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

Decorative Color as a Rhetorical Enhancement on the World Wide Web    

Professional communication scholars have defined the decorative narrowly and subordinated it to informational text. Yet, current psychological research indicates that decorative elements elicit emotion-laden reactions that may precede cognitive awareness and influence interpretation of images. We conceive the decorative in design, and specifically color, as a complex rhetorical phenomenon. Applying decorative and color theory and analyzing design examples illustrating aesthetic, ethical, and logical appeals, we present a range of potential uses for color in electronic media.

Richards, Anne R. and Carol David. Technical Communication Quarterly (2005). Design>Web Design>Visual Rhetoric>Color

Design and Impressions

Design is subjective: You can't please all of the people all of the time.

Will-Harris, Daniel. eFuse (2000). Design>Web Design>Rhetoric>Visual Rhetoric

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

Design of Haptic and Tactile Interfaces for Blind Users

Since computer use became more widespread in the 1980's and 1990's, considerable effort has been put into ensuring that the blind have equal access to state of the art techology. However, the dominance of graphical user interfaces and direct manipulation has reduced the effectiveness of old speech-based systems. This article discusses aspects of tactile and haptic interfaces, reviews current research on the topic, and provides design principles for practitioners culled from recent research.

Christian, Kevin. Universal Usability (2000). Design>User Interface>Accessibility>Visual

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

Designing Documents

The aim of this tutorial is to provide an introduction to typography. Typography is defined as: the art of designing printed matter; the appearance of printed matter. There are many different types of printed matter, books, brochures, newsletters and many more. This tutorial focuses on technical documents. Typography is relevant for user interface designers from two perspectives. Firstly, user interface design often includes the presentation of text on a display. Although typography is mainly concerned with printed matter, it provides valuable guidance for these situations. Secondly, user interface design involves to a large degree documenting and communicating designs, usually on paper. Knowledge of typography can aid this process.

HCIRN (2003). Design>Typography>Rhetoric>Visual Rhetoric

Designing for Quality: Visual Devices for Behemoth Systems  

Two of the panelists present visual devices they have used with large, multifunction systems. These devices are effective in presenting information about large systems to users performing diverse tasks and having different levels of experience, and are powerful tools to help writers or developers learn the system. The third panelist shows how these tools are effective in designing for fitness for use—whether you are maintaining legacy software or designing new products.

Bibus, Connie M. 'C.J.', Jennifer Bown and William D. Gearhart. STC Proceedings (1995). Articles>User Centered Design>Visual

Designing Your Web Site for the Blind

Yet those of us who are fully sighted forget that as we make the Web our main information vehicle, we may be cutting out millions of customers or potential customers. And these millions (5 to 10 million in the U.S. alone, by some estimates) have every moral and legal right to have access to that information.

Ball, Guy. Boston Broadside (2001). Design>Web Design>Accessibility>Visual

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

Do These Serifs Make Me Look Phat? Conveying Personality with Typeface

Explores some possible approaches to understanding typeface 'personality,' including empirical research and scholarly discussion, in the hopes of generating more discussion about how we can understand and use typeface personality when creating organizational identity packages.

Striker, Amy. Orange Journal, The (2005). Design>Typography>Visual Rhetoric

Document Design

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

Effective Technical Graphics  

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

The Effects of Contrast and Density on Visual Web Search

This study evaluated the effects of white space on visual search time. Participants were required to search for a target word on a web page with different levels of white space, measured by level of text density. Screens were formatted with one of four types of graphical manipulation, including: no graphics, contrast, borders and contrast with borders under two levels of overall density and three levels of local density. Results show that search times were longer with increased overall density but significant differences were not found between levels of local density. Only the use of contrast was found to be significant, resulting in an increase in search time.

Weller, Donnelle. Usability News (2004). Design>Web Design>Visual Rhetoric>Search

Emotional Design: Communicating an Experience

Today communicating is not always about a single message but an entire experience. One of the reasons the Web and the Internet has gained in popularity is not only because of its commercialization but because users can dynamically interact with it. Walker Gibson uses the term 'mock reader' to describe when a reader accepts the role within a story that an author has presented. The authors of Web sites, the designers, create an experience that immerses the site visitor or viewer into the Web site. A successful Web site designer has the ability to create a 'mock Web visitor' who becomes completely immersed emotionally in the site the designer has created.

Chinn, Darryl. EServer (2001). Design>Web Design>Visual Rhetoric>Emotions

English 5369 Topics and Genres in Rhetoric and Composition: Visual Rhetoric2007

This interdisciplinary course focuses on studying and researching the role of rhetoric in the development of visual elements in texts. Students will be asked to both analyze and design visual texts, to analyze and critique ways in which visual rhetoric is defined, and to conduct primary research on an element of visual rhetoric.

Garza, Susan Loudermilk. Texas A and M University (2007). Academic>Courses>Rhetoric>Visual Rhetoric

Experience Equity and Universal Access: Designing Clinical Studies for Low Vision  

In this paper, I describe web page design for those interested in conducting clinical, low vision studies. Ideally, web pages should be accessible and usable for all readers; however, the web is a highly visual medium for communication and creates serious accessibility issues for specialized (diverse needs) those with vision needs. Therefore, I propose that researchers consider a paramount and concurrent user-centered design approach when creating stimulus materials for these specialized audiences. This paper introduces readers to this design approach for a low vision audience as described in the WebText Study.

Reece, Gloria A. STC Proceedings (2005). Articles>Usability>Testing>Visual

'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 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