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The article explains the technique involved in pulp painting, a technique used in illustrating children's books. The technique involves pouring cotton rag fiber that is suspended in water through hand-cut stencils onto a screen, creating an image in handmade paper. The author describes the advantages and disadvantages of the technique.

The article focuses on the author Mary Azarian's work in woodblock printing. Azarian's similarities with Wilson A. Bentley is examined. Azarian was a teacher but began woodcarving as a way to stay at home with her family in Cabot, Vermont. How Azarian teamed with the author of Jacqueline Martin for "Snowflake Bentley," is explored. Details are given for the process of woodblock printing.

The article offers information on how to read a wordless picture book. It mentions studies for comparing books with and without words in parent/child reading by using likens reading a wordless book to free-play activities, such as playing with Play-Doh or building with LEGO. It mentions that parents may feel constrained to read the words and follow the prescribed story line, which may inhibit their responsiveness to children's linguistic input.

The article presents a speech given by Brian Pinkney, winner of the Boston Globe-Horn Book Award for picture book for his book "The Adventures of Sparrowboy," at the 1997 annual meeting of the New England Library Association. In the article, the author discusses his work as a paperboy and how his idea for the storyline in "The Adventures of Sparrowboy" came about.

In the article the author and illustrator of the "Arthur" book series, Marc Brown, recounts his childhood, education, and introduction into writing and illustrating children's books. Brown's first published book was "Arthur's Nose," which evolved out of a bedtime story he was telling his son. Brown states that humor is an important creative element to him and he believes that children learn better when humor is involved in the teaching process.

The article discusses the illustrations of Marla Frazee, illustrator and recipient of the 2010 Caldecott Honor award. Books in which her illustrations appear include "A Couple of Boys Have the Best Week Ever," the picture book "Mrs. Biddlebox," and "Hush, Little Baby: A Folk Song with Pictures." Frazee's graphic drawings, her depictions of babies and nature, and visually captivating narratives are explored.

The article presents views on the picture book "Where the Wild Things Are," by Maurice Sendak. The author remarks on the images and illustrations of monsters used by Sendak in the book. Several elements of the art and design of the book are discussed. The author says that Sendak's art has succeeded because he has avoided timebound visual references.

The article focuses on children's books in Taiwan. A background on the children's literature segment of the publishing industry in the country is presented. The article also discusses school and library sales of children's books, the publication of picture books in the country, and the effect of the importation of children's books on Taiwanese readers.

The article discusses the author's experience using several painting mediums when illustrating children's books. He started off working in oil pastels, which became a problem when he and his wife had a baby, so he switched to using watercolors. The author also describes the technique he uses to dry his watercolor drawings.

The article discusses the importance of design in the process of writing children's picture books. The author describes the designer's part in putting together a children's book and how the design affects the impact of a book. The article also explains why design is such an important part of the overall look and feel of a children's book.

The article presents an interview with picture-book creator John Burningham. Burningham's literary works include "Courtney," "Borka: The Adventures of a Goose with No Feathers," "John Patrick Norman McHennessey: The Boy Who Was Always Late," "Mr. Grumpy's Outing," and "Avocado Bay." Article topics include a review of Burningham's career, his illustration techniques, his education at the Central School of Art in London, England, and his philosophies on creating art.

The article presents a discussion of the author's favorite artistic medium, which he defines as "the one I haven't used yet." The author presents his criteria for the perfect artistic medium, and discusses the kind of medium he used when illustrating his picture book. He concludes that the perfect kind of art for a story is "something that could carry some story along."