example of visual essay

Visual Analysis Essay

Visual Analysis Essay - A Writing Guide with Format & Sample

14 min read

What is a Visual Analysis Essay

A visual analysis essay basically requires you to provide a detailed description of a specific visual work of art. It is a type of analytical essay that deals with imagery and visual art instead of texts.

The subject of a visual analysis essay could be an image, painting, photograph, or any visual medium.

In this type of essay, you need to describe the artwork and analyze its elements in detail. That is, how different elements and features fit together to make the whole work stand out. In this sense, you need to use a mixture of descriptive writing and analytical language.

To write a good visual analysis essay, you need to know the basic visual elements and principles of design. Let’s learn about these concepts first before diving into the writing steps.

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Visual Elements for a Visual Analysis Essay

Writing a visual analysis essay involves analyzing the visual elements of a piece of art. These elements form the basis of the features and characteristics of an image.

Below you can find the common visual elements of a visual analysis essay.

Principles of Design in a Visual Analysis Essay

In addition to visual elements, you must also consider the principles of design for writing a great visual analysis essay. These principles help you identify and explain the characteristics of the image.

How to Write a Visual Analysis Essay - 7 Simple Steps

Now that you have an idea about visual elements and principles, you are now ready to proceed.

Here are the steps that you need to follow for writing a visual analysis essay. Let’s discuss them in detail.

Step 1 - Gather General Information About the Artwork

Once you have a specific artwork or image, here is how to start a visual analysis essay. You need to ask some basic questions about the work and jot down your ideas.

This pre-writing step is for brainstorming ideas. Ask these questions to begin:

Who and what does the artwork represent?
Who is the author of the piece?
Who did the artist create the work for? Who is the intended audience?
When and where was the work created? What is its historical context?
Where was this work displayed for the first time?
Identify which medium, materials, and techniques were used to create the image?

Step 2 - Note Down the Characteristics of the Artwork

The next thing that you need to do is identify what the image depicts. Moreover, you need to identify and describe the visual art elements and design principles used in the work.

Here’s what you need to note:

The subject matter and its representation.
Colors, shapes, and lines used in the composition.
The balance, proportion, and harmony within the artwork.
Any symbolism or metaphors present.

By pointing out such characteristics, you set the stage for a nuanced analysis in your essay.

Step 3 - Visual Analysis Essay Outline

Once you have gathered your main points by carefully studying the image, you should now organize them in an outline.

Here is how you make an outline for your visual analysis essay:

Step 4- Write the Introduction

This is the first paragraph of a visual analysis essay in which you need to provide some background information on the topic. After grabbing the readers’ attention with an interesting fact, briefly provide information on the following points.

Talk briefly about the painting and its artist or creator.
Provide a brief description of the painting and give historical context
Add an interesting fact about the artist or the painting.

The introduction should end with a thesis statement. The visual analysis essay thesis states the analysis points on the artwork that you aim to discuss in your essay.

Step 5 - Provide Detailed Description, Analysis, and Interpretation

In the body section, you need to explore the artwork in detail. In the first body paragraph, simply describe the features and characteristics of the work. For instance, talk about the technique being used, shape, color, and other aspects to support your thesis.

In the next paragraphs, you can go into the analysis and interpretation of these elements and the work as a whole. Present all the details logically and discuss the relationship between the objects. Talk about the meaning, significance, and impact of the work.

Step 6 - Writing a Conclusion

Once you have completed the body section, move to the conclusion paragraph. This is the last paragraph of the essay that should be strong and well-written to create a sense of closure.

Here’s how you can do it

Revisit the main insights gained through the analysis, summarizing the key visual elements and principles discussed.
Emphasize the significance of cultural or historical context in interpreting the visual narrative.
Tie together the threads of your analysis to reinforce your thesis or main argument.
End with a memorable statement and encourage readers to carry the lessons learned from the analysis into their own encounters with art.

Step 7 - Edit & Revise Your Essay

Here’s how to end your visual analysis essay: edit and revise your first draft until it becomes the perfect version. Consider these steps for an excellent revision:

Review for Clarity: Ensure your ideas flow logically. Clarify any ambiguous or unclear statements to enhance the overall readability of your essay.
Trim Unnecessary Details: Trim excess information that doesn't directly contribute to your main points. Keep your analysis focused and concise.
Check Consistency: Verify that your writing style remains consistent throughout the essay. Maintain a balance between formal language and engaging expression.
Fine-Tune Transitions: Ensure smooth transitions between different sections of your essay. Transitions help guide your reader through the analysis, making the journey more enjoyable and comprehensible.
Proofread for Errors: Carefully proofread your essay for grammar, spelling, and punctuation errors. A polished essay enhances your credibility and the overall professionalism of your work.

With these basic steps, you can craft an amazing visual analysis essay. Read on for some useful tips for analyzing different kinds of visual subjects.

Tips on How to Analyze a Photograph

Painting and photograph analysis are very similar. There are three ways in which photo visual analysis is conducted: description, reflection, and formal analysis.

Although the historical study may be used, it is not necessary.

Description - It implies examining the picture carefully and considering all of the details. The description should be neutral, focusing on simple facts without expressing a personal viewpoint.
Reflection - For the next stage, consider the emotions that the picture stirs in you. Every viewer will have a distinct viewpoint and feelings about the piece. Knowing some historical background might be useful when formulating an educated response.
Formal analysis - Consider the visual components and concepts. How are they shown in the photo?
Historical analysis - For a contextual analysis, keep an eye on the photo's surroundings. Make sure you comprehend the surrounding environment in which the photograph was taken. What era was this image shot during?

Tips on How to Analyze a Sculpture

A sculpture, unlike a painting or photograph, requires a different approach to visual analysis. It still depends on visible components and principles, however it does so in a slightly different way.

When you're writing about sculptures, keep the following in mind:

Medium, size, and technique - What kind of material is it? Is it carved in a negative or positive method?
Color and lightning - Describe the hue of the sculpture, whether it is painted. Was the sculptor concerned with the illumination when creating the work?
Human body and scale - Consider how a human body is portrayed in the piece. Also, assess the sculpture's size compared to that of the viewer.
Function - What was the sculpture's main aim? You could speak about whether it represented a religious conviction or honored someone, for example.
Composition - Examine the placement of the piece and determine whether there is a focal point.

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Visual Analysis Essay on Advertisement

In advertisements, visuals are used to pique interest or persuade the public that what is being advertised is needed. The goal of a visual argument is to generate attention and intrigue. Images are utilized in advertisements to transmit information and interact with the audience.

When conducting a visual analysis of an ad, keep the following in mind:

Textual Elements
Illustrations
Composition

This all has an impact on how people perceive information and how they react to it.

When you analyze the visuals of an ad, you're performing a rhetorical analysis. The study of images and extracting information from them is known as visual rhetoric. It aids in the comprehension of typography, imagery, and the structure of elements on the page.

How to Write a Visual Analysis Paper on an Advertisement

Visual components in advertising are important. It aids in the persuasion of the audience.

Always keep the rhetorical situation in mind while analyzing visual arguments. The following are some key elements to consider:

Audience - Who is the advertisement meant to attract?
Purpose - What message does the photo try to get across to the audience?
Design - What kind of visualizations are included? Are the visuals clear and easy to follow? Are there any patterns or repetitions in the design?
Strategies - Is there any humor, celebrities, or cultural allusions in the graphic's message?
Medium - Is the photograph surrounded by text? Is there any text within the picture? How does it interact with the picture to produce an intended effect if there is any?
Context - What are the characters in an ad? Where are they positioned?
Subtext - Consider the meaning of the picture's words. What are they trying to say?

Visual Rhetorical Analysis Essay Examples

Here are some visual analysis essay samples that you can read to understand this type of essay better.

Art history Visual Analysis Essay Example

Political Cartoon Visual Analysis Essay

Rhetorical and Visual Analysis Essay Sample

Mona Lisa Visual Analysis Essay

Visual Analysis Essay Topics

Here are some top visual analysis essay topics that you can choose from and begin the writing process.

Make a review of your favorite Hollywood production and discuss the visual arts involved.
Write about the use of color and action in TV commercials.
Discuss how the brand name is displayed in digital media campaigns.
Discuss different types of visual appeals used in web ads.
What is the special about Cleo Award-winning ads?
The Use of Light and Shadow in Caravaggio's "The Calling of Saint Matthew"
The Symbolism of Colors in Vincent van Gogh's "Starry Night"
What is the importance of art and culture in our life?
How has art changed over the last 50 years?
The use of colors in marketing and advertising.

To conclude,

From gathering information about the artwork to crafting a compelling analysis, we've navigated the essential steps you need for a visual analysis essay. Moreover, with the specific tips and examples, you have everything you need to get started.

So dive into the writing process with confidence and return to this blog whenever you need help on any step!

However, if you have gone through the whole article and are still unsure how to start your essay, we can help you.

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How to Write a Visual Analysis Essay: Examples & Template

A visual analysis essay is an academic paper type that history and art students often deal with. It consists of a detailed description of an image or object. It can also include an interpretation or an argument that is supported by visual evidence.

Our specialists will write a custom essay specially for you!

The picture shows the definition of a visual analysis.

In this article, our custom writing experts will:

explain what a visual analysis is;
share useful tips on how to write a good visual analysis essay;
provide an essay sample.
🎨 Visual Analysis Definition
🏺 Artwork Analysis Tips
✅ Visual Analysis Writing Guide
📑 Example & Citation Tips

🎨 What Is a Visual Analysis?

The primary objective of visual analysis is to understand an artwork better by examining the visual elements. There are two types of visual analysis: formal and contextual.

A formal analysis focuses on artwork elements such as texture, color, size, and line. It aims to organize visual information and translate it into words. A formal analysis doesn’t interpret the piece.
Unlike formal analysis, contextual analysis’ primary goal is to connect artwork to its purpose or meaning within a culture. A contextual analysis includes formal analysis. Additionally, it discusses an artwork’s social purpose and significance.

Usually, students deal with formal visual analysis. Before starting to work on your essay, make sure to ask your professor whether to include contextual analysis or not.

The Purpose of Analyzing Images

Why is visual analysis important? What does it help to learn? There are several things that visual analysis helps with:

It allows students to enhance their appreciation of art.
It enables students to develop the ability to synthesize information.
It encourages students to seek out answers instead of simply receiving them.
It prompts higher-order critical thinking and helps to create a well-reasoned analysis.
By conducting visual analysis, students learn how to support and explain their ideas by studying visual information.

What Is Formal Analysis: Art History

When we look at an artwork, we want to know why it was created, who made it, and what its function was. That’s why art historians and researchers pay special attention to the role of artworks within historical contexts.

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Visual analysis is a helpful tool in exploring art. It focuses on the following aspects:

Interpretation of subject matter ( iconography). An iconographic analysis is an explanation of the work’s meaning. Art historians try to understand what is shown and why it is depicted in a certain way.
The analysis of function. Many works of art were designed to serve a purpose that goes beyond aesthetics. Understanding that purpose by studying their historical use helps learn more about artworks. It also establishes a connection between function and appearance.

Formal Analysis: Art Glossary

Now, let’s look at some visual elements and principles and learn how to define them.

Visual Elements :

Visual Principles :

🏺 How to Analyze Artworks: Different Types

Writing a formal analysis is a skill that requires practice. Being careful and attentive during the pre-writing stage is essential if you want to create a good and well-structured visual analysis. 

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Visual analysis essay mainly consists of two components:

Description of the selected image or object,
Interpretation built on the visual evidence.

During the pre-writing stage:

Collect general information about an artwork. Describe it briefly. Pay special attention to visual elements and principles:
Develop an interpretation. Think critically. What does the information in your notes imply? How can it be interpreted?
Support your ideas. To do it, refer to the visual elements directly. Avoid generalizing art and double-check your prompts.

How to Analyze a Painting Using the Elements of Art

To write an excellent formal visual analysis, you need to consider as many visual principles and elements as you can apply. In the formal analysis part:

Target your description;
Address only those elements relevant to your essay;
Pay attention to visual elements and principles;
Introduce the subject of the painting and describe it;
Explain why you have decided to discuss specific elements;
Discuss the relationship between visual elements of the artwork;
Use the vocabulary terms.

If you are asked to do a contextual analysis , you may want to:

Focus on the historical importance of an artwork;
Explore the style or movement associated with an artwork;
Learn about the historical context and the public’s reaction to the artwork;
Learn about the author and how they’ve created the piece of art.

Painting Analysis Essay Example & Tips

Here is a template you can use for your essay.

Get an originally-written paper according to your instructions!

Now, let’s take a look at an essay example.

How to Analyze a Photograph

Analyzing photos has a lot in common with paintings. There are three methods on which photo visual analysis relies: description, reflection, and formal analysis. Historical analysis can be included as well, though it is optional.

Description . It implies looking closely at the photo and considering all the details. The description needs to be objective and consists of basic statements that don’t express an opinion.
Reflection. For the next step, focus on the emotions that the photograph evokes. Here, every viewer will have a different opinion and feelings about the artwork. Knowing some historical context may be helpful to construct a thoughtful response.
Formal analysis . Think of the visual elements and principles. How are they represented in the photograph?
Historical analysis. For a contextual analysis, you need to pay attention to the external elements of the photograph. Make sure that you understand the environmental context in which the photo was taken. Under what historical circumstances was the picture made?

Photo Analysis Essay Tips

Now that we’ve talked about analyzing a photograph let’s look at some helpful tips that will help you write an essay.

How to Analyze a Sculpture

Visual analysis of a sculpture is slightly different from the one of a painting or a photograph. However, it still uses similar concepts, relies on visual elements and principles. When you write about sculpture, consider:

Visual Analysis Essay on a Sculpture: Writing Tips

A sculpture analysis consists of the following parts:

Description . Include specific details, such as what the sculpture may represent. For instance, the human figure may be an athlete, an ancient God, a poet, etc. Consider their pose, body build, and attire.
Formal analysis . Here, visual elements and principles become the focus. Discuss the color, shape, technique, and medium.
Contextual analysis . If you decide to include a contextual analysis, you can talk about the sculpture’s function and how it conveys   ideas and sentiments of that period. Mention its historical and cultural importance.

When it comes to sculpture analysis, you may also want to collect technical data such as:

The size of the sculpture
Medium (the material)
The current condition (is it damaged, preserved as a fragment, or as a whole piece)
Display (Was a sculpture a part of an architectural setting, or was it an independent piece of work?)

For instance, if you were to do a visual analysis of Laocoön and His Sons , you could first look up such details:

Location: Discovered in a Roman vineyard in 1506
Current location: Vatican
Date: Hellenistic Period (323 BCE – 31 CE)
Size: Height 208 cm; Width 163 cm; Depth 112 cm
Material: Marble
Current condition: Missing several parts.

Visual Analysis Essay: Advertisement Analysis

Visuals are used in advertisements to attract attention or convince the public that they need what is being advertised. The purpose of a visual argument is to create interest. Advertisements use images to convey information and communicate with the audience.

When writing a visual analysis of an advertisement, pay attention to the following:

text elements,
illustrations,
composition.

All of this influences how the viewer perceives the information and reacts to it.

When you write about an advertisement, you conduct a rhetorical analysis of its visual elements. Visual rhetoric is mainly directed at analyzing images and extracting information from them. It helps to understand the use of typography, imagery, and the arrangement of elements on the page.

Think of the famous visual rhetoric examples such as the We can do it! poster or a Chanel №5 commercial. Both examples demonstrate how persuasive imagery has been used throughout history.

How to Write a Visual Analysis Paper on an Advertisement

The presentation of visual elements in advertising is essential. It helps to convince the audience. When you analyze visual arguments, always keep the rhetorical situation in mind. Here are some crucial elements to focus on:

✅ How to Write a Visual Analysis Paper: Step by Step

Now, we’ll focus on the paper itself and how to structure it. But first, check out the list of topics and choose what suits you best.

Visual Analysis Essay Topics

There are a lot of artworks and advertisements that can be analyzed and viewed from different perspectives. Here are some essay topics on visual analysis that you may find helpful:

Analyze Gustav Klimt’s The Kiss (1907-1908.)
The theme of humanity and The Son of Man (1964) by René Magritte.
The use of visual elements in Almond Blossom by Vincent van Gogh (1888-1890.)
Identity and Seated Harlequin (1901) by Picasso .
Explore the themes of Paul Klee ’s The Tree of Houses , 1918.
Objectives, activities, and instructions of Pietro Perugino’s fresco The Delivery of the Keys to Saint Peter .
Reflection on social issues of the time in Two Fridas by Frida Kahlo and Untitled by Ramses Younan .
Analyze the importance of Mural (1943) by Jackson Pollock .
The political message in John Gast’s painting American Progress (1872).
Describe the visual techniques used in Toy Pieta by Scott Avett .
The interpretation of the painting Indian Fire God by Frederic Remington.
Explore the historical significance and aesthetic meaning of Ognissanti Madonna by Giotto di Bondone .
Analyze different interpretations of The Three Dancers by Pablo Picasso .

Photography:

The idea behind Lindsay Key (1985) by Robert Mapplethorpe.
Explore the mythical appeal of Robert Capa’s photograph The Falling Soldier (Spain,1936) from Death in Making photobook.
Describe Two Boys with Fish (2018) from Faith series by Mario Macilau.
Kevin Carter’s Starving Child and Vulture (1993) as the representation of photojournalism.
The story behind Philippe Halsman’s Dali Atomicus , 1948.
Describe The Starving Boy in Uganda photograph by Mike Wells
Analyse the view of a historic disaster in San Francisco photograph by George R. Lawrence.
The statement behind Eddie Adams’s photo Shooting a Viet Cong Prisoner .
How is Steve McCurry’s perception of the world reflected in his photo Afghanistan Girl .
Analyze the reflection of Ansel Adams’s environmental philosophy in his photo Moon and Half Dome (1960).
Describe Girl on the Garda Lake (2016) by Giuseppe Milo.
Combination of internal geometry and true-to-life moments in Behind the Gare Saint Lazare by Henri Cartier-Bresson .
Modern art and Couple on Seat by Lynn Chadwick (1984.)
Analyze the biblical context of Pieta (1498-1499) by Michelangelo.
The use of shapes in Louise Bourgeois ’ Spider (1996.)
Analysis of the symbolism behind The Thinker (1880) by Rodin.
The historical meaning of Fountain (1917) by Duchamp .
Analyze the Miniature Statue of Liberty by Willard Wigan
The combination of Egyptian culture and classical Greek ideology in statue of Osiris-Antinous .
Reflection of the civilization values in emperor Qin’s Terracotta Army .
The aesthetic and philosophical significance of Michelangelo’s David .
Explore the controversial meaning of Damien Hirst’s sculpture For the Love of God (2007).
Analyze the elements of art and design used in The Thinker by August Rodin .
Symbolic elements in the Ancient Greek statues of Zeus .
Depiction of the fundamental aspects of Buddhism in The Parinirvana of Siddhartha/Shakyamuni.

How Volkswagen : Think Small (1960) ad changed advertising.
Analyze the use of figures in California Milk Processor Board: Got Milk? (1993) ad campaign .
Analyze the use of colors in Coca-Cola — The Pause that Refreshes (1931.)
Explore the historical context of We Can Do It! (1942) campaign.
The importance of a slogan in 1947: A Diamond Is Forever by De Beers.
Examine the specifics of visual advert: dogs and their humans.
Describe the use of visual techniques in Kentucky Fried Chicken company’s advertisement.
Analyze the multiple messages behind the print ad of JBL .
Discuss the methods used in Toyota Highlander advertisement .
Elucidation of people’s dependency on social networks in the advertising campaign Followers by Miller Lite.
The use of the visual arguments in Schlitz Brewing Company advertisement .
The role of colors and fonts in Viva la Juicy perfume advertisement .

Visual Analysis Essay Outline

You can use this art analysis template to structure your essay:

The picture shows the main steps in writing a visual analysis essay: introduction, main body, conclusion.

How to Start an Art Essay

Every analysis starts with an introduction. In the first paragraph, make sure that:

the reader knows that this essay is a visual analysis;
you have provided all the necessary background information about an artwork.

It’s also important to know how to introduce an artwork. If you’re dealing with a panting or a photograph, it’s better to integrate them into the first page of your analysis. This way, the reader can see the piece and use it as a reference while reading your paper.

Art Thesis Statement Examples & Tips

Formulating a thesis is an essential step in every essay. Depending on the purpose of your paper, you can either focus your visual analysis thesis statement on formal elements or connect it with the contextual meaning. 

To create a strong thesis, you should relate it to an artwork’s meaning, significance, or effect. Your interpretation should put out an argument that someone could potentially disagree with. 

For instance, you can consider how formal elements or principles impact the meaning of an artwork. Here are some options you can consider:
If your focus is the contextual analysis, you can find the connection between the artwork and the artist’s personal life or a historical event.

How to Write Visual Analysis Body Paragraphs

Body paragraphs of formal analysis consist of two parts—the description and the analysis itself. Let’s take Klimt’s The Kiss as an example:

The contextual analysis includes interpretation and evaluation.

Visual Analysis Essay Conclusion

When you work on the conclusion, try to conclude your paper without restating the thesis. At the end of your essay, you can present an interesting fact. You can also try to:

Compare an artwork to similar ones;
Contrast your own ideas on the piece with the reaction people had when it was first revealed.
Talk about an artwork’s significance to the culture and art in general.

📑 Visual Analysis Essay Example & Citation Tips

In this section of the article, we will share some tips on how to reference an artwork in a paper. We will also provide an essay example.

How to Reference a Painting in an Essay

When you work on visual analysis, it is important to know how to write the title of an artwork properly. Citing a painting, a photograph, or any other visual source, will require a little more information than citing a book or an article. Here is what you will need:

Size dimensions
Current location
Name of the piece
Artist’s name
Date when artwork was created

If you want to cite a painting or an artwork you saw online, you will also need:

The name of the website
Website URL
Page’s publication date
Date of your access

How to Properly Credit an Artwork in APA

How to properly credit an artwork in mla, how to properly credit an artwork in chicago format.

Finally, here’s a sample visual analysis of Rodin’s sculpture The Thinker in APA format. Feel free to download it below.

Many people believe that works of art are bound to be immortal. Indeed, some remarkable masterpieces have outlived their artists by many years, gaining more and more popularity with time. Among them is The Thinker, a brilliant sculpture made by Auguste Rodin, depicting a young, athletic man, immersed deep into his thoughts.

You can also look at the following essay samples to get even more ideas.

The Protestors Cartoon by Clay Bennett: Visual Analysis
Visual Analysis – Editorial Cartoon
Visual Analysis: “Dust Storm” Photo by Steve McCurry
Visual, Aural, Read & Write, Kinesthetic Analysis
Schlitz Brewing Company Advertisement: Visual Arguments Analysis

Thanks for reading through our article! We hope you found it helpful. Don’t hesitate to share it with your friends.

❓ Visual Analysis FAQs

To write a visual argument essay, you need to use rhetorical analysis. Visual rhetoric is directed at analyzing images and extracting the information they contain. It helps to analyze the visuals and the arrangement of elements on the page.

A well-though contextual analysis will include:

1. formal analysis, 2. some information about the artist, 3. details on when and where the piece was created, 4. the social purpose of the work, 5. its cultural meaning.

It is better to include pictures in the introduction part of your paper. Make sure to cite them correctly according to the format you’re using. Don’t forget to add the website name, the URL, and the access date.

To analyze means not only to describe but also to evaluate and synthesize visual information. To do that, you need to learn about visual elements and principles and see how and why they are used within artworks.

🔍 References

Art History: University of North Carolina at Chapel Hill
Visual Analysis: Duke University
Writing a Formal Analysis in Art History: Hamilton College
Contextual Analysis: Pine-Richland School District
How to Analyze an Artwork: Student Art Guide
Introduction to Art Historical Analysis: Khan Academy
Guidelines for Analysis of Art: University of Arkansas at Little Rock
Elements of Art: Getty.edu
Formal or Critical Analysis: LibreTexts
Analyzing a Photograph: University of Oregon
Picture Composition Analysis and Photo Essay: University of Northern Iowa
Visual Analysis Guidelines: Skidmore College
How to Analyze Sculpture: NLA Design and Visual Arts: WordPress
Visual Rhetoric: Purdue University
Formal Visual Analysis: The Elements & Principles of Composition
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A graphic essay (sometimes called a visual essay) uses a combination of text and images to explore a specific topic. Graphic essays can look like comics, graphic novels, magazines, collages, artist books, textbooks, or even websites. Graphic essays often first take the form of written essays and then have graphic elements added to enrich the reader experience. Unlike infographics, which also combine text and images, graphic essays are often more text-based and usually have a narrative arc or specific reading order.

Comics are a genre used to express ideas through images combined with text or other visual information. Comics can take the form of a single panel or a series of juxtaposed panels of images, sometimes called a strip. Text is conveyed via captions below the panel(s), or speech bubbles and onomatopoeias within the panel(s), to indicate dialogue, narration, sound effects, or other information. Graphic novels are often considered to be a longer form of comics, typically in book form.

A web-based graphic essay can take the form of a blog or a single page website, such as a Microsoft Sway page or an interactive Prezi. For Microsoft Sway and Prezi graphic essays, see the examples below. If you are creating a blog we recommend visiting the Web-Based Projects page .

Graphic Essay Design Tip: Graphic essays can take many forms, so we recommend being creative within the scope of your project! Get some help from DesignLab to brainstorm options and talk through the various tools available!

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Recommended Software

There are many different software programs that can be used to create graphic essays. Below is a list of the software that we recommend for making a graphic essay. We organized the software by category and put the software from top to bottom from best to worst. We recommend using a software you know well or learning the software well enough to establish an easy workflow, so you can spend less time troubleshooting and spend more time on your project. Check out our Software Support page for links to tutorials for all of these programs.

General Graphic Essay Software

Web-Based Graphic Essay Software

Comic-Specific Graphic Essay Software

Student-Made Examples

Print style graphic essay.

Becoming a Witness by Jessica Posnock

Creative Graphic Essay

Virtual Communication by Max Hautala *Award Winning*

Curb Magazine (2012) by Journalism 417

Web-Based (Magazine) Graphic Essay

Curb Magazine (Current) by Journalism 417

Web-Based (Sway) Graphic Essay

Language Influences Culture, Thoughts, and Identity by Kristen Luckow *Award Winning*

Language Influences Culture, Thoughts, and Identity Thumbnail Image

Dyslexia by Maria Swanke *Award Winning*

Other Examples

Web-based (blog) graphic essay.

Switch It Up: Graphic Essay by Amanda Zieba

Sceeenshot of Switch It Up Graphic Essay

Graphic Novel

Graphic Novels in the Classroom by Gene Yang

Instructional Video

CRAFT: Let’s Get Graphic: A Look at the Visual Essay by Nicole Breit

August 1, 2018.

If you’re keen to tell new kinds of stories – or old stories in new ways – consider these ten “visual” approaches to writing short-form memoir.

1. The Photo Essay

The art of the photo essay lies in the writer’s careful selection of images balanced with the inclusion of text. Will the photos drive the narrative, or will they fill in textual “gaps” to move the story forward? Vivek Shraya strikes an elegant balance of “showing” and “telling” in her compelling photo narrative, “ Trisha .”

2. The Concrete Essay

This form is the next evolution of concrete poetry (A.K.A. shape or pattern poems), reincarnated as CNF. Jennifer Wortman’s “ Worst-Case Scenario ” presents the story of her husband’s 35-feet fall into a gap while rock climbing, visually – via text shaped like the rocks he fell through.

3. The Illustrated Essay

There’s something so charming about a notebook doodle – perhaps because sketches convey the character of the artist in such an immediate way. I love the narrator’s personality as it comes through Randon Billings’ Noble’s drawings in “ Accidental Notes on the Syllabus .”

4. The Graphic Essay

Check out the masters of graphic memoir – Maggie McKnight , Riad Sattouf , Alison Bechdel , Marjane Satrapi, Kristen Radtke, Nicole Georges and Ellen Forney – and understand how powerful comics can be as a medium for personal storytelling.

5. The Paper Craft Essay

If you’re wondering what to do with your stockpile of scrapbooking supplies, look no further than Erica’s Trabold’s “ Swedish Rye Bread ”– an essay constructed as a collage of typed index cards, digital scans, the pages of a vintage cookbook, and scrapbooking paper.

6. The Quilted Essay

Quilting has a long history of embodying narrative in carefully chosen patterns, colours, and symbols. Learn more about textile-based narratives in Sarah Minor’s article “ What Quilting and Embroidery Can Teach Us about Narrative Form ” and by reading her visual essay, “ Log Cabin Quilt .”

7. The Schematic Essay

The Process of Becoming Informed is a found schematic essay published by The Diagram and credited to Michael K. Buckland of Library Services in Theory and Context, Pergamon Press, 1983. Where might you find a visual essay just waiting to be discovered?

8. The Graphic Hermit Crab

The hermit crab essay appropriates a found text – also known as a “false document” – as a “shell” to protect the vulnerable story it contains. The textual form’s logical progression is visual, in which a found graphic is adopted as the essay’s structure. J. Robert Lennon’s “ Turnabout: A Story Game ” is a graphic hermit crab essay that can be read starting at any point, proceeding in any direction.

9. The Video Essay

Video is a natural medium for personal narrative, and John Breslund is known as a pioneer of the visual essay form. This article includes a Q and A with Bresland and his collaborator, poet and essayist, Eula Biss, with links to some of their groundbreaking work including “Ode to Every Thing.”

10. The Interactive Essay

“Hypertext is spatial in every direction, truly nonsequential—nothing follows by necessity anything else in the essay” write Brenda Miller and Suzanne Paola in Tell It Slant . Exemplary interactive hypertext CNF include Dinty W. Moore’s “ Mr. Plimpton’s Revenge: A Google Map Essay ,” Christine Wilks’ “ Fitting the Pattern ” and the work of Eric LeMay .

I hope this survey of the visual essay, in all its weird and wonderfully varied forms, inspires you to try a new approach to telling your stories. No matter your level of skill, experience, or talent with the visual arts, you can start including visuals in your work easily – and to great effect – incorporating images or multi-media collage.

Which visual essay format appeals to you the most? I’d love to hear which visual essays inspire your next project!

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Visual Analysis: How to Analyze a Painting and Write an Essay

A visual analysis essay is an entry-level essay sometimes taught in high school and early university courses. Both communications and art history students use visual analysis to understand art and other visual messages. In our article, we will define the term and give an in-depth guide on how to look at a piece of art and write a visual analysis essay. Stay tuned until the end for a handy visual analysis essay example from our graduate paper writing service .

What Is Visual Analysis?

Visual analysis is the process of looking at a piece of visual art (painting, photography, film, etc.) and dissecting it for the artist’s intended meaning and means of execution. In some cases, works are also analyzed for historical significance and their impact on culture, art, politics, and the social consciousness of the time. This article will teach you how to perform a formal analysis of art.

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A visual analysis essay is a type of essay written mostly by students majoring in Art History and Communications. The process of visual analysis can be applied to painting, visual art, journalism, photo-journalism, photography, film, and writing. Works in these mediums are often meant to be consumed for entertainment or informative purposes. Visual analysis goes beyond that, focusing on form, themes, execution, and the compositional elements that make up the work.

Classical paintings are a common topic for a visual analysis essay because of their depth and historical significance. Take the famous Raphael painting Transfiguration. At first glance, it is an attractive image showing a famous scene from the Bible. But a more in-depth look reveals practical painting techniques, relationships between figures, heavy symbolism, and a remarkable choice of colors by the talented Raphael. This deeper look at a painting, a photograph, visual or written art is the process of visual analysis.

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Formal Analysis of Art: Who Does It?

Most people who face visual analysis essays are Communication, English, and Art History students. Communications students explore mediums such as theater, print media, news, films, photos — basically anything. Comm is basically a giant, all-encompassing major where visual analysis is synonymous with Tuesday.

Art History students study the world of art to understand how it developed. They do visual analysis with every painting they look it at and discuss it in class.

English Literature students perform visual analysis too. Every writer paints an image in the head of their reader. This image, like a painting, can be clear, or purposefully unclear. It can be factual, to the point, or emotional and abstract like Ulysses, challenging you to search your emotions rather than facts and realities.

How to Conduct Visual Analysis: What to Look For

Whether you study journalism or art, writing a visual analysis essay will be a frequent challenge on your academic journey. The primary principles can be learned and applied to any medium, regardless of whether it’s photography or painting.

For the sake of clarity, we’ve chosen to talk about painting, the most common medium for the formal analysis of art.

In analyzing a painting, there are a few essential points that the writer must know.

Who is the painter, and what era of art did they belong to? Classical painters depict scenes from the Bible, literature, or historical events (like the burning of Rome or the death of Socrates). Modernists, on the other hand, tend to subvert classical themes and offer a different approach to art. Modernism was born as a reaction to classical painting, therefore analyzing modernist art by the standards of classical art would not work.
What was the painter’s purpose? Classical painters like Michelangelo were usually hired by the Vatican or by noble families. Michelangelo didn’t paint the Sistine Chapel just for fun; he was paid to do it.
Who is the audience? Artists like Andy Warhol tried to appeal to the masses. Others like Marcel Duchamp made art for art people, aiming to evolve the art form.
What is the historical context? Research your artist/painting thoroughly before you write. The points of analysis that can be applied to a Renaissance painter cannot be applied to a Surrealist painter. Surrealism is an artistic movement, and understanding its essence is the key to analyzing any surrealist painting.

Familiarizing yourself with these essential points will give you all the information and context, you need to write a good visual analysis essay.

But visual analysis can go deeper than that — especially when dealing with historic pieces of visual art. Students explore different angles of interpretation, the interplay of colors and themes, how the piece was made and various reactions, and critiques of it. Let’s dig deeper.

A Detailed Process of Analyzing Visual Art

Performing a formal analysis of art is a fundamental skill taught at entry-level art history classes. Students who study art or communications further develop this skill through the years. Not all types of analysis apply to every work of art; every art piece is unique. When performing visual analysis, it’s essential to keep in mind why this particular work of art is important in its own way.

Step 1: General Info

To begin, identify the following necessary information on the work of art and the artist.

Subject — who or what does this work represent?
Artist — who is the author of this piece? Refer to them by their last name.
Date and Provenance — when and where this work of art was made. Is it typical to its historical period or geographical location?
Past and Current Locations — where was this work was displayed initially, and where is it now?
Medium and Creation Techniques — what medium was this piece made for and why is it important to that medium? Note which materials were used in its execution and its size.

Step 2: Describe the Painting

Next, describe what the painting depicts or represents. This section will be like an abstract, summarizing all the visible aspects of the piece, painting the image in the reader’s mind. Here are the dominant features to look for in a painting:

Characters or Figures: who they are and what they represent.
If this is a classical painting, identify the story or theme depicted.
If this is an abstract painting, pay attention to shapes and colors.
Lighting and overall mood of the painting.
Identify the setting.

Step 3: Detailed Analysis

The largest chunk of your paper will focus on a detailed visual analysis of the work. This is where you go past the basics and look at the art elements and the principles of design of the work.

Art elements deal mostly with the artist’s intricate painting techniques and basics of composition.

Lines — painters use a variety of lines ranging from straight and horizontal to thick, curved, even implied lines.
Shapes — shapes can be distinct or hidden in plain sight; note all the geometrical patterns of the painting.
Use of Light — identify the source of light, or whether the lighting is flat; see whether the painter chooses contrasting or even colors and explain the significance of their choice in relation to the painting.
Colors — identify how the painter uses color; which colors are primary, which are secondary; what is the tone of the painting (warm or cool?)
Patterns — are there repeating patterns in the painting? These could be figures as well as hidden textural patterns.
Use of Space — what kind of perspective is used in the painting; how does the artist show depth (if they do).
Passage of Time and Motion

Design principles look at the painting from a broader perspective; how the art elements are used to create a rounded experience from an artistic and a thematic perspective.

Variety and Unity - explore how rich and varied the artists’ techniques are and whether they create a sense of unity or chaos.
Symmetry or Asymmetry - identify points of balance in the painting, whether it’s patterns, shapes, or use of colors.
Emphasis - identify the points of focus, both from a thematic and artistic perspective. Does the painter emphasize a particular color or element of architecture?
Proportions - explain how objects and figures work together to provide a sense of scale, mass, and volume to the overall painting.
Use of Rhythm - identify how the artist implies a particular rhythm through their techniques and figures.

Seeing as each work of art is unique, be thoughtful in which art elements and design principles you wish to discuss in your essay. Visual analysis does not limit itself to painting and can also be applied to mediums like photography.

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The Structure: How to Write a Visual Analysis Paper

It’s safe to use the five-paragraph essay structure for your visual analysis essay. If you are looking at a painting, take the most important aspects of it that stand out to you and discuss them in relation to your thesis. Structure it with the simple essay structure:

Introduction: An introduction to a visual analysis essay serves to give basic information on the work of art and briefly summarize the points of discussion.

Give a brief description of the painting: name of artist, year, artistic movement (if necessary), and the artist’s purpose in creating this work.
Briefly describe what is in the painting.
Add interesting facts about the artist, painting, or historical period to give your reader some context.
As in all introductions, don’t forget to include an attention-grabber to get your audience interested in reading your work.

Thesis: In your thesis, state the points of analysis on this work of art which you will discuss in your essay.

Body: Explore the work of art and all of its aspects in detail. Refer to the section above titled “A Detailed Process of Analyzing Visual Art,” which will comprise most of your essay’s body.

Conclusion: After you’ve thoroughly analyzed the painting and the artist’s techniques, give your thoughts and opinions on the work. Your observations should be based on the points of analysis in your essay. Discuss how the art elements and design principles of the artist give the painting meaning and support your observations with facts from your essay.

Citation: Standard citation rules apply to these essays. Use in-text citations when quoting a book, website, journal, or a movie, and include a sources cited page listing your sources. And there’s no need to worry about how to cite a piece of art throughout the text. Explain thoroughly what work of art you’re analyzing in your introduction, and refer to it by name in the body of your essay like this — Transfiguration by Raphael.

If you want a more in-depth look at the classic essay structure, feel free to visit our 5-PARAGRAPH-ESSAY blog

Learn From a Visual Analysis Example

Many YouTube videos are analyzing famous paintings like the Death of Socrates, which can be a great art analysis example to go by. But the best way to understand the format and presentation is by looking at a painting analysis essay example done by a scholarly writer. One of our writers has penned an outstanding piece on Leonardo Da Vinci’s La Belle Ferronnière, which you may find below. Use it as a reference point for your visual analysis essay, and you can’t go wrong!

Leonardo da Vinci was an Italian artist born in April 1452 and died in May 1519who lived in the Renaissance era. His fame and popularity were based on his painting sand contribution to the Italian artwork. Leonardo was also an active inventor, a vibrant musician, writer, and scientist as well as a talented sculptor amongst other fields. His various career fields proved that he wanted to know everything about nature. In the book “Leonardo Da Vinci: The Mind of the Renaissance” by Alessandro Vezzosi, it is argued that Leonardo was one of the most successful and versatile artists and anatomists of the Italian renaissance based on his unique artwork and paintings (Vezzosi, p1454). Some of his groundbreaking research in medicine, metal-casting, natural science, architecture, and weaponry amongst other fields have been explored in the book. He was doing all these in the renaissance period in Italy from the 1470s till his death.

Visual analysis essays will appear early in your communications and art history degrees. Learning how to formally analyze art is an essential skill, whether you intend to pursue a career in art or communications.

Before diving into analysis, get a solid historical background on the painter and their life. Analyzing a painting isn’t mere entertainment; one must pay attention to intricate details which the painter might have hidden from plain sight.

We live in an environment saturated by digital media. By gaining the skill of visual analysis, you will not only heighten your appreciation of the arts but be able to thoroughly analyze the media messages you face in your daily life.

Also, don't forget to read summary of Lord of the Flies , and the article about Beowulf characters .

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If you read the whole article and still have no idea how to start your visual analysis essay, let a professional writer do this job for you. Contact us, and we’ll write your work for a higher grade you deserve. All ' college essay service ' requests are processed fast.

How to Write a Policy Analysis Paper Step-by-Step

How to Write a Visual Analysis Essay: Mastering Artful Interpretations 👌

Setting itself apart from other essays, visual analysis essays necessitate a thorough examination of design elements and principles. Whether it's the mysterious smile of the 'Mona Lisa' or a striking photograph capturing a fleeting moment, visual art has the power to move us. Writing this kind of paper is like peeling back the layers of a visual story, uncovering its meanings, and unraveling its impact.

Think of it as decoding the secrets a picture holds. Imagine standing in front of a famous painting, like the 'Mona Lisa' in the Louvre. Millions are drawn to it, captivated by the tale it tells. Your essay lets you share your perspective on the stories hidden in images.

If you're feeling unsure about tackling this kind of essay, don't worry—check out this blog for a straightforward guide. The expert team at our essay service online will walk you through each step of writing the essay, offering tips and examples along the way.

What Is a Visual Analysis Essay

A visual analysis essay is a unique form of writing that delves into the interpretation of visual elements within an image, such as a painting, photograph, or advertisement. Rather than focusing solely on the subject matter, this type of essay scrutinizes the design elements and principles employed in the creation of the visual piece.

Design Elements: These include fundamental components like color, size, shape, and line. By dissecting these elements, you gain a deeper understanding of how they contribute to the overall composition and convey specific messages or emotions.

Design Principles: Equally important are the design principles—balance, texture, contrast, and proportion. These principles guide the arrangement and interaction of the design elements, influencing the visual impact of the entire composition.

Purpose: The goal is not only to describe the visual content but also to decipher its underlying meaning and the artistic choices made by the creator. It goes beyond the surface level, encouraging the writer to explore the intentions behind the visual elements and how they communicate with the audience.

Stepwise Approach: To tackle this essay, follow a stepwise approach. Begin by closely observing the image, noting each design element and principle. Then, interpret how these choices contribute to the overall message or theme. Structure your essay to guide the reader through your analysis, providing evidence and examples to support your interpretations.

Tips for How to Write a Visual Analysis Essay Successfully:

Use clear and concise language.
Support your analysis with specific details from the visual piece.
Consider the historical or cultural context when applicable.
Connect your observations to the overall artistic or rhetorical goals.

Sample Visual Analysis Essay Outline

This sample outline offers a framework for organizing a comprehensive structure for a visual analysis essay, ensuring a systematic exploration of design elements and principles. Adjustments can be made based on the specific requirements of the assignment and the characteristics of the chosen visual piece. Now, let's delve into how to start a visual analysis essay using this template.

I. Visual Analysis Essay Introduction

A. Briefly introduce the chosen visual piece

Include relevant details (title, artist, date)

B. Provide a thesis statement

Express the main point of your analysis
Preview the key design elements and principles to be discussed

II. Description of the Visual Piece

A. Present an overview of the visual content

Describe the subject matter and overall composition
Highlight prominent visual elements (color, size, shape, line)

III. Design Elements Analysis

Discuss the use of color and its impact on the composition
Explore the emotional or symbolic associations of specific colors

B. Size and Shape

Analyze the significance of size and shape in conveying meaning
Discuss how these elements contribute to the overall visual appeal
Examine the use of lines and their role in guiding the viewer's gaze
Discuss any stylistic choices related to lines

IV. Design Principles Analysis

Discuss the visual balance and how it contributes to the overall harmony
Analyze whether the balance is symmetrical or asymmetrical
Explore the use of texture and its impact on the viewer's perception
Discuss how texture adds depth and visual interest

C. Contrast

Analyze the contrast between elements and its effect on the composition
Discuss whether the contrast enhances the visual impact

D. Proportion

Discuss the proportion of elements and their role in creating a cohesive visual experience
Analyze any intentional distortions for artistic effect

V. Interpretation and Analysis

A. Explore the overall meaning or message conveyed by the visual piece

Consider the synthesis of design elements and principles
Discuss any cultural or historical context influencing the interpretation

VI. Conclusion

A. Summarize the key points discussed in the analysis

B. Restate the thesis in the context of the insights gained

C. Conclude with a reflection on the overall impact and effectiveness of the visual piece.

An In-Depth Guide to Analyzing Visual Art

This in-depth guide on how to start a visual analysis essay begins with establishing a contextual foundation, progresses to a meticulous description of the painting, and culminates in a comprehensive analysis that unveils the intricate layers of meaning embedded in the artwork. As we navigate through each step of writing a visual analysis paper, the intention is not only to see the art but to understand the language it speaks and the stories it tells.

Step 1: Introduction and Background

Analyzing the art requires setting the stage with a solid analysis essay format - introduction and background. Begin by providing essential context about the artwork, including details about the artist, the time period, and the broader artistic movement it may belong to. This preliminary step allows the audience to grasp the significance of the painting within a larger cultural or historical framework.

Step 2: Painting Description

The next crucial phase in visual analysis involves a meticulous examination and description of the painting itself. Take your audience on a vivid tour through the canvas, unraveling its visual elements such as color palette, composition, shapes, and lines.

Provide a comprehensive snapshot of the subject matter, capturing the essence of what the artist intended to convey. This step serves as the foundation for the subsequent in-depth analysis, offering a detailed understanding of the visual elements at play.

Step 3: In-Depth Analysis

With the groundwork laid in the introduction and the painting description, now it's time to dive into the heart of writing a visual analysis paper. Break down the visual elements and principles, exploring how they interact to convey meaning and emotion. Discuss the deliberate choices made by the artist in terms of color symbolism, compositional techniques, and the use of texture.

Consider the emotional impact on the viewer and any cultural or historical influences that might be reflected in the artwork. According to our custom essay service experts, this in-depth analysis goes beyond the surface, encouraging a profound exploration of the artistic decisions that shape the overall narrative of the visual piece.

How to Write a Visual Analysis Essay: A Proper Structure

Using the conventional five-paragraph essay structure proves to be a reliable approach for your essay. When examining a painting, carefully select the relevant aspects that capture your attention and analyze them in relation to your thesis. Keep it simple and adhere to the classic essay structure; it's like a reliable roadmap for your thoughts.

Introduction

The gateway to a successful visual analysis essay lies in a compelling introduction. Begin by introducing the chosen visual piece, offering essential details such as the title, artist, and date. Capture the reader's attention by providing a brief overview of the artwork's significance. Conclude the introduction with a concise thesis statement, outlining the main point of your analysis and previewing the key aspects you will explore.

Crafting a robust thesis statement is pivotal in guiding your analysis. Clearly articulate the primary message or interpretation you aim to convey through your essay. Your thesis should serve as the roadmap for the reader, indicating the specific elements and principles you will analyze and how they contribute to the overall meaning of the visual piece.

The body is where the intricate exploration takes place. Divide this section into coherent paragraphs, each dedicated to a specific aspect of your analysis. Focus on the chosen design elements and principles, discussing their impact on the composition and the intended message. Support your analysis with evidence from the visual piece, providing detailed descriptions and interpretations. Consider the historical or cultural context if relevant, offering a well-rounded understanding of the artwork.

Conclude with a concise yet impactful conclusion. Summarize the key points discussed in the body of the essay, reinforcing the connection between design elements, principles, and the overall message. Restate your thesis in the context of the insights gained through your analysis. Leave the reader with a final thought that encapsulates the significance of the visual piece and the depth of understanding achieved through your exploration.

In your essays, it's important to follow the usual citation rules to give credit to your sources. When you quote from a book, website, journal, or movie, use in-text citations according to the style your teacher prefers, like MLA or APA. At the end of your essay, create a list of all your sources on a page called 'Sources Cited' or 'References.'

The good news for your analysis essays is that citing art is simpler. You don't need to stress about putting art citations in the middle of your sentences. In your introduction, just explain the artwork you're talking about—mentioning details like its name and who made it. After that, in the main part of your essay, you can mention the artwork by its name, such as 'Starry Night' by Vincent van Gogh.

This way, you can keep your focus on talking about the art without getting tangled up in the details of citing it in your text. Always keep in mind that using citations correctly makes your writing look more professional.

Visual Analysis Essay Example

To provide a clearer illustration of a good paper, let's delve into our sample essay, showcasing an exemplary art history visual analysis essay example.

Unveiling the Details in Image Analysis Essay

Have you ever gazed at an image and wondered about the stories it silently holds? Describing images in visual analysis papers is not just about putting what you see into words; it's about unraveling the visual tales woven within every pixel. So, how do you articulate the unspoken language of images? Let's examine below:

Start with the Basics: Begin your description by addressing the fundamental elements like colors, shapes, and lines. What hues dominate the image? Are there distinct shapes that catch your eye? How do the lines guide your gaze?
Capture the Atmosphere: Move beyond the surface and capture the mood or atmosphere the image evokes. Is it serene or bustling with energy? Does it exude warmth or coolness? Conveying the emotional tone adds layers to your description.
Detail the Composition: Dive into the arrangement of elements. How are objects positioned? What is the focal point? Analyzing the composition unveils the intentional choices made by the creator.
Consider Scale and Proportion: When unsure how to write an image analysis essay well, try exploring the relationships between objects. Are there disparities in size? How do these proportions contribute to the overall visual impact? Scale and proportion provide insights into the image's dynamics.
Examine Textures and Patterns: Zoom in on the finer details. Are there textures that invite touch? Do patterns emerge upon closer inspection? Describing these nuances enriches your analysis, offering a tactile dimension.
Cultural and Historical Context: Consider the broader context in which the image exists. How might cultural or historical factors influence its meaning? Understanding context adds depth to your description.

Final Thoughts

As we conclude our journey, consider this: how might your newfound appreciation for the subtleties of visual description enhance your understanding of the world around you? Every image, whether captured in art or everyday life, has a story to tell. Will you be the perceptive storyteller, wielding the brush of description to illuminate the tales that images whisper? The adventure of discovery lies in your hands, and the language of images eagerly awaits your interpretation. How will you let your descriptions shape the narratives yet untold?

Keep exploring, keep questioning, and let the rich tapestry of visual storytelling unfold before you. And if you're looking for a boost on how to write a thesis statement for a visual analysis essay, order an essay online , and our experts will gladly handle it for you!

How Do You Make a Good Conclusion to a Visual Analysis Essay?

How do you write a visual analysis essay thesis, what is a good approach to writing a visual analysis paper formally.

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Open access
Published: 31 October 2017

The visual essay and the place of artistic research in the humanities

Remco Roes 1 &
Kris Pint 1

Palgrave Communications volume 3 , Article number: 8 ( 2017 ) Cite this article

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Archaeology
Cultural and media studies

What could be the place of artistic research in current contemporary scholarship in the humanities? The following essay addresses this question while using as a case study a collaborative artistic project undertaken by two artists, Remco Roes (Belgium) and Alis Garlick (Australia). We argue that the recent integration of arts into academia requires a hybrid discourse, which has to be distinguished both from the artwork itself and from more conventional forms of academic research. This hybrid discourse explores the whole continuum of possible ways to address our existential relationship with the environment: ranging from aesthetic, multi-sensorial, associative, affective, spatial and visual modes of ‘knowledge’ to more discursive, analytical, contextualised ones. Here, we set out to defend the visual essay as a useful tool to explore the non-conceptual, yet meaningful bodily aspects of human culture, both in the still developing field of artistic research and in more established fields of research. It is a genre that enables us to articulate this knowledge, as a transformative process of meaning-making, supplementing other modes of inquiry in the humanities.

Introduction

In Being Alive: Essays on Movement, Knowledge and Description (2011), Tim Ingold defines anthropology as ‘a sustained and disciplined inquiry into the conditions and potentials of human life’ (Ingold, 2011 , p. 9). For Ingold, artistic practice plays a crucial part in this inquiry. He considers art not merely as a potential object of historical, sociological or ethnographic research, but also as a valuable form of anthropological inquiry itself, providing supplementary methods to understand what it is ‘to be human’.

In a similar vein, Mark Johnson’s The meaning of the body: aesthetics of human understanding (2007) offers a revaluation of art ‘as an essential mode of human engagement with and understanding of the world’ (Johnson, 2007 , p. 10). Johnson argues that art is a useful epistemological instrument because of its ability to intensify the ordinary experience of our environment. Images Footnote 1 are the expression of our on-going, complex relation with an inner and outer environment. In the process of making images of our environment, different bodily experiences, like affects, emotions, feelings and movements are mobilised in the creation of meaning. As Johnson argues, this happens in every process of meaning-making, which is always based on ‘deep-seated bodily sources of human meaning that go beyond the merely conceptual and propositional’ (Ibid., p. 11). The specificity of art simply resides in the fact that it actively engages with those non-conceptual, non-propositional forms of ‘making sense’ of our environment. Art is thus able to take into account (and to explore) many other different meaningful aspects of our human relationship with the environment and thus provide us with a supplementary form of knowledge. Hence Ingold’s remark in the introduction of Making: anthropology, archaeology, art and architecture (2013): ‘Could certain practices of art, for example, suggest new ways of doing anthropology? If there are similarities between the ways in which artists and anthropologists study the world, then could we not regard the artwork as a result of something like an anthropological study, rather than as an object of such study? […] could works of art not be regarded as forms of anthropology, albeit ‘written’ in non-verbal media?’ (Ingold, 2013 , p. 8, italics in original).

And yet we would hesitate to unreservedly answer yes to these rhetorical questions. For instance, it is true that one can consider the works of Francis Bacon as an anthropological study of violence and fear, or the works of John Cage as a study in indeterminacy and chance. But while they can indeed be seen as explorations of the ‘conditions and potentials of human life’, the artworks themselves do not make this knowledge explicit. What is lacking here is the logos of anthropology, logos in the sense of discourse, a line of reasoning. Therefore, while we agree with Ingold and Johnson, the problem remains how to explicate and communicate the knowledge that is contained within works of art, how to make it discursive ? How to articulate artistic practice as an alternative, yet valid form of scholarly research?

Here, we believe that a clear distinction between art and artistic research is necessary. The artistic imaginary is a reaction to the environment in which the artist finds himself: this reaction does not have to be conscious and deliberate. The artist has every right to shrug his shoulders when he is asked for the ‘meaning’ of his work, to provide a ‘discourse’. He can simply reply: ‘I don’t know’ or ‘I do not want to know’, as a refusal to engage with the step of articulating what his work might be exploring. Likewise, the beholder or the reader of a work of art does not need to learn from it to appreciate it. No doubt, he may have gained some understanding about ‘human existence’ after reading a novel or visiting an exhibition, but without the need to spell out this knowledge or to further explore it.

In contrast, artistic research as a specific, inquisitive mode of dealing with the environment requires an explicit articulation of what is at stake, the formulation of a specific problem that determines the focus of the research. ‘Problem’ is used here in the neutral, etymological sense of the word: something ‘thrown forward’, a ‘hindrance, obstacle’ (cf. probleima , Liddell-Scott’s Greek-English Lexicon). A body-in-an-environment finds something thrown before him or her, an issue that grabs the attention. A problem is something that urges us to explore a field of experiences, the ‘potentials of human life’ that are opened up by a work of art. It is often only retroactively, during a second, reflective phase of the artistic research, that a formulation of a problem becomes possible, by a selection of elements that strikes one as meaningful (again, in the sense Johnson defines meaningful, thus including bodily perceptions, movements, affects, feelings as meaningful elements of human understanding of reality). This process opens up, to borrow a term used by Aby Warburg, a ‘Denkraum’ (cf. Gombrich, 1986 , p. 224): it creates a critical distance from the environment, including the environment of the artwork itself: this ‘space for thought’ allows one to consciously explore a specific problem. Consciously here does not equal cerebral: the problem is explored not only in its intellectual, but also in its sensual and emotional, affective aspects. It is projected along different lines in this virtual Denkraum , lines that cross and influence each other: an existential line turns into a line of form and composition; a conceptual line merges into a narrative line, a technical line echoes an autobiographical line. There is no strict hierarchy in the different ‘emanations’ of a problem. These are just different lines contained within the work that interact with each other, and the problem can ‘move’ from one line to another, develop and transform itself along these lines, comparable perhaps to the way a melody develops itself when it is transposed to a different musical scale, a different musical instrument, or even to a different musical genre. But, however, abstract or technical one formulates a problem, following Johnson we argue that a problem is always a translation of a basic existential problem, emerging from a specific environment. We fully agree with Johnson when he argues that ‘philosophy becomes relevant to human life only by reconnecting with, and grounding itself in, bodily dimensions of human meaning and value. Philosophy needs a visceral connection to lived experience’ (Johnson, 2007 , p. 263). The same goes for artistic research. It too finds its relevance in the ‘visceral connection’ with a specific body, a specific situation.

Words are one way of disclosing this lived experience, but within the context of an artistic practice one can hardly ignore the potential for images to provide us with an equally valuable account. In fact, they may even prove most suited to establish the kind of space that comes close to this multi-threaded, embodied Denkraum . In order to illustrate this, we would like to present a case study, a short visual ‘essay’ (however, since the scope of four spreads offers only limited space, it is better to consider it as the image-equivalent of a short research note).

Case study: step by step reading of a visual essay

The images (1, 2, 3, 4, 5) form a short visual essay based on a collaborative artistic project 'Exercises of the man (v)' that Remco Roes and Alis Garlick realised for the Situation Symposium at Royal Melbourne Institute of Technology in Melbourne in 2014. One of the conceptual premises of the project was the communication of two physical ‘sites’ through digital media. Roes—located in Belgium—would communicate with Garlick—in Australia—about an installation that was to be realised at the physical location of the exhibition in Melbourne. Their attempts to communicate (about) the site were conducted via e-mail messages, Skype-chats and video conversations. The focus of these conversations increasingly distanced itself from the empty exhibition space of the Design Hub and instead came to include coincidental spaces (and objects) that happened to be close at hand during the 3-month working period leading up to the exhibition. The focus of the project thus shifted from attempting to communicate a particular space towards attempting to communicate the more general experience of being in(side) a space. The project led to the production of a series of small in-situ installations, a large series of video’s and images, a book with a selection of these images as well as texts from the conversations, and the final exhibition in which artefacts that were found during the collaborative process were exhibited. A step by step reading of the visual argument contained within images of this project illustrates how a visual essay can function as a tool for disclosing/articulating/communicating the kind of embodied thinking that occurs within an artistic practice or practice-based research.

Figure 1 shows (albeit in reduced form) a field of photographs and video stills that summarises the project without emphasising any particular aspect. Each of the Figs. 2 – 5 isolate different parts of this same field in an attempt to construct/disclose a form of visual argument (that was already contained within the work). In the final part of this essay we will provide an illustration of how such visual sequences can be possibly ‘read’.

First image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Second image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Third image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Fourth image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Fifth image of the visual essay. Remco Roes and Alis Garlick, as copyright holders, permit the publication of this image under a Creative Commons Attribution 4.0 International License

Figure 1 is a remnant of the first step that was taken in the creation of the series of images: significant, meaningful elements in the work of art are brought together. At first, we quite simply start by looking at what is represented in the pictures, and how they are presented to us. This act of looking almost inevitably turns these images into a sequence, an argument. Conditioned by the dominant linearity of writing, including images (for instance in a comic book) one ‘reads’ the images from left to right, one goes from the first spread to the last. Just like one could say that a musical theme or a plot ‘develops’, the series of images seem to ‘develop’ the problem, gradually revealing its complexity. The dominance of this viewing code is not to be ignored, but is of course supplemented by the more ‘holistic’ nature of visual perception (cf. the notion of ‘Gestalt’ in the psychology of perception). So unlike a ‘classic’ argumentation, the discursive sequence is traversed by resonance, by non-linearity, by correspondences between elements both in a single image and between the images in their specific positioning within the essay. These correspondences reveal the synaesthetic nature of every process of meaning-making: ‘The meaning of something is its relations, actual and potential, to other qualities, things, events, and experiences. In pragmatist lingo, the meaning of something is a matter of how it connects to what has gone before and what it entails for present or future experiences and actions’ (Johnson, 2007 , p. 265). The images operate in a similar way, by bringing together different actions, affects, feelings and perceptions into a complex constellation of meaningful elements that parallel each other and create a field of resonance. These connections occur between different elements that ‘disturb’ the logical linearity of the discourse, for instance by the repetition of a specific element (the blue/yellow opposition, or the repetition of a specific diagonal angle).

Confronted with these images, we are now able to delineate more precisely the problem they express. In a generic sense we could formulate it as follows: how to communicate with someone who does not share my existential space, but is nonetheless visually and acoustically present? What are the implications of the kind of technology that makes such communication possible, for the first time in human history? How does it influence our perception and experience of space, of materiality, of presence?

Artistic research into this problem explores the different ways of meaning-making that this new existential space offers, revealing the different conditions and possibilities of this new spatiality. But it has to be stressed that this exploration of the problem happens on different lines, ranging from the kinaesthetic perception to the emotional and affective response to these spaces and images. It would, thus, be wrong to reduce these experiences to a conceptual framework. In their actions, Roes and Garlick do not ‘make a statement’: they quite simply experiment with what their bodies can do in such a hybrid space, ‘wandering’ in this field of meaningful experiences, this Denkraum , that is ‘opened up’: which meaningful clusters of sensations, affects, feelings, spatial and kinaesthetic qualities emerge in such a specific existential space?

In what follows, we want to focus on some of these meaningful clusters. As such, these comments are not part of the visual essay itself. One could compare them to ‘reading remarks’, a short elaboration on what strikes one as relevant. These comments also do not try to ‘crack the code’ of the visual material, as if they were merely a visual and/or spatial rebus to be solved once and for all (‘ x stands for y’ ). They rather attempt to engage in a dialogue with the images, a dialogue that of course does not claim to be definitive or exhaustive.

The constellation itself generates a sense of ‘lacking’: we see that there are two characters intensely collaborating and interacting with each other, while never sharing the same space. They are performing, or watching the other perform: drawing a line (imaginary or physically), pulling, wrapping, unpacking, watching, framing, balancing. The small arrangements, constructions or compositions that are made as a result of these activities are all very fragile, shaky and their purpose remains unclear. Interaction with the other occurs only virtually, based on the manipulation of small objects and fragments, located in different places. One of the few materials that eventually gets physically exported to the other side, is a kind of large plastic cover. Again, one should not ‘read’ the picture of Roes with this plastic wrapped around his head as an expression, a ‘symbol’ of individual isolation, of being wrapped up in something. It is simply the experience of a head that disappears (as a head appears and disappears on a computer screen when it gets disconnected), and the experience of a head that is covered up: does it feel like choking, or does it provide a sense of shelter, protection?

A different ‘line’ operates simultaneously in the same image: that of a man standing on a double grid: the grid of the wet street tiles and an alternative, oblique grid of colourful yellow elements, a grid which is clearly temporal, as only the grid of the tiles will remain. These images are contrasted with the (obviously staged) moment when the plastic arrives at ‘the other side’: the claustrophobia is now replaced with the openness of the horizon, the presence of an open seascape: it gives a synaesthetic sense of a fresh breeze that seems lacking in the other images.

In this case, the contrast between the different spaces is very clear, but in other images we also see an effort to unite these different spaces. The problem can now be reformulated, as it moves to another line: how to demarcate a shared space that is both actual and virtual (with a ribbon, the positioning of a computer screen?), how to communicate with each other, not only with words or body language, but also with small artefacts, ‘meaningless’ junk? What is the ‘common ground’ on which to walk, to exchange things—connecting, lining up with the other? And here, the layout of the images (into a spread) adds an extra dimension to the original work of art. The relation between the different bodies does now not only take place in different spaces, but also in different fields of representation: there is the space of the spread, the photographed space and in the photographs, the other space opened up by the computer screen, and the interaction between these levels. We see this in the Fig. 3 where Garlick’s legs are projected on the floor, framed by two plastic beakers: her black legging echoing with the shadows of a chair or a tripod. This visual ‘rhyme’ within the image reveals how a virtual presence interferes with what is present.

The problem, which can be expressed in this fundamental opposition between presence/absence, also resonates with other recurring oppositions that rhythmically structure these images. The images are filled with blue/yellow elements: blue lines of tape, a blue plexi form, yellow traces of paint, yellow objects that are used in the video’s, but the two tones are also conjured up by the white balance difference between daylight and artificial light. The blue/yellow opposition, in turn, connects with other meaningful oppositions, like—obviously—male/female, or the same oppositional set of clothes: black trousers/white shirt, grey scale images versus full colour, or the shadow and the bright sunlight, which finds itself in another opposition with the cold electric light of a computer screen (this of course also refers to the different time zones, another crucial aspect of digital communication: we do not only not share the same place, we also do not share the same time).

Yet the images also invite us to explore certain formal and compositional elements that keep recurring. The second image, for example, emphasises the importance placed in the project upon the connecting of lines, literally of lining up. Within this image the direction and angle of these lines is ‘explained’ by the presence of the two bodies, the makers with their roles of tape in hand. But upon re-reading the other spreads through this lens of ‘connecting lines’ we see that this compositional element starts to attain its own visual logic. Where the lines in image 2 are literally used as devices to connect two (visual) realities, they free themselves from this restricted context in the other images and show us the influence of circumstance and context in allowing for the successful establishing of such a connection.

In Fig. 3 , for instance, we see a collection of lines that have been isolated from the direct context of live communication. The way two parts of a line are manually aligned (in the split-screens in image 2) mirrors the way the images find their position on the page. However, we also see how the visual grammar of these lines of tape is expanded upon: barrier tape that demarcates a working area meets the curve of a small copper fragment on the floor of an installation, a crack in the wall follows the slanted angle of an assembled object, existing marks on the floor—as well as lines in the architecture—come into play. The photographs widen the scale and angle at which the line operates: the line becomes a conceptual form that is no longer merely material tape but also an immaterial graphical element that explores its own argument.

Figure 4 provides us with a pivotal point in this respect: the cables of the mouse, computer and charger introduce a certain fluidity and uncontrolled motion. Similarly, the erratic markings on the paper show that an author is only ever partially in control. The cracked line in the floor is the first line that is created by a negative space, by an absence. This resonates with the black-stained edges of the laser-cut objects, laid out on the desktop. This fourth image thus seems to transform the manifestation of the line yet again; from a simple connecting device into an instrument that is able to cut out shapes, a path that delineates a cut, as opposed to establishing a connection. The circle held up in image 4 is a perfect circular cut. This resonates with the laser-cut objects we see just above it on the desk, but also with the virtual cuts made in the Photoshop image on the right. We can clearly see how a circular cut remains present on the characteristic grey-white chessboard that is virtual emptiness. It is evident that these elements have more than just an aesthetic function in a visual argumentation. They are an integral part of the meaning-making process. They ‘transpose’ on a different level, i.e., the formal and compositional level, the central problem of absence and presence: it is the graphic form of the ‘cut’, as well as the act of cutting itself, that turns one into the other.

Concluding remarks

As we have already argued, within the frame of this comment piece, the scope of the visual essay we present here is inevitably limited. It should be considered as a small exercise in a specific genre of thinking and communicating with images that requires further development. Nonetheless, we hope to have demonstrated the potentialities of the visual essay as a form of meaning-making that allows the articulation of a form of embodied knowledge that supplements other modes of inquiry in the humanities. In this particular case, it allows for the integration of other meaningful, embodied and existential aspects of digital communication, unlikely to be ‘detected’ as such by an (auto)ethnographic, psychological or sociological framework.

The visual essay is an invitation to other researchers in the arts to create their own kind of visual essays in order to address their own work of art or that of others: they can consider their artistic research as a valuable contribution to the exploration of human existence that lies at the core of the humanities. But perhaps it can also inspire scholars in more ‘classical’ domains to introduce artistic research methods to their toolbox, as a way of taking into account the non-conceptual, yet meaningful bodily aspects of human life and human artefacts, this ‘visceral connection to lived experience’, as Johnson puts it.

Obviously, a visual essay runs the risk of being ‘shot by both sides’: artists may scorn the loss of artistic autonomy and ‘exploitation’ of the work of art in the service of scholarship, while academic scholars may be wary of the lack of conceptual and methodological clarity inherent in these artistic forms of embodied, synaesthetic meaning. The visual essay is indeed a bastard genre, the unlawful love (or perhaps more honestly: love/hate) child of academia and the arts. But precisely this hybrid, impure nature of the visual essay allows it to explore unknown ‘conditions and potentials of human life’, precisely because it combines imagination and knowledge. And while this combination may sound like an oxymoron within a scientific, positivistic paradigm, it may in fact indicate the revival, in a new context, of a very ancient alliance. Or as Giorgio Agamben formulates it in Infancy and history: on the destruction of experience (2007 [1978]): ‘Nothing can convey the extent of the change that has taken place in the meaning of experience so much as the resulting reversal of the status of the imagination. For Antiquity, the imagination, which is now expunged from knowledge as ‘unreal’, was the supreme medium of knowledge. As the intermediary between the senses and the intellect, enabling, in phantasy, the union between the sensible form and the potential intellect, it occupies in ancient and medieval culture exactly the same role that our culture assigns to experience. Far from being something unreal, the mundus imaginabilis has its full reality between the mundus sensibilis and the mundus intellegibilis , and is, indeed, the condition of their communication—that is to say, of knowledge’ (Agamben, 2007 , p. 27, italics in original).

And it is precisely this exploration of the mundus imaginabilis that should inspire us to understand artistic research as a valuable form of scholarship in the humanities.

We consider images as a broad category consisting of artefacts of the imagination, the creation of expressive ‘forms’. Images are thus not limited to visual images. For instance, the imagery used in a poem or novel, metaphors in philosophical treatises (‘image-thoughts’), actual sculptures or the imaginary space created by a performance or installation can also be considered as images, just like soundscapes, scenography, architecture.

Agamben G (2007) Infancy and history: on the destruction of experience [trans. L. Heron]. Verso, London/New York, NY

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Ingold T (2013) Making: anthropology, archaeology, art and architecture. Routledge, London/New York, NY

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Roes, R., Pint, K. The visual essay and the place of artistic research in the humanities. Palgrave Commun 3 , 8 (2017). https://doi.org/10.1057/s41599-017-0004-5

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DOI : https://doi.org/10.1057/s41599-017-0004-5

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Understanding Visual Analysis Essays

A written analysis allows writers to explore the discrete parts of some thing—in this case, several visual artifacts—to better understand the whole and how it communicates its message.

We should also consider how the image(s) appeal to ethos, pathos, and logos, and why. Consider, for example, how most advertisements rely on an appeal to pathos--or emotion--to persuade consumers to buy their project. Some ads will use humor to do so. Others will evoke patriotism to persuade consumers to purchase a product (suggesting buying a certain product will make them a good American).

This particular analysis will allow students to focus on visual materials relating to their career of interest to better understand how messages related to their field are composed and presented. This project will grant students the means to evaluate qualitative and quantitative arguments in the visual artifacts as well as interpret the claims made and supporting reasons. The project also will allow students to research discipline-specific and professional visual resources.

The audience for the analysis is an audience with comparable knowledge on the topic. Students should define and explain any terminology or jargon used that may be difficult for a general audience to understand.

Instructions:

Begin the essay by finding at least two examples of images relating to your intended future field of study (or a field that you are interested in learning more about). Use the Visual Analysis Planning Sheet to record your observations about the images. You will describe the images in great detail.

You will also need to research and find out who made the images, when, why and for what purpose. (This is called the rhetorical situation).

The essay should also explain what the purpose and intent of the images is and if there are any implicit messages (hidden messages) as well. An ad for Coca-Cola sells soda, but it also might imply something about family values. A public service announcement about hand-washing might also imply a sense of fear about pathogens and the spread of viruses from abroad. You should explore such obvious and hidden messages in your essay.

After describing all the key components, you’ll consider whether or not the images succeed at their goal or purpose and what these images suggest about how the field communicates its messages. See the Visual Analysis Planning Sheet for more help: https://docs.google.com/document/d/1HUa4_XZ84svJPJ2Ppe5TTIK20Yp7bd-h/edit

Suggested Organization of Visual Analysis Essay

I. Introduction (1 paragraph) - should contain a hook (attention-grabber), set the context for the essay, and contain your thesis statement (described below).

a. Thesis statement : State what two images are being analyzed and what your overall claim is about them. The thesis should make a claim about the images such as whether they are effective or ineffective at communicating their message.

II. Explain the Rhetorical Situation of both images: (2 paragraphs) Begin by discussing what is being advertised or displayed, who made it (company, artist, writer, etc.), who is the target audience, where and when the image was published and shared, and where the image was made (country). Provide these details for both images being discussed and analyzed.

III. Description of both images (4-8 paragraphs). Discuss each image in full detail, providing the following details about both:

a. Describe what appears in the image. Be as detailed as possible.

b. Discuss the primary color choice used and what mood these colors create.

c. Explain the overall layout and organization of each image.

d. Discuss the use of wording in the visual image. What font is used, what color, and size is the font.

e. Explain what the message in the visual actually says and what this message means/indicates/asks of viewers and readers.

F. Discuss any other relevant information (from the planning worksheet or anything you think is noteworthy.

IV. Discussion and Evaluation (2-4 paragraphs) - Synthesizing your findings,and analyze what you think the smaller details accomplish.

Discuss if the images appeal to ethos, pathos, or logos and provide evidence to back up your claim.
Discuss what sociological, political, economic or cultural attitudes are indirectly reflected in the images. Back up your claims with evidence. An advertisement may be about a pair of blue jeans but it might, indirectly, reflect such matters as sexism, alienation, stereotyped thinking, conformism, generational conflict, loneliness, elitism, and so on.
Assert what claims are being made by the images. Consider the reasons which support that claim: reasons about the nature of the visual's product or service, reasons about those responsible for that product or service, and reasons which appeal to the audience's values, beliefs, or desires.

V. Conclusion (1 paragraph) - should contain both a recap of your response, as well as a closing statement in regards to your overall response to the chosen essay. Include a conclusion that reviews the messages the images make and offer a conclusion that combines the results of your findings and why they matter.

Drafting/Research Strategies:

To write a visual analysis, you must look closely at a visual object—and translate your visual observations into written text. However, a visual analysis does not simply record your observations. It also makes a claim about the images. You will describe the images in detail and then offer an analysis of what the images communicate at the surface level. You will also highlight any implicit messages that the images communicate. (Use Visual Analysis Planning Sheet). Students should begin the project by taking detailed notes about the images. Review every component of each image. Be precise. Consider the composition, colors, textures, size, space, and other visual and material attributes of the images. Go beyond your first impressions. This should take some time—allow your eye to absorb the image. Making a sketch of the work can help you understand its visual logic.

Good to Know

Below are some helpful resources to aid in creating your Visual Analysis Essay.

Visual Analysis essay sample
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Visual Essays

Gretchen Schroeder

We had just read a series of short stories in class, and I had intended for my high school students to write an essay comparing and contrasting how a certain topic or theme was portrayed across the stories. But, you know how it goes. It was the week before Christmas break, and I was running out of time. I just didn’t think we would have time to draft a full essay. I just wish the students could show me where they would go in this essay, I thought. Could they create a visual essay? Is there even such a thing? It was a little scary to conduct such an experiment, but I was interested to see what products my students would create.

I envisioned that students could use a combination of words, images, and quotations to show evidence of a deeper understanding of one of the stories.

I left the assignment pretty open-ended to allow for a variety of responses. I didn’t show any models or examples because I didn’t have any to show. I also left the medium up in the air, letting students decide whether to construct this on paper or digitally.

Since I was low on time, I presented the idea to students one day, giving them the rest of the day and evening to brainstorm and think of how they would proceed. Then I gave them one 45-minute class period to complete the visual essay.

What Students Learned

All students chose to create their “essays” in Google Slides. Let’s examine the different varieties in student responses.

Exhibit 1: Ammon

Screen Shot 2016-06-20 at 3.01.25 PM.png

In Ammon’s visual essay over “A Worn Path,” he includes a paragraph summarizing the main point he would make about fantasy versus reality in the story. In addition, he chose two images to illustrate the contrast between the two, both showing a path, one bathed in light, another cloaked in shadow. His visual essay focuses more on his written summary, and the images support his main point.

Exhibit 2: Genna

Screen Shot 2016-06-20 at 3.04.22 PM.png

Genna includes a summary of the story “Araby,” along with two sets of contrasting images, representing both the physical journey the main character takes to the bazaar and the symbolic journey he takes on his way to self-discovery. The images representing the character’s actual journey correspond to plot points in the story, but the images represented show her understanding of the character’s motivations and ultimate realizations, which can be challenging to uncover in this story.

Exhibit 3: Paul

Screen Shot 2016-06-20 at 3.02.41 PM.png

Paul formats his visual essay as a flowchart, using arrows to illustrate his train of thought. His visual essay shows his thinking about the function of the bazaar in the story as a symbol. which ultimately leads him to uncover a theme. The images he includes underscore each of his points.

Exhibit 4: Tierra

Screen Shot 2016-06-20 at 3.02.56 PM.png

Tierra begins with one main point about the function of the forest in “A Worn Path,” and then uses quotations from the story to show how this setting contrasts with the main character’s home.

Exhibit 5: Isaiah

Screen Shot 2016-06-20 at 3.02.06 PM.png

Isaiah simply uses a group of images along with the title of the story. The images are more literal representations of the major plot points: how the grandmother travels through the forest to get to a doctor’s office where she can get medicine to treat her grandson, who has swallowed lye. The images convey his literal comprehension of the story, but lack evidence of close reading or a deeper understanding of the story.

What I Learned

For having so little direction and such a short time, I thought that the majority of students produced a worthwhile product that gave me insight into their thinking and interpretation of a story.

As I looked over each visual essay, I found myself wishing that each student were with me so that he or she could talk me through his or her choices, particularly when it came to the images. Since images are so subjective, I wondered whether I was sometimes ascribing thinking to an image that wasn’t actually there. Or, on the flip side, was I missing a depth of thought that was actually there, as in the case of Isaiah in Exhibit 5? This problem could easily be remedied by asking students to sit down and discuss their final product with me, to present their work to the rest of the class, or to write a reflective process piece to accompany their visual piece.

Final Thoughts

I would try this experiment again. There was enough student success to show me that this can be an alternative to a written text when I am short on time or when we need a fresh way of looking at a text. Despite the fact that I now have a better idea of what a visual essay can be, I will continue to leave the assignment open-ended for students to foster their creativity. I predict that once I begin showing examples, I will see little variety in the products I receive.

For this first go-round, I thought it would be unfair to assign a grade to the work, since students were given no guidance about what I was looking for. In the future, I will assign a grade only after giving students a chance to explain the thinking that went into their visual essay. I think that is the only way to accurately understand how the visual essay connects to their thinking about the text.

Like any good experiment, this assignment included both trial and error. Although I wouldn’t conduct every new assignment in this way, it was rewarding to see how students can surprise us when given the chance.

Gretchen Schroeder is a high school English teacher in rural Ohio, teaching everything from Advanced Placement Literature to a Poetry Workshop elective. Her passions include helping students find their voices through writing and introducing them to books they love. You can find her sharing books on Instagram @mrs_schroeders_shelves .

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Picturing the Personal Essay: A Visual Guide

A design professor from Denmark once drew for me a picture of the creative process, which had been the subject of his doctoral dissertation. “Here,” he said. “This is what it looks like”:

Nothing is wasted though, said the design professor, because every bend in the process is helping you to arrive at your necessary structure. By trying a different angle or creating a composite of past approaches, you get closer and closer to what you intend. You begin to delineate the organic form that will match your content.

The remarkable thing about personal essays, which openly mimic this exploratory process, is that they can be so quirky in their “shape.” No diagram matches the exact form that evolves, and that is because the best essayists resist predictable approaches. They refuse to limit themselves to generic forms, which, like mannequins, can be tricked out in personal clothing. Nevertheless, recognizing a few basic underlying structures may help an essay writer invent a more personal, more unique form. Here, then, are several main options.

Narrative with a lift

Take, for example, Jo Ann Beard’s essay “The Fourth State of Matter.” The narrator, abandoned by her husband, is caring for a dying dog and going to work at a university office to which an angry graduate student has brought a gun. The sequence of scenes matches roughly the unfolding of real events, but there is suspense to pull us along, represented by questions we want answered. In fact, within Beard’s narrative, two sets of questions, correlating to parallel subplots, create a kind of double tension. When the setting is Beard’s house, we wonder, “Will she find a way to let go of the dying dog, not to mention her failing marriage?” And when she’s at work, we find ourselves asking, “What about the guy with the gun? How will he impact her one ‘safe place’?”

One interesting side note: trauma, which is a common source for personal essays, can easily cause an author to get stuck on the sort of plateau Kittredge described. Jo Ann Beard, while clearly wrestling with the immobilizing impact of her own trauma, found a way to keep the reader moving both forward and upward, until the rising tension reached its inevitable climax: the graduate student firing his gun. I have seen less-experienced writers who, by contrast, seem almost to jog in place emotionally, clutching at a kind of post-traumatic scar tissue.

The whorl of reflection

Let’s set aside narrative, though, since it is not the only mode for a personal essay. In fact, most essays are more topical or reflective, which means they don’t move through time in a linear fashion as short stories do.

One of the benefits of such a circling approach is that it seems more organic, just like the mind’s creative process. It also allows for a wider variety of perspectives—illuminating the subject from multiple angles. A classic example would be “Under the Influence,” Scott Russell Sanders’s essay about his alcoholic father. Instead of luring us up the chronological slope of plot, Sanders spirals around his father’s drinking, leading us to a wide range of realizations about alcoholism: how it gets portrayed in films, how it compares to demon-possession in the Bible, how it results in violence in other families, how it raises the author’s need for control, and even how it influences the next generation through his workaholic over-compensation. We don’t read an essay like this out of plot-driven suspense so much as for the pleasure of being surprised, again and again, by new perspective and new insight.

The formal limits of focus

My own theory is that most personal essayists, because of a natural ability to extrapolate, do not struggle to find subjects to write about. Writer’s block is not their problem since their minds overflow with remembered experiences and related ideas. While a fiction writer may need to invent from scratch, adding and adding, the essayist usually needs to do the opposite, deleting and deleting. As a result, nonfiction creativity is best demonstrated by what has been left out. The essay is a figure locked in a too-large-lump of personal experience, and the good essayist chisels away all unnecessary material.

Virginia Woolf’s “Street Haunting” is an odd but useful model. She limits that essay to a single evening walk in London, ostensibly taken to buy a pencil. I suspect Woolf gave herself permission to combine incidents from several walks in London, but no matter. The essay feels “brought together” by the imposed limits of time and place.

As it happens, “Street Haunting” is also an interesting prototype for a kind of essay quite popular today: the segmented essay. Although the work is unified by the frame of a single evening stroll, it can also be seen as a combination of many individual framed moments. If we remove the purpose of the journey—to find a pencil—the essay falls neatly into a set of discrete scenes with related reveries: a daydreaming lady witnessed through a window, a dwarfish woman trying on shoes, an imagined gathering of royalty on the other side of a palace wall, and eventually the arguing of a married couple in the shop where Woolf finally gets her pencil.

Dipping into the well

Our attention to thematic unity brings up one more important dynamic in most personal essays. Not only do we have a horizontal movement through time, but there is also a vertical descent into meaning. As a result, essayists will often pause the forward motion to dip into a thematic well.

In fact, Berry uses several of these loops of reflective commentary, and though they seem to be digressions, temporarily pulling the reader away from the forward flow of the plot, they develop an essential second layer to the essay.

Braided and layered structures

Want an example? Look at Judith Kitchen’s three-page essay “Culloden,” which manages to leap back and forth quite rapidly, from a rain-pelted moor in 18th-century Scotland to 19th-century farms in America to the blasted ruins of Hiroshima on August 6, 1945, the author’s birthday. The sentences themselves suggest the impressionistic effect that Kitchen is after, being compressed to fragments, rid of the excess verbiage we expect in formal discourse: “Late afternoon. The sky hunkers down, presses, like a lover, against the land. Small sounds. A far sheep, faint barking. . . .” And as the images accumulate, layer upon layer, we begin to feel the author’s fundamental mood, a painful awareness of her own inescapable mortality. We begin to encounter the piece on a visceral level that is more intuitive than rational. Like a poem, in prose.

Coming Full Circle

First of all, endings are related to beginnings. That’s why many essays seem to circle back to where they began. Annie Dillard, in her widely anthologized piece “Living Like Weasels,” opens with a dried-out weasel skull that is attached, like a pendant, to the throat of a living eagle—macabre proof that the weasel was carried aloft to die and be torn apart. Then, at the end of the essay, Dillard alludes to the skull again, stating, “I think it would be well, and proper, and obedient, and pure, to grasp your one necessity and not let it go, to dangle from it limp wherever it takes you.”

See how deftly Dillard accomplishes this effect simply by positing one last imagined or theoretical possibility—a way of life she hopes to master, that we ourselves might master: “Seize it and let it seize you up aloft even, till your eyes burn out and drop; let your musky flesh fall off in shreds, and let your very bones unhinge and scatter, loosened over fields, over fields and woods, lightly, thoughtless, from any height at all, from as high as eagles.” Yes, the essay has come full circle, echoing the opening image of the weasel’s skull, but it also points away, beyond itself, to something yet to be realized. The ending both closes and opens at the same time.

All diagrams rendered by Claire Bascom. An earlier version of this essay appeared in Volume I, issue 1 of The Essay Review .

This essay is fabulously This essay is fabulously useful! I’ll be showing it to my creative writing students semester after semester, I’m sure. I appreciate the piece’s clarity and use of perfect examples.

I love the succinct diagrams and cited writing examples. Very instructive and useful as A.P. comments above. I also loved that I had read the Woolf journey to buy a pencil–one of my favorite essays because it is such a familiar experience–that of observing people.

Organizing Your Analysis

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This resource covers how to write a rhetorical analysis essay of primarily visual texts with a focus on demonstrating the author’s understanding of the rhetorical situation and design principles.

There is no one perfect way to organize a rhetorical analysis essay. In fact, writers should always be a bit leery of plug-in formulas that offer a perfect essay format. Remember, organization itself is not the enemy, only organization without considering the specific demands of your particular writing task. That said, here are some general tips for plotting out the overall form of your essay.

Introduction

Like any rhetorical analysis essay, an essay analyzing a visual document should quickly set the stage for what you’re doing. Try to cover the following concerns in the initial paragraphs:

Make sure to let the reader know you’re performing a rhetorical analysis. Otherwise, they may expect you to take positions or make an evaluative argument that may not be coming.
Clearly state what the document under consideration is and possibly give some pertinent background information about its history or development. The intro can be a good place for a quick, narrative summary of the document. The key word here is “quick, for you may be dealing with something large (for example, an entire episode of a cartoon like the Simpsons). Save more in-depth descriptions for your body paragraph analysis.
If you’re dealing with a smaller document (like a photograph or an advertisement), and copyright allows, the introduction or first page is a good place to integrate it into your page.
Give a basic run down of the rhetorical situation surrounding the document: the author, the audience, the purpose, the context, etc.

Thesis Statements and Focus

Many authors struggle with thesis statements or controlling ideas in regards to rhetorical analysis essays. There may be a temptation to think that merely announcing the text as a rhetorical analysis is purpose enough. However, especially depending on your essay’s length, your reader may need a more direct and clear statement of your intentions. Below are a few examples.

1. Clearly narrow the focus of what your essay will cover. Ask yourself if one or two design aspects of the document is interesting and complex enough to warrant a full analytical treatment.

The website for Amazon.com provides an excellent example of alignment and proximity to assist its visitors in navigating a potentially large and confusing amount of information.

2. Since visual documents often seek to move people towards a certain action (buying a product, attending an event, expressing a sentiment), an essay may analyze the rhetorical techniques used to accomplish this purpose. The thesis statement should reflect this goal.

The call-out flyer for the Purdue Rowing Team uses a mixture of dynamic imagery and tantalizing promises to create interest in potential, new members.

3. Rhetorical analysis can also easily lead to making original arguments. Performing the analysis may lead you to an argument; or vice versa, you may start with an argument and search for proof that supports it.

A close analysis of the female body images in the July 2007 issue of Cosmopolitan magazine reveals contradictions between the articles’ calls for self-esteem and the advertisements’ unrealistic, beauty demands.

These are merely suggestions. The best measure for what your focus and thesis statement should be the document itself and the demands of your writing situation. Remember that the main thrust of your thesis statement should be on how the document creates meaning and accomplishes its purposes. The OWl has additional information on writing thesis statements.

Analysis Order (Body Paragraphs)

Depending on the genre and size of the document under analysis, there are a number of logical ways to organize your body paragraphs. Below are a few possible options. Which ever you choose, the goal of your body paragraphs is to present parts of the document, give an extended analysis of how that part functions, and suggest how the part ties into a larger point (your thesis statement or goal).

Chronological

This is the most straight-forward approach, but it can also be effective if done for a reason (as opposed to not being able to think of another way). For example, if you are analyzing a photo essay on the web or in a booklet, a chronological treatment allows you to present your insights in the same order that a viewer of the document experiences those images. It is likely that the images have been put in that order and juxtaposed for a reason, so this line of analysis can be easily integrated into the essay.

Be careful using chronological ordering when dealing with a document that contains a narrative (i.e. a television show or music video). Focusing on the chronological could easily lead you to plot summary which is not the point of a rhetorical analysis.

A spatial ordering covers the parts of a document in the order the eye is likely to scan them. This is different than chronological order, for that is dictated by pages or screens where spatial order concerns order amongst a single page or plane. There are no unwavering guidelines for this, but you can use the following general guidelines.

Left to right and top to down is still the normal reading and scanning pattern for English-speaking countries.
The eye will naturally look for centers. This may be the technical center of the page or the center of the largest item on the page.
Lines are often used to provide directions and paths for the eye to follow.
Research has shown that on web pages, the eye tends to linger in the top left quadrant before moving left to right. Only after spending a considerable amount of time on the top, visible portion of the page will they then scroll down.

Persuasive Appeals

The classic, rhetorical appeals are logos, pathos, and ethos. These concepts roughly correspond to the logic, emotion, and character of the document’s attempt to persuade. You can find more information on these concepts elsewhere on the OWL. Once you understand these devices, you could potentially order your essay by analyzing the document’s use of logos, ethos, and pathos in different sections.

The conclusion of a rhetorical analysis essay may not operate too differently from the conclusion of any other kind of essay. Still, many writers struggle with what a conclusion should or should not do. You can find tips elsewhere on the OWL on writing conclusions. In short, however, you should restate your main ideas and explain why they are important; restate your thesis; and outline further research or work you believe should be completed to further your efforts.

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Visual Essay: My Life as a Fake

Permissions : This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Please contact [email protected] to use this work in a way not covered by the license.

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Introduction

The array of design work presented on the following pages is comprised of a set of images I created as part of my professional practice between 2003 and 2006. They emerged as I engaged in the process of designing covers for novels written by the contemporary Australian author Peter Carey.

Often considered merely catalytic to what will emerge as the final outcome of the design process, graphic explorations such as these are often discarded. However, when they are preserved and intentionally displayed, they constitute a visual and ontological representation of the ideas that occur during the design process and inform its progression. [1] Reflection on these various test pieces guided a form of analysis, “a designerly way of knowing,” [2] that allowed me to examine how materially-led explorations with paper could enable the translation of abstract design concepts into visual forms.

The first half of this visual narrative depicts the design process that guided the development of the cover designs for the first Australian edition of Peter Carey’s novel My Life as a Fake on behalf of Random House in 2003. The second half recounts my engagement in the design process that resulted in a more recent—2006—version of the cover design for the same novel, but this latter version was designed for Random House as an integral part of a series of nine covers for books authored by Peter Carey.

This visual narrative is an example of asserting the idea of transmediation, (transfer to a different medium), within the context of a specific graphic design project. By intentionally changing the materials with which I was designing, I employed a strategy to promote ideatic renewal (Stamm, 2013). [3] As described in a 2007 article by Aaron Seymour that was published in ‘Eye Magazine’ about my design work for the covers of Carey’s books, this intentional paradigm shift enabled me to “Do it again (Seymour, 2007).” [4]

My Life as a Fake, 2003

The plot of the novel is centered on a series of actions set in motion in the mid 20th century by a frustrated poet named Christopher Chubb, who perpetrates a literary hoax in Australia by creating poetry authored by a fictitious, working class Australian poet named Bob McCorkle. Chubb creates McCorkle and his work to demean and disrupt modernist poetic doctrine and to humiliate an editor who has rejected his work, and who Chubb regards as pompous. The poetry Chubb writes under McCorkle’s name is compiled into a manuscript that, as the plot of the book progresses, becomes symbolic of the dubiousness and false pretention that pervades many of the characters and the world they inhabit. Eventually, amidst all of the posing and fakery, a man emerges who successfully and monstrously passes himself off as Bob McCorkle, and becomes the only character in the book who emerges as genuine.

When I first received the manuscript for My Life as a Fake , it came to me on approximately 250 sheets of A4-sized, 80gsm (grams per square meter) Bond typing paper. This is a ubiquitous tool in publishing in Australia, New Zealand and much of western Europe. Being cheap, available and conceptually relevant—Chubb typed the fictitious McCorkle’s poetry on the same type of paper—I decided to experiment with white pages of Bond during my design process, and much of it involved my investigation of its physical properties and image-making potential.

Viewed as a sequence, the images signify depictions of the choices I made that guided the direction of the design for this piece and that also offer visual evidence of Schön’s theory of “refection-in-action.” [5]

Displayed more or less chronologically, the narrative begins with sketches (depicted in Figures 1 through 4) that recorded my thoughts [6] during my initial study of Carey’s manuscript. Recording the iterative progression from literal to abstract concepts, the sketches reflect my intention to achieve an experimental result. For example, Chubb is initially rendered as a person with arms, legs and a face (as shown in Figures 1 and 2), and later, in order to express characteristics that are temperamental rather than physical, Chubb is realized as a smudge (as shown in Figure 3), and also as two characters to portray his schizoid nature (as shown in Figure 4).

Sketching my thoughts about various means to visually communicate the book’s essential themes onto paper gave them visible presence, and made them physically tangible enough for me to manipulate and hybridize more easily. This aided my conceptual development process by providing evidence that could facilitate the process of critical appraisal. [7] Inspired by Carey’s reference to “sparagmos,”a concept from Greek mythology that implies dismemberment, or tearing things apart, the later sketches are attempts to encode this concept visually [8] by allowing the composition to be dominated by an apparently haphazard arrangement of pieces of Bond paper (as shown in Figures 5–7). The pages appear to be thrown up and are being dismembered in mid-air.

Additional reflection on these sketches enabled me to realize that these falling pages could be encoded on a further level and composed to simulate [9] a despairing author’s face (as shown in Figure 6). Satisfied that this concept was inherent to both the fictional themes being explored in Carey’s narrative as well as in the material—the Bond paper—being tested, the second half of the narrative illustrates a transmediation process, from sketching to material testing (as shown in Figures 8–16).

These images demonstrate how haptic experiments (in this case, literally involving material handling) facilitated the creation of an abstraction of a face that I created from pieces of backlit Bond paper. Figure 8 depicts one of my tests that involved overlapping pieces of Bond paper to render this illusion. This type of test is an example of materially-driven visual encoding. [10] One piece placed horizontally at the top of the composition signifies the forehead, two splayed pieces placed in the midst of the composition signify the cheeks, and one piece placed below these implies a chin or a neck. The areas of overlap contribute two eyes, a nose and a mouth. The fact that none of the pieces is arranged in “perfect” vertical or horizontal alignment helps to visually communicate that the persona being rendered is anything but a well-adjusted citizen of a modernist society.

Subsequent experiments proved the paper’s ability to hold a curl and cast a shadow when lit by a single source of light (as shown in Figures 10-12). These images demonstrate how particular placements of these curls within the abstract rendition of a facial structure could be used to encode various expressions.

Given its recognizable structure and long history of being abstracted in a variety of materials and across a diverse array of mediums, I surmised the face in these designs would be decoded quite easily by the intended audience [11] for this piece. I also surmised that this audience would be less apt to decode the reference to a literary manuscript typed on Bond paper, although I didn’t consider this necessary to the success of the design. As this design is unpublished as of this writing, these predictions remain untested.

Typographic tests (as shown in Figures 11 and 12) provided an alternate design direction to my idea of arranging pieces of Bond paper to create the perception of faces. Starting with graphic representations of a spare, empty page, (as shown in Figures 14 and 15), I trialed overlaid placements of pieces of paper containing portions of letterforms and noticed that since they were the same color as the background, this gave the effect of corroding the page edges and fracturing the surface of the design (as shown in Figure 16). Decoding these material behaviors as I designed, I made an intellectual connection between the appearance of this fragmentation, the creative challenge of writing, and “sparagmos.” Considering the sophistication of Carey’s prose, this less figurative, more abstract option depicted in Figure 16 was the one proposed to the publisher.

Cross, N. (2007). Designerly ways of knowing. Basel : London: Birkhäuser ; Springer distributor.
Downton, P. (2003). Design research. Melbourne: RMIT Publishing.
Goldschmidt, G. (2003). “The Backtalk of Self-Generated Sketches.” Design Issues, 19(1), 72-88. doi:10.1162/074793603762667728
Gursoy, B. (2015). Visualizing making: Shapes, materials, and actions. (Report). 41, 29. doi:10.1016/j.destud.2015.08.007
Schön, D. A. (1983). The reflective practitioner : how professionals think in action. Aldershot: Avebury.
Sennett, R. (2008). The craftsman . New Haven & London: Yale Universtiy Press.
Seymour, A. (2007). “Do it Again.” Eye Magazine, 17(65).
Stamm, M. (2013). Reflecting reflection(s) – Epistemologies of Creativity in Creative Practice Research. In J. V. a. B. Pak (Ed.): LUCA, Sint-Lucas School of Architecture (Ghent, Belgium).
Tyler, A. C. (1992). “Shaping belief: The role of audience in visual communication” (Vol. Design Issues 9, pp. 21-29).
Viray, E. (2011). Why Material Design? (Vol. Material Design, Informing Architecture by Materiality, pp. 8-10). Switzerland: Birkhåuser GmbH.
Walwin, J., & Krokatsis, H. (2006). You’ll never know : drawing and random interference. London: Hayward Gallery.

Jenny Grigg is an Australian graphic designer, a lecturer in visual communication at Monash University in Melbourne, Australia, and a Ph.D. candidate at the Royal Melbourne Institute of Technology (RMIT) University. Since graduating from the University of Technology in Sydney, Australia, Jenny has held several professional graphic design positions. These include stints as Art Director at Rolling Stone Magazine Australia, Art Director at HQ Magazine and MTV Australia. After a year in London designing for Pentagram and Faber & Faber, she became the Creative Director for Harper Collins Publishing in Sydney. Jenny continues to operate her design practice and is an Industry Fellow at RMIT University.

Designing graphic materials to support and promote the work of authors such as Peter Carey—Australia’s best-known contemporary novelist—and on behalf of clients such as Granta Portobello Books in London, her creative inception begins with a deeply probative analysis of a given author’s written words. As a Ph.D. candidate, she has begun to make use of the variety of epistemological understandings she has been able to cultivate by doing this.

She is currently conducting collective case study research about various forms of graphic design ideation (the formulation of ideas). Specifically, she is researching how professionals use materialistic approaches to guide regenerative, creative processes in graphic design practice.

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10.8: A Sample Visual Argument Analysis

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Saramanda Swigart
City College of San Francisco

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IB Visual Arts EE examples

Filter exemplars, to what extent does the street art in downtown athens, greece politically and socially charge the city, how did pablo picasso develop intimacy with the original audience and the impact on the contemporary audience through his artworks during his blue period, want to get full marks for your ee allow us to review it for you 🎯, to what extent did the mughal architectural style influence the hindu temple architecture of india, to what extent was gaudi's iconographic program on the example of the basilica of the sagrada familia different from gothic solutions on the example of the seville cathedral, to what extent can artificial intelligence create original fine art, fast track your coursework with mark schemes moderated by ib examiners. upgrade now 🚀, to what extent did hilma af klint’s artworks (1906-1922) bridge science and spiritualism, to what extend does gender impact omani artists, to what extent did edvard munch apply formal elements of art therapy such as color,shape, and repetition to create symbolism and purpose in the scream, how did zofia and oskar hansen’s architectural vision of przyczółek grochowski estate translate into practice and with what effect, how do andy warhol and thierry guetta's artwork demonstrate the controversies between intertextuality and plagiarism in pop art culture, to what extent has the indian culture influenced the architect gajanan b mhatre in the design of the empress court in mumbai during the british colonization, an exploration into the theme of motherhood in art during the early weimar republic, as seen through the works of otto dix and käthe kollwitz, how does frida kahlo portrya her devotionb to communism, the influence of nature on caso batlo by architect antoni guadi, "how did the dynamic style of zaha hadid's original abstract paintings introduce her unique architectural design of the jockey club in hong kong"..

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COMMENTS

The visual essay
A visual essay is a sequence of photographs or other images which are either: original, taken and/or created by yourself, or. found, and significantly processed (e.g. using Photoshop, Illustrator) Taken together, the images provide a critical commentary of some kind on a defined topic, working as a kind of argument, explanation, discussion.
How to Make a Visual Essay
Bigger Audience. Better yet, these sorts of essays can be shared online to make your argument to a larger audience. For example, not too many people will read your essay on homelessness, but many people might want to see your essay on the lives of homeless people in your town and the people who help the homeless in a soup kitchen (see "Depression Slideshow" or "My Photo Memory: Helping Others ...
Visual Analysis Essay: Outline, Topics, & Examples
A visual analysis essay is a common assignment for the students of history, art, and communications. It is quite a unique type of academic essay. Visual analysis essays are where images meet text. These essays aim to analyze the meanings embedded in the artworks, explaining visual concepts in a written form.
How to Write a Visual Analysis Essay: Examples & Template
Visual analysis is a helpful tool in exploring art. It focuses on the following aspects: Interpretation of subject matter (iconography). An iconographic analysis is an explanation of the work's meaning. Art historians try to understand what is shown and why it is depicted in a certain way. The analysis of function.
Graphic Essays and Comics
A graphic essay (sometimes called a visual essay) uses a combination of text and images to explore a specific topic. Graphic essays can look like comics, graphic novels, magazines, collages, artist books, textbooks, or even websites. Graphic essays often first take the form of written essays and then have graphic elements added to enrich the ...
PDF VISUAL ESSAY GUIDELINES
WHAT IS A VISUAL ESSAY? A visual essay can be an entirely visual piece or it can combine image and writing. The length of these essays varies (usually between 6 and 12 pages). A visual essay can focus on any social or political aspect of visual communication, it can be a response to the visual work of others, a commentary on visual processes ...
CRAFT: Let's Get Graphic: A Look at the Visual Essay by Nicole Breit
The Video Essay. Video is a natural medium for personal narrative, and John Breslund is known as a pioneer of the visual essay form. This article includes a Q and A with Bresland and his collaborator, poet and essayist, Eula Biss, with links to some of their groundbreaking work including "Ode to Every Thing." 10. The Interactive Essay
Visual Analysis: How to Analyze a Painting and Write an Essay
Step 3: Detailed Analysis. The largest chunk of your paper will focus on a detailed visual analysis of the work. This is where you go past the basics and look at the art elements and the principles of design of the work. Art elements deal mostly with the artist's intricate painting techniques and basics of composition.
How to Write a Visual Analysis Paper
Sample Outline of Visual Analysis Essay. Introduction: Tell the basic facts about the art (see citing your image). Get the reader interested in the image by using one of the following methods: Describe the image vividly so the reader can see it. Tell about how the image was created. Explain the purpose of the artist.
How to Write a Visual Analysis Essay with Precision
Sample Visual Analysis Essay Outline. This sample outline offers a framework for organizing a comprehensive structure for a visual analysis essay, ensuring a systematic exploration of design elements and principles. Adjustments can be made based on the specific requirements of the assignment and the characteristics of the chosen visual piece.
Exploring the Picture Essay: Tips, Best Practices, and Examples
Picture essays, also known as photo essays, are a form of visual storytelling. They are composed of a series of photos which together form a narrative or communicate information or ideas. ... 1911 and 1916 in bringing attention to the harsh realities of child labor in the United States as one of the earliest examples of the picture essay. In ...
3.14 Writing a Visual Analysis
Arguments About a Visual. Take for example Vincent Van Gogh's "The Starry Night" (Figure 3.14.1). [2] ... and developed in a longer essay or research paper. In undergraduate writing, a thesis statement is often found in the introductory paragraph of an essay.
The visual essay and the place of artistic research in the ...
The visual essay is an invitation to other researchers in the arts to create their own kind of visual essays in order to address their own work of art or that of others: they can consider their ...
Visual Analysis Essay
Begin the essay by finding at least two examples of images relating to your intended future field of study (or a field that you are interested in learning more about). Use the Visual Analysis Planning Sheet to record your observations about the images. You will describe the images in great detail.
Visual Essays
His visual essay focuses more on his written summary, and the images support his main point. Exhibit 2: Genna Genna includes a summary of the story "Araby," along with two sets of contrasting images, representing both the physical journey the main character takes to the bazaar and the symbolic journey he takes on his way to self-discovery.
PDF Keywords: Visual Essay; Visual Research; Visual Sociology, Scholarly
These examples help to show some of the basic strengths of this format which attempts to play out the synergy of the distinct forms of expression that are combined: images, words, layout and ... visual essays (e.g. Good Company, 1982; Working Knowledge, 1987; Changing Works, 2001) - rightly
Visual Rhetoric: Analyzing Visual Documents
This resource covers how to write a rhetorical analysis essay of primarily visual texts with a focus on demonstrating the author's understanding of the rhetorical situation and design principles. ... that it is possible you have already internalized many of the techniques involved with visual communication (for example, every time you justify ...
Picturing the Personal Essay: A Visual Guide
Yes, the essay has come full circle, echoing the opening image of the weasel's skull, but it also points away, beyond itself, to something yet to be realized. The ending both closes and opens at the same time. All diagrams rendered by Claire Bascom. An earlier version of this essay appeared in Volume I, issue 1 of The Essay Review.
Organizing Your Analysis
Since visual documents often seek to move people towards a certain action (buying a product, attending an event, expressing a sentiment), an essay may analyze the rhetorical techniques used to accomplish this purpose. The thesis statement should reflect this goal. ... For example, if you are analyzing a photo essay on the web or in a booklet, a ...
Visual Essay: My Life as a Fake
This visual narrative is an example of asserting the idea of transmediation, (transfer to a different medium), within the context of a specific graphic design project. By intentionally changing the materials with which I was designing, I employed a strategy to promote ideatic renewal (Stamm, 2013).
10.8.1: Annotated Sample Visual Argument Analysis
This sample essay and annotations are by Saramanda Swigart, edited by Anna Mills. Licensed CC BY-NC 4.0 . This page titled 10.8.1: Annotated Sample Visual Argument Analysis is shared under a CC BY-NC 4.0 license and was authored, remixed, and/or curated by Saramanda Swigart .
10.8: A Sample Visual Argument Analysis
Sample visual argument analysis essay "An Image Is Worth a Thousand Calls to Arms" accessible version with notes in parentheses This page titled 10.8: A Sample Visual Argument Analysis is shared under a CC BY-NC 4.0 license and was authored, remixed, and/or curated by Saramanda Swigart .
IB Visual Arts EE examples
EE Visual Arts A. To what extent has the Indian culture influenced the architect Gajanan B Mhatre in the design of the Empress court in Mumbai during the British colonization. EE Visual Arts B. An exploration into the theme of motherhood in art during the early Weimar Republic, as seen through the works of Otto Dix and Käthe Kollwitz.

Visual Analysis Essay - A Writing Guide with Format & Sample

What is a Visual Analysis Essay

Visual Elements for a Visual Analysis Essay

Principles of Design in a Visual Analysis Essay

How to Write a Visual Analysis Essay - 7 Simple Steps

Step 1 - Gather General Information About the Artwork

Step 2 - Note Down the Characteristics of the Artwork

Step 3 - Visual Analysis Essay Outline

Step 4- Write the Introduction

Step 5 - Provide Detailed Description, Analysis, and Interpretation

Step 6 - Writing a Conclusion

Step 7 - Edit & Revise Your Essay

Tips on How to Analyze a Photograph

Tips on How to Analyze a Sculpture

Visual Analysis Essay on Advertisement

How to Write a Visual Analysis Paper on an Advertisement

Visual Rhetorical Analysis Essay Examples

Visual Analysis Essay Topics

Keep reading

How to Write a Visual Analysis Essay: Examples & Template

🎨 What Is a Visual Analysis?

The Purpose of Analyzing Images

What Is Formal Analysis: Art History

Formal Analysis: Art Glossary

🏺 How to Analyze Artworks: Different Types

How to Analyze a Painting Using the Elements of Art

Painting Analysis Essay Example & Tips

How to Analyze a Photograph

Photo Analysis Essay Tips

How to Analyze a Sculpture

Visual Analysis Essay on a Sculpture: Writing Tips

Visual Analysis Essay: Advertisement Analysis

How to Write a Visual Analysis Paper on an Advertisement

✅ How to Write a Visual Analysis Paper: Step by Step

Visual Analysis Essay Topics

Visual Analysis Essay Outline

How to Start an Art Essay

Art Thesis Statement Examples & Tips

How to Write Visual Analysis Body Paragraphs

Visual Analysis Essay Conclusion

📑 Visual Analysis Essay Example & Citation Tips

How to Reference a Painting in an Essay

How to Properly Credit an Artwork in APA

❓ Visual Analysis FAQs

🔍 References

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CRAFT: Let’s Get Graphic: A Look at the Visual Essay by Nicole Breit

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Visual Analysis: How to Analyze a Painting and Write an Essay

What Is Visual Analysis?

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Formal Analysis of Art: Who Does It?

How to Conduct Visual Analysis: What to Look For

A Detailed Process of Analyzing Visual Art

Step 1: General Info

Step 2: Describe the Painting

Step 3: Detailed Analysis

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How to Write a Visual Analysis Essay: Mastering Artful Interpretations 👌

What Is a Visual Analysis Essay

Sample Visual Analysis Essay Outline

An In-Depth Guide to Analyzing Visual Art

Step 1: Introduction and Background

Step 2: Painting Description