Rhetoric of warning labels: Human figures in cross-cultural design

dc.contributor.advisor Charles Kostelnick
dc.contributor.author Jacobsen, Kylie
dc.contributor.department English
dc.date 2018-08-12T03:58:20.000
dc.date.accessioned 2020-06-30T02:52:20Z
dc.date.available 2020-06-30T02:52:20Z
dc.date.copyright Wed Jan 01 00:00:00 UTC 2014
dc.date.embargo 2001-01-01
dc.date.issued 2014-01-01
dc.description.abstract <p>Evaluation of warning label design does not always include the perspectives of researchers or graphic designers and legally, warning labels hold no responsibility for changing human behavior. Over the past two decades, much attention to warning label design has come from fields such as human factors, ergonomics, and social psychology, but scholarship on abstract visuals in technical communication is not emphasized. Warning labels use generalized abstract bodies to depict the risk of great and potential hazards, demonstrating a removal from physical reality. This paper will look at warning labels through the lens of abstraction.</p> <p>Abstraction is a non-mimetic form of an object or an idea, and its interpretation greatly depends on the context and culture it is observed in. Arnheim's theory of abstraction can help designers create effective designs that communicate cross-culturally based on a system of symbols, signs and pictures. The range of abstraction is evident in hybrid warnings that employ both symbols and pictures. Historical uses of warning labels have been subtly reshaped over the years from highly modernized images to ones that contain symbolic images that aid context and understanding of risk.</p> <p>To analyze the way culture shapes warning images, vending machine warnings were analyzed to understand how context and culture affects the abstraction. A selection of wet floor signs was also analyzed for the cultural influences observed in the abstract representations of human figures. Even though the images are standardized, the international images uncovered links between the designs of the warnings and their current usage that suggested they were influenced by prominent art movements during the 20th century. While standardization is the surest way to represent ideas across all audiences, the images analyzed in this paper demonstrate that warning label designers can stretch the boundaries of standard designs. Very few of the images remained constant between signs that demonstrate the same warnings, which suggests that viewers are responding well to localized images.</p>
dc.format.mimetype application/pdf
dc.identifier archive/lib.dr.iastate.edu/etd/13815/
dc.identifier.articleid 4822
dc.identifier.contextkey 5777526
dc.identifier.doi https://doi.org/10.31274/etd-180810-1083
dc.identifier.s3bucket isulib-bepress-aws-west
dc.identifier.submissionpath etd/13815
dc.identifier.uri https://dr.lib.iastate.edu/handle/20.500.12876/28002
dc.language.iso en
dc.source.bitstream archive/lib.dr.iastate.edu/etd/13815/Jacobsen_iastate_0097M_14230.pdf|||Fri Jan 14 20:01:49 UTC 2022
dc.subject.disciplines Other Communication
dc.subject.disciplines Rhetoric
dc.subject.keywords abstraction
dc.subject.keywords cross-cultural
dc.subject.keywords design
dc.subject.keywords human
dc.subject.keywords risk
dc.subject.keywords warning
dc.title Rhetoric of warning labels: Human figures in cross-cultural design
dc.type article
dc.type.genre thesis
dspace.entity.type Publication
relation.isOrgUnitOfPublication a7f2ac65-89b1-4c12-b0c2-b9bb01dd641b
thesis.degree.level thesis
thesis.degree.name Master of Arts
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