due
Many people with dyslexia also have less white matter in this same area than average readers, which is important because more white matter is seen to be correlated with increased reading skill.
to an underlying deficit in the sound component
Having less white matter could lessen the ability
of language. This makes it very difficult for readers
or efficiency of the regions of the brain to
to connect letters and sounds in order to decode.
communicate with one another.
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I don’t believe in this ‘gifted few’ concept, just in people doing things they are really interested in doing.
Charles Eames Mid-Century Designer
DYSLEXIA & THE EDUCATION ENVIRONMENT
by GreatSchools Staff
We understand that people with dyslexia have differences in brain structure. So, How can educators use this knowledge in order to teach more effectively, thus preventing or diminishing reading disabilities?
Environment Plays a Role Achieving success with dyslexia, especially when combined with AD/HD, can be a circuitous and uphill struggle. Nevertheless, people with this learning disability often excel in life. Almost always
Brains of people with dyslexia are different in
their stories involve painful struggles with the
many ways. Starting early in life, the language
educational system—where most dyslexic brains
network and certain sensory systems develop
function as square pegs in round holes. This is not
along a unique trajectory. It is the interaction
because they are inferior, as the achievements of
between genes and environment that modifies
people with dyslexia attest, but because the
the development of these systems, producing
peg and hole do not always match.
a distinctive learning profile we call dyslexia. Dyslexia varies from individual to individual in the combination and degree of strengths and weaknesses due to the intricacies of brain development and countless environmental variables. Dyslexia is lifelong but amenable to educational intervention.
The point here is subtle but important—the environment can render the learning difference a learning disability. This scientific perspective informs enlightened educational planning and policy, illuminating solutions and reasons for implementing them. Dyslexia is an example of human brain variation. Human diversity is more than a politically correct concept. Diversity propels evolution by permitting adaptability. History and science tell us that environments inevitably change and that brain diversity may benefit our species. This is not to say, however, that dyslexia is a minor learning problem or some inconsequential blip falling within the normal range of variation. Parents and educators alike must recognize that dyslexia is a different brain organization that can be profoundly disabling, particularly in the context of a poorly designed educational environment.
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Educational Environments How do we modify the educational setting to prevent a difference from developing into a profound disability? And how do we design educational environments to reduce struggles, capitalize on strengths, and maximize success for people with dyslexia—enabling them to contribute their abilities and talents? You might be surprised to learn we already have answers to these questions and the answers benefit all learners. While there is no cure for dyslexia (efforts to cure it may be misguided anyway), effective methods for teaching reading and writing skills to kids with dyslexia do exist. These research-based methods incorporate a structured-language curriculum in a sequential, systematic, and cumulative way— offsetting language, sensory, memory, and motor processing differences. More specifically, these methods provide explicit instruction in phoneme awareness, phonics, reading fluency, vocabulary, and reading comprehension skills. All of these are fundamental to becoming a proficient reader. Indeed, reading research tells us effective early literacy instruction for all children includes these elements. All children benefit from well-informed instruction in phonics, comprehension strategies, language development, and writing skills, as well as from exposure to rich literature.
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This is not to say an eclectic mix of code-based
becoming obvious as educators and policy makers
and meaning-based teaching equals effective
attempt to implement research-based knowledge
reading instruction. Unfortunately, in classrooms
about effective instructional practices. So, too, is
across the country, “balanced reading instruction�
the critical need to impart the competencies to
has been interpreted as a dash of this and a
teachers through preservice and inservice teacher
dollop of that, or as equal focus on phonics and
preparation programs. Teacher attitudes and
whole language. Since many teachers have more
knowledge, including how the English language
experience with whole language and less expertise
is constructed, are fundamental to implementing
in structured language, the resulting hybrid usually
effective instruction.
skews toward whole language (which minimizes structured-language teaching in order to preserve focus on meaning). More often than not, the eclectic mix does not meet the standard of the research-based, systematic, structured-language teaching recommended for all students, particularly for beginning readers. All brains can suffer disabling consequences from poor instruction. However, those that depend the most on effective teaching are penalized severely. Students with learning difficulties and others at risk for failure or underachievement pay the highest price for poor teaching. Effective instruction in general education classrooms in early grades is vital for children with dyslexia because most do not receive special education services until after second grade, after they have failed to learn to read. The good news is we can prevent this failure for many. Clearly, circulating the scientific evidence about what constitutes good instruction is not enough to guarantee children will receive it. The need to understand the dynamics of school change is
Optimizing Education to Optimize Learning To recap, processing differences in multiple brain systems cause fundamental difficulties in acquiring phonological and alphabetic skills. Weaknesses in these skills set the stage for academic problems in areas such as decoding, fluency, comprehension, written expression, and spelling. These problems can lead to various negative educational and social consequences. Fortunately, even though dyslexia is brain-based and lifelong, we can prevent and diminish reading disabilities and associated academic problems. The education environment plays a key role. It can translate a different way of learning into a profound learning disability or it can offset neural processing weaknesses and encourage latent strengths to blossom into competencies and talents. A structured-language curriculum delivered through explicit, sequential, systematic, and cumulative instruction by skilled teachers is a critical component in an optimal learning environment, particularly in the early grades.
UNDERSTANDING LEARNING STYLES Based on the VARK Learning System
Visual
Read/Write
Perhaps the most easily misunderstood style of
A critical concept of learning, the read/write style
learning is the visual style. It is widely thought
often goes unmentioned when learning styles are
that this means the individual learns best through
discussed in an educational setting. This is simply
the use of pictures, videos, or demonstrations;
because the educational system is built upon the
however, this is not the case. Visual learners
read/write style— and the majority of teachers
process information the best through the use of
simply require their students to be good at it.
graphs, flow diagrams, or other similar graphical
However, reading and writing do constitute a
tools which allows them to interpret data in a
specific learning style, and the individuals that
logical manner. Students with this learning style
possess this style of learning would do best by
should formulate their notes in an orderly fashion,
simply reading, re-reading, and writing out the
so that they would be able to visualize how the
material learned in a structured form, such as a
pieces of the puzzle are connected.
categorized list. For those individuals who do not
Auditory Aural or auditory learning refers to the emphasized use of hearing and speech in the learning process. Students with this particular learning style prefer the use of lectures, verbal discussions, and when independently studing, read aloud. It is vital to
find the read/write style as the most proficient method of learning, it is important to take and modify text-based materials to adhere to their learning style in order to thoroughly understand the information given. Kinesthetic
these individuals that their lessons are taught in
The final mode of learning in the VARK system is
an audio format, and they perform the best in
the kinaesthetic or tactile approach to education.
group settings where they are able to debate
This learning style is the embodiment of the
and discuss with one another.
phrase “practice makes perfect.” Individuals who
It is also recommended for aural students to take their notes and reword them so that they will be more easily understood when read aloud.
are kinaesthetic learners are most effective with learning things through actively performing the required tasks. They also excel at the application of concepts into real-life scenarios, such as the incorporation of algebra concepts in word problems in a mathematics class. Tactile learners should focus on doing practice problems when studying, instead of simply reading over a textbook or notes.
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I try to get the point across that not everybody thinks the same way. There are obvious benefits to being ‘book smart,’ but I think common sense and creativity is just as good.
Dav Pilkey Author of the Captain Underpants series
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LOOK BACK & GO FOWARD Mid-Century Design & Learning Styles
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WATCH IT MOVE Brownjohn & Bass
CINEMA GURUS Robert Brownjohn & Saul Bass
Brownjohn was born to British parents in New
Saul Bass was an American designer
Jersey and had a successful career in both
whose 40+ year career spanned everything
America and Great Britain during the 1950s
from print and identity development to
and 60s. He immediately showed promise
movie title credits. He worked with major
as a young Design student at the Institute
corporations to establish logos and branding
of Design in Chicago, previously The New
guidelines, such as AT&T Phone Company,
Bauhaus, where he studied closely with Laszlo
United Way, and Continental Airlines.
Moholy-Nagy. His career ramped up to an
He designed titles for over 30 films and
early start when he formed the design firm
he won an academy award for his short
BCG with Ivan Chermayeff and Thomas
film Why Man Creates. Also proficient in
Geismar. However, that career came to an
typography his "cut-paper" style is one of the
early end in 1959 with Brownjohn heading
most recognized styles of design from the
to London, the firm became Chermayeff
1950s and 60s. He revolutionized the way that
& Geismar. His career in London proved as
people viewed movie titles by using the time
successful as his early career in the USA with
to not just display the information but give a
his most notable contributions coming in the
short visual metaphor or story that intrigued
film industry. He also worked within several
the viewer. Often times it was a synopsis or
other industries, creating moving graphics
reference to the movie itself. His list of title
for Pirelli and Midland bank and created
credits include famous films such as West
the cover for The Rolling Stones album,
Side Story, Psycho, Goodfellas, Big, North
Let It Bleed. A 240 page catalogue by Emily
by Northwest, and Spartacus. He created
King that was produced for an exhibition
four titles for Martin Scorsese, the last of
detailing Brownjohn's career entitled Robert
which was for Casino.
Brownjohn: Sex and Typography held at the Design Museum in London was also published as a book of the same name. Sex and Typography details the adventures of Brownjohn through detailed information provided by friends and family as well as chronicling his career and the work that he produced.
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POWER IN THE SUMMARY The Road Map to Clear Content
Both Bass and Brownjohn explored film graphics
reach an understanding more quickly without
as a way to convey complex plot lines in the form
hindering the more linguistic learners. This
of what we now know as a title sequences.
small addition to your classroom structure
Saul Bass introduced title sequences to act as
helps achieve more of your students without
a movie’s summary. Played before the movies
hindering any.
showing, the title sequence gave the viewer a quick overview of the plot and narrative by way of symbolic imagery and sound. Bass and Brownjohn were both skilled in being able to convey the emotions and literary themes from a film in only a few minutes. By doing this, the viewer is briefed before the movie and has a better grasp on what they’re partaking in rather than starting a film blind.
Another more literal application of this summary idea is in books. The first things we see when we pick up a book is the cover. They act as a visual representation of the written copy. The graphics and imagery boil all of the pages and chapters into one cohesive visual that expresses a major idea or pivotal point within the book. When you think about filling your classroom library with books, consider how the
The idea of introductory summaries in the film
book cover can aid the understanding of the
industry can translate to the classroom, believe it
content to your dyslexic students as well as to
or not. By implementing an opening overview of
your visual learners. Don’t discount the power
the information to be covered in your class, you’re
striking book cover imagery can have in sparking
presenting your students with the information
interest to a struggling reader or a student who
in multiple learning styles without them realizing it.
doesn’t enjoy reading.
Let us say you’re planning on giving a PowerPoint presentation in class, filled with information in bullet point form. Even though bullet points make information easier to digest and understand, a dyslexic student may have a hard time reading and understanding the information while also trying to take notes. An introductory summary that utilizes a different learning style, such as visual or kinesthetic, can help a dyslexic student grasp what the big idea of the presentation is going to be. Knowing the overarching idea before a written lecture can help a dyslexic student
These two small changes in your classroom structure can make a tremendous impact on your students. Consciously utilizing different learning styles alleviates the challenges a dyslexic student can face with written materials presented in the classroom as well as creating a diverse learning environment to all.
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CREATING A READING CULTURE FOR STRUGGLING READERS
by Kyle Redford
I’ll admit I used to wonder if my dyslexic students
something he did for pleasure. Beyond listening
were doomed to always consider reading a chore.
to his parents read him stories, my son had not
It was a logical concern; how could something
spent a lot of time considering books or the writers
so labored ever engender fondness? But I knew
who wrote them. Meg anticipated his blank
most of these students loved to listen to stories
response and proceeded to pull a large pile of
and I couldn’t help but wonder if they might also
humor books out of her bag. “Read these before
possess an untapped love for reading solo.
we meet again on Friday.”
The challenge lay in figuring out how to make struggling readers understand that books were worth their extra effort.
I was shocked. Not only was the expectation of reading a stack of books out of whack for a student with dyslexia, but the books she pulled
Then I stumbled upon a simple observation that
out of her bag were for elementary school
gave me an idea—and lots of hope.
students; Diary of a Wimpy Kid? Love
It all started when I hired a colleague of mine, Meg, to work with my dyslexic son on his writing the summer before he entered high school. Like any good writing teacher, his summer tutor understood the intimate connection between reading and writing. Meg arrived at our home loaded down by bags of books and full of lots of questions. She immediately launched into a detailed interview of my son to determine what kinds of things he liked to read. “I thought we were going to work on my writing?” my son inquired as politely as he could. Meg explained that before they started to work
that Dog? A stack of simple picture books? What in the world was she thinking? I could already anticipate my son’s surly and dismissive reaction once his tutor left us alone. After all, he was entering high school in two months and he needed to learn how to improve his writing skills, not waste his precious time revisiting children’s books. After Meg left, my son quietly lugged the stack of books upstairs without complaint. I kept quiet. The next day he announced that he had finished the books, “Done. They were really easy.” That’s all.
on his writing, she wanted him to think about
Meg came back a few days later. Again, she had
what kinds of writers he liked to read. This would
more books and questions for my son. When
help him develop his own voice as a writer.
she asked him what he thought of the books
He was immediately stumped. Writers he liked? Favorite books? Reading books was something he had to do for school. It certainly was not
she had lent him, he offered pretty detailed and thoughtful responses. In fact, he sounded more like a professional book critic than a kid
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who never read unassigned books. Who knew? Then Meg asked him if he knew any comedic writers that he would like to read over the summer. Yes, in fact he did: David Sedaris. His dad had read him some short stories from The New Yorker. My son’s next assignment was to look through all of our back issues of The New Yorker and read as much David Sedaris as possible before the next week. From picture books to The New Yorker in one short week? I privately winced and waited for her to leave. Again, I was sure that my son would complain that Meg’s expectations were out of line. But no. Meg left, and once again he headed upstairs to do his summer homework. This time when I walked by his open door, he was busy reading on his bed surrounded by a mess of old magazines. He continued to read and read The New Yorker over the next few days before she returned for their next meeting. This time his opinions about David Sedaris’s short stories were very clear and strong. He knew which stories worked for him, and which stories he thought were weaker. He could also explain why. My dyslexic critic was now thoughtfully analyzing The New Yorker. I had to think about this. I was witnessing a change so profound and rapid in my son that it made me wonder how I could co-opt this magic for the dyslexic and struggling readers in my own class. I could tell by my conversations with Meg that she didn’t fully
understand herself what she saw happening
When I introduced my class library in the fall,
with him. I was going to have to use my
I planned to sell my students very compelling
“teacher knowledge” and my mother instincts to deconstruct this transformation. My initial, albeit depressing, hunch was that my son hadn’t finished many books on his own before.
but easy books. In fact, I decided to hide all the harder books in a secret cupboard in the room and fill the newly freed space with the easier titles. I read dozens and dozens of easy middle reader
With so much pressure to have the appropriate
fiction books that summer so I would know
title in his hand during quiet reading time at school,
the material and be able to make successful
he was probably engaged in a lot of posturing.
recommendations to the students. I then
I could easily imagine him worried that his peers
scoured used books stores and garage sales
and teachers might think his books immature.
so that our class library would be appropriately
He had most likely been wasting a lot of time
stocked when my students arrived back to school.
faking engagement with the wrong books. If my hunch was correct, it was likely that he rarely got to the end of many stories. How does one ever develop a passion for reading if one never finishes a story? Stories are written to be read: beginning, middle, and end. If an interruption is always taking place, no appreciation for the architecture of a story can be developed. I wouldn’t love reading either if I was always reading books that I could never finish.
It worked. It worked almost immediately. Of course, I never called them easy books when I introduced my favorites to the class. Instead, I just reset the expectations in the classroom by focusing on a different kind of book. The books I chose to talk about were fun enough to engage the most sophisticated readers in the room, but easy enough to finish quickly. The students went nuts for my selections. Some were graphic novels;
My first mission: I must get my students to read
others were poetic prose; many were simply
easier books.
well-written short books. My students couldn’t
But how does one get students to read easier books in a culture where one’s academic stock
believe that reading could be so accessible, so enjoyable.
is directly determined by the reading level of the
Students started to beg for quiet reading time.
book in one’s hands? I had to figure out a wayto
They asked to bring the class books home with
lure my students to the appropriate level of book.
them. They began shared our books with friends
I decided to try an experiment. It consisted of encouraging everyone in my class to “read down.”
in some of the other classrooms. They made waitlists for the most popular titles.
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What had initially started out as an experiment to get my struggling readers to enjoy books had turned my entire class into a culture of passionate readers
Kyle Redford Mother & Educator
They solicited additional suggestions of books
liked in a story, and the more they practiced
by their new favorite authors. They talked about
talking about books, the better they got at
books with their friends. They started visiting
explaining their opinions. There was no more
bookstores and libraries. They donated new books
false puffery associated with the difficulty level
to our class shelves. I had never seen anything
of their books. The new, more relevant questions
like it. In fact, as a teacher, I realized that I had
were, “Is the book any good?” and, “Do you
started to spend much of my instructional time
think I would like it?”
talking to students about what their next book should be and what they thought of their last. Reading had acquired an urgency that it never had before.
Later, I slipped the more difficult books back onto our shelves. All the students were making rapid progress with their reading, their reading appetites were growing, and literary curiosity in
What had initially started out as an experiment
the classroom was exploding. Our class library
to get my struggling readers to enjoy books had
now offered a little something for everyone.
turned my entire classroom into a culture of passionate readers. My assumptions and behaviors as a teacher also changed. I completely rethought how I talked about books in my class, and I kept current on all the newly released titles. The kids started to talk to each other about books. As aclass, we spent more and more time reading and talking about what we read. My struggling readers were equals in these conversations. They knew as well as their peers what they
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LET IT PLAY Steinweiss
MUSIC MAN Alex Steinweiss
Alex Steinweiss has a massive body of design
Steinweiss’s first cover, for a collection of
work that spans several different media.
Rodgers and Hart songs performed by an
Some of his clients have included the U.S.
orchestra, showed a high-contrast photo
Navy, PRINT, Fortune and Columbia Records.
of a theater marquee with the title in lights.
However, he is most recognized for inventing
The new packaging concept was a success.
the modern album cover and much of his
Newsweek reported that sales of Bruno
work lies in the poster-like images that he
Walter’s recording of Beethoven’s Eroica
created while he was an art director at
symphony increased ninefold when the
Columbia Records. Before Steinweiss the
album cover was illustrated.
only album covers that existed were brown paper wrappers that served to protect the album you had just purchased. His idea to create artwork to entice the buyer to purchase the album was an instant success. From 1939 to 1945 he designed record covers for Columbia, during which time he turned out hundreds of distinct designs. After 1945 he began working for other clients including several other record companies and in 1974 he retired to Florida to paint and work on occasional commissioned pieces.
“It was such a simple idea, really, that an image would become attached to a piece of music,” said Paula Scher, who designed record covers for Columbia in the 1970s and is now a partner in the design company Pentagram. “When you look at your music collection today on your iPod, you are looking at Alex Steinweiss’s big idea.”
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AUDITORY AIDS How Sound Can Save the Day
Steinweiss made use of auditory learning to take
contact with the material allowing them to catch
in information from a song and then applied
things they may have missed the first time around.
visual learning to express the message of the
Every student in your classroom benefits from
song in a way that could be easily understood
the additional presentation of the material.
by the viewer. By using visuals to represent the song on his album art, he made the music enticing to a passerby, ultimately creating more purchases. The whole idea and execution of album art involves multiple forms of learning that help the viewer get a sense of the content. Visual, auditory, and written learning styles are in play when a person comes in contact with an album cover, or a more modern day digital album art cover. The need for multiple forms of communication is necessary because a passerby doesn’t have the leisure to listen to the album in its entirety, and having multiple ways to understand the music reaches a larger audience. When presenting information to your dyslexic students, you should consider the advantages in an auditory presentation of the information. A dyslexic student’s first true struggle is reading the words accurately. Consider this; you give out an article you want your students to read. You give your students some time to digest the material and then follow up the independent reading time with an audio recording of the article. Maybe it’s your voice, perhaps one already exists. You play that recording, and your dyslexic students have an additional form of communication to aid in their understanding of the material and your non-dyslexic students have a chance for further
In addition to incorporating auditory material into your classroom, breaking down the information with your student’s aids in reading comprehension. Most of the time a dyslexic’s second struggle comes in understanding the words they’re reading. Presenting the article in written form followed by an auditory form is a crucial step in dyslexic students gaining a better understanding. Dividing a body of text into smaller sections and talking them through with your students allows every student, specifically dyslexic students, to have a clear and accurate understing of the information presented and ensures that all students are provided a learning method that suits them best.
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IMPROVE READING COMPREHENSION
Have them read aloud.
Supplement class reading.
This forces them to go slower, which gives them
If your students class is studying a particular
more time to process what they read, which
theme, look for easy-to-read books or magazines
improves reading comprehension. Plus, they are
on the topic. Some prior knowledge will help them
not only seeing the words, they’re hearing them
make their way through tougher classroom texts
too. You can also take turns reading aloud.
and promote reading comprehension.
Provide the right kinds of books.
Talk about what they’re reading.
Make sure your students get lots of practice reading
This verbal processing helps your student think
books that aren't too hard. They should recognize
and remember through the themes of the book.
at least 90 percent of the words without any help.
Ask questions before, during, and after a session
Stopping any more often than that to figure out
to encourage reading comprehension.
a word makes it tough for them to focus on the overall meaning of the story. Reread to build fluency. To gain meaning from text and encourage reading comprehension, your student needs to read quickly and smoothly— a skill known as fluency. Rereading familiar, simple books gives your student practice at decoding words quickly, so she'll become more fluent in her reading comprehension. Talk to the them. If your student is struggling mightily with reading comprehension, they may need more help with their reading — for example, work onbuilding their vocabulary or practicing phonics skills.
For example: Before: "What interests you about this book? What does not interest you?" During: "What's going on in the book? Is it turning out the way you thought it would? What do you think will happen next?" After: "Can you summarize the book? What did you like about it? What other books does it remind you of?"
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One must obtain not just literacy, but deep involvement and re-understanding
Charles Eames Mid-Century Designer
12 TID ADD ARTISTIC FLAIR
GO INTO DETAIL Kids with reading difficulties may need help
For some kids, remembering a sight word is
when it comes to noticing all the details in a
easier if they connect it to a picture. Here’s
new word—especially when the word has an
one way to do it:
unusual spelling. Take ‘through’, for example.
Write a word on two sides of an index card.
Teach your child by first showing her the word
On one side, you or your student can draw
and then reading it out loud. Next, ask them
a picture right into the word. Introduce the
to say the letters in the word. Ask what
practice words using the illustrated side of
vowels they see. What letters do they see at
the index cards. When your student begins
the beginning, middle and end of the word? This will help them analyze the word and process it in detail.
CREATE A MEMORY AID Sometimes kids can find a trick to help them remember troublesome words. These memory aids are called mnemonics. Your student might come up with a rhyme that includes the word, or something she associates with that word. They can also try making up a phrase that spells out the word. Let’s say they’re struggling to remember they. They might come up with the mnemonic, “They Eat Yams.”
to read these words quickly and easily, switch to the “print only” side of the card.
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BITS TAKE A MENTAL PICTURE Ask your student to get a good look at the word, and try to “take a picture of it” and keep it in their mind. Then take the card away. Ask them to tell you what letters they see in
USE DIFFERENT SENSES
their mind. Ask what letter they sees first, second and last, or what vowel(s) they see in the word. Practicing visualizing can help kids remember, read and spell new words.
GRAB A PENCIL
Research shows that kids with dyslexia learn
After your student has practiced reading and
best when they engage many senses. Activate
air-writing target sight words, they can try
your student’s sense of touch by having them
spelling them on paper. Have them copy them
trace letters on lists of sight words with their
from their flashcard or word list first. Then they
finger. Or cut the letters out of sandpaper and
can try writing it out without looking.
have them trace the scratchy surface while saying the letter names and then the word.
You can also have them write the word a few times on a chalkboard while saying the letters
Get them moving by having them “write” the
and then the word. Or write the word on paper
word in the air with their pointer and middle
a few times each day. They should practice
fingers as they says it out loud. Younger kids
target words until they can consistently spell
might enjoy writing the words in sand or
them without looking.
shaving cream.
EXPLORE WORD HISTORY
DO A WORD SEARCH
There’s usually a reason behind the spelling
Have your student pick out the words they’re
of words we can’t sound out. Did you know
practicing in school in books they have.
there’s a rule that English words can’t end
This will help increase their awareness of
in “v”? That’s why words like “give” and
how frequently these words are used. It will
“have” are spelled with a silent e. Or take
also help them be on the lookout for these
the word knife. It comes from the Old Norse
words in daily reading. After they picks out
word knife and the k used to be pronounced.
sight words, read the book together and
Checking out a word’s history can teach kids why it’s spelled so strangely. It can also help them learn word meanings. Increasing word knowledge can help kids recognize sight words more quickly.
MAKE A WORD WALL Create a space to display the words your child has mastered. You can use butcher paper your child decorates and then hang it up where your student can see it. Then they can refer to it for assignments and spelling practice. You can write the words directly on the paper or have your child tape their flashcards to it. This is a great way to show your child how their word knowledge is growing.
give them positive feedback when they reads target words correctly.
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MAKE TIME FOR FUN Sight-word practice can actually be fun. Try to change things up by playing wordmatching games like concentration. Go fish, tic-tac-toe, hangman and bingo also work well. It’s easy to make game materials on
TAG TEAM WITH PARENTS
your own, and Pinterest is a great source for new game ideas. There are also many learning games and apps that let kids practice sight words.
KEEP IT SIMPLE
Be sure you communicate with the students
Introduce one word at a time every day or
parents to keep them up to date with the
two until you have about 10 new words to
current sight word list. When you and the
practice at a time. Add one new word for
parents work as a team, your student will
each word your child masters. This will help
get a double dose of practice—something
keep learning goal manageable. They’ll be
struggling readers need. It will keep your
more likely to succeed, and that may give
student focused on a single set of words
them the motivation to practice!
at a time, which can build confidence and increase her chances for success.
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HANG IT UP Sutnar, Beall, & Nitsche
POSTER CHILDREN Ladislav Sutnar, Lester Beall, & Erik Nitsche
Sutnar, a Czech designer born in 1897, was one
Lester Beall, man with a very technology-
Erik Nitsche left an unmistakable mark on
of the first designers to actively practice the
oriented background, grew up playing with
the world of design in his approximately
field of information design. His work was
Ham radios and creating his own wireless sets.
60 year career. Leaving almost no field
rooted in rationality and the process of
He graduated with a Ph.D in the History of
untouched, he worked as an art director,
displaying massive amounts of information
Fine Art and the years following his graduation
book designer, illustrator, typographer,
in a clear and organized manner for easy
found him expressing an interest in modern
graphic designer, photographer, advertiser,
consumption by the general viewer. He placed
art movements such as Surrealism,
and packaging designer. His graphic design
a heavy emphasis on typography and primarily
Constructivism and Dadaism. His work as
work included magazine covers, signage,
used a limited color palette. While he often
an advertiser and graphic designer quickly
film exhibitions, posters and many other
used punctuation symbols to help organize
gained international recognition and the
advertising mediums. Before emigrating to
information one of his signature creations
most productive years of his career, during
the United States in 1934 Nitsche studied at
was the idea to place parentheses around the
the 1930s and 40s, saw many successes in
the Collège Classique in Switzerland and the
area codes in telephone books. For nearly 20
both fields. His clear and concise use of
Kunstgewerbeschule in Munich. His work has
years he served as the art director for Sweet's
typography was highly praised both in the
a distinctly modernist aesthetic and although
catalog services where he created information
United States and abroad. Throughout his
he never had the opportunity to attend the
graphics and catalog layouts for a wide range
career he used bold primary colors and
Bauhaus Laszlo Moholy-Nagy has been quoted
of manufactured items. Before working for
illustrative arrows and lines in a graphic style
as saying, “Who is this guy that is doing
Sweet's he taught at the State School of
that became easily recognizable as his own.
the Bauhaus in New York?� He designed
Graphic Arts in Prague. He was heavily
He eventually moved to rural New York and
promotional and advertising campaigns for
influenced by the ideas of Modernism and
set up an office, and home, at a premises that
a host of different clients including department
his work was so well structured that he had
he and his family called "Dumbarton Farm".
stores, feature films, record companies and the
no problems communicating information
He remained at the farm until his death in 1969.
New York Transit Authority. Nitsche greatly
clearly to an American audience, even though
influenced the young generation of designers
English was not his primary language.
in America in the mid-20th century including the legendary designers Walter Bernard and Seymour Chwast.
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LOOK AT ME NOW Working Visual Aids Into Your Classroom
Drawings and symbolic imagery have been
comprehension style. They can meditate on it
around since the Paleolithic period. During the
and gain a better understanding that would not
Industrial Revolution, we see a spike in visual
be accessible through written material alone.
communication by way of the poster. This is due to more populated cities as well as the ability to mass produce materials with the newly engineered printing press. When Mid-Century Modern design came to fruition, the purpose and effectiveness of the poster were used by Suntar, Beall, and Nitsche in different, but still effective ways. Pairing text with visuals, letting a small amount of text stand alone, or by making graphic posters that had a limited amount of text, these designers knew what practical visual design was. Visuals spark interest in viewers because it is visually appealing as well as capable of telling a story with little to no words. It’s a still frame that tells a story, explains an idea, and connects the viewer with the subject matter. The power visual graphics have does not change when they are transferred to the classroom. Images and graphics tend to be easier to digest in a glance but also allow the viewer a chance to infer upon the message being expressed, causing them to question meanings independently. While some dyslexic students get discouraged by larger bodies of text, a poster or image that visually explains a concept gives them a clearer avenue for understanding. Visual aids also allow dyslexics and visual learners a chance to think more deeply about the material because it is in a format that makes more sense to their
If you are asking your students to write a paper and you want a particular type size, margin size, and header you handout an assignment outline. To take a step further show an example of how the assignment should look when completed. This provides dyslexic students, as well as any other student, a chance to better understand the assignment.
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57
TEACHING WITH VISUALS Students Respond to Images
by Suzie Boss
Dan Meyer knows that textbook-driven teaching
He got things going by posting high-resolution
has not served his students well. That is why
close-ups of two license plates: one from Costa
they wind up taking remedial algebra with him
Rica and one from California. His post asked
in ninth grade. "They either need more time
educators to answer the seemingly simple
on content, or they've really been burned by
question "What can you do with this?"
traditional math instruction," says the teacher from San Lorenzo Valley High School, near Santa Cruz, California. For Meyer, now in his fifth year of teaching, a
In kicking off his challenge to his colleagues, Meyer deliberately kept instructions to a bare minimum. He told readers only two things: (1) He would post their image or video without
light bulb moment happened three years ago
any type of elaboration. (2) He predicted their
when he acquired a projector for his classroom.
collaborative ideas for using the particular media
"That gave me a way to put up a full-screen image
would be "superior to the one I originally imagined."
really fast," he explains. "I could toss up visuals cheaply and quickly." Meyer, who has a personal interest in graphic design and filmmaking, started looking for high-interest visuals that would help promote classroom conversation about related math concepts. "It was like a dam broke. Before that, I didn't think about finding visuals for the classroom," he says. "Now, I'm walking around daily, thinking about it. I walk around with a digital camera on my phone. As I become more acquainted with my subject matter and more enthusiastic about it, I see examples of it everywhere. And the examples are 100 percent of the time better than what my textbook would have me use to introduce a topic." Plenty of teachers agree. Meyer writes a popular
Responses were dazzling in both their display of teacher creativity and range of subjects addressed. Teachers came up with lesson ideas for teaching everything from permutations to air quality to social justice, all based on two snapshots of license plates. "We have educators with a lot of creativity that they need to express," Meyer notes. The very nature of blogs may encourage some of this innovation. Because readers can see all the other comments, they have to push beyond the most obvious suggestions to come up with an original idea. "It almost forces commenters to get into more distant lands," Meyer surmises. One reader even compared the wisdom-ofthe-crowds activity with lesson study. In the end, the "What Can You Do With This?" brainstorming
education blog called dy/dan. There, he has
activity proved so successful that Meyer has
generated a robust online conversation about
made it an ongoing series on his blog.
integrating visuals into lesson planning.
59
Meanwhile, he continues to look for new images to share with his own students. "These are students who have had lecture-based math for so long without success," he points out. "I have to innovate. I absolutely have to use visuals, use video clips, use the world around them as much as possible." He suspests the real challenge in developing more creative teaching methods is not time. Rather, "It's imagination. It's creativity. It's developing enthusiasm for your subject and then looking for it everywhere."
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SPELL IT OUT Thompson & Frutiger
MASTERS OF TYPE Bradbury Thompson & Adrian Frutiger
Bradbury Thompson was truly a master of
Adrian Frutiger has created some of the most
almost every aspect of the design profession.
used typefaces of the 20th and 21st century.
He studied printing production, was an art
Although interested in many fields including
director for Mademoiselle magazine,
woodcut and paper silhouettes, Frutiger has
designed books, pushed the boundaries of
been passionate about typography for his
conventional typography and taught design
entire life. Spending most of his career working
at Yale University. He designed 60+ issues
for Deberny & Peignot updating typefaces
of Westvaco Inspirations for the Westvaco
and preparing them for photo-typesetting,
Paper Corporation. His designs reached
as well as designing typefaces of his own
thousands of designers, printers and
accord, he has created almost 30 typefaces.
typographers alike. Born in 1911 in Topeka,
Some of his most famous typefaces include
Kansas and educated at Washburn University
Univers, Frutiger (created for the Charles de
Thompson stayed in touch with the university
Gaulle airport), Égyptienne, Serifa, and Avenir.
throughout his career. From 1969-1979
Frutiger is one of only a few typographers
Thompson worked together with Washburn
whose career spans across hot metal,
to create the Washburn Bible. The book
photographic and digital typesetting. He has
was the most significant development in
also been instrumental in refining his own
Bible typography since Gutenberg first
typefaces to include more weights and true
published his masterpiece in 1455. Another
italics, some examples are Frutiger Next and
significant point in his career,in the field of
Avenir Next.
typography, was his publication of Alphabet 26, which was labeled as a monoalphabet. It contained only 26 unique characters, case was established by size only instead of entirely new characters (i.e. r/R, e/E, a/A). Thompson's work garnered him the highest award of every major design organization including AIGA, the Art Directors Club and the Type Directors Club. He died in 1995.
63
NEW WRITTEN LANGUAGE Give Your Letterforms a Facelift
Written language is the primary form of
Dyslexic students are left behind many times
communication besides of verbal and impossible
simply because they have trouble deciphering
to get away from in the classroom. And by no
letters and words more than the student who
means does the promotion of visual aids diminish
does not have dyslexia. Using clear typefaces in
the need for dyslexic students to read, write,
presentations and written materials can help
and comprehend words. However, it is the
students struggling with deciphering text.
educator’s responsibility to present textual information in the clearest, easiest way for all students to understand. This means choosing typefaces, font sizes, and letter spacing that is clearly understood and comprehended by dyslexic students. Mid-Century Modern design emphasizes the value of clear, legible type. Mid-Century Designer Bradbury Thompson, seeing his son struggle with reading at a young age, designed Alphabet 26 to assist in reading comprehension. His “Alphabet” combined upper and lower case letters into a single twenty six character typeface so early readers would not have to memorize two different characters for the same letter. The cases, upper and lower, are defined only by the size of each letter rather than using different symbols for the two cases. Another Mid-Century designer Adrian Frutiger designed over 30 typefaces that explored readability and clarity for the viewer. Knowing that written material is inevitable, it is necessary to have practical ways to enhance readability for your students. The way legibility and clarity of text manifests in Mid-Century Modern design can help the educator in the classroom.
One particular application you can utilize to help dyslexic students get the most from the text is to use a typeface specifically designed for them. A contemporary designer, Christian Boer, took Mid-Century Modern principles of clarity and readability in efforts to help students with dyslexia and created a unique typeface for educators to utilize in the classroom. Each character of the typeface has weighted bottoms, uniquely slanted so that they each fit each other, bolder uppercase, all so that the letters are harder to flip or rotate in the dyslexic’s mind, making it easier for him or her to absorb and process presented information. The typeface is called Dyslexie and can be purchased and used for personal use as well as by a school or institution.
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67
CHRISTIAN BOER DESIGNS TYPEFACE FOR READERS WITH DYSLEXIA
by Dan Howarth
Although it looks like a traditional typeface,
Lengthened ascenders and descenders—the
Dyslexie by Christian Boer is designed specifically
portions of the characters that stretch beyond
for people with dyslexia—a neurological disorder
the two main horizontal guides—also makes them
that causes a disconnect between language and
easier to tell apart.
visual processing making it difficult for the brain to process text. Dyslexia is estimated to affect ten percent of the world's population, according to UK charity Dyslexia Action. "When they're reading, people with dyslexia often unconsciously switch, rotate and mirror letters in their minds," said Boer, who is dyslexic himself. "Traditional typefaces make this worse, because they base some letter designs on others, inadvertently creating 'twin letters' for people with dyslexia."
Letters that usually appear similar are subtly italicised and have added tails where possible, so they no longer look alike and pose less risk of the reader mirroring them. Boer has also added larger spaces between letters and words, as well as bold capitals and punctuation marks so the start and end of sentences can be better differentiated. "By changing the shape of the characters so that each is distinctly unique, the letters will no longer match one another when rotated,
The 26 letters in the Roman alphabet are
flipped or mirrored," Boer said. "Bolder capitals
commonly derived from a set of vertical,
and punctuation will ensure that users don't
horizontal, diagonal and rounded strokes.
accidentally read into the beginning of the
These abstract forms are usually replicated for
next sentence."
neatness and consistency across a typeface. This means the letters become more similar, making it harder for dyslexics to distinguish between them. For example in Swiss typeface Helvetica, the letter "n" is used upside down as a "u", "d" is a back to front "b", and "q" is a mirrored "p". In Boer's typeface, the letters are designed with heavier bottom portions to prevent the reader's mind from turning them upside down.
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71
IN YOUR CLASSROOM Assistive Tools & Technologies
ASSISSTIVE TOOLS & TECHNOLOGIES Take Home Tools & Downloadables
Voice Dream Apps
Eye to Eye
Voice Dream Reader and Writer are voice-based
Eye to Eye is a national mentoring service that
apps for people who prefer to listen. This app
connects kids with learning dysabilities to college
assists those with reading disabilities such as
or high school level students who have been
dyslexia and ADD/ADHD, blindness, low vision,
similarly labeled. This provides the opportunity
and anyone who needs some assistance reading
for your dyslexic students to meet and learn from
and writing would benefit from this app.
older students who are dealing with the same issues they do. eyetoeyenational.org
Voice Dream Writer is a professional proofreader. It helps everyone write better with these features: text-to-speech proofreading reduces mistakes, and phonetic and meaning search helps one use the right words.
Voice Dream Reader allow one to read with their ears! It will read aloud articles, documents, and books. Voice Dream Reader uses highly advanced text-to-speech and can be adjusted to cater to every reading style and level. Voice Dream Suite is available for purchase if one would benefit from both these app. voicedream.com
73
Dyslexie
Pen Tools
On this website, you can purchase and download
Smart pens record lectures, convert handwritten
the Dyslexie typeface for your classroom use.
notes to a digital format and allow for easy access
You can also find other resources such as books
to recorded information. The recorded material can
that use Dyslexie and apps that make learning for
be accessed through playback on the pen itself,
a dyslexic student easy and fun. dyslexiefont.com
apps on tablets, or computer programs where notes can then be played back, edited, and stored for later. These pens would allow dyslexic students to see and hear the information they need. toptenreviews.com
Audio Books Audible, while not specifically directed towards dyslexics, provides an alternative way to read. It has thousands of audio books and podcasts in a number of different genres. Your students can access the site on a device through the app or on the school or home computer. audible.com
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Cover
By GreatSchools Staff
Image: Rue Lawrence at New Trier High School
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Time To Reach
Kunhardt, Philip B. Life Smiles Back. New York:
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Simon and Schuster, 1988. 164. Print. Image: Clinical Gadgets! Flic.kr Article: Understanding Learning Styles Based on the Vark Learning System schooltutoring.com Quote: Dav Pikey, Author of Captain Underpants
Understanding The Problem Image: Jan Lindqvist, Extenuating Circumstances Kunhardt, Philip B. Life Smiles Back. New York: Simon and Schuster, 1988. 148. Print. Article: Dyslexia and the Brain: What Does Current Research Tell Us? By Roxanne F. Hudson, Leslie High, and Stephanie Al Otaiba ldonline.org Image: I Can See You, But You Can’t See Me Photographing Children. New York, NY: TimeLife, 1971. 133. Print. Quote: Eames, Charles, Carla Hartman, and Eames Demetrios. 100 Quotes by Charles Eames. Santa Monica, CA: Eames Office, 2007. 75. Print.
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75
Image: Werner J. Scheer, Feet That
Look Back & Go Forward
Come In Handy
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New York: Simon and Schuster, 1988. 68. Print.
Life, 1971. 139. Print.
Image: Charles Laffin, Helping Hands
Image: Demetrios Eames, Charles and Ray
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Eames: Self-Portrait
New York: Simon and Schuster, 1988. 213. Print.
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In The Classroom
Credits Image: Dorothea Lange, Kern County, California
Image: Muscle Beach
Photographing Children. New York, NY: Time-
Photographing Children. New York, NY: Time-
Life, 1971. 74. Print.
Life, 1971. 155. Print.
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Simon and Schuster, 1988. 64. Print.
Image:Voice Dream Reader Icon
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Time-Life, 1971. 131. Print.
Link: Eye to Eye eyetoeyenational.org
Back Cover
Image: Eye to Eye Logo
Image: Marvin Kreisman, Dubious Forecasts
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Kunhardt, Philip B. Life Smiles Back. New York: Simon and Schuster, 1988. 55. Print. Image: Barcode blogspot.com
CREDITS Brought to You by Our Maxed Out Library Cards
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