(Anstey, M. Bull, G. 2000, p.180) The element of colour is the dominant feature for the illustrations in this book, as line, shape, composition and texture are consistently applied throughout. The warm colour scheme also changes in situations such as when the granddaughter is frightened of a thunderstorm, in which case a distressing scheme composed of different shades of blue is used. Another instance when colours play a vital role is when the cat has run away and the dominant colour of white is used. The overriding use of white in this scene conveys a feeling of hope, as white is often associated with light, or depending upon your culture, religion, or faith.(Anstey, M. Bull, G. 2000, p.180) Symbolism also plays a small role in this scene and throughout the book, as a branch, but not the entire tree, is included, reaching out to the granddaughter, much like what grandmother is doing at that moment. The final page then displays a picture of grandma, granddaughter, and the cat hugging, but more importantly the branch is now covering them, suggesting unity which in return reinforces the invited reading.(Anstey, M. Bull, G. 2000, p.188) Also, no matter the mood of the granddaughter or colour scheme employed, grandmother always has a rosy smile on her faced, which helps the reader understand that she is always there for the child. .
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Now that an explanation has been given as to how and why the invited reading is accepted by the text and illustrations, I will explain the purposed discursive shift to the novel. The resistant reading our discursive shift aims to put forward is that grandmothers are not always available. Although the relationship they have with their grandchildren is very special to them, they know these children will eventually mature as they experience different situations, like losing a loved one (cat), and seek comfort from their parents because they will be there for the majority of their life.
