Picture books
…“and what is the use of a book,” thought Alice, “without pictures or conversations in it?”
(from Alice’s Adventures in Wonderland
by Lewis Carroll)
Adapted from Dr. Chi-Fen Emily Chen National Kaohsiung First University of Science & Technology, Taiwan
Overview of Picturebooks
The term “picture books” is normally applied to the books
that tell the story predominantly through pictures, with
a few lines of supporting text.
Illustrations in picture storybooks are integral to the story,
providing actual plot or concept information as well as
clues to character traits, settings, and moods.
Picture storybooks are usually intended to be read by
children aged 3-8.
A children’s picture storybook usually comes in the form of
32 pages.
LINES
Madeline by
Ludwig
Bemelmans
(1939)
Lines
Lines define
objects, but
lines can also
suggest
movement,
distance, and
even feeling.
The Whales’ Song written by Dyan Sheldon and
illustrated by Gary Blythe (1990)
Lines
Curves and circular lines suggest warmth, coziness,
and security.
The Tale of Peter Rabbit by Beatrix Potter
(1902)
Lines
Diagonal and zigzagging lines suggest action,
excitement and rapid movement.
Madeline
by Ludwig
Bemelman
s (1939)
Lines
Horizontal lines
suggest calm and
stability.
Vertical lines
suggest height and
distance.
Millions of Cats by Wanda Gag
(1928)
Space
The Giving Tree by Shel Silverstein (1964)
Space
Space is actually what draws
our attention to objects on
the page.
The generous use of space
in a picture suggests quiet
serenity, but it may also imply
emptiness, loneliness, or
isolation.
Space can also create the
illusion of distance.
Space
The lack of open space on a
page may contribute to a
claustrophobic or uneasy
feeling or perhaps confusion
or chaos.
SHAPE
Millions of Cats by Wanda Gag
(1928)
Shape
Shapes can be evaluated
for their simplicity or
complexity, their
rigidity (as in
geometric shapes),
and their size.
Rounded shapes may
suggest comfort,
security, stability,
and softness.
Madeline by Ludwig Bemelmans (1939)
Shape
Squarish, angular
shapes may elicit
more excitable
responses,
agitation, alarm,
and confusion.
The bigger a shape is
in the picture, the
more important it
is
Harold and the Purple
Crayon
by Crockett Johnson
(1955)
Color
(1989)
Color
Color is one of the most emotionally
evocative of artistic elements.
Red and yellow (warm or hot colors):
suggesting excitement, warmth,
happiness. However, red can also
signify danger or boldness, and yellow
cowardice or cheerfulness.
Blue and green (cool or cold colors):
suggesting calm or quiet. However,
blue can also signify soothing or
melancholy, and green envy or illness
but also life and renewal.
Colors are used to suggest cultural
distinctions (e.g., white is a color of
mourning and brides often wear red in
Asia).
The use of black and white remains
popular. Children seem to enjoy black
and white just as much as color.
Goodnight Moon written by Margaret Wise
Brown and illustrated by Clement Hurd (1947)
Goodnight Moon written by Margaret Wise
Brown and illustrated by Clement Hurd (1947)
Goodnight Moon written by Margaret Wise
Brown and illustrated by Clement Hurd (1947)
Color
When Sophie Gets Angry---Really,
Mr. Gumpy’s Outing by John Burningham (1970) Really Angry
Texture
Texture refers to the
impression of how a pictured
object feels. It gives a flat
surface the characteristics of
a three-dimensional surface.
Textual effects generally offer
a greater sense of reality to
a picture.
Less realistic styles may
make use of texture to enrich
the visual experience and to
stimulate the viewer’s
imagination.
Texture is achieved through
the skillful use of the medium
– paint layers, brush strokes,
pencil marks, and so on. Where the Wild Things Are by Maurice
Sendak (1963)
Texture
Composition
The composition of an
illustration refers to the
arrangement of the visual
elements in the picture.
Composition is important to the
narrative quality of the picture as
well as to its emotional impact.
A very important concern of
composition is the organization
of the shapes. Grouping many
large shapes may suggest
stability, enclosure, or
confinement, or perhaps
awkwardness.
Zathura by Chris Van Allsburg (2002)
Composition
On the other
hand, lighter,
delicate
shapes more
loosely
grouped may
suggest
movement,
grace, and
freedom.
The Snowy Day by Ezra Jack Keats
(1962)
Perspective
George Shrinks by William Joyce (1985)
Perspective
The perspective refers to the
vantage point from which we see
the object on the page. That is,
from what angle the picture is to be
viewed.
The closer we appear to be to the
action, the more engaged we are
likely to be. The farther away we
seem to be, the more detached we
are.
The artists make us see and think
about things in specific ways by
illustrating events from a worm’s-eye
view, a small child’s perspective, a
bird’s-eye view, or an unreal angle.
Most picture books give us the
“middle shot”. We see few close-
ups and few panoramic views.
Movement
Rhythm and
We’re Going on a Bear Hunt (1989)
Rhythm and Movement
Rhythm refers to “controlled
repetition in art”. Good picture-
book design creates a sense of
rhythm as we move from page to
page.
Rhythm is controlled in various
ways: by varying the size of the
images, by changing the
viewpoint, or by altering the
actual design of the image on
the page. These changes create
an ebb and flow and enhance
visual interest.
Illustrators need to decide when it
is necessary to speed up or slow
down actions through panning,
zooming, or close-ups.
Rhythm and Movement
We tend to identify most closely with
objects on the left since we read
books from left to right (Western texts).
Thus, protagonists typically appear on
the left and antagonists on the right.
The pictures create a starting and
stopping pattern for which the text
must accommodate. The movement is
not continually forward; rather, we look
at the pictures, then we read, then we
look at the pictures again.
Picture books are usually designed to
make a natural pause between the
turning of pages, so that some
tension is set up that invites readers to
turn the page.
The end
(1963)
(1969)
The Stinky
Cheese Man and
other Fairly
Stupid Tales
By Jon Scieszka
and Lane Smith
(1992)
(2002)
Daisy Comes Home by Jan Brett
(2002)
Zathura
by Chris Van
Allsburg
(2002)
Zathura
by Chris Van
Allsburg
(2002)
2005
Madeline by
Ludwig
Bemelmans
(1939)
Madeline by
Ludwig
Bemelmans
(1939)
A Chair for My Mother
by Vera B. Williams (1982)
A Chair for My Mother
by Vera B. Williams (1982)
(1997)
The First Starry Night by Joan Shaddox
Isom (1997)
Time of
Wonder
by Robert
McCloskey
(1957)
Time of Wonder by Robert McCloskey
(1957)
(1990)
The Whales’ Song written by Dyan
Sheldon and illustrated by Gary Blythe
(1990)
(1993)
Grandfathe
r’s Journey
by Allen Say
(1993)
Grandfathe
r’s Journey
by Allen Say
(1993)
(1997)
Willy the
Dreamer
by Anthony
Browne
(1997)
Willy the
Dreamer
by Anthony
Browne
(1997)
(1986)
Piggybook by Anthony Browne (1986)
(1974
)
Arrow to the
Sun
by by Gerald
McDermott
(1974)
(1975)
Why
Mosquitoes
Buss in
People’s Ears
(1975)
(1999)
Joseph Had a
Little Overcoat
by Simms
Taback (1999)
Summary
Picture books constitute an art form that has
become increasingly sophisticated.
Understanding the artist’s techniques and style
can enrich our appreciation of the work as adults
and help us to make wise book selections for
children.
Reading good picture books can foster in children
an acuity of vision and artistic sensitivity.
