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.

Rosner, Mary. Journal of Technical Writing and Communication (2001). Articles>Graphic Design>Visual Rhetoric

Thick and Thin Lines

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

ITEDO Software (1998). Articles>Graphic Design>Technical Illustration

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.

Gurak, Laura J. Technical Communication Online (2003). Articles>Graphic Design>Visual Rhetoric

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'.

Rigley, Steve. Visual Communication (2007). Articles>Graphic Design>Typography>History

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.

Elser, Arthur G. STC Proceedings (1995). Articles>Documentation>Graphic Design

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.

Keyes, Elizabeth. STC Proceedings (1995). Articles>Graphic Design>Visual Rhetoric

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.

Gribbons, William M. and Arthur G. Elser. Technical Communication Online (1998). Articles>Graphic Design>Visual Rhetoric>Technical Illustration

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.

XML Conference (2002). Articles>Graphic Design>Standards>XML

What Exactly is a Technical Illustration?

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

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

Review: 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.'

Hudak-David, Ginny. Technical Communication Online (2002). Articles>Reviews>Graphic Design

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

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

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.

Smyth, Gillian and Susan V. Gonzalez. Communication World Bulletin (2006). Articles>Graphic Design>Photography>Case Studies