Articles>Graphic Design

Case Study: Shipshape Photography

Photography has become an essential element of the communication mix for the American Bureau of Shipping (ABS), and is used to reflect the diversity and international nature of the business. If executed properly, a photograph can help explain a technical point or issue in such a way that it makes sense to an audience outside of the shipping community. We initially decided to use photography to enhance the visual content of our annual report. We now also use it in company newsletters (both internal and external), brochures and exhibit stands.

Storytelling Photos

Anyone can relate the facts of an event, just like anyone can hold a camera up to a scene and document it. But bare facts and badly composed images make for poor communication. It takes skill and talent to write a good story, one that will inform and entertain. The same is true for photography. Images have always been storytellers. A good image can relay large amounts of data in a format that is pleasing and quickly absorbed by the viewer. That makes photos potentially more influential than a massive amount of words.

A Sack in the Sand: Photography in the Age of Information

Throughout the 1990s the relationship between culture and technology was sharply focused in a debate about whether digital technologies signalled the death or radical displacement of photography. The case for the cultural continuity of photography centred upon a rejection of a strong form of technological determinism. It is now clear that far from being displaced to the margins of culture, there is now more photography than ever. There have also been dramatic developments: mobile phone manufacturers have put more cameras into people's hands then ever before; the photograph as social document and historical witness persists but in changing ways; photographs circulate globally on an unprecedented scale via electronic image banks. It is clear that such changes and developments do involve new technologies. However, rather than being due to the kind of technological determinism debated earlier, this is because photography has come to exist within a new technological environment. In many recent accounts, 'information' and information technology are repeatedly cited as constituting a new and shaping context for photographic practices.

The Awesome Power of Visualization 2: Death and Taxes 2007

Visuals that provide insights come from 1) a deep understanding of the goal / objectives 2) from thinking beyond what standard trend lines or stacked bar graphs can provide. Something non-normal to grab attention and yet communicate insights (sort of already contain recommendations and action items and not just data).

Digital Photography: Communication, Identity, Memory

Taking photographs seems no longer primarily an act of memory intended to safeguard a family's pictorial heritage, but is increasingly becoming a tool for an individual's identity formation and communication. Digital cameras, cameraphones, photoblogs and other multipurpose devices are used to promote the use of images as the preferred idiom of a new generation of users. The aim of this article is to explore how technical changes (digitization) combined with growing insights in cognitive science and socio-cultural transformations have affected personal photography. The increased manipulation of photographic images may suit the individual's need for continuous self-remodelling and instant communication and bonding. However, that same manipulability may also lessen our grip on our images' future repurposing and reframing. Memory is not eradicated from digital multipurpose tools. Instead, the function of memory reappears in the networked, distributed nature of digital photographs, as most images are sent over the internet and stored in virtual space.

Newspaper Design as Cultural Change

his article describes the (re-)design of newspapers and magazines as a process of cultural change which goes beyond designing a publication's layout, typography and use of colour, and includes designing the processes and structures of its production.

Creating Appropriate Graphics for Business Situations

Charts and graphs are ubiquitous in business documents, and most students in my business communication courses are well aware that they need to be able to create many different types of data representation. Most of them have had a great deal of experience working with spreadsheet applications, and they know how to manipulate data and present it in the various forms permitted by their software.

Getting Started with Graphics for an Enriching User Experience

Good web design does not necessarily mean good use of colors and layouts, but it does transcend beyond it. Design elements like color, font, size, frame, etc. play an important role nonetheless, but what is more important is that how it affects the aesthetic sensibilities of the users. The warmth and the feel of the web site, or in another words, the texture of the web site is a crucial area to turn our attention to. By texture of the web site what it means is the subtleties of the surface of the web site. Varied aspects as discussed in this article, when sensibly used -- and in combination with good deign skills aimed at creating intuitive appeal -- are of definite help of when it comes to developing engaging graphics on your web site.

Proposal Flowchart Excellence: Ten Rules for Scoring on Top

'Flowcharts-- UGH!' That's a too-typical reader reaction when faced with the average flowchart. It underscores the author's challenge when trying to develop this potentially powerful tool. For conveying process, there is no better means. In proposals, however, where the flowchart must also serve as a sales tool, its optimum form is not always clear. This paper provides some guidelines, such as: Ensuring your flow is a process of merit. Letting goals dictate form. Organizing for readability. Focusing on action. Using simple, standard visuals. Illuminating features. And obviating responsiveness... To reap the winning rewards.

Electronic Image Manipulation - Technological Advances and Ethical Considerations

Electronic imaging has enabled the desktop publisher to capture and manipulate images to produce documents that are both attractive and cost-effective. In addition to making basic corrections such as balancing colors and improving highlight and shadow detail, the desktop publisher can retouch photographs and other artwork to repair damaged areas, eliminate distracting elements, or alter composition. However, the ease of manipulation has, in some cases, overshadowed the many ethical issues that desktop publishers need to consider. Integrity of the image, ownership of artwork, and copyright laws are some of the issues that desktop publishers must confront.

Literature Review: What is Visual Literacy?

This paper takes a look at what is being said in various disciplines (technical writing, journalism, education, psychology, user interface design, and visual arts) in an attempt to answer the question 'What is visual literacy?' A corollory is 'How will I know when I have achieved it?' A working definition of visual literacy has many implications for how we train technical writers in order to meet the professional challenges of the future.

Design is Function

Good design, like good writing or editing, cart make or break a technical publication. Even if you know little about design us a discipline, as a technical communicator you employ it in every publication you produce. If technical communicstion is indeed the art that bridges the gap between people and technology, then understanding the function of design us an inherent element of communication is paramount. Design seeks 10 translate perceptions, goals, and desires through the manipulation of images and language. Design inspires understanding, is both an art and a science, and is good business. Design matters! The purpose of our presentation is to explore the relationship between design until technical communication and heighten the level of consciousness of the function of design.

Seeing is Believing: Communicating Information Graphically

Diverse work situations and varied skills, abilities, and motivation affect how users handle documentation to do their jobs. Communicating graphically challenges the communicator to 1) select illustrations that orient users ana' 2) use dynamic arrows to show the motion required. The communicator then 3) shows the order of steps within a task by using numbers with 'numberness.' Users' eyes seek information dynamically: help them find needed i$ormation by 4) keeping tasks within eyespan on a page. Then 5) use a grid to consistently layout an interesting page.

The Man Behind Clippy

An interview with Kevan J. Atteberry, the graphic artist who first developed Clippy the Overly Eager Office Supply Unit.

London Through Rose-Colored Graphics: Visual Rhetoric and Information Graphic Design in Charles Booth's Maps of London Poverty

In this article, I examine a historical information graphic--Charles Booth's maps of London poverty (1889-1902)--to analyze the cultural basis of ideas of transparency and clarity in information graphics. I argue that Booth's maps derive their rhetorical power from contemporary visual culture as much as from their scientific authority. The visual rhetoric of the maps depended upon an ironic inversion of visual culture to make poverty seem a problem that could be addressed, rather than an insurmountable crisis. This visual rhetoric led directly to significant features of and concepts in western societies, including the poverty line and universal old-age pensions (social security).

An Unbearable Lightness?

This article considers various notions of 'beauty' and how these have informed the creative and critical processes of graphic design, specifically typography. The author considers how the Renaissance revival of Greek mathematics to support a 'universal beauty' was gradually unpicked by Enlightenment thinkers such as Descartes, Kant and Hume, and how this process has subsequently shaped modernist and postmodernist attitudes towards 'beauty'. From our current vantage point it could be argued that 'beauty' should now be considered a redundant concept; however, design schools and studios continue to make value judgments dividing the 'beautiful' from the 'ugly'. On what basis are these judgements made and are they still valid in a pluralistic society? Is it possible that we now have a new sensibility, a different notion of beauty? Reflecting upon important questions raised by the American designer and writer Steven Heller in his controversial essay 'The Cult of the Ugly' in _Eye_ magazine in 1993, the author proposes that 14 years on from the article, we can indeed witness a new aesthetic sensibility, shared but not universal, rooted in loss yet also 'found'.

Beautiful Evidence

Beautiful Evidence is Edward Tufte's fourth and latest book and both follows and diverges from the directions established with The Visual Display of Quantitative Information (Tufte, 1983), Envisioning Information (Tufte, 1990), and Visual Explanations (Tufte, 1997). Visual Display examined pictures of numbers, Envisioning explored pictures of nouns, and Visual Explanations addressed pictures of verbs. Beautiful Evidence foregoes the 'pictures of' approach and instead establishes the role of evidence as the foundation of reasoning. In some ways, this latest book might have been better positioned as the first book because of its efforts to explain interplays of understanding and reasoning.

Making the Strange Familiar: A Pedagogical Exploration of Visual Thinking

Scholarly conversation within the field of professional communication increasingly has focused on the practice, research, and pedagogy of visual rhetoric. Yet, visual thinking has received relatively little attention within the field. If our programs produce students who can think verbally but not visually, they risk producing writers who are visual technicians but are unable to move fluidly between and within modes of communication. This article examines the literature and pedagogical practices of visually oriented disciplines to identify strategies for helping students develop the ambidexterity of thought needed for the communication tasks of today's workplace.

Medical Tables, Graphics and Photographs: How They Work

An examination of a random sample of four medical journals--The Lancet, The New England Journal of Medicine, The Journal of the American Medical Association, and The Journal of Laboratory and Clinical Medicine--reveals that one-fifth of the space of articles in medical science is devoted to an average of three tables and three flow charts, graphs, or photographs. Given these figures, the absence of discussion of visuals in the literature on medical communication may seem puzzling. But the puzzle is easily solved: our basic education gives us a coherent vocabulary for talking about prose, but no coherent vocabulary for talking about tables and visuals. Once we have this vocabulary in hand, we make another step in the direction of an explanation of the nature of communication in the medical sciences. We may note that understanding the meaning of a medical article is not just a consequence of understanding its texts; it is a consequence of understanding all its meaningful components working together--verbal, tabular, visual.

Be Prepared: Fill the Gaps in Your Photoshop Know-How

It's next to impossible for one person to know the ins and outs of every single facet of Photoshop. With that in mind, we present three video tutorials to plug a variety of holes in your Photoshop knowledge.

Getting Design Done

Here's how to apply the principles of a well-known productivity system to your creative process. The resulting creative habits can boost your design skills while they reduce stress and free your mind to tackle big problems.

Critiquing the Culture of Computer Graphing Practices

This paper is a critique of current approaches to the development of computer graphing and graph visualization programs. Developers of these programs model the user as an individual problem solver who is reliant on perceptual skills to create and interpret graphed information. Such a model of graphing is ill-suited to meet the complex needs of real users, a supposition that is supported by work in two major areas of graphing theory and research: the sociology of science and the educational research of mathematics and scientific students. These areas have not been traditionally cited when planning computer graphing or visualization programs or when assessing their usability. A review of the literature in these fields reveals that an over-reliance on a user's perceptual skills is unlikely to result in successful graph practices.

Theories of Visual Rhetoric: Looking At The Human Genome

For too long, journal articles and textbooks on scientific and technical discourse have adopted a positivistic approach to visuals. Unfortunately, this approach is problematic. It ignores that visuals are constructions that are products of a writer's interpretation with its own power-laden agenda. For example, in representing a tamed and dominated nature, visuals become instruments of patriarchy. Reading them responsibly requires that we uncover some of the values attached to the strategies of creating visuals and to the objects created. This article reviews the current approach taken by composition scholars, surveys richer interdisciplinary work on visuals, and-- by using visuals connected with the Human Genome Project--models an analysis of visuals as rhetoric.

Communication Through Imagery

The field of technical communication focuses on the ability of the author to gather information, interpret it, and then present the necessary items to the reader in a clear and concise manner. This article serves to briefly outline several of the key factors involved when deciding how to include imagery in technical materials.

Documenting Networks

Documenting networks is playing less with words, and more with diagrams. It also requires an engineering mind, an ability to think out-of-box, and creative mind. Technical writers can rise to a new scale and expand their skill sets if they are able to document networks.

Seeing the World in Symbols: Icons and the Evolving Language of Digital Wayfinding

Of all the objects that occupy our digital spaces, there are none that capture the imagination so much as icons. As symbols, icons can communicate powerfully, be delightful, add to the aesthetic value of software, engage people's curiosity and playfulness, and encourage experimentation. These symbols are key components of a graphic user interface--mediators between our thoughts and actions, our intentions and accomplishments.

Technical Illustration Custom Fills

Custom made fills can be of significant value to technical illustrators. This article shows many custom fills and how they can be applied. There is also a free download of over 50 custom fills.

Can Designers Save the World (and Should They Try?)

Designers are clearly more self-conscious about their social role today than they have been at any time in the last 20 years, yet the lack of substance of the critics who have come to the fore, and the issues on which it is chosen to take a stand, reflect a political agenda that is set elsewhere. There are many areas of life in which designers can make a real difference, but we need to look first at why they are taking themselves so seriously in the noughties.

Is Design Political?

Politics is commonly thought of as the activities of political organizations--from which the majority of designers (if not majority of people) feel disassociated. But there is a missed opportunity here: at base, politics is about values, and design is nothing if not a means of embodying values.

Dealing with Images in Content Management Systems, Part 1

Most web-based content management systems offer a variety of tools to help contributors enter text. When it comes to graphics, content contributors are usually expected to provide web-ready images to the system. This means that either editorial users needs to know about image optimisation and web image formats, or additional staff are required to make web-ready images out of raw materials. This article demonstrates a technical solution to this problem.

Graphic Design vs. Usability

When the philosophy of the 'skin interface' is applied to other applications, it becomes problematic. There is nothing wrong with that concept as long as it is clear that it only works with highly specialized applications such as Winamp. It is even culturally expected in the Winamp community that skins will be created and made available.

Graphics Don't Appear or Won't Print

Objects in the drawing layer are visible in Page Layout (Print Layout) view and Print Preview but not in Normal view. Interestingly, a frame is a sort of hybrid object that can appear to float (and text can be wrapped around it), but it is actually inline and can be viewed (though not in position) in Normal view.

The Draw Layer: A Metaphysical Space (And How to Bring It Back Down to Earth)

Word's draw layer is a metaphysical space where floating objects reside. It really isn't a layer, since floating objects can be sent behind the text layer or brought out in front of it. Either way, they continue to reside in the draw layer.

Dither Scatterplots with XSLT and SVG

Use XSLT and SVG to offset points in X-Y scatterplots so they do not plot on top of each other.

Beatrice Santiccioli: Specializing in Color

A visual designer discusses why Swatch, watercolors and cooking can inspire the design of color. Louise Sandhaus draws out how Beatrice Santiccioli came to be the Queen of Color.

Beyond Graphic

Today's graphic designer has moved beyond graphic. The term 'graphic' fails to accurately describe our profession to the business community and the public. We should consider replacing it with a more relevant, accurate description of what we do today. Why?

Gaining Insight and Inspiration from Veteran Designers

As a designer, there are days when it's tempting to just churn out something that looks nice, without any thought given to the creative process. To keep a fresh outlook on our work and maintain a true sense of purpose, we have to keep up our educational process. A designer should never lose his or her passion for learning.

Accurate Image Manipulation for Desktop Publishing

Devoted to the best possible quality in the desktop publishing workflow. This calls for accurate calibration and correct choice for the working space.

JPEG Tutorial

This page presents a brief description of how JPEG compresses images. JPEG, unlike other formats like PPM, PGM, and GIF, is a lossy compression technique; this means visual information is lost permanently. The key to making JPEG work is choosing what data to throw away.

An Introduction to Visualisation

Visualising things makes them tangible and brings them into shareable form. Visualisation brings ideas to life and helps understanding. Visualisation techniques help elicit, communicate and analyse ideas and concepts.

Representing Content and Data in Wireframes

Visio practically groaned as I opened the wireframes for my current project, which were in something like the twentieth revision. It was the usual story--poorly defined requirements and business rules--and my project folder was fast becoming the poster child for Feature Creep Flu.

Identical Twins?

For the same reason a doctor uses different types of scissors or scalpels for specific cases, or a handyman carries different types of screwdrivers, a smart designer will have the tools that are necessary to complete any design task that might arise. In many ways Photoshop and Illustrator seem to be exactly alike, but they aren't.

My Brain's Not Like Yours: Individual Differences in Visual Processing Styles

The principles of graphic design 'work' for viewers for several reasons. One reason is that well-designed graphics perform significant information-processing functions for viewers. This workshop looks at individual differences in several dimensions of information-processing style (including visual/haptic,field independent/dependent, high/low detail analysis, high/low visual distractibility, and leveling/sharpening in visual memory). It then examines the ability of graphic designs to 'supplant' processing skills for viewers by either captializing on viewer strengths or compensating for their weaknesses.

Reflections on an Icon Development Process: Managing Design

Software organizations are increasingly willing to hire consultants in technical communication for projects in visual design. This paper examines ten factors critical to successfully managing icon development, based on experience in two different companies, Practical issues -defining the scope of the problem, recruiting the contractor and reviewers, writing the contract, deciding where the contractor should work, validating the images -- require attention to make your partnership with a consultant work.

Using Graphics to Help Users Build Mental Models

Research shows that adults learn more efficiently when they have formed an accurate mental model of the product they are trying to use. We can help our users form accurate mental models more quickly by graphically depicting that model on the interface. One product using that approach allowed engineers to become productive with no reference to user documentation.

Verbalizing About the Visual: Visual Analysis Tools for Design Evaluation and Group Communication

While technical communicators are increasingly involved in visual design, they frequently have difficulty communicating verbally about the visual, and, therefore, contributing effectively to design development. A five-step visual analysis tool provides a common framework and language for design evaluation and group communication.

Picture This: An Effective Relationship Between Writers and Illustrators

Writers and illustrators often find themselves in an adversarial relationship rather than working toward a single goal. The main reason for this is that writers don’t know enough about how illustrators work. By learning more about the similarities between the process of writing and illustrating, by reviewing the main characteristics of technical writing, and by treating illustrators as professional colleagues, writers can implement a strong collaborative work environment in which to create effective, accurate documentation.

Graphic Designer Needs a Web CMS

While you can create very powerful content management solutions with most open-source packages -- they have a much steeper learning curve than you experienced with HTML or Flash.

Ten Tips for Talking to Artists

Explains some of the terminology used to describe graphics and explains the roles graphic designers play in the production of technical art.

Empirical Proof for Presenting Screen Captures in Software Documentation

None of the previous studies on screen captures addressed the functions in the framework. There was no empirical research on any of the four functions of screen captures. This article presents our research on these functions. Each section starts with a brief explanation of the function. Next, we illustrate the screen capture designs used to test the function. The remainder of each section explains the setup and results of the empirical study. The article ends with some general conclusions about the functions of screen captures.

How to Use Images to Convey Themes

Advances in technology have democratized the process of illustrating documents such as brochures, reports, and websites. With digital cameras, scanners, and a wide variety of stock illustrations available, technical communicators need not rely on graphic designers to choose images for their documents. However, conveying a theme or concept through a series of images can be a difficult task, and literature says little about choosing images to convey a theme. This paper synthesizes results of available literature and looks to theories of visual rhetoric to fill in the gaps regarding images and themes. Results of a survey show that readers of more easily identify themes when connections between words and images are clear

Figures

General guidelines for illustrative figures in technical reports.

Screenshots with the Mouse Pointer

How to produce screenshots which include the mouse-pointer.

SVG as a Page Description Language

SVG has matured into a rich, fully featured graphics language resulting in its suitability for all traditional graphics applications. The SVG working group is continuing development of various profiles for use in specific application areas, such as mobile devices. One of the most important uses of computer graphics languages is in the area of printing. Many languages used for printing are proprietary and display various feature sets. SVG in contrast is vendor neutral, contains much of the functionality of existing languages for printing and is a wonderful candidate for future hard copy devices. A new SVG profile for printing is being developed as part of the SVG standardisation effort.

The Big Picture on Monitors

The analog format of the CRT is challenged by the digital capabilities of the LCD monitor.

A Higher Standard

Electronic Publishing magazine discusses the current activities related to standards development in the graphic arts. If you've been wanting to understand more, this is a great article to give you a background on standards development.

Standardizing File Formats

The quest for seamless file exchange in the graphic arts continues. Graphic Arts Monthly takes a look at what CGATS is doing to develop file format standards.

Mutant Education

Up goes that hand and out pops that dreaded can-opener of a question: 'Why aren't we learning programming in this class?' A litany of responses begins to unfold in my now Prozac-pleading brain: Because it's not graphic design; because it's too specialized; because graphic designers won't be doing it or shouldn't be doing it because they'll end up as hacks if they do it and the profession will go to hell; or because it's another program - maybe even a department-unto itself. I'm feeling queasy. It used to be so simple, so clear: We knew what graphic design was and what it wasn't.

Graphic Designer's Digital Printing and Prepress Handbook

The Graphic Designer's Digital Printing and Prepress Handbook is not a beginner's manual. Sidles does not walk you step-by-step through the basics of trapping or scanning. Instead, hers is an approach that expands on the knowledge of the graphic design professional. I think her aim is to help you become someone who easily knows how to avoid buying paper that will curl or using overprinted type that is illegible. Sidles, with her print production experience, seems to care about sharing the wisdom she has acquired through decades of haps and mishaps—no small benefit.

Book of Probes

Combine the probing thoughts of media culture sage Marshall McLuhan with the visual insights of design guru David Carson and the result is the quintessential coffee table book for anyone that works with technology and design. The Book of Probes is an intentional chocolate-in-my-peanut-butter experiment to combine the ideas of McLuhan with the images of Carson in thought provoking ways.

White Graphics: The Power of White in Graphic Design

Every graphic designer or editor who has been forced to explain to a client why there is nothing—text or image—on a part of a page should have Gail Deibler Finke's newest book. It demonstrates clearly and convincingly 'the power of white in graphic design.'

Easy Web Graphics

Easy Web Graphics would be a good choice for novice or intermediate users of Microsoft FrontPage and Microsoft Photo Editor who want to make better use of those products.

The Complete Guide to Digital Graphic Design

Bob Gordon and Maggie Gordon, authors of The Complete Guide to Digital Graphic Design, reinforce effective design principles by creating a text that visually inspires and instructs. With its vibrant colors and captivating images, the book demonstrates the capabilities of graphic design through instructive images and text. Each page provides a snapshot into the creativity and power of graphic design.

Envisioning Science: The Design and Craft of the Science Image

As an accomplished photographer of science and engineering research, Felice Frankel knows how to capture her readers' attention—her exquisite images in Envisioning science communicate their amazing power, by her design, and ultimately 'teach us to see' science in a different way. We are witnesses to the excitement of discovery represented in such images as cadmium selenide nanocrystals, self-assembled polyhedra, yeast colonies, and mouse embryo lungs, thereby illustrating the book's educational value.

A Brief History Of Technical Illustration

A history of technical illustration, from the classics to the present.

Pricing and Types of Technical Illustration

This chart shows a range of illustration style options and an approximation of the cost for each of those options.

Schools of Thought

How do you educate graphic designers in today's complex world? Teach them sociology, psychology, business - and yes, some composition and color theory.

WebCGM Beyond the Basics

WebCGM is the choice for implementers looking for interoperability and longevity of their web graphics. However, the standard alone does not give you an electronic parts catalog or interactive manual. This presentation will provide details on how to use WebCGM in real-world applications. This includes developing a concept for graphic navigation and how to implement it using WebCGM navigation. The presentation will also discuss the pros and cons of inline and out-of-line links. It will then provide an outlook over the latest developments around WebCGM, including stylable WebCGM and the WebCGM DOM. Lastly it will offer help for those who need to decide between SVG and WebCGM for their projects.

Accentuation in Technical Illustration

There are various ways to accentuate a specific part in its installation position. However in order to keep the printing cost as low as possible, it is recommended to opt for stylistic devices that are all in black and white.

Creation of Polylines

Sometimes it becomes necessary to create polylines that follow a certain path as a string of short segments. Here's a little trick that easily helps to solve this task.

Cutaway Illustrations

The cutaway perspective is fundamentally a three dimensional sectional view.

Exploded Illustrations

As the term implies, the exploded view shows an assembly with its components blown out from the main body, but still remaining in relative order along their respective centrelines.

Labeling in Illustrations

In technical illustrations, labeling is often needed to denominate specific parts. Here, it is important to remember certain details that can really make a difference. This is especially true if the file is to be converted at a later time.

Less is More...

The numerous stylistic devices in Technical Illustration allow you to visualize technical coherences. An important, but very often underestimated, method in Technical Illustration is the omission of lines, which often helps to display the desired information more clearly.

A Matter of Perspective

When working with technical illustrations, you must consider perspective. The following article will provide you with some useful information on working with both parallel and true perspective.

Spatial Representation in Two Dimensions: The Why and How of Projection

The perspective representation, which is also referred to as stereogram, is used when an object needs to be reproduced in a particularly descriptive and plastic way. In contrast to the technical drawing, which is defined in DIN 6 (ISO 5456-2) and divides the object into several independent views, the technical illustration combines all three sides of a workpiece in one representation. These advantages become especially evident, when the possibilities of digital photography cannot be applied for technical reasons. This happens, for example, when the object to be depicted is still in development and does not exist, yet.

Thick and Thin Lines

The use of thick and thin lines is an important stylistic device in Technical Illustration.

What Exactly is a Technical Illustration?

Is it not simply a graphic representation like any other? How does it differ from a technical drawing?

Teaching Information Architecture to the Design Student

What the design student needs is a design course that stresses usability, human factors, and clarity, instead of the typical branding and interpretation problems they usually encounter in their other design classes. James Spahr recounts a year of teaching at Pratt Institute that attempts to cross those boundaries.

Talking with Virginia Postrel

Postrel's new book, The Substance of Style, explores the economic, cultural, social, personal, and political implications of the growing importance of aesthetics in business and society.

Graphs on Steroids

A hypothetical example to help technical communicators think through ethical issues in the workplace.

The Role of Graphic Art in Modern Scientific Communication

The use of graphics in scientific communication increases the level of understanding of the subject matter. Graphic art has helped transform the way we view science and technology. It simplifies complex ideas in a visual way and opens up a new way of seeing the world around us. A graphic representation of a spacecraft in orbit is visually stunning and easier to obtain than a photograph would be. A graphic can also provide us with an understanding of three-dimensional objects. The structure of deoxyribonucleic acid (DNA), depicted as a double helix, is an example of the power of graphics in a scientific communication.

Help! Tips for Working in Photoshop 7

A 'quick start' guide to creating graphics using Adobe Photoshop 7.0.

The Eagle Has Landed

To prevent the infographic artists from getting bored somebody invented the web ... But we still think like we do work for printed papers. I won't suggest that we should concentrate on entertainment, but there's a lot we can learn from game-design.

Toward Consistency in Visual Information: Standardized Icons Based on Task

Argues for continued work on developing standards for icon design. Suggests that icons should be standardized not just within products, but across applications. Suggests that icons be standardized based on the complexity of the task represented.

Half the Truth and Something Like the Truth

As an art director, I'm an avowed secret handshake guy from way back. They teach it to us in design school when they make us swear on a stack of Pantone color selectors and old type specimen books that we'll never reveal the secrets of the design world, especially to editors and writers (word people). Early reviews of Type & Layout have been ecstatic, so I had wondered whether someone had finally sold the secret handshake to the enemy. I shouldn't have worried. This is not really a design book, and it is not a book that most designers are going to care for. What worries me is that nondesigners won't know that.

Integrating Graphics with Text

A teacher at the University of Memphis, Albers describes a two-tiered assignment he developed to help students address problems they encounter when trying to integrate text and graphics.

Visualizing Information: An Overview of This Special Issue

The guest editors offer a brief history of visualization, discuss the present state of the art, and explore the possibilities and challenges that lie ahead. They then discuss the contents of this special issue in terms of the trends in visualization theory and research. They conclude by observing that technical communicators must respond to the challenges presented in the content of this issue, both by using the methods presented and by performing the further research the authors call for. Additionally, researchers must incorporate the results of inquiry in the related fields.