Birdsell and Leo Groarke explain that just as the written argument has a context in which it is presented, so does the visual argument (5). In fact, visual arguments may tend to have stronger contexts than their written-word counterparts due to the associations that can be set up instantly and nearly subconsciously, just through use of well-known imagery or symbolism.
This paper discusses a particular example of Visual Argument in depth in order to prove that this level of detail is necessary in creating Visual Arguments, and in order to show that through including such details the power and effect of the work is greatly increased.75% of the visual argument displayed is displayed in images, the remaining 25% of the visual argument is displayed in words. The Serif font of the familiar Cheerios brand is displayed below a spoonful of pills to associate that brand to the visual message.
Then below that, a different Serif font, commonly recognized the world over as the Mars, Inc.
Visual images are incredibly powerful as tools of advertising, propaganda, and art.
The "visual argument" is a sort of argument that utilizes an image, enhanced with some few words, in order to present a particular viewpoint or point of persuasion.
Some of the more famous images have been used to create massive social change are: the Viet Nam-era rifle or tank with a flower in its muzzle, signifying obsolescence of weaponry; the gay pride rainbow, signifying unity from difference; or even the common use of the image of an octopus in political and social commentary cartoons to signify the evil and long-range reach and influence of various groups and to inspire anger and hatred toward them (from the anti-Jewish propaganda in WWII Nazi Germany to the greed of today’s global monopolistic corporatocracies).
These images may seem simple at first, but there are details that go into their creation that give them the power that they hold (almost like marketing propaganda).In the piece under discussion (Cheerios), a strong visual aesthetic is definitely present. The stark white is soothing and disturbing at the same time, which adds a third layer of aesthetics that comes of as being quite sinister. M&M’s logo font, is used to display the name of the ad campaign, and this brings with it a whole other series of associations.Technically, since both Serif fonts used are globally recognized and associated with those two specific brands, these fonts could also be considered to be within the category of Specialty fonts.In fact, it might even be appropriate to consider the chosen fonts as images themselves since their use automatically brings to mind so many associated images.The layout of this piece is very efficient in limiting text and images to avoid clutter and confusion.Anthony Blair points out that:“colors invoke feelings of warmth (reds, oranges) or coolness (blues, greens); photographs of young animals (puppies, kittens, children) evoke tender-heartedness (23).”The color chosen for the piece under discussion is a stark white-on-white.It is difficult to think of stark white as a functional color, but it does actually create a relationship as opposed to being merely decorative. This blog post is provided free of charge and we encourage you to use it for your research and writing.This is conveyed very effectively through the idea that we eat medication as if it were a bowl of breakfast cereal. This idea is underscored by adding the M&Ms logo since “eating it like candy” is a phrase that has long been associated with taking too many drugs.