Literary Nonfiction. Art. Edited by Leslie Atzmon. 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. VISUAL RHETORIC AND THE ELOQUENCE OF DESIGN features ten 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 in this collection span a number of design disciplines, including manufacturing design, graphic design, architectural design, and monument design. Contributors include Leslie Atzmon, Gerry Beegan, Guillemette Bolens, Kate Catterall, Barry Curtis, Michael Golec, Vladimir Kulik, Ryan Molloy, Teal Triggs, Jane Webb, Jack Williamson, and Lori Young.

"The Graphic Design Reader" brings together key readings in this exciting and dynamic field to provide an essential resource for students, reseachers and pracitioners. Taking as its starting point an exploration of the ways in which theory and practice, canons and anti-canons have operated within the discipline, the Reader brings together writings by key international design and cultural critics, including Leslie Atzmon, Dick Hebdige, Steven Heller, Victor Margolin, Rick Poynor and Adrian Shaughnessy. Extracts are structured into thematic sections addressing graphic design history; education and the profession; type and typography; critical writing and practice; political and social change; the visual landscapes of graphic design, 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 reader features original visual essays that 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" brings together key readings in this exciting and dynamic field to provide an essential resource for students, reseachers and pracitioners. Taking as its starting point an exploration of the ways in which theory and practice, canons and anti-canons have operated within the discipline, the Reader brings together writings by key international design and cultural critics, including Leslie Atzmon, Dick Hebdige, Steven Heller, Victor Margolin, Rick Poynor and Adrian Shaughnessy. Extracts are structured into thematic sections addressing graphic design history; education and the profession; type and typography; critical writing and practice; political and social change; the visual landscapes of graphic design, 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 reader features original visual essays that 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.