Leslie Atzmon

This volume features 10 scholarly essays steeped in rhetorical analysis of artifacts, as well as two visual essays on the topic of ornamental typography with accompanying verbal texts. The essays span a number of design disciplines, including manufacturing design, graphic design, architectural design, and monument design.

Visual Rhetoric and the Eloquence of Design

Teal Triggs

The Graphic Design Reader brings together key readings in this ever-changing field to provide an essential resource for students, researchers and practitioners. Taking as its starting point an exploration of the way in which theory and practice and canons and anti-canons have operated within the discipline, the reader brings together writings by important international design critics, including Wendy Siuyi Wong, Dick Hebdige, April Greiman, and Victor Margolin. Extracts are structured into clear thematic sections addressing history; education and the profession; type and typography; critical writing and practice; political and social change; changing visual landscapes, and graphic design futures. Each section has a contextual introduction by the editors outlining key ideas and debates, as well as an annotated guide to further reading and a comprehensive bibliography. The Graphic Design Reader features original visual essays which provide a critical platform for understanding and interpreting graphic design practice, as well as a wealth of illustrations accompanying key historical and contemporary texts from the 1920s to the present day.

The Graphic Design Reader

The essays in VISUAL RHETORIC AND THE ELOQUENCE OF DESIGN foreground the rhetorical functions of design artifacts. Rhetoric, normally understood as verbal or visual messages that have a tactical persuasive objective—a speech that wants to convince us to vote for someone, or an ad that tries to persuade us to buy a particular product—becomes in Visual Rhetoric and the Eloquence of Design the persuasive use of a broad set of meta-beliefs. Designed objects are particularly effective at this second level of persuasion because they offer audiences communicative data that reflect, and also orchestrate, a potentially broad array of cultural concerns. Persuasion entails both the aesthetic form and material composition of any object.

Leslie Atzmon

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