Genre Analysis Draft                                        
In the field of graphic design, genres tend to take different forms from what people are used to. Usually they have more to do with pictures than written words. There are a few problems with communication between fields that has resulted in the need to expand the realm of graphic design genres. Some individuals in the design field have created journals addressing misunderstandings and relationships between design and rhetorical language.
Graphic designers have found the need over the years to better communicate their field’s connection to rhetorical language and communication in general. Because graphic design is a form of language itself, it is important for writers and educators to understand how it is influenced by their own fields. The ultimate goal within the graphic design community is to communicate through artistic mediums and genres. It is easier for them to communicate if others understand how they use language to help meet their goal. In the journals focused on in this paper graphic designers attempt to explain this connection with language and communication to the targeted readers. In these journals some of the targeted audience includes educators, health and childcare workers, other graphic designers, and people in differing language fields.
Though they have their differences, these three journals on graphic design are similar in many areas to make it easier to relate to both areas of study. They all three are composed of multiple sections of information, from “The Visual/Verbal Genre” (Almeida 189) to “Influences of Semiology and Semiotics” (Storkerson 18). These heading are for organizational purposes, and obviously work well since all three use the same method to organize the journals. They also all include means of expressing their credibility, especially through pulling in multiple sources in both language and graphic design fields. In the journal by Barnes an author’s note is even included to back up his credibility. 
There are also multiple examples used in the journals to show how language and design work together; for instance, in Barnes’ journal the main focus is on how to use graphic design to communicate within the health and child care field to promote cleaner environments around children. In all three journals pictures are shown for examples of graphic design and language as well. These pictures are sometimes used to explain how certain images result in certain communicatory responses, such as with signs (Storkerson 21). Once again Barnes’ journal differs slightly from the other two, in that in addition to pictures there are also graphs to further illustrate how design is used. Because graphic design is an art form, it makes sense that the genres within the community would involve pictures and artwork.
These journals help explain to outside communities that rely heavily on written language how relevant graphic design is to their fields. And fellow graphic designers (or any designers for that matter) need to understand how their own field relates to rhetorical communication. These better understanding make it easier for the communities to communicate with each other in the future and how they influence one another.

Barnes, Carolyn. "Multiple Information Failure: A Case of Different Investments in Form and Content in Graphic Design." Visible Language (2009): 144-68. Print.

De Almeida, Cristina. "The Rhetorical Genre in Graphic Design: Its Relationship to Design Authorship and Implications to Design Education." Journal of Visual Literacy(2009): 186-98. Web. <http://www.ohio.edu/visualliteracy/JVL_ISSUE_ARCHIVES/JVL28(2)/28_2_Almeida.pdf>.

Storkerson, Peter. "Antinomies of Semiotics in Graphic Design." Visible Language (2010): 6-37. Web. <http://content.ebscohost.com/pdf25_26/pdf/hww/00185/4me33/4st.pdf?T=P&P=AN&K=505284247&S=R&D=brb&EbscoContent=dGJyMNHr7ESep7Q40dvuOLCmr0qeqK9Ssae4Ta6WxWXS&ContentCustomer=dGJyMOHr8Irj5PJT69fnhrnb4osA>.