#24100
Attributing Meaning to Corporate Logos: A Cross Cultural Comparison 
Visual symbols are an essential part of corporate communication. The development of an appropriate corporate logo is an expensive and a time-intensive process. This study examines the meaning of visual form as perceived via corporate identity. Global economies demand that such symbols carry consistent meaning across cultures. 170 subjects from the U.S. and Hong Kong participated in a survey that identified positive business attributes associated with six logos. Another 60 subjects (30 from the U.S., 30 from Hong Kong) participated in focus groups and collectively discussed and collectively identified attributes as related to certain logos. Results indicate that there was agreement between and within groups on the perception of attributes with specific shapes. There were no significant differences between cultural groups.
Martinson, Barbara and Sauman Chu. University of Alberta (2003). Design>Graphic Design>Visual Rhetoric>International
#31232
Being Good for Goodness' Sake: Corporate Social Responsibility Imagery
It sees you when you’re sleeping. It knows if you’re awake. 'It' is the world, and it knows if your company has been naughty or nice. The digital revolution has put a photographic device, be it a camera or camera-phone, in the hands of virtually everybody everywhere—so you can be sure someone besides Santa is constantly watching your company’s behavior. For that and other good reasons, corporate photography is looking very green this season.
Salvo, Suzanne. Communication World Bulletin (2007). Design>Graphic Design>Visual Rhetoric
#24857
An interactive experience of color communication and color symbolism.
Cortés, Claudia. mariaclaudiacortes.com (2003). Design>Graphic Design>Visual Rhetoric>Color
#20575
Color: The Newest Tool for Technical Communicators 
Asserts that color must be used to make information clear, lucid, powerful—faster; its logical application must be controlled by the editor. Provides a comprehensive checklist to help editors use color effectively.
White, Jan V. Technical Communication Online (2003). Design>Graphic Design>Visual Rhetoric>Color
#24096
Communication as Participation
A discussion of the relationship between visual language and participation is important in light of globalization and the homogenization of the visual landscape, forces that breed marginalization and diminish invention.
Bowers, John. University of Alberta (2000). Design>Graphic Design>Community Building>Visual Rhetoric
#30850
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
#30426
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
#21256
The Design of World Wide Web Home Pages: Using Visuals to Establish Organizational Ethos 
The World Wide Web presents information developers with the task of designing texts that will be accessed by multiple, global audiences. At the same time, Web technology presents developers with new design constraints. Therefore, Web text development warrants new design considerations. This paper presents an approach based on the rhetorical concept of ethos. Four visual design considerations—page grid, graphic files, icons, and text structure—are reviewed based on how decisions about each convey the ethos of the organization.
Hunt, Kevin. STC Proceedings (1995). Design>Web Design>Graphic Design>Visual Rhetoric
#30857
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
#30488
This presentation examines ineffective technical graphics with problems in simplicity, orientation, and scale. It identifies principles of effective graphic communication that could prevent such problems, and clarifies objectives and techniques in designing editing and preparing technical graphics for printed documents and briefing materials. Graphics principles illustrated by transparencies include avoiding clutter, orienting properly, controlling scales, checking the content, and avoiding extraneous graphics. message, and that the table title or figure caption focuses clearly on the subject of the graphic.
Samson, Donald C., Jr. STC Proceedings (1993). Design>Graphic Design>Technical Illustration>Visual Rhetoric
#26341
Graphic design is everywhere, in every product, package, poster, and product of the modern world. Although the graphic design discipline was created less than a century ago, the world has since come to rely upon it. The world simply cannot function without graphic design and graphic designers. Yet graphic design is broader than any other creative profession. It is the third largest profession in the United States, far ahead of more commonly understood and respected vocations such as attorney, accountant, and educator. Graphic designers, who run the gamut from after-hours moonlighter through freelancer, solo- and team-creative, to agency and corporate designers, work in every city, town, and village in the world. Graphic design impacts everything and everyone.
Burke, Pariah S. Designorati (2005). Design>Graphic Design>Visual Rhetoric
#25888
Getting that just-right color is part art, part science. We'll show you.
Before and After. Design>Graphic Design>Visual Rhetoric>Color
#23711
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
#24101
Can an identity exude moral or ethical attitudes? In the past, product and business identities that functioned well were bound to a person or family that over long periods delivered quality and dependable goods or services. However, in these times of runaway and rollover mergers, restructuring, and reengineering, there is no time for anyone to assess the real characteristics that make up these newly emerging companies and conglomerates. What are they? Who is behind them? Corporate wolves or sheep in Gucci clothing?
Winkler, Dietmar. University of Alberta (2003). Design>Graphic Design>Visual Rhetoric
#14641
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
#15237
International Visual Literacy Association
IVLA is a not-for-profit association of educators, artists, and researchers dedicated to the principles of visual literacy. IVLA was formed for the purpose of providing education, instruction and training in modes of visual communication and the application through the concept of visual literacy to individuals, groups, organizations, and to the public in general. Our members represent a wide range of disciplines including the arts, sciences, education, communication, business, videography, photography, instructional technology, health, and computer applications. We hope you will feel free to join us in the lively debates of our field, and we look forward to forming lasting professional and personal friendships.
International Visual Literacy Association. Organizations>Graphic Design>Rhetoric>Visual Rhetoric
#25612
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
#30514
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
#29829
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
#29539
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
#29801
In this article we examine 561 different airline tailfin designs as a visual genre, revealing how the global-local binary may be managed and realized semiotically. Our analysis is organized into three strands: (a) a descriptive analysis identifies the strikingly restricted visual lexicon and dominant corporate aesthetic established by tailfin design; (b) an interpretive analysis considers the communicative strategies at play and the meaning potentials which underpin different visual resources; (c) a critical analysis links these decisions of design and branding to the political and cultural economies of globalism and the airline industry. Specifically, we show how airlines are able to service national identity concerns through the use of highly localized visual meanings while also appealing to the meaning systems of the international market in their pursuit of symbolic and economic capital. One key semiotic resource is the balancing of cultural symbolism and perceptual iconicity in the form of abstracted stylizations of kinetic effects. Although positioned unfairly in the global semioscape, airlines may resist straightforward cultural homogenization by strategically reworking existing design structures and exploiting possibly universal semiotic meaning potentials.
Thurlow, Crispin. Visual Communication (2007). Design>Graphic Design>Visual Rhetoric
#30858
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
#21631
Las presentaciones tienden a ser más visuales y menos textuales. Convertir cada concepto en una imagen es el reto y, a la vez, la solución.
Dursteler, Juan Carlos. InfoVis (2003). (Spanish) Presentations>Graphic Design>Visual Rhetoric>Technical Illustration
#20123
Reflections on an Icon Development Process: Negotiating Design Issues
Technical communicators with visual design skills increasingly are called upon to help design of the 'look and feel' of software interfaces, including icons and toolbar buttons. Several practitioners in technical communication have developed useful guides for developing icons and toolbar buttons. Unfortunately, sometimes the application of these guidelines is complicated by issues that arise within the contexts of specific software development environments. This paper briefly reviews research and guidelines. It then reviews issues that might arise during the development process and guidelines for negotiating them based on the author’s experiences developing icons at two different software firms.
Hunt, Kevin. STC Proceedings (1996). Design>Graphic Design>Rhetoric>Visual Rhetoric
#20126
Say It in Pictures: Crash Course in Visual Literacy
Today, communication requires more than just pages of printed words. Producing effective documents and training requires the ability to understand, think and communicate graphically. This demonstration shows how to communicate almost anything graphically. Through creative brainstorming you will start to think visually and learn valuable principles that you can use back on the job to refine your own graphics.
Horton, William K. III and Katherine W. Horton. STC Proceedings (1996). Design>Graphic Design>Rhetoric>Visual Rhetoric
