#31012
Annual Report Graphic Use: A Review of the Literature 
Corporate annual reports typically include a narrative section and a financial section. The narrative section is not scrutinized by auditors as the financial section is, yet many readers rely heavily on its graphs to estimate the firm's financial situation. However, the graphs often misrepresent the financial data. To better understand annual report graphs' important role, this article examines more than 25 years of literature related to these four areas: (a) the ways financial graphs are prepared, used, and misinterpreted; (b) differences by country; (c) regulatory influences for accountants; and (d) the parts formatting and media selection decisions play in communication interpretation and persuasion. Across the literature, the author notes consensus that annual report graphs are widely used in many countries and that there is rampant disregard for the guidelines for their accurate, non-misleading presentation. The article concludes with seven proposed directions for future research.
Penrose, John M. JBC (2008). Design>Document Design>Business Communication>Visual Rhetoric
#22694
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
#14565
This course will teach you to * identify and discuss principles of reading comprehension, cognitive psychology, human factors, and graphic design that apply to technical documents * analyze and evaluate the design of existing documents and recommend appropriate revisions * design and test documents for maximum usability
Dragga, Sam. Texas Tech University (2002). Academic>Courses>Document Design>Visual Rhetoric
#30157
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
#29030
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
#30383
An Introduction to Visual Communication 
A reader's overall comprehension is best when text is appropriately combined with graphics in a document. This introductory workshop on visual communications explores different leaning styles and information mediums and examines how a communicator can best combine words with graphics to increase reader interest and comprehension. The workshop also examines basic rules of text and graphic design and finally discusses the appropriate integration of text and graphics.
Chiricosta, Tracey C. and Alice A. Jones. STC Proceedings (1993). Design>Document Design>Visual Rhetoric
#29939
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
#31362
Much Ado about Nothing, Part 2: Deconstructing a Page
In a continuation of his January column, Hart sheds some light on page layout and design—and gives color to a seemingly “black-and-white” concept.
Hart, Geoffrey J.S. Intercom (2008). Design>Document Design>Visual Rhetoric
#14768
Page Design: Directing the Reader's Eye
Sevilla discusses principles of effective page design and techniques that ensure consistent document layout.
Sevilla, Christine. Intercom (2002). Articles>Document Design>Visual Rhetoric
#22759
This handout offers advice making informed design choices in creating a resume. We also have a sample resume that uses these design principles.
Purdue University (2004). Careers>Resumes>Document Design>Visual Rhetoric
#24098
Seeing and Using Theories for Design
In recent years, the subject of research has attracted much attention within the field of design. In this discussion, suggestion has been made about the importance of descriptive/explanatory theory for the practice of design. Given that design is prescriptive by nature, between description and prescription, there is a gap. The gap suggests that the function and value of theory in design practice and thus its evaluation require further examination, clarification and demonstration. The practical value of theory in scientific inquiry is unquestionable. Theory is often referred as the foundation of sciences. Since the immediate goal of scientific practice is different from that of design practice, can the same be said about theory for design? Taking a perspective of a designer, my starting point is that theory, like any information, needs to be brought to life by our way of seeing and using it. Through reflecting on how I have evaluated and used developmental theories for a conceptual design of HIV prevention communication. I will bring up the issue of user in theory evaluation, attempt to demonstrate theory is (made) useful (by)/to designing and put into perspective the value of descriptive/explanatory theory to designing.
Chow, Rosan. University of Alberta (2003). Design>Document Design>Theory>Visual Rhetoric
#23090
The Successes and Challenges of Visual Language
Discusses efforts to create manuals that rely entirely on pictures for communication.
Hofmann, Patrick. Intercom (2004). Design>Document Design>Graphic Design>Visual Rhetoric
#30156
Supra-Textual Design: The Visual Rhetoric of Whole Documents
Supra-textual design encompasses the global visual language of a document and operates in three modes: textual, spatial, and graphic. The rhetoric of supra-textual design includes structural functions that provide global organization and cohesion and stylistic functions that affect credibility, tone, emphasis, interest, and usability. Supra-textual rhetoric extends to other documents through conventional codes and through sets and series. Because writers may not control the end product of supra-textual design, intention may also be a rhetorical factor.
Kostelnick, Charles. Technical Communication Quarterly (1996). Articles>Document Design>Rhetoric>Visual Rhetoric
#30159
A Systematic Approach to Visual Language in Business Communication
Although business communication relies heavily on the visual, current approaches to graphics and text design are prescriptive and unsystematic. A 12-cell schema of visual coding modes and levels provides a model for describing and evaluating business documents as flexible systems of visual language. Emphasizing clarity and objectivity, the 'information design' movement has generated guidelines for creating functional visual displays. However, visual language in business communication is seldom rhetorically 'neutral' and requires adaptation to the contextual variables of each document, a goal the writer can achieve by com bining visual and verbal planning in the same holistic process.
Kostelnick, Charles. JBC (1988). Articles>Business Communication>Document Design>Visual Rhetoric
#23089
Tabular Data: Finding the Best Format
Discusses the results of a study comparing several formats for displaying data in tables.
Tullis, Tom and Stan Fleischman. Intercom (2004). Design>Document Design>Visual Rhetoric>Charts and Graphs
#31985
People often use colors in their documents in the wrong ways. Many students think that bright colors should be used in a document when they want to attract someone’s eye to a place on the page. Colors alone, however, should be used in synch with white space, font size, type and placement of whatever it is you want someone to be attracted to. Furthermore, just because something is filled with a bright color does not mean that it is eye-catching or attractive. True, bright colors will quickly draw the eye there, but use colors in a way that will make the eye stay there, not glance away in disgust.
Lanier, Clinton R. sense and usability (2008). Articles>Document Design>Visual Rhetoric>Color
#30611
Using Photography to Illustrate Technology Trends and New Capabilities
The very best of today’s public relations photography devises visual statements by carefully blending composition and lighting. Dramatic use of color has emerged as a strong graphic element over the past decade. Today’s inexpensive scanners and related image manipulation software provide new capabilities to manipulate B/W and color photos.
Brus, John M. STC Proceedings (1993). Design>Document Design>Image Editing>Visual Rhetoric
#18841
Many technical documents are rich in text and poor in graphics. Not all documents have photographs and illustrations to provide the reader with visual cues. Text organizers can be used as a method for relieving the visual grayness that happens when a document is all text. Headlines, kickers, subheads, headers, footers, pull quotes, and bulleted lists are all text organizers that can be used throughout a technical document to promote a better flow of information.
Sadowski, Mary A. STC Proceedings (2002). Articles>Document Design>Visual Rhetoric>Technical Illustration
#29046
Visual Texts: Format and the Evolution of English Accounting Texts, 1100-1700
Emphasis on page design, as an aid to visual accessibility, did not receive attention in modern technical writing until the 1970s. However, accounting documents and instructional texts utilized format and document design strategies as early as the twelfth century to enhance the organization of quantitative data and linear bookkeeping entries. Format in text was used to reflect the arrangement used in oral accounting practices and to produce uniform documents. Thus, format was integral to the rise of pragmatic literacy of the commercial reader. During the Renaissance, these early format strategies received impetus from Ramist method. The result was design strategies that attempted to capture the rigid principles of organization fundamental to commercial accounting. These early accounting documents also illustrate the plain style that would become the focus of the later decades of the seventeenth century. Clarity in language paralleled clarity in page design for the sole purpose of eliminating ambiguity on the page and on the sentence level. Plain style was thus nurtured by financial forces long before the advent of natural science.
Tebeaux, Elizabeth. Journal of Technical Writing and Communication (2000). Articles>Document Design>Visual Rhetoric>History
#31431
Visuals and Specialization Present Possibilities for Handling the Information Overload Crisis
Professional communicators and attorneys have long stood side by side as both fought to win in court—one in the court of law, the other in the court of public opinion. These two sometimes wary compatriots, however, are now beginning to partner more frequently to garner the best results for the executive suite.
Larkin, T.J. and Sandar Larkin. Communication World Bulletin (2005). Articles>Document Design>Visual Rhetoric>Charts and Graphs
#18837
What We Can Learn About Document Design From A Study of the Visual Convergence of the News Media
Information presentation trends that traverse media boundaries point to a visual convergence among print, television, and the web. Examination of how this process takes place through “remediation” in the news media provides insight into the broader media and cultural context in which technical documentation resides. Creating new knowledge for technical communicators who are beyond an elementary understanding of document design requires interdisciplinary research that investigates how usability is redefined in an age of visual convergence.
Cooke, Lynne. STC Proceedings (2002). Articles>Document Design>Visual Rhetoric
#31235
As business communicators, our goal is typically to influence opinion or change behavior in order to achieve business objectives. To accomplish this, we must get people to interact with our message. A page of 12-point Times New Roman text is seldom compelling, so what you are left with to persuade people to read your publication is graphic design.
Canfield, Jocelyn. Communication World Bulletin (2007). Design>Document Design>Typography>Visual Rhetoric
#33228
Visible Narratives: Understanding Visual Organization
Visual communication can be thought of as two intertwined parts: personality, or look and feel, and visual organization. The personality of a presentation is what provides the emotional impact —your instinctual response to what you see. Creating an appropriate personality requires the use of colors, type treatments, images, shapes, patterns, and more, to “say” the right thing to your audience. This article, however, focuses on the other side of the visual communication coin: visual organization.
Wroblewski, Luke. Boxes and Arrows (2003). Articles>Web Design>Document Design>Visual Rhetoric
#33288
Does Design Matter in Comparison to Content?
Few people have ever commented about my blog’s design at all. The same goes with the music intros for my podcasts. I can change the music each time, and no one ever responds. In contrast, if a post has good content, I see a steady stream of comments. My experience leads me to conclude that content is about 90% important, and design is 10% important.
Johnson, Tom H. I'd Rather Be Writing (2008). Articles>Document Design>Visual Rhetoric>Writing
#34155
Enhancing Your Written Works by Producing Effective Charts
Producing effective charts is essential to any document that conveys technical, scientific, or financial data. Here are four suggestions to ensure that your charts are effective and enhance rather than detract from your document.
Davidson, Jeff. Carolina Communique (2009). Articles>Document Design>Visual Rhetoric>Charts and Graphs
