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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.

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. It presents ways to design for the strengths of our innate mental capacities and to compensate for our cognitive limitations. 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

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

In this book, Bob Horn has brought together the depth of his years of experience in information design with a wealth of research on the history and practice of visual languages. The result is a new synthesis: a way of thinking about visual language that integrates and extends the different elements on which he draws. It may come to be, as he predicts, the starting point for a new field of study that develops the "global language for the 21st century."

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.

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.

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. 

This book describes various ABA terms with examples and illustrations. It is good for students who study ABA, people who are pursuing BCBA®, BCaBA® or RBT®, people who use ABA for their profession, parents who are raising children with Autism and other related disorders and anyone who is interested in learning ABA.

International travelers will value this quick-reference vocabulary and phrase builder. Hundreds of color photos and cartoon-style illustrations present visual images of words and phrases that travelers typically need when they are getting around in Spain or Latin America. Here's how to ask for gasoline when driving into a service station—with pictures and bilingual phrases and answers to dramatize the situation. Here too are words and pictures depicting all kinds of food and drink—a pineapple, a mug of cold beer, a sandwich, a fresh apple. The book is color-coded along page edges according to topics to help travelers find what they're looking for in a hurry. General topics include transportation, accommodations, food shopping, department store shopping, furniture and appliances, sports and recreation, and many others. This good-looking book also makes a handy reference source for language students.

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This book describes various ABA terms with examples and illustrations. It is good for students who study ABA, people who are pursuing BCBA®, BCaBA® or RBT®, people who use ABA for their profession, parents who are raising children with Autism and other related disorders and anyone who is interested in learning ABA.

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.

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.

This is a dictionary of graphic objects, devices, clichés, stereotypes and symbols that constitute an international and trans-cultural visual language. For example: Abacus, Before and After, Clock, Dance, Ear, Flag, Graffiti, Heart, Inkpot, Janus, Kitchener, Label, Mask, Newspaper, Onomatopoeia, Paper Clip, Quotation Marks, Rear View, Scribble, Target, Uncle Sam, Ventriloquist's Dummy, Women with Moustaches, X-ray, Yoke, Zzzz. The use of these and other 1200 entries is illustrated by over 1700 examples, provided by the work of the world's leading art directors, graphic designers, photographers, illustrators and artists of the last four decades.

More often workplace writing and document design takes a backseat in a company's mission/product. This book offers strategies and tools for document design of ALL types. Readers will extend to visual design the approach they assimilate in their writing and editing. It focuses on the kinds of situations and practical documents that employees encounter daily, with a special focus on audience, purpose, and context of the message. Topics include: perception and design; visual analysis; extra-textual design; pictures, and more. Writers and editors who design documents. Part of the Allyn & Bacon Series in Technical Writing, edited by Sam Dragga, Texas Tech University.

Like New condition. Great condition, but not exactly fully crisp. The book may have been opened and read, but there are no defects to the book, jacket or pages. 1.04

A new edition of Laura Mulvey's groundbreaking collection of essays, originally published in 1989. In an extensive introduction to this second edition, Mulvey looks back at the historical and personal contexts for her famous article Visual Pleasure and Narrative Cinema , and reassesses her theories in the light of new technologies.

A superb design handbook for the student and the established artist. It accompanies the artist from the beginnings of an idea through to its completion and offers inspiration, exercises and insight. A practical and useful guide covering all elements of design and composition. A transatlantic collaboration between Jane Dunnewold, Claire Benn and Leslie Morgan, this books aims to help those who are seeking a surer artistic voice by providing practical exercises and guidance on different ways forward. Both an inspirational and how to book, it is a guide to accompany artists on their journey. Each exercise is clear, written in plain English and well illustrated with photographs and examples. The authors write it in a user-friendly way that encourages beginners to get started and helps more experienced artists on their way.

A new visual language that is both informative and entertaining is emerging at the nexus of information graphics, illustration, and tactile design. More and more data is being collected. We can access ever more information at any time and from any place. The fundamental challenge now is how to extract the most valuable news, the most surprising findings, and the most relevant stories from the flood of information that is available to us. A new generation of designers, illustrators, and data journalists is addressing this challenge head on. They are developing a variety of new visual forms to depict information that can be classified as visual storytelling. The main idea behind visual storytelling is to take familiar image contexts and use them in a new way. By penetrating meaning and creating associations, abstract correlations can be visualized in a manner that is both easy to understand and aesthetically innovative. Today, visual storytelling is being used intensively in newspapers, magazines, websites, advertising, business reports, and museums. With its collection of inspiring, insightful, interactive, and entertaining examples, the book Visual Storytelling reveals how the contextualization of information is pushing the envelope of today’s design and aesthetics.

Graphic design has had a profound impact upon American life in the 19th and 20th centuries. Essays by specialists in the field examine areas that include graphic design's role as a social force as well as the effect of technological developments and political change.