Picture Storybooks

Types of Children’s Books
(A) Form
Picture books
Chapter books
Comic books
(graphic novels)
(B) Genre
Poetry
Prose
Fiction
Nonfiction

Genres of Children’s Literature

The Tale of Peter Rabbit by Beatrix Potter (1902)
Millions of Cats by Wanda Gág (1928)
Madeline by Ludwig Bemelamans (1939)
Make Way for Ducklings by Robert McCloskey (1941)
Goodnight Moon by Margaret Wise Brown and Clement Hurd (1947)
The Snowy Day by Ezra Jack Keats (1962)
Swimmy by Leo Lionni (1963)
Where The Wild Things Are by Maurice Sendak (1963)
The Giving Tree by Shel Silverstein (1964)
The Very Hungry Caterpillar by Eric Carle (1969)
Must-Read Picture Storybooks

Mr. Gumpy’s Outing by John Burningham (1971)
Leo the Late Bloomer by Robert Kraus and Jose Aruego (1971)
Why Mosquitoes Buzz in People's Ears by Verna Aardema & Diane Dillon (1975)
The Snowman by Raymond Briggs (1978)
The Polar Express by Chris Van Allsburg (1985)
We’re Going on a Bear Hunt by Michael Rosen & Helen Oxenbury (1989)
The True Story of the 3 Little Pigs by Jon Scieszka & Lane Smith (1989)
Seven Blind Mice by Ed Young (1992)
Guess How Much I Love You by Sam Bratney & Anita Jeram (1994)
Voices in the Park by Anthony Browne (1998)
Must-Read Picture Storybooks

Introduction to Picture Storybooks
The term “picture storybooks” 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.

…“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)
Children are more visually oriented than adults. Children need pictorial information to guide their response to verbal information (Piaget’s theory).
Pictures usually more obviously resemble the objects they represent than do spoken or written words. However, the resemblance is not necessarily apparent to all viewers.
Why do children need picture books?

Analyzing Picture Storybooks
Storytelling Elements
Artistic Elements
Design and Meaning
Artistic Media
Artistic Styles

Storytelling Elements
Plot
Character
Theme
Style
Tone

Storytelling Elements
Examples:
Mr. Gumpy’s Outing written and illustrated by John Burningham (1970)
We’re Going on a Bear Hunt written by Michael Rosen and illustrated by Helen Oxenbury (1989)
Guess How Much I Love You written by Sam Bratney and illustrated by Anita Jeram (1994)
Kitten’s First Full Moon written and illustrated by Kevin Henkes (2004)

Storytelling Elements
A. Plot
The plots of picture storybooks tend to be simple and fast-paced.
They often rely on repetitive patterns that are suited to the rhythmic nature of the picture-book design.
The illustrations often assist the development of plots in the storytelling.

Storytelling Elements
B. Character
Characterization in picture books is simple.
Characters tend to be identified by clearly outlined traits.
Protagonists are most often young children or animals.
Character motivation is usually singular.

Storytelling Elements
C. Theme
Picture-book themes tend to be sharply focused, i.e., a single them clearly dominates a book.
The range of themes in children’s picture books, however, is virtually unlimited.
The harsher themes are usually tempered by an atmosphere of hope at the end of the book
e.g., Granpa by John Burningham (1984)
Allison by Allen Say (1997)
Voices in the Park by Anthony Browne (1998)

Storytelling Elements
D. Style / Language
Words in picture books are carefully chosen and have to be very concise (picture books average about 2,000 words).
Many picture books rely heavily on dialogues, which can be great fun to read aloud.
They often contain refrains and repetitive patterns.
They often play with words and use different kinds of imagery, particularly visual and auditory images (e.g., onomatopoeia).

Storytelling Elements
E. Tone
Many picture books are comic in tone, sometimes joyfully slapstick, and sometimes the subtle, quiet humor.
Excitement and suspense are often found in picture storybooks.
Some picture books are serious and reflective.

Storytelling Elements
Examples (theme & tone):
Where the Wild Things Are by Maurice Sendak (1963)
The Giving Tree by Shel Silverstein (1964)
The True Story of the Three Little Pigs written by Jon Scieszka and illustrated by Lane Smith (1989)
Grandfather’s Journey by Allen Say (1994)
Voices in the Park by Anthony Browne (1998)

Artistic Elements
Line
Space
Shape
Color
Texture
Composition
Perspective

Artistic Elements
A. Line (I)
Lines define objects, but lines can also suggest movement, distance, and even feeling.

Artistic Elements
A. Line (II)
Curves and circular lines suggest warmth, coziness, and security.
The Tale of Peter Rabbit by Beatrix Potter (1902)

Artistic Elements
Diagonal and zigzagging lines suggest action, excitement and rapid movement.
Madeline
by Ludwig Bemelmans (1939)
A. Line (II)

Millions of Cats by Wanda Gag (1928)

Millions of Cats by Wanda Gag (1928)

Artistic Elements
A. Line (III)
Horizontal lines suggest calm and stability.
Vertical lines suggest height and distance.

Artistic Elements
B. Space
Space is actually what draws our attention to objects on the page.
The lack of open space on a page may contribute to a claustrophobic or uneasy feeling or perhaps confusion or chaos.
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.

No, David! by David Shannon (1998)

No, David! by David Shannon (1998)

The Giving Tree by Shel Silverstein (1964)

Artistic Elements
C. 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.
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.

Millions of Cats by Wanda Gag (1928)

Madeline by
Ludwig Bemelmans
(1939)

Harold and the Purple Crayon
by Crockett Johnson
(1955)

Artistic Elements
D. Color (1) : three key elements
Hue – classification of color
Value / Lightness – degree of brightness and darkness
Saturation – intensity of colors (100% is a pure color. 0% is a shade of gray).
The mood of a picture can be changed by using different hues, value, and saturation.

Artistic Elements
D. Color (2)
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.

Artistic Elements
D. Color (3)
Value describes the overall intensity or strength of the light. Darker values are usually associated with gloomier subjects, while lighter ones with happier subjects.
Saturation refers to the dominance of hue in the color. More saturated colors seem more vibrant, while less saturated ones seem more gentle.

(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)

Goodnight Moon written by Margaret Wise Brown and illustrated by Clement Hurd (1947)

(1989)

Lon Po Po
by Ed Young
(1989)

Mr. Gumpy’s Outing
by John Burningham (1970)

Mr. Gumpy’s Outing
by John Burningham (1970)

Artistic Elements
E. 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)

George Shrinks by William Joyce (1985)

(1991)

Artistic Elements
F. 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. On the other hand, lighter, delicate shapes more loosely grouped may suggest movement, grace, and freedom.

No, David!
by David Shannon
(1998)

No, David!
by David Shannon
(1998)

When Sophie Gets Angry---Really, Really Angry
Molly Bang (1999)

When Sophie Gets Angry---Really, Really Angry
Molly Bang (1999)

Artistic Elements
G. 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.

George Shrinks by William Joyce (1985)

George Shrinks by William Joyce (1985)

Willy and Hugh by Anthony Browne (1991)

Round Trip
by Ann Jonas
(1983)

Design and Meaning
Rhythm and Movement
Tension
Page Layout

Design and Meaning
A. Rhythm and Movement (1)
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.

Design and Meaning
A. Rhythm and Movement (2)
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.

We’re Going on a Bear Hunt (1989)

Design and Meaning
B. Tension
Good picture books create a tension between what the words say and what the illustrations depict, resulting in our heightened interest and excitement.
Words and pictures work together in picture storybooks. Without words, the pictures would make little sense. Without pictures, the meaning of the text would not be clear.
The narrative nature of picture books often prevents the individual pictures from functioning as artistically complete units in themselves, similar to that of cartoon strips.

Design and Meaning
C. Page Layout
Page layout refers to the placement of the pictures and the text on the page.
Most picture books are wider than they are high, which makes them especially suited to narrative illustration because this design gives the artist ample space to depict the setting around the characters, expanding the narrative quality of the pictures.
Medium-sized books are frequently more complex, whereas small books (easy to handle) and large books (eye-catching) are designed for very younger readers.
The size and placement of illustrations is not a random process, but rather a carefully conceived plan that carries out the overall intent of the book.

The Snowman by
Raymond Briggs
(1978)

The Snowman by
Raymond Briggs
(1978)

The Snowman by
Raymond Briggs
(1978)

The Man Who Walked Between the Towers
by Mordicai Gerstein
(2003)

Artistic Media
Painterly Techniques
Graphic Techniques
Photography
Composite Techniques

Artistic Media
Watercolors 水彩畫
Tempera 蛋彩畫
Gouache 粉彩畫
Acrylic paint 壓克力畫
Oil paint 油畫
Pastels 粉蠟筆畫
Chalk, pencil, and ink drawings 炭筆/鉛筆/針筆黑白或單色畫
A. Painterly Techniques

Artistic Media
Woodblocks / Woodcuts 木板印刷
Linocuts 膠版印刷
Stone lithography 石版印刷
Screen printing 絹版印刷
B. Graphic Techniques (Print-based media)

Artistic Media
The art of photography is the art of composition. The result is intellectually stimulating.
Photographs are principally for realistic stories.
Photographs can also be effective in informational books.
C. Photography

Artistic Media
Montage: the collection and assembling of a variety of different pictures or designs to create a single picture.
Collage: similar to montage but using materials other than or in addition to paper – string, fabrics, wallpapers, and other found materials. The medium of collage has long been prominent in children’s book illustration.
Examples:
The Snowy Day by Ezra Jack Keats (1962)
Swimmy by Leo Lionni (1963)
The Very Hungry Caterpillar by Eric Carle (1969) - website
D. Composite Techniques

The Snowy Day by Ezra Jack Keats (1962)

(1963)

(1969)

The Stinky Cheese Man and other Fairly Stupid Tales
By Jon Scieszka and Lane Smith
(1992)

Artistic Styles
Realism
Cartoon Art
Expressionism
Impressionism
Surrealism
Folk Art

Artistic Styles
A. Realism
Realistic or representational art portrays the world with faithful attention to lifelike detail. A few artists aim at almost photographic realism, but many prefer to approximate reality.
It is particularly suited to illustrate realistic stories with serious content or themes.

(2002)

Daisy Comes Home by Jan Brett (2002)

Zathura
by Chris Van Allsburg
(2002)

Zathura
by Chris Van Allsburg
(2002)

Artistic Styles
B. Cartoon Art
Cartoons consist of exaggerated caricatures that emphasize emotion and movement. They possess no subtlety, but are simple and straightforward.
They are often chosen to illustrate humorous stories, nonsense, and comical satire.

2005

Artistic Styles
C. Expressionism
Expressionistic art conveys an inner feeling or vision by distorting external reality.
Expressionism flourished in France toward the end of the 19th century. Painters such as Vincent van Gogh sought new freedom of expression, rejecting traditional uses of line, color, space, and so on.
The influence of expressionism is often found in children’s picture books in the form of distorted shapes and provocative use of color.
Expressionism is quite versatile and can be used to create fresh perspectives in both serious and humorous stories.

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)

Artistic Styles
D. Impressionism
Impressionistic art depicts natural appearances of objects by giving visual impressions with an emphasis on light. Color is the most distinctive feature of this style, especially the interplay of color and light, often created with splashes, speckles, or dots of paint (pointillism).
Impressionism is also a 19th century French movement. The most influential impressionists were Monet and Cezanne, who wished to convey more of the artist’s emotional responses in their paintings.
The effect is dreamlike, sometimes romantic or magical. It also evokes a quiet, pensive mood.

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)

Grandfather’s Journey
by Allen Say
(1993)

Grandfather’s Journey
by Allen Say
(1993)

Artistic Styles
E. Surrealism
Surrealistic art often presents incongruous dream and fantasy images. It creates unnatural juxtapositions and bizarre incongruities.
The most famous practitioner of surrealistic art was Dali. Surrealism is a very intellectual response to a subject.
The expressionist and the impressionist make us feel, but the surrealist makes us think.
It is suited to strange, unrealistic, or humorous stories.

(1997)

Willy the Dreamer
by Anthony Browne
(1997)

Willy the Dreamer
by Anthony Browne
(1997)

(1986)

Piggybook by Anthony Browne (1986)

Artistic Styles
F. Folk Art
Folk art is associated with a specific cultural or social group and is reminiscent of the style prevalent at the time the story events occurred.
It is usually decorative in nature, providing ornamentation for everyday utilitarian objects.
Since it is culturally specific, folk art is favored in illustrating folktales.

(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)