Writing on Taibai as a publication in either Chinese or English has tended to focus on either its stated goals of popularising language in general as well as the discourse surrounding science, or on its placement as a Leftist answer to Lin Yutang’s (and the ‘Analects school’ more broadly) championing of xiaopinwen in the pages of their journals. With regard to visual imagery in the pages of Taibai, however, the record is almost completely silent, even though at least one if not two woodcut prints were published in each issue. The fact that a Left-leaning publication with connections to the Zuolian (League of Left-Wing Writers), and Lu Xun in particular, contained a notable number of woodcuts is not very surprising. However, the fact that the large majority of them were seemingly-innocuous landscapes or animal studies is extraordinary. This paper will argue that these particular types of images were included for several reasons, but the most crucial was their alignment with the editorial practice of Taibai as a whole, in which the style of depiction and the media form itself were as important as the subject matter written about or depicted.