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This is the Visual Rhetoric blog of Joseph Henry Stadolnik IV.
It was created for the B-Term 2017 session of WPI's Visual Rhetoric course, taught by Professor deWinter.

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Information Graphic, Part 3: Redesigning our Graphic

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Drafting Process      With the feedback we received from Professor deWinter in mind, we set out to remake our graphic so that is specifically focused on encouraging biology majors to get some computer science experience. Almost immediately, we got the idea to use an image of DNA as the central focus of our infographic. DNA was a perfect choice not only because it is fundamentally related to biology, but also because its form is that of two interlinked strands. This linked structure works very well with the message we are trying to convey that computer science is relevant and important to biology. Our more narrowed focus also allows us to suggest very specific classes for biology students to take at WPI if they wish to expand their computer science knowledge. The two we chose are CS 1004, the introductory computer science course for non-majors, and BCB 100X, a bioinformatics and computational biology course. CS 1004 also has the added bonus of being taught using the language Python,
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Humanities and Arts Comic, Part 2: Characters and Rough Draft

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     After our brainstorming session, Jess and I each sketched our own ideas for how the characters representing each discipline could look. We also had been considering having one established as the "leader," who would do most of the talking. The rough designs I came up with were as follows:      My "leader" character was based off an idea we had tossed around in brainstorming, where they appeared as just a well-dressed figure with a mask. My interpretation would have the mask be WPI's seal, and the figure to be none other than Gompei himself. Foreign language was intended to be a dictionary with a globe one it, rhetoric was a podium with a face, theater was a comedy and tragedy mask duo, history was a suit of armor, literature was formed from a stack of books with glasses, and the arts were represented by a palette with a paintbrush and a pencil for legs. The sad checklist was intended to represent the Breadth and Depth requirement, as it could ea
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Yeti Expedition Escape Room Font, Part 2: Collaborative Design

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      Jessica Hatt and I decided to work together to create a new font combining both of our rough draft ones. Both of us had done a font focused on conveying the idea of cold by using icicle-like motifs on our letters. The main differences between our fonts were that mine had letters with an aspect ratio between 1:2 and 3:4, had one or two slight triangular peaks on the tops of letters, and had serifs, while hers were closer to square, had chisel-shaped points on top of letters, and lacked serifs.      After comparing designs and brainstorming, we settled on a set of design elements for our final font. The letters will all have a roughly 25 to 30 degree slant from vertical towards the right, which helps convey a sense of rushing and urgency. Their lines will have a moderate, consistent thickness. The font will be sans-serif, but it will retain the icicle details in the places our two fonts used them: primarily the upper-left inside of curves, the lower-right outside of curves, and u
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