Assessing Visualizations in Public Science Presentations  

Natural resource agencies and other technical and scientific organizations face an immense challenge of when communicating complex technical information to diverse publics. The laptop computer, presentation software, and projection unit have emerged as one of the primary presentation tools in many technical and scientific fields. Advances in software functions enable presenters to capitalize on a wide range of multimedia functions thought to make presentations more appealing, interesting, and effective. Our presentation reports on a specific research project and then provides guidance for enhancing their presentations.

Zimmerman, Donald E., Carol A. Akerelrea, Jane Kapler Smith and Garrett O'Keefe. STC Proceedings (2003). Articles>Presentations>Visual Rhetoric

The Blue Background in PowerPoint

Why is the default color of PowerPoint dark blue? People prepare the best slides man can create - and yet they leave the default color stay dark blue.

Fuchs, Amo. TC-FORUM (1999). Articles>Presentations>Visual Rhetoric>Color

Canonical Abstract Prototypes for Abstract Visual and Interaction Design  

Abstract user interface prototypes offer designers a form of representation for specification and exploration of visual and interaction design ideas that is intermediate between abstract task models and realistic or representational prototypes. Canonical Abstract Prototypes are an extension to usage-centered design that provides a formal vocabulary for expressing visual and interaction designs without concern for details of appearance and behavior. A standardized abstract design vocabulary facilitates comparison of designs, eases recognition and simplifies description of common design patterns, and lays the foundations for better software tools. This paper covers recent refinements in the modeling notation and the set of Canonical Abstract Components. New applications of abstract prototypes to design patterns are discussed, and variations in software tools support are outlined.

Constantine, Larry L. Constantine and Lockwood (2003). Articles>User Interface>Interaction Design>Visual Rhetoric

Clarifying Abstract Concepts Through Multimedia: Principles for Technical Communicators  

Multimedia can sometimes convey meaning in ways that text and graphics alone cannot. This paper offers two principles for understanding how multimedia can clarify abstract concepts. The first principle is that multimedia is excellent for conveying any kind of change, such as change in quantity, size, shape, or relationship. The second principle is that multimedia can help present complex concepts by providing information in both the visual and auditory modes simultaneously. These principles can guide technical communicators in evaluating whether multimedia is a cost-effective way to present their information.

Garb, Rachel and Claudia M. Hunter. STC Proceedings (1993). Articles>TC>Multimedia>Visual Rhetoric

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.

Katz, Susan M. Business Communication Quarterly (2008). Articles>Graphic Design>Visual Rhetoric>Charts and Graphs

Creating the Vision: Developing Graphic Strategies  

Making documentation more visual is a two phase process. First comes the brainstorming, where ideas bubble up: the weird the funny, the wonderful, the breakthrough, the lame brain — no idea discriminated against, all equally enjoying the bright, spring air of the creative process. Once You begin to brainstorm you may find putting concepts into graphics is easier than you thought. Then comes the second phase: the hard realization that even if you throw out all the crazy ideas, you still have to pick and choose. You have to develop a strategy for graphic use, one that goes beyond the basic visual unity a good graphic designer can give a document. You have to see the graphics in light of the user's need.

Malone, Jacquelyn. STC Proceedings (1994). Articles>Documentation>Visual Rhetoric

A Cross-Cultural Perspective on Visual Literacy Challenges for Technical Communicators  

Many emerging nations have pre-technological cultures. These nations are striving to develop a new technological literacy that is heavily dependent on visual literacy, or the ability to 'read' images. This paper discusses some challenges for technical communicators in presenting technical graphics to users who are not fully functional in learned Western conventions and skills of pictorial representation, pictorial literacy, and pictorial perception aspects such as conceptualization, perspective and depth, scale, and analysis of component details.

Ausburn, Floyd B. and Lynna J. Ausburn. STC Proceedings (1994). Articles>Communication>Visual Rhetoric

Dabbling in Document Design

One of the advantages that print journalists have is that they learn document design on the job. Today, thanks to computers and design packages, design awareness is very high. Even the novice computer user becomes proficient in designing documents within a few days, if not weeks. Usually, templates are available for brochures, reports, books, etc. All you need to do is fill in the contents in the readymade template.

Kamath, Gurudutt R. IT People (2003). Articles>Document Design>Document Design>Visual Rhetoric

Dam Visuals: The Changing Visual Argument for the Glen Canyon Dam    

Arguments manifest in scientific visuals through graphic representation, content placement, and overall document structure. These arguments, designed to influence public perception, change over time in relation to sociopolitical climate. Analysis of a series of documents constructed deliberately to influence perception can help to determine patterns of argumentation and perceived exigencies. In this article, four self-guided tour brochures produced for distribution to visitors to the Glen Canyon Dam in 1977, 1984, 1990, and 1993 are analyzed in order to identify rhetorical strategies designed to influence public perceptions of the dam site, and examine how public perception of the dam, and related argumentation, is structured by sociopolitical climate.

Ross, Derek. Journal of Technical Writing and Communication (2007). Articles>Scientific Communication>Technical Illustration>Visual Rhetoric

The Data Artist

Tufte shares Orwell's impatience with doublethink and humbuggery, his insight that bad thinking and bad expression travel in a pair, and his awareness that they are usually deployed in the service of some brand of propaganda.

Rosenberg, Scott. Salon (1997). Articles>Interviews>Visual Rhetoric>Charts and Graphs

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.

DuBose, Mary E. and Deborah L. Baxley. STC Proceedings (1993). Articles>Graphic Design>Visual Rhetoric

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.

van Dijck, Jose. Visual Communication (2008). Articles>Graphic Design>Photography>Visual Rhetoric

Effective Visual Communication  

Communication conveys 'facts, concepts and emotions.' To convey something, one requires a language and a medium. A language requires letters, words, sentences and rules of usage (=grammar).

Mullangath, Sinoj. STC India (2003). Articles>Communication>Visual Rhetoric>Emotions

'Faces of the Fallen' and the Dematerialization of US War Memorials    

The advent of internet technology has enabled the process of memorialization of those killed in US military conflicts to keep pace with the casualties themselves and, as such, has marked a shift in both the ideology of the war memorial as symbol and the ideology-driven media use of those symbols. This article argues that a process of increasing humanization and specificity enabled by the information architecture of the internet has led to a form of `war memorial', exemplified by www.facesofthefallen.org, that emphasizes decontexualized human loss at the expense of a coherent representation of a military nature for the loss itself.

Grider, Nicholas. Visual Communication (2007). Articles>Web Design>Visual Rhetoric>History

From Analysis to Design: Visual Communication in the Teaching of Writing      

In an attempt to bring composition studies into a more thoroughgoing discussion of the place of visual literacy in the writing classroom, I argue that throughout the history of writing instruction in this country the terms of debate typical in discussions of visual literacy and the teaching of writing have limited the kinds of assignments we might imagine for composition.

George, Diana. CCC (2002). Articles>Education>Rhetoric>Visual Rhetoric

From Pen to Print: The New Visual Landscape of Professional Communication     

Visual design has played an important role in the historical development of professional communication. The technology of laser printing has reestablished the importance of visual language in functional communication, transforming contemporary document design and redefining its relation to the traditions of handwritten, typewritten, and printed text. During this period of transition, three factors will shape the new visual language: (a) the development of a visual rhetoric that represents design as an integral part of the message rather than merely as external "dress," (b) the rediscovery of aesthetics as a legitimate factor in text design, and (c) the use of empirical research--particularly context-specific research--to guide the document design process.

Kostelnick, Charles. Journal of Business and Technical Communication (1994). Articles>Document Design>Visual Rhetoric>Printing

Frozen Memories: Unthawing Scott of the Antarctic in Cultural Memory    

This article explores the staging of memory and death and the connotative differences within still photographs and film. It examines the tenses that can be inferred in reading photographs and film through examples drawn from representations of the British Antarctic Expedition of 1910-13 and Captain Scott's journey to the South Pole taken by Herbert Ponting, and in the 1948 film _Scott of the Antarctic_.

Barwell, Claire. Visual Communication (2007). Articles>Multimedia>Visual Rhetoric

Guidelines for Designing and Evaluating the Display of Information on the Web    

These guidelines are intended to assist Web designers, authors, and editors in their efforts to create Web pages that effectively reveal—rather than obscure or confuse—the information they are trying to present. These guidelines are also intended to be used to assist in the evaluation of existing Web sites. Of course, the design of a Web site can, to some degree, be modified by the user or by the characteristics of the browser or monitor enlisted to display it. The guidelines, consequently, acknowledge that in a very real sense, users may also assume the role of designer. The guidelines, therefore, are also intended to help users make informed decisions about how to make a display easier to use.

Williams, Thomas R. Technical Communication Online (2000). Articles>Web Design>Assessment>Visual Rhetoric

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

Willerton, Russell. STC Proceedings (2003). Articles>Graphic Design>Visual Rhetoric

"If You Can't Handle This, I Am Sorry"

Literacy has always been a material, multimedia construct but we only now are becoming aware of this multidimensionality and materiality because computer technologies have made it possible for many people to produce and publish multimedia presentations.

Faigley, Lester. University of Texas (1999). Articles>Web Design>Visual Rhetoric

Influence of Burke and Lessing on the Semiotic Theory of Document Design: Ideologies and Good Visual Images of Documents    

The syntactic aspect of semiotic theory, especially its "aesthetic principle," is very influential in document design theories and practices. It has its roots in Burke's and Lessing s gender-related theories of images. Thus, it is laden with ideologies: it embodies our patriarchal attitudes and our iconophobia. Employing the semiotic theory in document design, we are making choices to reinforce the gender-related ideology in Burke's and Lessing's theories. It is time for us to re-conceive the "aesthetic principle" by de-emphasizing it and to adopt the reconciliation approach to design effective documents targeted at various rhetorical situations.

Ding, Daniel D. Journal of Technical Writing and Communication (2000). Articles>Document Design>Visual Rhetoric>Theory

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.

Albers, Michael J. Intercom (2000). Articles>Rhetoric>Graphic Design>Visual Rhetoric

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.

Joe, Phillip. Design Council (2005). Articles>Graphic Design>Technical Illustration>Visual Rhetoric

Is Copyright Blind to the Visual?

This article argues that, with respect to the copyright protection of works of visual art, the general uneasiness that has always pervaded the relationship between copyright law and concepts of creativity produces three anomalous results. One of these is that copyright lacks much in the way of a central concept of 'visual art' and, to the extent that it embraces any concept of the 'visual', it is rooted in the rhetorical discourse of the Renaissance. This means that copyright is poorly equipped to deal with modern developments in the visual arts. Secondly, the pervasive effect of rhetorical discourse appears to have made it particularly difficult for copyright law to strike a meaningful balance between protecting creativity and permitting its use in further creative works. Thirdly, just when rhetorical discourse might have been useful in identifying the significance and materiality of the unique one-off work of visual art, copyright law chooses to ignore its implications.

Macmillan, Fiona. Visual Communication (2008). Articles>Intellectual Property>Copyright>Visual Rhetoric

Karen A. Schriver: The InfoDesign interview

Karen Schriver is the author of Dynamics in Document Design: Creating texts for readers, an extensive, multidimensional portrait of what readers need from documents and of ways to integrate word and image in order to better meet those needs. She is the former co-director of the graduate program in technical communication and document design at Carnegie Mellon University. Her company, KSA Document Design and Research, helps organizations improve the quality of their paper and electronic communications through strategies based on research and best practices.

Bogaards, Peter J. InformationDesign (2005). Articles>Interviews>Document Design>Visual Rhetoric