The visual rhetoric of data displays (e.g., charts, graphs, maps) has changed profoundly over the past 50 years as a result of research in display techniques, the application of traditional and emerging rhetorical approaches, and the democratizing effects of data design technology. Perhaps in no other visual realm than data design is the notion of clarity more critical or more contested. Indeed the ascendancy of rhetorical approaches was initiated by the perceptual/cognitive science of data design, which in seeking to identify optimal display techniques, fostered a concern for ethics and evoked the universality and minimalism of modernist aesthetics. The rhetoric of adaptation, which emphasizes the variability of audiences, purposes, and situational contexts, rendered clarity contingent and mutable-a moving target that requires constant attention. Social rhetoric considered data design as a collective construct, tethering clarity to visual discourse communities, convention-building, cultural values, and power. The concept of clarity has been further reoriented by the rhetoric of participation, which is fostered by interactive digital design that enables users to adapt displays according to their needs and interests.

The visual rhetoric of data displays (e.g., charts, graphs, maps) has changed profoundly over the past 50 years as a result of research in display techniques, the application of traditional and emerging rhetorical approaches, and the democratizing effects of data design technology. Perhaps in no other visual realm than data design is the notion of clarity more critical or more contested. Indeed the ascendancy of rhetorical approaches was initiated by the perceptual/cognitive science of data design, which in seeking to identify optimal display techniques, fostered a concern for ethics and evoked the universality and minimalism of modernist aesthetics. The rhetoric of adaptation, which emphasizes the variability of audiences, purposes, and situational contexts, rendered clarity contingent and mutable-a moving target that requires constant attention. Social rhetoric considered data design as a collective construct, tethering clarity to visual discourse communities, convention-building, cultural values, and power. The concept of clarity has been further reoriented by the rhetoric of participation, which is fostered by interactive digital design that enables users to adapt displays according to their needs and interests.

Supra-textual design encompasses the global visual language of a document and operates in three modes: textual, spatial, and graphic. The rhetoric of supra-textual design includes structural functions that provide global organization and cohesion and stylistic functions that affect credibility, tone, emphasis, interest, and usability. Supra-textual rhetoric extends to other documents through conventional codes and through sets and series. Because writers may not control the end product of supra-textual design, intention may also be a rhetorical factor.

Visual design has played an important role in the historical development of professional communication. The technology of laser printing has reestablished the importance of visual language in functional communication, transforming contemporary document design and redefining its relation to the traditions of handwritten, typewritten, and printed text. During this period of transition, three factors will shape the new visual language: (a) the development of a visual rhetoric that represents design as an integral part of the message rather than merely as external “dress,” (b) the rediscovery of aesthetics as a legitimate factor in text design, and (c) the use of empirical research—particularly context-specific research—to guide the document design process.

The technology of in-house publishing is radically shifting the responsibility for document design from the graphic specialist to the individual writer. To apply the new technology, professional communicators need to understand the principles underpinning typographical design and their origin in the functionalist aesthetics of modernism, particularly as articulated by the Bauhaus. While some of the key concepts of modernism—strict economy, uni versal objectivity, intuitive perception, and the unity ofform and purpose—are well-suited to business and technical documents, these concepts are bound to an historical and intellectual milieu. By understanding the influence ofmod ernism on typographical design, professional communicators equipped with the new technology can adapt design principles to the rhetorical context ofspe cific documents.

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Consonant with a trend toward investigating professional writing in naturalistic settings, this discourse-analytical study of a corpus of “suggestion letters” written in a Big Eight accounting firm demonstrates how auditors use negative politeness strategies to meet the complex demands of potentially threatening interactional situations. The study substantiates Brown and Levinson's claim that politeness is a linguistic universal by showing that the same politeness strategies found in speech also occur in written communication. Analysis of negative message strategies in ten leading textbooks shows that business communication pedagogy needs to modify strictures on the use of passives, nominalizations, expletive constructions, and hedging particles in light of research on the exigencies of real-world linguistic interaction.