Jon Klassen uses lines in this book to show motion of the the reef and plants in the water. He also uses lines to show the emotion in the big fishes face as he notices that his hat is gone and the satisfaction and peacefulness of it being returned to the top of his head.

Tomie dePaola depicts a traditional Indian culture in the illustrations of this book. He creates accurate clothing, symbols, and settings of what is portrayed in this culture.

Lane Smith uses very distinct shapes in this story including but not limited to the round dots on the monkey's clothing, rectangular book and furniture, and the mouse's circular ears. All of the distinct shapes make the pictures in this book very appealing to the eye.

Maurice Sendak creates the character Max to be relatable to energetic and imaginative children everywhere. Max causes mischief at home and is sent to him room without dinner. The plot begins to grow as the setting from a normal bedroom to a forest. Once he travels to where the wild things live, he is able to be wild and cause a riot with them. After the fun settles, the plot thickens when his emotions and loneliness catch up with him. He decides to return to where he is loved and makes the trip back home. He is comforted when he arrives home with a hot dinner sitting in his room. This story will take any child through the emotions of wanting to be rebellious but realizing that family is what truly matters.

Marilyn Singer writes this poetry picture book in an intriguing way by reversing the words of each poem to tell a different story with the same words. This style uses a repetitive pattern that makes the reader visualize the changes in each of the stories.

Ian Flaconer uses the color red to show Olivia's expression, emotion, and personality in this story. He colors all of the items, that Olivia loves or the things that make her unique, red to help the reader draw their eyes to the pictures. In many cases during this book, the picture give the reader more understanding of Olivia than the text.

The illustrations that Michael Austin creates in this story are a beautiful representation of all the visual elements. Prominent lines are seen on the arms of the insects and on the jagged edges of cans or railings which gives the reader an indication of what each of these things might feel like. There is a very distinct shape for all the house hold items that are in this story such as the round spool of thread and coffee mugs and the square concrete tiles. The color portrayed is very whimsical and is used strategically on various characters based on their personalities. Martina and her grandmother both have a calm green shade whereas the rooster is colored in red and orange which seems to portray a louder personality. Finally, this story also show elements of texture with it's realistic images and times where the reader feels like the characters are going to come off of the page.

In the beginning of this story, Robert Munsch creates the character Elizabeth to be a love stuck princess with a dream of marrying a self-centered prince. Throughout the rest of the story, she transforms into a very self-strong and persistent girl who eventually outsmarts the dragon that first created her hardships. In the end, she becomes an independent and rational young woman who embraces her unique way of expressing herself and rejects the prince's outlandish requests.

This story is very relatable to many students because of its humorous nature and familiar topic. All students can relate to having a teacher and from personal experience, how shocking it is to see your teacher outside of school! Peter Brown expresses the subtle notion to students that your feelings toward someone can change in different situations.

The illustrations in this story show both realistic and abstract pictures that help portray the text in the story. When the pigs are crawling out of the pages of the book to a more realistic setting, the story is being portrayed that they do not like what is happening in their story so they want to change it. There are multiple pages that have minimal text but elaborate illustrations showing their adventures in the realistic world and their return to the more fictional story book world.

David Wiesner did an amazing job of showing the difference between textures in this book. He emphasized the drastic contrast in 2-D vs. 3-D print. He shows the variations by having the three pigs, as well as other animals, climb out of the page of a picture book and transform from a cartoon character into a realistic looking animal.

Maurice Sendak uses the pictures in this book to tell the setting of the story. It begins in Max's bedroom but slowly transforms into a forest and then an ocean to take him to the place where the wild things are. As a reader, we realize this setting is in Max's imagination and the illustrations help us to see the things he creates in his mind.