The spread on page twenty six through twenty seven is part of the climax of the story where Cendrillon must flee from the ball before midnight. The stark lines of the acrylic paints used in the image create strong definitions between every figure and item.The contrast between each figure present on the page creates an image that is pleasing to the eye and also allows readers to notice each intricate detail. Readers’ eyes are automatically drawn to the image of Cendrillon being pulled away from the ball by her godmother. In the second half of the spread, readers follow the implied line from Cendrillon’s foot to shoe and then down the stairs to the dancers in the ballroom.

Pinkney’s use of line also achieves a sense of movement. On the first page of the spread, the strong lines in both godmother and Cendrillon’s dresses create a feeling that the two are moving. The lines sweep as a piece of cloth would while someone was rushing away. The sweeping lines also encourage readers to plow through the gutter onto the next page where swirling lines emphasize Cendrillon’s slipper falling behind. Finally, in the ballroom scene the stark black lines present in the figures’ dresses and tailcoats give the illusion of movement, or in this case, dancing.

The stark lines that are present in Pinkney’s Cendrillon not only create beautiful images that are pleasing to the eye, but also help the readers visualize the story. Readers' eyes travel along the page with the lines almost like they themselves are running from the ball.

Word Count: 301

Works Cited:

San Souci, Robert D., and Brian Pinkney. Cendrillon: A Caribbean Cinderella. Reprint ed., Aladdin, 2002.