这种二元性可以从巨大的果酱三明治中看到，在这个三明治中，大部分场景描绘了整个城镇。这个故事的寓意与其说是胡蜂的骚扰，不如说是社区精神和合作精神。正因如此，约翰·弗农·洛德(John Vernon Lord)确保了大部分色彩斑斓的场景都融入了镇上的大部分场景，每个场景都在发挥作用:从那个梳着辫子的小女孩身上，拽着一罐果酱;对那个弯着腰想给后人拍一张面包运输的照片的人。正是这些微小的细节吸引着孩子们——以及成年人。约翰·弗农·洛德(John Vernon Lord)在演讲中批评了自己的作品，但他说，“事后看来，我觉得这些画采用的配色方案在整本书中都太相似了”。然而，这些照片并不一定要忙于刺激。罗西的走路姿势看起来很简单，尽管人们的注意力都集中在背景动作上，但焦点更多地集中在狐狸和母鸡身上。这两个角色在大多数场景中都是最重要的，偶尔还会客串一些角色，比如山羊，它们在背景中徘徊。就像巨大的果酱三明治一样，它模仿了罗西动作的内容。她不与其他角色接触，也不与文本接触。
This duality can be seen in The Giant Jam Sandwich in which most of the scenes depict the entire town. The moral of the story is less to do with the nuisance of wasps and more about community spirit and working together. For this reason, John Vernon Lord has ensured that the majority of the colourful scenes incorporate most of the town, each doing their job: from the small girl with pigtails heaving one small jar of jam along; to the man crouching, trying to get a photograph of the bread transportation for posterity. It is these tiny details that engage the child time after time - as well as the adult. John Vernon Lord criticises his own work in his lecture, however, claiming “with hindsight I feel that the colour scheme adopted for these pictures is too similar throughout the book” and it is with constant variation and bustling images that a child becomes entranced.However, the pictures do not have to be busy to be stimulating. Rosie's Walk employs seemingly simplistic illustrations and, although attention is paid to the background action, the focus is far more on the fox and the hen. These two characters are at the forefront of most of the scenes with the occasionally cameo from characters, such as the goat, who hover in the background. This, like in The Giant Jam Sandwich, mimics the content of the piece which is very self-contained about Rosie's movements. She does not engage with the other characters and neither does the text.