Within every picture is a hidden language that conveys a message, whether it is intended or not. This language is based on the ways people perceive and process visual information. By understanding visual language as the interface between a graphic and a viewer, designers and illustrators can learn to inform with accuracy and power. In a time of unprecedented competition for audience attention and with an increasing demand for complex graphics, Visual Language for Designers explains how to achieve quick and effective communications. New in paperback, this book presents ways to design for the strengths of our innate mental capacities and to compensate for our cognitive limitations. Visual Language for Designers includes: —How to organize graphics for quick perception —How to direct the eyes to essential information —How to use visual shorthand for efficient communication —How to make abstract ideas concrete —How to best express visual complexity —How to charge a graphic with energy and emotion

This revised, second edition develops the creative principles established in the first edition, building particularly on three-dimensional forms, featuring a large number of new images.

A broad-ranging survey of our current understanding of visual languages and their theoretical foundations. Its main focus is the definition, specification, and structural analysis of visual languages by grammars, logic, and algebraic methods and the use of these techniques in visual language implementation. Researchers in formal language theory, HCI, artificial intelligence, and computational linguistics will all find this an invaluable guide to the current state of research in the field.

"... the details of Saint-Martin's argument contain a wealth of penetrating observations from which anyone with a serious interest in visual communication will profit." -- Journal of Communication Saint-Martin elucidates a syntax of visual language that sheds new light on nonverbal language as a form of representation and communication. She describes the evolution of this language in the visual arts as well as its multiple uses in contemporary media. The result is a completely new approach for scholars and practitioners of the visual arts eager to decode the many forms of visual communication.

Written by two highly experienced teachers in the field of document design, Designing Visual Language, 2/e offers useful strategies and tools for document design of all types. A chief goal of the text is to enable students to extend the rhetorical approach they employ in writing and editing courses to the creation of various forms of visual communication. The text focuses on the kinds of situations and practical documents that occur in the workplace and blends this focus with a rhetorical approach that ties design to the audience, purpose, and context of messages.

Featuring the insights of 15 current and former Art Students League instructors, this stunning volume reassesses the art of drawing not as a technique, but as the essential grammar of all visual thinking. In an illuminating introductory essay, James Lancel McElhinney punctures the myth that learning to draw is something for experts only, and presents methods for making, appreciating, and teaching drawing. The 15 contributors then offer a broad range of stylistic approaches and methodologies, accompanied by examples of their own and their students' artwork. A final section of basic exercises, along with information on materials, techniques, and resources, completes this inspirational study.

Drawings and sequential images are an integral part of human expression dating back at least as far as cave paintings, and in contemporary society appear most prominently in comics. Despite this fundamental part of human identity, little work has explored the comprehension and cognitive underpinnings of visual narratives-until now. This work presents a provocative theory: that drawings and sequential images are structured the same as language. Building on contemporary theories from linguistics and cognitive psychology, it argues that comics are written in a visual language of sequential images that combines with text. Like spoken and signed languages, visual narratives use a lexicon of systematic patterns stored in memory, strategies for combining these patterns into meaningful units, and a hierarchic grammar governing the combination of sequential images into coherent expressions. Filled with examples and illustrations, this book details each of these levels of structure, explains how cross-cultural differences arise in diverse visual languages of the world, and describes what the newest neuroscience research reveals about the brain's comprehension of visual narratives. From this emerges the foundation for a new line of research within the linguistic and cognitive sciences, raising intriguing questions about the connections between language and the diversity of humans' expressive behaviours in the mind and brain.

This book is intended as both an introduction to the state-of-the-art in visual languages, as well as an exposition of the frontiers of research in advanced visual languages. It is for computer scientists, computer engi neers, information scientists, application programmers, and technical managers responsible for software development projects who are inter ested in the methodology and manifold applications of visual languages and visual programming. The contents of this book are drawn from invited papers, as well as selected papers from two workshops: the 1985 IEEE Workshop on Lan guages for Automation-Cognitive Aspects in Information Processing, which was held in Mallorca, Spain, June 28-30, 1985; and the 1984 IEEE Workshop on Visual Languages, which was held in Hiroshima, Japan, December 7-9, 1984. Panos Ligomenides and I organized the technical program of LFA '85, and Tadao Ichikawa and I organized the techni cal program of VL '84. Both workshops have now become successful annual events in their own right. The intersecting area of visual languages and visual programming especially has become a fascinating new research area. It is hoped that this book will focus the reader's attention on some of the interesting research issues as well as the potential for future applications. After reading this book, the reader will undoubtedly get an impression that visual languages and the concept of generalized icons can be studied fruitfully from many different perspectives, including computer graphics, formal language theory, educational methodology, cognitive psychology and visual design.