Picture
Books
Smith,
Lane. ((2011). It's
a book. New York: Roaring Brook.
It's a Book is
a picture book about monkey reading a book. Jackass comes along and wants
to know what he has, continually asking questions to see if the book can do all
the things that computers and digital media can do. Jackass finally take
the book and become totally engaged in reading and refuse to
return the book.
It’s a Book is a perfect
theme for today’s digital age children. They are growing up where electronics
take precedence over other types of entertainment. With its humor and
simple dialogue, It’s a Book shows kids that while Kindles, iPads and other
electronics are fun, a simple book can be quite engaging, as shown when donkey
refuses to give the book back to monkey.
Klassen,
John. (2012). This
is not my hat. Boston: Candlewick.
This is Not My Hat is
a picture book about a small fish who has taken a hat that does not belong to
him. He tries to justify his reasoning for taking the hat and believes he won't
be caught. But all along the large fish knew he took his hat and comes to get
it.
The storyline is a
simple one in This Is Not My Hat. It is a fresh take on the idea of not taking
things that are not ours. A little fish steals a small bowler hat that fits him
perfectly from a rather large, sleeping, fish. He tries to justify his
actions as he narrates the story about how he stole the hat, why, and where
he’s headed. The illustrations in the story help drive the plot by showing
exactly the opposite of what the little fish is narrating such as the large
fish opening his eyes as the small fish says “he won’t wake up” and “Nobody
will find me” while the illustrations continue on to show the big fish swimming
back to his resting place after retrieving his hat.
Sendark,
Maurice. (1963). Where
the wild things are. New York: Harper Collins.
In Where the
Wild Things Are, Max gets sent to his room without eating. His
rooms grows into a forest and he sails away to a far away land where he rules
the wild things. After a time, he realizes he is lonely and misses home, so
he sails back home to find dinner waiting for him, still warm.
Where the Wild Things
Are is an excellent demonstration of texture. It really helps give the
illustrations the sense of being three-dimensional. The textured details on the
tail on Max’s wolf outfit, the fur of the wild things, and even the grass
beneath their feet really come to life and enrich the reader’s experience. It
gives the reader the feeling like they could reach into Max’s world and feel
the coarseness of the bark or the sharpness of their claws.
Falconer,
I. (2009). Olivia.
New York: Atheneum.
Olivia tells
the story of a high-energy pig who is good at many things, including
wearing her mother out. The picture book shares a typical day and the things
that Olivia likes to do, such as trying on all of her clothes, going to the
beach and the museum, and all the mischief she can get into.
In Olivia, the story is
a unified balance of narration and illustration. The page is set up so that the
illustrations draw your eye, while the narration is balanced and symmetrical to
the pictures. The most dominant aspect is the color red because it is the only
vibrant color in the illustrations. It draws the reader’s eye to Olivia and
helps tell her story.
Munch, R. (2012). The
paper bag princess. New York: Annick Press.
The Paper Bag Princess is
a slightly different fairy tale. A dragon destroys everything that the princess
owns and steals her prince. The princess dons a paper bag and goes to rescue
her prince using cunning questions to outsmart the dragon. Her fiancé in turn
is disgusted by her appearance of a paper bag dress. The princess realizes she
doesn't need a prince.
In The Paper Bag
Princess, Munsch’s princess is a direct contrast to the way a fairy tale
princess is normally portrayed. The story begins as any normal fairy tale with
her living in a castle, with nice clothes and engaged to a prince. She loses
everything to a dragon, including her fiancé. As she goes to rescue her prince,
Munsch shows that a princess doesn't have to be a damsel in need, but can be
quick-witted, and cunning. Another twist of character is at the end of the
story when Ronald judges her appearance and paper bag outfit. The princess
realizes that she doesn’t need an ungrateful prince for a husband as do
the other classic princess characters in stories.
Brown, P. (2011). My teacher is a monster. New
York: Little, Brown Books for Young Readers.
Robert doesn't like his
teacher and thinks she's a monster because he is always in trouble at school.
During his free time, he meets Ms. Kirby in the park. Her hat blows off and
Robert offers to save it for her. They spend the day together doing each of
their favorite things. Robert comes to realize that Ms. Kirby isn't that bad.
My Teacher is a Monster
is an excellent example of the use of shape. There are many curved and rounded
shapes throughout the illustrations such as the pond, rocks, lily pads, the
teacher’s hat, and the speech bubbles. The most significant shape is the
teacher’s head. She begins the story as a monster with a really large head that
is partly curved and partly square. As the story progresses, the teacher’s head
shape changes as she becomes more friendly and she becomes more personified. By
the end of the story, the teacher’s head is small and round like the rest of
Robert’s classmates.
Wiener,
D. (2001). The
three pigs. New York: Clarion.
The Three Pigs starts
off as the typical tale of the three pigs, who run into the big bad
wolf, until they decide to break the norm. The three pigs jump out of
their story and go on an adventure. They make a paper airplane and fly through
the air, they slip in and out of other stories, meet other characters and bring
them along for the ride. They soon find their own tale again and decide
to live happily ever after with their new friends.
The Three Pigs uses its
unique illustrations to tell the story. Weisner uses several different
illustrations techniques and styles to transition from scene to scene, such as
cartoon, realistic art, watercolor, and pencil. The placement of the
pictures, or lack thereof, keep the pace of the story , as well as make a huge
impact on the reader and the overall experience of reading this book.
Deedy,
C.A. (2007). Martina
the beautiful cockroach. Atlanta: Peachtree.
In Martina the Beautiful
Cockroach, Martina has become of marrying age. When
her family announces that she is accepting suitors, her grandmother gives her
some Cuban advice to help her test each of her suitors: the coffee test.
One after the other, each suitor fails the test until there is only a small
brown mouse left. It turns out he knows of the coffee test too.
In Martina the Beautiful
Cockroach, the colored illustrations are what catches the reader's eye. Deedy
uses realistic illustrations that uses subtle, tropical colors, yet they still
seem to be vibrant. The illustrations and colors really stand out and captures
the island's culture, such as the buildings, the parrot, and the flowers of the
island.
The setting of the book Martina the Beautiful Cockroach takes place in Cuba’s Old Havana. The
location is stated on the first page but is also evidence through the artifacts
presented in the illustrations such as the can of black beans, and the books
with Spanish titles. What is even more apparent in the illustrations is the
passing of time. Martina begins accepting suitors either late morning or toward
midday. As each new suitor appears, you can see the passage of time as
the sky changes and cast colors on the buildings. It is also shown in the
shadows that are projected from objects and characters throughout the day. The
final suitor is clearly in the evening, which is shown by the lit street lamp.
Singer, M. (2010). Mirror, Mirror. New York: Dutton.
Mirror Mirror is
a picture book filled with fairy tales written in reversible
poems. The poem is read once and tells the story of one character and
then read again in reverse to learn the contrasting point of view. One such
tale starts with sleeping beauty complaining about sleeping all the time and in
reverse is the prince's complaint that he never has fun and is always working.
Lines are prevalent in
Mirror Mirror. Every page has a visual line down the middle. This line sets up
the contrast and balance of the two poems by showing one poem in a yellow
background and the other in white. The line also helps visually separate the
viewpoints in the illustrations by using contrasting colors between the two
pictures such as the “The Sleeping Beauty and the Wide-Awake Prince” uses
opposite colors of green and blue to offset the middle line.
Style is revealed in the
book Mirror Mirror in how the author, Marilyn Singer, wrote the fairy tale
poems in reverso. The verses can be read forwards and backwards, which
skillfully reflects both sides of a story. Each poem is written parallel to
each other in contrasting colors to further highlight its counterpart. Each
illustration is also two separate pictures melded together depicting the poem
they are aligned with, such as Rapunzel with her long hair and the contrast
illustration of her with short hair.
DePaola, Tomoe.
(1983). The
legend of the bluebonnet. New York: Putnam.
The Legend of the
Bluebonnet tells the tale of how the bluebonnets came to be. The
Comanche people were suffering through a drought and to end it the people would
need to sacrifice their most prized possession. While the others slept,
She-Who-Is-Alone offered her doll, her only possession, to the spirits. The
next morning when she and the tribe awoke, the land was covered in blue flowers
and the warm rain began to fall.
The Legend of the Bluebonnet is a retold tale based on Comanche Indian lore.
The culture of the Comanche tribe is depicted through its illustrations, such
as the markings on the teepees, the dress and features of the little girl and
the rest of the tribe. It is also evident throughout the narration of the
story, such as the little girl’s name She-Who-Is-Alone and the customs of the
shaman listening for the words of the Great Spirits. The plot is a captivating
one that easily intertwines the story and culture of the Native American people.