Website created by Brooke Murphy
Student at Florida International University
December 2024
Visual Rhetoric in the Dissemination of Political & Social Information
Students will explore principles of visual rhetoric—the strategic use of images, symbols, and design to communicate and persuade. Students will dive into how visual rhetoric shapes political discourse and mobilizes social movements, examining case studies from historical and contemporary contexts. Through at-home exercises, students will learn to analyze and create compelling visual messages, gaining skills that apply to digital media and activism. By the end of the course, students will understand how to examine and create visual rhetoric.
Course Objectives
By the end of this course, students will be able to:
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Analyze the use of visual rhetoric in political and social communication through key concepts such as symbolism, semiotics, context, and composition.
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Examine historical examples of visual rhetoric, from propaganda posters to social movement imagery, to understand their impact on society.
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Explore the evolution of visual strategies in the dissemination of political and social messages across different historical periods.
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Develop an understanding of how visual rhetoric influences audience perception and action.
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Interpret and create visual rhetoric.
Sections
1: What is Visual Rhetoric?
1a. Visual rhetoric as an extension of traditional rhetoric
1b. Elements of visual rhetoric
1c. What makes visual rhetoric complex?
1d. Exercise your knowledge
2: Historical Visual Rhetoric
2a. Before scrolling, there was skimming
2b. America's "first" political cartoon
2c. Visual rhetoric in the nineteenth century
2d. Radical visual rhetoric
2e. Widespread symbols
3. Modern Visual Rhetoric
3a. Visual Rhetoric in Political Art
3b. Iconic Photography in Politics
3c. Visual Rhetoric and Social Movements
3d. "Boring" Visual Rhetoric
4. DIY Visual Rhetoric: Posters Across Time
4a. Project Overview
4b. Instructions
List of Sources located at the end of the course.
Section 1: What is Visual Rhetoric?
INTRODUCTION:
Imagine you're at an art museum, wandering through a gallery filled with paintings of various styles and themes. One particular piece catches your eye, compelling you to stop and gaze. You find yourself drawn to it, lingering for several minutes as you examine its intricate details. What is it about this painting that captivates you? Is it the bold color scheme? Is it the subject matter—perhaps a poignant scene, a mysterious figure, or a vivid landscape that tells a story? Or does it resonate with you deeper, symbolizing something meaningful in your life, such as love, loss, happiness, or a memory you hold dear?
These questions, while simple, unlock a deeper way of seeing. They help us uncover how visuals communicate, evoke emotions, and leave lasting impressions. The same principles that draw you to a painting in a museum are at play in the countless images you encounter every day. Consider the billboard advertisements you pass on your way to work. What makes one ad memorable and another forgettable? Is it the clever use of color? The arrangement of its elements? Or perhaps its message strikes a chord because it connects to something personal or universal?
In this section, you’ll discover how to analyze visual messages like these with the same curiosity you might bring to a work of art. Through the lens of visual rhetoric, you’ll explore how images are meticulously designed to inform, persuade, or provoke. By the end, you’ll have the tools to decode the strategies behind the visuals you see daily—like the practical imagery embedded in our everyday lives. You'll not only recognize these techniques but also understand how they are used to influence thought and behavior in powerful ways.
1A. Visual Rhetoric as an Extension of Traditional Rhetoric:
Rhetoric, classically defined as the art of persuasion, has long thrived in the spoken and written word domain. From Aristotle's foundation triad of ethos, pathos, and logos to the deliberate arrangement of Cicero's oratorical invention, rhetoric has been rooted in crafting arguments through language. Yet, as communication mediums evolve, rhetorical mediums evolve as well. Visual rhetoric, an extension of traditional rhetoric, surpasses the textual and oral boundaries, employing imagery, design, and spatial arrangement as its persuasive device.
At its core, visual rhetoric applies the principles of persuasion to visual compositions. Just as traditional rhetoric produces linguistic elements to construct meaning, visual rhetoric choreographs symbols, colors, typography, and layout to provoke emotional, ethical, or logical reactions. It speaks to the audience using semiotics, or the study of signs. Images become arguments, their design is intentional, their placement is strategic, and their audience is always considered.
1B. Key Elements of Visual Rhetoric:
By now, you’ve explored Cicero's Five Canons of Rhetoric—invention, arrangement, style, memory, and delivery—a foundational framework for constructing persuasive arguments. However, in this course, we will move beyond these classical principles as we shift our focus to visual rhetoric. While Cicero’s philosophy centers on written texts and spoken performances, visual rhetoric requires us to step outside the traditional boundaries of writing and speaking to consider how meaning is constructed through images and design.
Visual rhetoric operates through distinct elements that shape how visual communication achieves its rhetorical purpose. These elements serve as the building blocks of visual argumentation, creating messages that resonate emotionally, connect logically, and leave a lasting impression. In today’s image-driven world—dominated by advertisements, social media, and digital storytelling—understanding these elements is more crucial than ever.
The following section provides a summarized overview of six visual rhetorical components, offering insight into their role in the rhetorical process and their ability to captivate and persuade audiences effectively. It’s important to acknowledge that scholars and philosophers hold varying perspectives on the elements of visual rhetoric; this list highlights some of the more widely recognized themes.
Visual Imagery:
Imagery refers to using photographs, illustrations, and icons to convey ideas. It forms the foundation of visual rhetoric, immediately capturing attention and evoking emotions. Powerful imagery appeals to pathos, using emotion to connect with the audience. It can also symbolize abstract concepts, bridging complex ideas with relatable visuals.
Color:
Color is one of the most psychologically impactful elements of visual rhetoric. It evokes emotional responses (pathos), conveys meaning through cultural associations, and helps establish mood and tone. For example, warm colors like red and orange convey energy and urgency, while cool tones like blue and green suggest calmness and trust.
Typography:
Typography refers to the text's style, size, and arrangement within a visual work. It plays a double rhetorical role, combining functional clarity (logos) with stylistic expression (ethos). The font, spacing, and alignment contribute to how the audience perceives the message—whether it feels formal, playful, or authoritative.
Layout and Composition:
Layout and composition focus on the spatial arrangement of elements within the visual. This element mirrors the rhetorical principle of arrangement, ensuring that the design is visually balanced and that essential components are emphasized. Effective composition uses visual hierarchy to guide the audience’s attention and clarify the message.
Symbolism:
Symbolism involves using recognizable signs, shapes, and objects to represent ideas or concepts. Symbols act as rhetorical shortcuts, condensing complex meanings into simple visuals. For instance, most Americans view bald eagles as a symbol of freedom. Symbols gain rhetorical power when they align with the cultural and emotional context of the audience.
Context and Audience:
Context and audience are central to the effectiveness of any visual argument. Context includes the cultural, historical, and situational factors that influence how a visual is interpreted. Audience refers to the specific group for whom the visual is designed. Visual rhetoric, like verbal rhetoric, must align its message with the audience's values, needs, and expectations to achieve maximum impact.
1C. Why Visual Rhetoric Differs from Traditional Rhetoric:
The complexity of visual rhetoric lies in its intricate ability to convey layered meanings through a web of interconnected signs, each contributing to the overall interpretation of an image. As Bulmer and Buchanan-Oliver (2006) explain, “A single picture may contain numerous highly sophisticated interrelated signs and multiple levels of meaning for many viewers or readers.” This observation underscores the interpretative depth of visual communication, where meaning is not always linear or singular but multifaceted and subject to its audience's cultural, social, and personal contexts. Unlike written or oral rhetoric, which often relies on structured arguments and explicit language, visual rhetoric engages with symbolism, aesthetics, and emotional resonance to create meanings that can be simultaneously immediate and intricate. This vastness and multidimensionality position visual rhetoric as a uniquely powerful medium capable of transcending linguistic barriers and eliciting a spectrum of responses from diverse audiences.
1D. Exercise Your Knowledge
Picture yourself visiting Florida for the first time. Upon crossing the state line, you stop at a Florida Welcome Center and encounter the image below at the entrance. Based on the concepts of visual rhetoric discussed so far, identify and describe three or more elements that contribute to its rhetorical effectiveness.
Here are some questions you can ask yourself:
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What message or feeling does the image aim to convey to viewers?
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How does the inclusion of oranges and their vibrant color contribute to the message?
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How does the Florida state seal reflect the state's identity, culture, or history?
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How do the colors (like the oranges, green leaves, and the seal’s design) interact to create visual appeal or a specific mood?
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How does the placement of the seal alongside the oranges guide the viewer’s attention?
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Which elements of the image stand out most prominently, and why?
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What feelings or associations might this image evoke in viewers? (pride, nostalgia, a sense of welcome)
Your analysis should be in a Word document. Once complete, send it to the following email address for review: bmurp032@fiu.edu
Section 2: historical visual rhetoric
IN POLITICS & SOCIAL MOVEMENTS
INTRODUCTION:
The use of visual rhetoric in politics and social movements is pervasive. It shapes public perception and influences behavior, often without the audience's conscious awareness. While visual rhetoric is an intentional strategy employed by political campaigns and social movements, its omnipresence may go unnoticed by the general population.
For instance, during the 2024 presidential election, political advertisements saturated social media platforms, leveraging the power of visual rhetoric to sway voters. Each candidate strategically condensed their promises and values into a few compelling sentences or striking images to create immediate emotional and intellectual connections. These ads often featured bold typography, symbolic imagery (flags, diverse crowds, or natural landscapes), and color schemes designed to evoke trust, urgency, or patriotism. While viewers might scroll past these ads, they unconsciously absorb the visual cues, shaping their perceptions of the candidates and the issues at stake. This emphasizes the rhetorical power of visuals to communicate complex ideas quickly and persuasively, particularly in an era of shortened attention spans and image-driven media.
Long before cell phones and social media, visual rhetoric was a powerful tool for shaping public opinion. Artists and communicators used symbols, caricatures, and evocative imagery to influence ideas on social and political issues, much like the tactics employed in modern media today. This section will examine various historical examples of visual rhetoric utilized in politics and social movements, exploring how these visuals shaped public opinion, mobilized communities, and influenced societal change.
2A. Before Scrolling, There was Skimming
The dissemination of information nationwide didn’t begin with the invention of the internet. So, how was society visually persuaded before screens? To explore this, let’s consider the term “skimmers,” introduced by Raymond Morris in Behind the Jester’s Mask. Although Morris’s book focuses on Canadian cartoons from the 1960s and 1970s, his concept of skimmers applies just as well to historical American visual rhetoric. Skimmers were individuals who bought newspapers primarily to view cartoons, particularly political ones. As Morris explains, they would “skim or glance at [the cartoon], grasp its message, laugh or groan, and move on” (Bush 63).
As we examine historical examples of visual rhetoric in America, it’s important to remember that society once relied on physical media to communicate ideas. Just as we scroll through social media today, people in the past skimmed through newspapers and magazines, absorbing information and forming opinions from the visual content they encountered. To reiterate, visual rhetoric is nothing new.
2B. America's "First" Political Cartoon
Figure 1
Figure 1 showcases one of early American history's most iconic political cartoons: Benjamin Franklin's "Join or Die." This influential illustration is a prime example of visual rhetoric, employing powerful imagery, symbolism, and composition to advocate for colonial unity. The main image, a severed snake divided into eight labeled sections representing the colonies, functions as a metaphor for disunity and vulnerability (Margolin 59). Drawing on the superstition that a severed snake could revive if reassembled, Franklin’s visual emphasizes the critical need for the colonies to unite to ensure their survival.
The bold typography of the phrase “Join, or Die” intensifies the gravity of the message, delivering a stark and direct call to action. The linear arrangement of the snake segments mirrors the fragmented state of the colonies, visually compelling the audience to envision their reassembly. Initially published in 1754 during the French and Indian War, Franklin’s cartoon aimed to galvanize colonial leaders and citizens, using a potent combination of visual and textual elements to inspire collective action against common threats. This timeless artifact demonstrates the enduring power of visual rhetoric to influence political discourse.
2C. Visual Rhetoric in The Nineteenth Century
Figure 2 is one of many political cartoons created by Thomas Nast, known for "stereotyping big-city politicians as corpulent men" (Margolin 60). The late 19th-century cartoon is a strong example of visual rhetoric, using symbolism, caricature, and minimal text to represent infamous New York politician, Boss Tweed. Tweed is illustrated to be vastly overweight, indicating gluttony, excess, and power, while a money bag replaces his head with a dollar sign. This substitution symbolizes the idea that his "brains" are motivated entirely by financial greed, reducing his humanity to his corrupt pursuit of wealth. The absence of facial features focuses the viewer's attention on this dehumanization, portraying him as a symbol of greed rather than as an individual.
The composition also employs satire and juxtaposition to emphasize its message. The title, "The 'Brains,'" contrasts sharply with the visual presentation, ascribing intellect to what is shown as sheer economic greed. Nast's detailed yet exaggerated drawing style heightens the absurdity of the figure's proportions, drawing attention to the pervasive influence of immorality in politics. Additionally, the accompanying text contextualizes the image, referencing the Tammany Hall political machine and the Rochester Democratic Convention, which were both associated with Tweed's unethical practices. Together, these elements function to critique not only Boss Tweed but also the broader system of political corruption he represented, making the cartoon a potent piece of visual rhetoric from 19th-century America.
Figure 2
2D. Radical Visual Rhetoric
In the years leading up to World War I, radical newspaper publishers were often entangled in a heated battle with other publishers and the government over the boundaries of free press, particularly regarding the legality and limits of visual rhetoric in editorial cartoons. Tensions marked this period as the media pushed the boundaries of expression, using strong satire and imagery to challenge political figures, social systems, and governmental policies. Editorial cartoons, in particular, became a flashpoint for debates around what constituted defamation, lies, or propaganda. These cartoons were powerful tools of persuasion, often refining complex issues into symbolic, exaggerated, and emotionally charged visuals that resonated deeply with viewers.
Cartoonists frequently targeted government officials and policies with bold, unapologetic imagery, which often led to accusations of defamation. The government, in turn, sought to control or suppress such material, arguing that it misled the public or incited unrest. At the heart of this conflict was the transformative power of visual rhetoric: its ability to quickly communicate ideas, rally public opinion, and provoke strong emotional reactions. These legal and ethical battles not only defined the role of visual rhetoric within the free press but also helped shape the enduring tension between freedom of expression and the regulation of media in American democracy.
Figure 3
Figure 3 uses powerful visual rhetoric to highlight class divisions and shape social and political identities in early 20th-century America. The cartoon, published in a newspaper shortly after the Triangle Shirtwaist Factory fire in 1911, uses graphic visual rhetoric to critique the systemic negligence that led to the tragedy (Lumsden 230). The central triangle, labeled "Rent," "Profit," and "Interest," symbolizes the exploitative capitalist system that prioritizes financial gain over human lives. Inside the triangle lies the lifeless body of a worker, representing the victims of the Triangle Shirtwaist Factory fire and emphasizing the human cost of systemic greed. Flanking the triangle is a skeletal figure symbolizing death and a wealthy capitalist whose indifference underscores the social inequality of the era.
Through this imagery, the cartoon invites viewers to align their identity with the exploited working class, fostering solidarity against oppression. Simultaneously, it critiques the elite, portraying them as complicit in these tragedies. By visually contrasting the workers' vulnerability with the apathy of the wealthy, the cartoon calls for reform and justice, reshaping social identities around class solidarity and collective responsibility. It exemplifies how visual rhetoric can critique societal systems and inspire change by shaping public perceptions of identity and inequality.
2B. Widespread Symbols
Figure 4 depicts the symbol titled “Am I Not a Man and a Brother?” created by Josiah Wedgwood in 1787 as part of the British abolitionist movement to end the transatlantic slave trade. Designed to humanize enslaved individuals, it appeals to the public’s moral conscience by emphasizing shared humanity and Christian values. The image of a kneeling figure in chains, combined with the poignant question, compels viewers to confront the injustice of slavery and reflect on their complicity. Its simplicity and portability—featured on medallions and pamphlets—allowed it to reach a broad audience and become a unifying symbol for abolitionists.
As one of the first examples of mass-produced political imagery, the emblem had a profound societal impact. As mentioned by Cynthia Hamilton, "The speed with which the image made its way to America is indicative of the close ties quickly established, and continuing between reform communities in the USA, Ireland and the UK" (633). It sparked conversations about human rights, galvanized abolitionist support, and shifted the narrative from abstract debates to personal empathy. Through its visual rhetoric, the emblem masterfully blends the figure’s vulnerable posture, broken chains symbolizing liberation, and the direct question to evoke compassion and inspire action. Its minimalist yet emotionally charged design transcended social and cultural barriers, cementing its role as a powerful catalyst for social change.
Figure 4
CONCLUSION:
In studying Rhetorical Theory and Visual Rhetoric, it is essential to reflect on the past and examine how imagery served as a powerful mode of communication before advanced technology. The examples explored in this section demonstrate the profound impact of visual rhetoric in shaping societal discourse, influencing public opinion, and driving social and political change. From Franklin's revolutionary call for unity to abolitionist emblems and critiques of corruption, these visuals transcended the limitations of their time, conveying messages with clarity and emotional resonance. They shaped the course of free speech and journalism and underscored the enduring significance of visual rhetoric as a cornerstone of persuasive communication across history.
Section 3: Modern visual rhetoric
in political and social movements
INTRODUCTION:
Now that we've reviewed some historical examples of visual rhetoric, it's time to delve into the transformative events and trends of the last few years—a period many of us have experienced firsthand. Whether you're eighteen, forty, or somewhere in between, you've likely encountered a few of the powerful examples we’ll explore next. These instances highlight how visual rhetoric has evolved in response to the rapid changes in technology, media, and societal priorities.
From the viral imagery of social movements like Black Lives Matter to the innovative campaign designs of recent political elections, the past few years have showcased how visuals can influence thought, inspire action, and drive cultural shifts. Think of the poignant murals that emerged during protests, the minimalist yet striking designs of climate change campaigns, or the bold, attention-grabbing advertisements that flooded your social media feeds. These are not just random visuals—they are deliberate, crafted messages designed to connect emotionally and intellectually with their audiences.
In the upcoming section, we’ll dissect some of these modern examples, considering their effectiveness, the strategies behind them, and their cultural impact. After this exploration, you'll be able to apply what you've learned, using your creativity and insights to design a compelling piece of visual rhetoric that communicates your message with clarity and power. This exercise will challenge you to think critically about the role of visuals in shaping perspectives and to contribute your voice to the ongoing dialogue of visual communication in society.
3A. Visual Rhetoric in Political Art
Figure 5 shows an iconic poster of the 44th President of the United States, created by artist Shepard Fairey in 2008. The public reproduced, appropriated, and transformed this poster of Obama on an absurdly wide scale, subjecting it to commodification (Gries 202).
What was it about this poster that caused its boom in popularity? Let's delve into the visual rhetoric. The "Hope" poster’s success lies in its striking use of color, composition, and symbolism, all of which come together to create an emotionally charged and easily recognizable image. The poster employs a triadic color scheme of red, white, and blue—a deliberate nod to the American flag—to evoke a sense of patriotism and unity. These colors are used not in a literal, photorealistic way but in bold, simplified blocks that give the image a graphic and modern feel.
The central figure, Obama, is depicted with a confident, upward gaze, which conveys optimism and visionary leadership. This posture, paired with the word “HOPE” in bold, sans-serif typeface below the image, reinforces a message of aspiration and progress. The typography’s simplicity ensures that the message is clear and accessible, while its placement grounds the image, making it feel stable and authoritative.
Furthermore, the poster’s aesthetic borrows from the visual language of political propaganda, particularly mid-20th-century styles associated with movements for change. This subtle visual allusion lends the image a sense of historical weight and revolutionary spirit, resonating deeply during a time of political and social transformation. Combined with Obama’s own campaign message of change, the poster became a visual shorthand for his ideals, rallying supporters and transcending cultural and linguistic boundaries.
This fusion of modern graphic design with symbolic, historical references makes Fairey’s work an artistic achievement and a masterful example of visual rhetoric that continues to influence political iconography today.
Figure 5
3B. Iconic Photography in Politics
Figure 6
Figure 6 displays the iconic photo taken on July 13th, 2024, at a Trump campaign rally. The photograph quickly spread across media outlets, encapsulating themes of vulnerability, authority, and the charged atmosphere of contemporary political campaigns. The image portrays Donald Trump, flanked by security agents, with a bloodied face, exuding a mix of defiance and fragility. His clenched jaw and raised fist evoke a sense of resilience, while the surrounding security personnel amplify the intensity, symbolizing the tension between protection and chaos.
The visual rhetoric in this image is particularly striking, as it invites diverse interpretations. For supporters, the scene might underscore Trump's perseverance under duress, likening him to a fighter weathering an attack. For critics, it may highlight the volatility of his political environment and the consequences of divisive rhetoric. The stark contrast between the orderly blue uniforms of the agents and the physicality of their protective gestures frames Trump as both a leader and a figure requiring safeguarding. The American flag subtly visible in the background adds an additional layer, reminding viewers of the high stakes and symbolism tied to political identity. The photograph’s raw emotion and symbolic elements ensure its resonance in public discourse, making it a potent tool of visual rhetoric.
3C. Visual Rhetoric and Social Movements
Figure 7 shows Ieshia Evans peacefully awaiting her arrest at a Black Lives Matter protest in Baton Rouge, Louisiana, on July 9th, 2016. The photo became an iconic portrayal of the movement, as Evans appears calmly in her flowing sundress while two police officers in full riot gear swiftly move toward her (Edrington & Gallagher 198). Let's break down the visual rhetoric of this photograph.
The striking contrast between Evans' calm demeanor and the aggressive stance of the police officers in riot gear creates a powerful visual narrative. Evans' posture—standing with her hands at her sides, her expression composed and serene—conveys a sense of peaceful resistance and dignity. In contrast, the heavily armored officers, with their intimidating uniforms and aggressive approach, symbolize the force and tension often associated with protest movements. The juxtaposition emphasizes Evans's vulnerability as an individual standing up against institutional power, underscoring the broader message of racial inequality and the need for justice.
The choice of Evans' light, flowing sundress further contrasts with the militarized appearance of the officers, adding an element of purity and innocence to her stance. This visual choice underscores her nonviolent, peaceful resistance. The image captures a moment of quiet defiance, making it a compelling symbol of the Black Lives Matter movement's call for justice and reform. The stark difference between Evans’ calmness and the officers’ aggression serves as a critique of the often-disproportionate response to peaceful protests and highlights the broader social and political tensions at play. With its emotional resonance and carefully constructed visual elements, this photograph became a powerful tool of visual rhetoric in conveying the struggle for racial justice.
Figure 7
3D. "Boring" Visual Rhetoric
Figure 8
Figure 8 shows the MQ-1 Predator, armed with AGM-114 Hellfire missiles, taken on November 7, 2010. It presents a powerful yet understated visual message, reflecting the nature of modern warfare. The drone is shown as a sleek, high-tech weapon hovering above the ground with deadly precision. Its positioning in the image — without any dramatic action or visual drama — emphasizes its role as a silent, invisible operator in the skies, a tool of remote warfare that can strike without warning. This absence of immediate action or human interaction may initially seem "boring" to the public. Still, it quietly conveys the idea of modern military power being exercised with efficiency and control, devoid of the immediate human impact that traditional warfare often portrays.
The drone's cold, mechanical appearance and the lack of a tangible threat or enemy in the frame highlight a disconnection between the viewer and the violence the Predator enables. As Jessy Ole describes, "the displacement of thought, feeling, and action connected with the drab colors and absent signifiers of drone imagery is exacerbated in the totalizing barrenness of the static scene" (618). The image focuses on the object itself, the machine, and its capability rather than the human elements typically associated with combat imagery. The Hellfire missiles visible on the drone are an implicit reminder of the destruction they can unleash, but the image doesn't glorify or sensationalize this power. Instead, it presents a stark, clinical representation of modern warfare, which could be seen as dull or uninspiring to an audience more accustomed to the intense drama of traditional combat images. This deliberate restraint in visual rhetoric mirrors how unmanned aerial strikes are often conducted—efficiently and without fanfare, but still carrying immense destructive potential.
CONCLUSION:
In exploring modern Visual Rhetoric, it becomes clear how imagery continues to dominate as a powerful communication tool in today’s fast-paced, technology-driven world. The examples we reviewed in this section highlight the ability of visual rhetoric to refine complex ideas into impactful, emotionally profound messages that capture attention and influence public opinion. From political advertisements to social campaigns, modern visual rhetoric shapes societal discourse and plays a pivotal role in journalism and activism. These examples underscore its ongoing importance as a vital element of persuasive communication in an era where images often speak louder and faster than words.
Section 4: DIY visual rhetoric:
Posters Across Time
INTRODUCTION:
In this section, you will put your understanding of Visual Rhetoric into practice by creating two original examples of your own. Building on the concepts covered in this course and the examples we've analyzed, you will design visuals that communicate a message, persuade an audience, or inspire reflection. This exercise encourages you to think deeply about the principles of visual rhetoric and transform them into creative and impactful designs.
As you begin your project, keep the key elements of visual rhetoric in mind—such as color, symbolism, composition, and typography—to ensure your visuals effectively resonate with your intended audience.
4B. Instructions
Step 1 - Choose a Topic:
Select a topic relevant to both the 1920s and the present day. Think about societal or cultural issues that span across time, such as:
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Women's Rights
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Racial Equality
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LGBTQ+ Rights
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Healthcare
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Mental Health
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Labor Rights
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Conservation
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Education
Step 2: Design & Explain Two Digital Posters:
Each poster should aim to persuade others to support the topic you chose.
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Poster #1: Create a poster as if you were living in 1920s America. Research the decade's aesthetic styles, language, and visual symbols to ensure your design feels authentic to the time period. Consider elements like vintage typography, muted or sepia-toned color schemes, Art Deco influences, and imagery relevant to the 1920s.
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Poster #2: Design a modern-day persuasive poster for the same topic. Incorporate contemporary design elements such as bold typography, vibrant colors, digital effects, and symbols that resonate with today’s audience.
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Include a brief paragraph for each poster explaining your design choices and how they reflect the rhetoric and style of the era.
Step 3: Submit:
Send both posters & their descriptions in digital format to bmurp032@fiu.edu
Your posters will be evaluated on their historical accuracy, effective use of visual rhetoric, persuasiveness, creativity, and the clarity of your written explanation connecting design choices to rhetorical principles.
Conclusion:
By creating these posters, you’ll gain hands-on experience using visual rhetoric to craft persuasive messages that resonate across different periods, deepening your understanding of its role in communication.
4A. Project Overview
For this project, you will design two persuasive posters, each rooted in a different time period in America: one representing the 1920s and the other reflecting today’s society. Both posters will focus on a single topic that is relevant to both time frames, such as environmental conservation, women’s rights, labor movements, or public health. Your goal is to effectively use visual rhetoric techniques to craft compelling, era-appropriate designs that persuade audiences in each respective period.
Thank you for viewing!
SOURCES:
Bulmer, S., & Buchanan‐Oliver, M. (2006). Visual Rhetoric and Global Advertising Imagery. Journal of Marketing Communications, 12(1), 49–61. https://doi.org/10.1080/13527260500289142
Margolin, V. (1988). Rebellion, Reform, and Revolution: American Graphic Design for Social Change. Design Issues, 5(1), 59–70. https://doi.org/10.2307/1511561
Bush, L. (2013). More than Words: Rhetorical Constructs in American Political Cartoons. Studies in American Humor, 27, 63–91. http://www.jstor.org/stable/23823980
Lumsden, L. (2010). Striking Images: Visual Rhetoric and Social Identify in the Radical Press, 1903–1917. Visual Communication Quarterly, 17(4), 225–240. https://doi.org/10.1080/15551393.2010.515443
Hamilton, C. S. (2012). Hercules Subdued: The Visual Rhetoric of the Kneeling Slave. Slavery & Abolition, 34(4), 631–652. https://doi.org/10.1080/0144039X.2012.746580
GRIES, L. E. (2015). OBAMA HOPE, PARODY, AND SATIRE. In Still Life with Rhetoric: A New Materialist Approach for Visual Rhetorics (pp. 202–243). University Press of Colorado. http://www.jstor.org/stable/j.ctt130hktr.13
Edrington, C. L., & Gallagher, V. J. (2019). Race and Visibility: How and Why Visual Images of Black Lives Matter. Visual Communication Quarterly, 26(4), 195–207. https://doi.org/10.1080/15551393.2019.1679635
Ohl, J. J. (2015). Nothing to See or Fear: Light War and the Boring Visual Rhetoric of U.S. Drone Imagery. Quarterly Journal of Speech, 101(4), 612–632. https://doi.org/10.1080/00335630.2015.1128115