Rhetoric Neutrality Essay examples

2484 Words Oct 17th, 2012 10 Pages
Kim Nguyen

Module Leader- Martin Devenny
CDI Level 5 C & CS
Module code- 5CTA1011
Critical Analysis The rhetoric of neutrality- Robin Kinross
Discuss the visual rhetoric in graphic design.

Graphic design is a vast industry in visual communication, using information, typography, isotopes, and diagrams as a way to communicate across to its audiences. Through detailed investigations of design and taking on Robin Kinross (1985), claims that the distinction between design for information and design for persuasion “cannot be a clear one” this work will explore the possibilities of visual rhetoric in graphic design.

The term rhetoric is using language for the purpose of persuasion. (Jury, 2004).
Graphic design is seen as neutral
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Using a the London Underground map as an example again, Keys are included for each tube line and so the user can easily look for the key that reads what they are looking for to then view it on the map. If these were written, it may prove to be difficult to read.

The structure of displaying information is also a visual rhetorical device, such as diagrams, pie charts, and tables. The graphic designer will again, have to think of the best arrangement of organising information in a way that the viewer would understand. Again, this visual form is apparently neutral yet can perform rhetorical functions. They alone overwhelm the viewer with persuasion, its intentions disguised, and since it is ‘factual’ they don’t appear offensive or manipulative. In Robin Kinross he shows an example of the equipment catalogue replacing photographs with clear-cut diagrams based on the Shannon and weaver model of communication process in 1949. (Swann, 1941). Significantly, Bonsiepe’s concluded that his new design was not only more ordered than the original, but more beautiful. This proves that Gui Bonsiepe’s quote ‘Pure information exists for the designer only in arid abstraction. As soon as he begins to give it concrete shape, to bring it within the range of experience, the process of rhetorical infiltration begins.’ Visual

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