Since children comprise the (primary) target audience of picturebooks, all choices made by a picturebook translator are guided by the translator’s child image the way in which the translator perceives the needs of the future reader (Oittinen 2004: 4). Since the meaning of a text is constructed in the interaction of all of its components, it is necessary for the translator to be able to interpret inter-mode relations and the ways in which modes combine to convey a message. The multimodal aspect of picturebooks also includes an aural aspect, since the books are usually read aloud. Picturebooks are multimodal compositions: their message is built in the interplay of two separate modes, the verbal and the visual, words and images. It is my attempt to address the following questions in Potter's, Marsden's, and Tan's visuals: 1) What is the purpose of each picture? 2) Is it narrative, referential, or symbolic? 3) Do the pictures add details to the text that are not in it? 4) Do the pictures leave room for the child's imagination, do they have gaps, or is everything in the text depicted in the pictures? The point of departure is that the analysis relies heavily on the Kress and van Leeuwen theoretical framework of visual semiotics.

The picture book, as a potential sign, conveys a narrative through verbal language and visual grammar. The selected Children's picture books – to my knowledge-have not been studied against their fluid textual entity incorporating lexical and visual signs codified in an interaction of word, image, and reader. Illustrations are created by the innovative use of line, shape, color and other aesthetic choices to evoke setting, establish character, convey theme, display information, explain a concept or create a mood. The present paper examines the contribution of visuals to narration, a process proposed by G.

The story of peter rabbit