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.

ITEDO Software. Articles>Graphic Design>Technical Illustration

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.

ITEDO Software. Articles>Graphic Design>Technical Illustration>Isometric

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.

Couse, Mary M. STC Proceedings (1993). Articles>Graphic Design>Research>Visual Rhetoric

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).

Kimball, Miles A. Journal of Technical Writing and Communication (2006). Articles>Graphic Design>Visual Rhetoric>Geography

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.

Brumberger, Eva R. Journal of Business and Technical Communication (2007). Articles>Education>Graphic Design>Visual Rhetoric

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.

ITEDO Software (2002). Articles>Graphic Design>Technical Illustration>Isometric

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.

Gross, Alan G. Journal of Technical Writing and Communication (2007). Articles>Graphic Design>Technical Illustration>Biomedical

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.

Sandhaus, Louise. AIGA (2004). Articles>Education>Graphic Design

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.

Ausburn, Floyd B. and Lynna J. Ausburn. STC Proceedings (1995). Articles>Graphic Design>Visual>Cognitive Psychology

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.

de Vries, James. Visual Communication (2008). Articles>Graphic Design>Publishing>Visual Rhetoric

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.

Gadomski, Kenneth E. STC Proceedings (1994). Articles>Collaboration>Graphic Design

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.

Hulsey, Kevin. Kevin Hulsey Illustration. Articles>Graphic Design>Technical Illustration

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.

Green, R. Dennis. STC Proceedings (1993). Articles>Graphic Design>Technical Illustration>Charts and Graphs

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.

Gould, Emilie W. STC Proceedings (1996). Articles>Graphic Design>Programming

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.

Brown, Dan. Boxes and Arrows (2004). Articles>Graphic Design>Technical Illustration

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.

Peck, Angelika D. STC Proceedings (1995). Articles>Graphic Design>Scientific Communication

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.

Lister, Martin. Convergence (2008). Articles>Graphic Design>Photography

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.

McCarron, Carolyn. Adobe Magazine (2000). Articles>Education>Graphic Design

Screenshots with the Mouse Pointer

How to produce screenshots which include the mouse-pointer.

Springer, Hans. TC-FORUM (1999). Articles>Graphic Design>Documentation>Screen Captures

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.

Lisberg, Beth Conney. STC Proceedings (1997). Articles>Graphic Design>Visual Rhetoric>Charts and Graphs

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.

Follett, Jonathan. UXmatters (2006). Articles>Usability>User Interface>Graphic Design

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.

ITEDO Software (2001). Articles>Graphic Design>Technical Illustration

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.

Strashun Whitcher, Joann. Graphic Arts Monthly (2003). Articles>Graphic Design>Standards

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.

Salvo, Suzanne. Communication World Bulletin (2007). Articles>Graphic Design>Photography>Visual Rhetoric

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.

Danilo, Alex and Jun Fujisawa. SVG Open (2002). Articles>Graphic Design>XML>SVG