Video games are forms of multimodal technical communication, conveying complicated information about game goals, mechanics, game physics, and more, to the player in a way that usually feels integrated into the game itself. This article highlights ways that games use interaction to convey information to players, classifying the communicative elements in several popular games into C.S. Pierce's classes of sign (decoratives, indicatives, and informatives). This paper asserts that technical communicators can take cues from video games to design technical communication products that better meet contemporary users’ expectations of agency and interaction—allowing them to explore and discover on their own.

This study explores technical and professional communication (TPC) students’ design of multimodal career portfolios, focusing on their strategies amid technological advancements and shifting workplace dynamics. The study analyzed 155 artifacts from 31 students, including resumes, video resumes, cover letters, LinkedIn profiles, and rhetorical and modal analyses, using MAXQDA for discourse analysis. The results highlight the importance of research synthesis, intertextuality, audience awareness, personal branding, and adaptability in portfolio development. TPC students effectively create portfolios that meet company expectations across boundaries. A multimodal approach in TPC curricula is recommended, along with further research on emerging technologies’ impact on portfolios.

This article offers a content analysis of technical and professional communication articles related to user experience (TPC-UX) published between 2013 and 2022 in six TPC scholarly journals. This analysis reveals that TPC-UX primarily focuses on product and process topics and illustrates the terminological comingling of user experience and usability. Specific TPC-UX topics identified include theory, multimodality, health and medicine, localization, web design, mobile applications, accessibility, and content strategy. These topics suggest that TPC-UX's key affordances are its attunement to networked power dynamics, its theoretically rich treatment of multimodality, and its strategies for navigating contextual complexities.

The rise of English as a Medium of Instruction (EMI) threatens to upend traditional teaching and learning practices. Writing, speaking, and communication instruction will all need to evolve. This article presents a case study of one institution's efforts to design and implement a communication curriculum responsive to the unique demands of the EMI environment. The curriculum proposed enacts an interdisciplinary, multimodal approach to the teaching of communication. We discuss the specifics of the curriculum, the process of its creation, the principles underlying it, and how these principles play out in practice. In doing so, we hope to provide a model both for global communication instruction and future curricular design efforts.

This study examines the role of multimodality in facilitating service-learning goals. We report findings from qualitative interviews with 20 college instructors who have designed and facilitated multimodal community-engaged learning projects, identifying their motivations, goals, and the impact of these projects through reflections. Based on our qualitative analysis of these instructor responses, we discuss the technological and pedagogical implications of multimodal social advocacy projects in technical and professional writing courses.

In technical and professional communication, the social justice turn calls on us to interrogate sites of positionality, privilege, and power to help foreground strategies that can empower marginalized groups. I propose that mainstream media coverage of the opioid epidemic represents such a site because addiction to these drugs, which initially primarily affected White people, has been positioned as a public health issue rather than a criminal justice problem. I explore the strategies that were used to create this positioning by investigating themes in the visual rhetoric as conveyed through data visualizations and in the text of the articles in which these graphics were published. My results align with two previous studies that confirmed this public health framing. I also observed an emphasis on mortality, which contributes to our understanding of rhetorical strategies that can be used to engender support rather than condemnation for those suffering from drug addiction.

The architecture of Texas A&M University at Qatar (TAMUQ), set up under Her Highness Sheikha Moza Al-Misnedd and the Qatar Foundation, spatially embodies new possibilities because AIA Gold Medal award-winning architect Ricardo Legorreta designed buildings that both challenge and encompass Gulf Arabian tradition. The buildings exemplify, enact, and embody new ways of experiencing gendered educational identity that also honors traditional local values. This architecture is important because TAMUQ is a U.S. institution that serves several different international student populations. This article emphasizes how TAMUQ functions as a heterotopia, one which creates embodied experiences of gender, education, and identity and requires what Rogoff termed “a curious eye” to discern how these educational spaces reflect changing identities in the Gulf states.

This paper suggests adding a social justice framework to the questions that Kostelnick suggests to help students investigate culture in “Seeing Difference.” Using visual rhetoric to teach technical communication is beneficial for students; however, problematic representations of culture may unintentionally appear in visual design and are easy to overlook. Using a social justice framework that promotes a contextual study of culture should allow technical communication instructors to prepare students to investigate the social and political aspects of culture. This paper, therefore, revisits “Seeing Difference” and asks that technical communication instructors guide students to research sociopolitical aspects of culture and visuals to develop designs that are interculturally appropriate.

This article describes an interdisciplinary, partially online honors course entitled Video Game Theory and Design. The article reviews the literature surrounding video games and technical communication and then outlines the learning objectives for the course. The authors describe individual and team-produced assignments and suggest game design techniques for motivating students. We explain how we assess different projects, including oral game pitches and the complex technical Game Design Documents that are students’ final deliverables. Finally, we discuss how game design techniques provide new perspectives on writing and generate new possibilities for technical communication assignments. We close by proposing three tactics that are useful for teaching technical communication students in hybrid and fully online courses: (a) nonlinear association for creative thinking; (b) team-based assignments for writing and editing using game-based tools; and (c) iterative prototyping and playtesting for multimodal production. Each tactic is contextualized using examples drawn from the field.

This article reports on a revised move analysis of a video abstract (VA) repository curated by Cell Press. The analysis reveals that the VA displays several distinct core moves, optional moves, and move units. The analysis suggests that albeit evidence being inconclusive due to the sample size, the VA is in effect an emerging genre whose implications for further research and practice are worth discussing. The article also questions the assumed analytic pertinence of move analysis to researching multimodal genres and cautions against the uncritical use of the VAs curated by leading academic publishers and journals in professional training.

The release of genetically modified mosquitoes in the Florida Keys is part of a public health initiative to limit the spread of infectious disease. The local debate over this proposed action provides a current case study of a public, scientific controversy in which citizens and officials disagree about what is best for the community. The case study challenges technical writing students to consider complex cultural circuits, or networks, that comprise a specific controversy. The students analyze the rhetorical situation, create new content that contributes to the ongoing discussion, and learn about audience through usability testing their multimodal projects.

This article proposes a heuristic that teachers and students can use together to create a vocabulary for discussing the aesthetic aspects of color and typography in document design work. By using this framework, teachers and students can generate a collection of shared visual topoi or commonplaces for describing the aesthetic value of color and typography that they can then draw from to inform visual analysis and production work.

As technology continues to become more ubiquitous and touches almost every aspect of the composing process, students and teachers are faced with new means to make writing a multimodal experience. This article embraces the emerging sector of wearable technology, presenting wearable writing strategies that would reimagine composition pedagogy. Specifically, the article introduces Google Glass and explores its affordances in reframing student peer-review activities. To do so, the author presents a brief overview of wearables and writing technology, a case study of how the author deployed Google Glass in a first-year writing course, and a set of tips for using wearable technology in general and technical writing courses.

Engineers communicate multimodally using written and visual communication, but there is not much theorizing on why they do so and how. This essay, therefore, examines why engineers communicate multimodally, what, in the context of representing engineering realities, are the strengths and weaknesses of written and visual communication, and how, based on an understanding of these strengths and weaknesses, one can consider using the strengths of each form of communication to address weaknesses in the other. Doing so can possibly enable one to demonstrate for engineering majors how they can, with greater effectiveness, communicate multimodally for representing well engineering realities.

This article establishes traits of adaptable communicators in the 21st century, explains why adaptability should be a goal of technical communication educators, and shows how multimodal pedagogy supports adaptability. Three examples of scalable, multimodal assignments (infographics, research interviews, and software demonstrations) that evidence this philosophy are discussed in detail. Asking students to communicate multimodally drives them to effectively filter information, remix modes, and remake practices that are core characteristics of adaptable communicators. Beyond teaching students how to teach themselves as an essential part of living in an information society, contending with new and unfamiliar tools also prepares students for their roles as empathic mediators in the workplace.

The International Science and Engineering Visualization Challenge, recently established by the National Science Foundation (NSF), is an alleged attempt at public outreach. The NSF encourages scientists to submit visualizations that would appeal to non-expert audiences by displaying their work in an annual “special feature” in Science magazine, and each year they present the winning image on the cover of Science as the ultimate reward. Although the NSF advertizes the competition as an attempt to educate non-scientists, the visualizations lack sufficient textual explanation in the Science special feature articles and do not demonstrate clear significance for current issues in science. This article assesses the actual motivations behind the NSF's “Visualization Challenge,” given the lack of accompanying textual information, and it explores the consequences of allowing “scientific” visualizations to float into the public sphere unexplained. It will be shown that the spirit of this competition exemplifies the current shift from “public understanding of science” to “public appreciation of science” in the growing field of Science Communication, particularly through the technique of “framing” devices. This shift in objective, accentuated in the realm of visual communication, reinforces the public's view of science as a mythic authority.

This study examines the visual rhetoric used in Chinese and American promotional business communication. Comparing banking and financial product brochures published in the two countries, the study finds similar as well as different visual strategies. Most importantly, the Chinese samples frequently use visual metaphors, whereas the American samples hardly do. Prompted by this finding, I review relevant literature on visual metaphors and examine their structures and rhetorical functions. In addition, the study suggests that buyer images and cartoon images are used differently in the two countries, whereas product-related images are used similarly. I explore the contextual and cultural roots of these findings and offer suggestions on how to visually communicate with the Chinese audience and other international audiences.

Technical communicators are expected to work extensively with visual texts in workplaces. Fortunately, most academic curricula include courses in which the skills necessary for such tasks are introduced and sometimes developed in depth. We identify a tension between a focus on technological skill vs. a focus on principles and theory, arguing that we subvert the potential benefits of an education if we succumb to the allure of software. We recommend several classroom practices that help educate students toward greater visual literacy, based not only on recommendations from the research but also from our experience as teachers of visual communication.

The Multimodal approach offers technical communicators and science writers an analytical tool to synthesize the meaning made in the connections across communicative modes. This multimodal synthesis can help technical communicators better exploit the meaning-making potential of multimodal combinations and understand the needs of future generations shaped by their increasingly developed multimodal literacy.

This pilot study obtained baseline information on verbal and visual rhetorics to teach microscopy techniques to college biology majors. We presented cell images to students in cell biology and biology writing classes and then asked them to identify textual, verbal, and visual cues that support microscopy learning. Survey responses suggest that these students recognized some of the rhetorical strategies used and conflated others, revealing intriguing questions for further research in undergraduate microscopy education.

In this article, I examine a historical information graphic—Charles Booth's maps of London poverty (1889–1902)—to analyze the cultural basis of ideas of transparency and clarity in information graphics. I argue that Booth's maps derive their rhetorical power from contemporary visual culture as much as from their scientific authority. The visual rhetoric of the maps depended upon an ironic inversion of visual culture to make poverty seem a problem that could be addressed, rather than an insurmountable crisis. This visual rhetoric led directly to significant features of and concepts in western societies, including the poverty line and universal old-age pensions (social security).

In this article, the author demonstrates that the semiotic model proposed by Charles Morris enables us to optimize our understanding of technical communication practices and provides a good point of inquiry. To illustrate this point, the author exemplifies the semiotic approaches by scholars in technical communication and elaborates Morris's model through analyzing visual and verbal elements of technical communication brochures from semantic, syntactic, and pragmatic levels. The discussion of semiotic approach reinforced by various examples illustrates that the semiotic model can be a tangible theoretical and practical tool to help students and practitioners study and analyze the use of visual and verbal elements in technical communication.

The recent trend of incorporating more visuals into communication challenges technical communicators, who must now possess both verbal and visual literacy. Despite all the recent scholarship on visual aspects of technical communication, technical communicators lack thorough guidelines for selecting and composing effective images that convey thematic and conceptual information, or what Schriver calls “stage-setting” images. This article reviews existing literature in visual communication and reports results of a study that assessed readers' opinions of themes conveyed by specific example images. It then suggests that the rhetorical tropes of metonymy and synecdoche can be used to identify images for conveying certain themes, and that successful stage-setting images will show intrinsic, not extrinsic, relationships to their thematic subject matter.

For too long, journal articles and textbooks on scientific and technical discourse have adopted a positivistic approach to visuals. Unfortunately, this approach is problematic. It ignores that visuals are constructions that are products of a writer's interpretation with its own power-laden agenda. For example, in representing a tamed and dominated nature, visuals become instruments of patriarchy. Reading them responsibly requires that we uncover some of the values attached to the strategies of creating visuals and to the objects created. This article reviews the current approach taken by composition scholars, surveys richer interdisciplinary work on visuals, and—by using visuals connected with the Human Genome Project—models an analysis of visuals as rhetoric.

The syntactic aspect of semiotic theory, especially its “aesthetic principle,” is very influential in document design theories and practices. It has its roots in Burke's and Lessing's gender-related theories of images. Thus, it is laden with ideologies: it embodies our patriarchal attitudes and our iconophobia. Employing the semiotic theory in document design, we are making choices to reinforce the gender-related ideology in Burke's and Lessing's theories. It is time for us to re-conceive the “aesthetic principle” by de-emphasizing it and to adopt the reconciliation approach to design effective documents targeted at various rhetorical situations.

Stylistic analysis of scientific and technical prose reveals that technical and non-technical expository prose share a number of common characteristics; consequently, common assumptions about a clear stylistic separation between scientific and literary writing are faulty. Technical prose, moreover, possesses a number of rhetorical features which further increase its likeness to literary writing. Both style and rhetoric of technical writing thus point toward non-referential functions in scientific discourse, including the operation of significant cultural codes.

Language study and literary criticism have for many years been separated. Modern developments in critical theory have stressed the study of texts. Structuralism developed a semiotic approach to texts using psychological and linguistic theory to support objective analysis. Poststructuralist theory has further developed these approaches investigating deep and surface significance in textual interpretation urging a deconstruction of texts to yield a full contemporary understanding. The relationship between writer, reader, text, and context is seen anew within the whole communication complex in an approach which regards texts as discourse. Advanced foreign language teaching unites literature and language in a new synthesis stressing communication and conceptualization through language. Technical communication should be aware of new interdisciplinary trends since it is itself at the center of the dominant theme of communication.