In a chapter titled 'New frontiers in interactive multimodal communication' for a handbook on Language and Digital Communication, internationally renowned scholar of language and digital media Susan Herring (Herring, 2015: 402) remarks on the need for scholars to develop more properly multimodal approaches to computer-mediated communication. This is what she says: "An approach needs to be developed that analyzes disparate modes in relation to one another, ideally with a common set of research questions, methods, and so forth, to permit meaningful comparisons across modes and across platforms." An approach such as this, Herring goes on to explain, requires attending to the way different modes interact (or not) in different digital texts and contexts.It is precisely this understanding, indeed this empirical reality, which motivates our volume here. Although we do not claim to offer a monolithic approach or even a common set of research questions, we believe Visualizing Digital Discourse is the first dedicated volume of its kind which brings together the work of language and communication scholars committed to understanding the role of visuality (and multimodality) in the context of digital media. The volume showcases the work of leading scholars, established scholars and emerging scholars from across Europe, and addresses a diverse range of digital media platforms (e.g. messaging, video-chat, social media, gaming, video-sharing, photo-sharing), communicative settings (e.g. interpersonal, commercial, institutional), visual modalities (e.g. written language, typography, emojis, photography, video, layout) and methodologies (e.g. discourse analysis, corpus-based analysis, social semiotics, ethnography, conversation analysis) and languages (e.g. French, German, Italian, English, Finnish). Throughout, contributors are specifically focused on understanding the particular role of visual communication in (or about) these digital media platforms as a way to better understand how linguistic and communicative practices are multimodally accomplished. Sometimes visual resources (e.g. typography, photos, emojis, video) are central, at other times they are incidental; regardless, they are always integral to the servicing of people's interactional, institutional and/or ideological objectives.