Frame design

Rochester Institute of Technology

RIT Scholar Works

Theses Thesis/Dissertation Collections

5-19-1987

Frame design

Bonnie House

Follow this and additional works at:http://scholarworks.rit.edu/theses

This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please [email protected].

Recommended Citation

ROCHESTER INSTITUTEOF TECHNOLOGY

A_{Thesis Submitted} to the _Faculty of The College of Fineand Applied Arts

in _Candidacyforthe Degree of

MASTER OF FINE ARTS

FRAME DESIGN

By

Bonnie _Kay House

APPROVALS

Adviser:

R. Roger Remington

R. Roger Remington

Date:

~

II?

(/{?[L

Associate Adviser:

Robert Keough

Date:

b

-

- /

-y7

Associate Adviser:

Heinz Klinkon

Heinz Klinkon

Date: _ _ ---L-ft....lo:'

t

:....;....

~

_(J¥_c---ll--L7__t(-'-I-I-9~J

Special Assistant to th~

Phil ip W. Bornarth

Philip Bornarth

Date:_---"'3;;...;./2_2-_cP

-t-jJ_Y_1 _ _ _ _ _ _ _ _

_

D.ean,

COlle~e

Dr. Robert H. Johnston Ph.D.

/ I

Date:

~

Y

/7i=

z,

L

Acknowledgements

It iswith great appreciation that I givethanks to the

following peoplewhose _help was _{mandatory for}the

completion ofthis project.

Professor R. Roger _Remington, whose suggestions and criticism were invaluable.

Professors RobertKeough and Heinz _Klinkon, whose

suggestions openedthe _{way for} new ideas and design.

Hans _Mortensen, whoseguidance and assistance in screen

printing the binderand manual covers was essential.

Professor Werner_Rebsamen, whose counsel and

assistance in _designing and _constructing the binder was

invaluable.

Professor Robert S. _Tompkins, who allowed access to the typesetting lab almost on a_daily basis.

Lauren _McDermott, whose _training inthe use of Pro 3D

helped in the creation ofthe Robot illustration.

Kathy Scherer, who tookgreatcare and concern in

obtaining solid inkcoverage and high quality photocopies

ofthe printed manual.

Assistant Dean Edward Lincoln, who so _generously

assisted _{in supplying} the _necessarytransparencies.

VI

Table of Contents.

Acknowledgements v

Introduction 1

Chapters

I. Research 3

Background 3

Vocabulary 8

Grids 8

Gestalt Principles 10

Color 11

Menus 12

The Human Factor 13

Additional Research 14

II. Construction 16

The Manual 16

VII

The Binder 19

Transparencies 21

ColorKeys 22

Illustration 22

III. Conclusion 24

Appendix 28

Selected _Bibliography 34

Illustrations.

Figure

1. Compositional Grid 29

2. Typographic UnitGrid 30

3. Composite Grid 31

4. Grid for Manual 32

5. Symbols 17

Introduction

In _{August, 1986,} 1 proposed athesis which would

be a book thatwould _visually expressthe process of interactive videodisc to an otherwise uninformed public.

My original intention was to create abook about interactivevideodisc which would _visually and

graphically represent and explain interactivevideodisc.

As ofthis _date, few people are aware ofthepotential of

interactive videodisc. _My intention wasto broaden the

awareness of interactivevideodisc _usinga medium that

is more accessibleto thegeneral public. Research bore

the plain fact_that, in order to _successfully design a

program for interactivevideodisc, it is first necessary to create effectivescreen design forthe television

monitor. _Thus, for thisthesis, aworkbook wasdesigned

to _help the viewerto become aware of _using typographic

and visual variables when _designing forthe frame or TV

screen. Active participation _bythe readerbecamean essential criterion when _using the workbook.

Since one often gets so involved with work on the

screen that the actualdesign ofthe work is _forgotten,

the developmentof an interactive workbook _dealing with

computer programs available to the public multiplies

with the number ofcomputers on the _market, it seems

logical that theprogrammers haveat theirdisposal aset

ofguidelinesfor effectiveframe design. _{By creating} a

workbook, the user _{is drawn away from} the screen and

asked to interact with the tools of the printdesigner's

trade-grids, text, headers, rules, and color as well as

typographicand visual variables.

Sincethe original ideawas intended for interactive

videodisc, and projects that could be programmed _using

the VAX/PRO _{350, overlay}graphics played an important

part. The VAX/PRO 350will allowgraphics to be seen in

combination with an image playedfrom a videodisc. This

ideawasthe essence ofthe _{interactive play}within the

workbook. Asthe thesis evolved from an explanation of

interactive videodisc to a workbook foreffective frame

design, the structure and idea for interactive

Chapter One.

Research

Communication of information has been an _ongoing

concern _during theevolution ofthe human race. Fromthe

visual histories found at Lasceaux and Altamirato

present _technology, man _{has continually} searchedfor the

clearest and most rational meansto_{convey ideas. As} the

world's population demands _increasing datathrough its

vasttechnological _resources, a need has emerged for an

artform whose precise aim isthat of_clarifying and

interpreting this_quantity of information in a logical and

visually effective way. Thus, the graphicdesigner

balancesthe organization of information with aesthetics

when _interpreting ideas.

Technology during the twentieth _{century has}

created theelectronic age. This computerage adds a new

dimension to the graphicdesignerwhose majorconcern

previouslywas the design ofthe printed page. As

computers become as common as books are inthe _home, a

expertise towards the television screen and create fora

fixed _format, thatofthe monitorframe. Aaron Marcus, a

forerunner in the field of computer _graphics, is

concerned with frame design in this "Information Age". Marcus prepared a lecture series in 1981 in which he

states the following:

"Communicating information visually impliesthe importance of

information-oriented graphicdesign

professionals who are skilled in

typography, symbolism, color, spatial

composition and temporal _sequencing in the new media. I point outthreeways in

which all computer systems

communicate through visual symbols. I call these three faces of computer systems: outer_{faces, interfaces,} and

inner faces. Outer faces are the end results ofdata processing: _{texts, tables,}

charts, maps, and diagrams. Interfaces

arethe frames of information and responsethat the user of asystem is

confronted with: screenfulls oftexts

and images or printed documentation.

Innerfaces arethe frames of

information that the buildersand

maintainers of systems require in order

to create the tools that other people use

There is a_tendency forone predisposed with

creativityto forgetthe rules atthe base of _effective,

creative design. Electronic media, because of _{its very}

nature ofanimation and constantinteraction _bythe user,

falls into this realm ofthe "lostprinciples of design"

more often than not. _Therefore, this is one area where it is most _{necessary for} the designerto _{step back}

periodicallyand evaluate his creative effort. As

computers have become more user-friendly, a greater

amountof information hasemerged from _desk-top

publishing firms. Programmers havedeveloped graphics

packagesfor home use _bythe general _public, and a vast

amount of computer graphics information is _being

designed _bythose _having little knowledge ofthe subject.

The more engrossed with the information on the screen

one _becomes, the more one forgets the principles of

effectivedesign. Therefore, the ideagrewforthis

manual on frame design. Sincethe monitor screen is

such a_compelling tool, this_{design is specifically in book}

form. This draws thecomputer-literate individual away

from the monitorto the book, or _{hard copy format. Asked}

acetate _overlays, the user can _develop title _slides,

posters, text _layouts, and menus with the constantvisual

reminderof thesafetitle area, safe action _area, and TV

scanning area indicated.

The design principles covered in this manual can

and should be applied to the screen. It is possibleto

construct similar grid systems which can be called _up on

the screen and hidden atwill. One can _{quickly try}out

each problem described and_develop solutionsto the

problems, but hard copy still hasto be generated in order

to compare several designs atonce. _And, as suggested

previously, thetemptation to get involved with the

screen is keptto a minimum when the screen becomesa

fixed tangible printed page. There is something very real

to besaid for _building adesign with overlays and

physical structural components. Thus, this project is a

workbookwith acetate transparencies ratherthan a

The Content oftheWorkbook

Aimed atthecomputer literate audience, this

manual isto be used _by anyone who designs or programs

on thecomputer. Forthose with littleor no _training in

graphicdesign this manual _{may be} used to establish

basicguidelines for using visual and typographic

variables. Forgraphicdesigners whoare _using the

computer for mostoftheircreative _{problem-solving,}

this workbook _{may be} an asset as a reminderto _keep

copy within the safe title area ofthe screen and to use

design principlesaccordingly.

When asked to drawa series of sketches _showing

changesthatwould occur in a room when _anyone offive

items was_changed, I painted acetatecellswith the

items in question. Thesecellscould be interchanged at

the viewer's discretion tocreate the room ofchoice. The

cells _eventually replaced a _previously planned _model, and

became a pilot production foran educational videodisc

project. A logical progression wasto use acetate cells

8

Our vocabularychanges and developswith growth

and involvement in new interests. As we workin a new

medium, our_{vocabulary naturally} expands until we

become literate in thatfield. One _way to continue

growing is to _consciouslyworkon _adding to one's

vocabulary. In the Design Concept. Allen Hurlburtstates:

"We learn language _byapplying words to visual

experiences, andwe create visual imagesto illustrate

verbal ideas. This interaction of word and image is the

background to _contemporary communication."2

Grids are the basisforgraphicdesign. Withouta

concrete _{understanding} of grids and their use, there

would be no structurebeneath the visual and typographic

variables, and the designwould not hold together. In

Graphic Design for Non-ProfitOrganizations. Massimo

Vignelli introduces grids with the _following paragraph.

"Thegrid is the most importanttool that

can be used _bythe layout designer. It is an invisiblestructurethat provides a

disciplined and consistant lookwhile

increasing production _efficiency and

maintaining theflexibility needed to solve a

Since itis the _{designer's responsibility}to organize

visual and verbal_{communication,} the grid becomes a

necessarytool for_giving a senseof orderto whatcould

otherwise be a random selection. The three grids

included in thisguide arethose most_frequently used _by

the graphicdesigner. As grids are essential to the

structure of_design, this _opportunityforthose unaware

ofthe use ofgrids to use them_{constructively is} a _key to

the use ofthis interactive book. Figure 1 isan example

of a compositional grid. This grid _{generally breaks up}

the field orpage into equal parts. Figure 2 is the

typographic unitgrid designed forthe screen template

included in theworkbook tools. This is a 24 point

typographic unit grid. The largepoint size is for clarity

ofthe projected text type on the screen when seen from

a distance. Figure _3, the composite_grid, is a series of

rectangles made ofgroups ofthe unit grid. Thisgrid

helps the designerto place_{text, titles,} and pictorial

elements on afield with intent.

Jerrold E. _Kemp has published in _Planning and

10

to be used in a projected medium. His recommendation of

using textofat least 1/4 inch high seemed questionable

atfirst. _However, when reduced in scale to fiton the

text pages within _{the guidebook,} smaller point sizes

became illegible. _Reducingthe size ofthe image hasthe

same effect as _increasing thedistance between the

viewerandthe screen.

Thegraphicdesigneroften uses visual puns to communicate the message. Another method atthe

disposal ofthe graphicdesigner is the control ofthe

visual message_by means of _using Gestalt Principles. In

Perception and Photography. Richard D. Zakia states:

"The Gestaltschool of _psychology, which

was originated in Germany about 1912 _by

Dr. Max Wertheimer, provides us with

some simple and _convincing evidence about how man organizes and groups

visual elements sothat_they are

perceived as wholes."5

By understanding the difference between thewhole and

the sum of its parts, thegraphicdesignercan manipulate

11

discusses this in Notes on Graphic Design and Visual

Communicatinn

"A thorough knowledgeof visual Gestalt Principlesgives the graphicdesigneran

invaluable tool box. We know that

audienceswill reactto overt or obvious Gestalt patterns. _{By matching} atarget

audiencewith selected high impact

Gestalt images we can shorten the

distance to effective communications.

Wecan, as _{designers, virtually}guarantee

an audience _response, which is the

bottom line ofdesign efficiency."6

Coloradds greaterdimension to design. It is often

more _appealing than black and _white, anddraws the eye

to itself. _{By employing} color_{sparingly, the} graphic

designergains greater mileage out ofthe printed piece.

When using color _monitors, it is easyto become

engrossed in thecolorand forget principles of good

design. Higher resolution graphics packages such as

Artronics and Genigraphics which boast more colors than

the human eye can discern at _any onetime are _very

alluring. _However, the designer is advised to _{step back}

from thistemptation and remembersome basic rules and

12

selecting colors, the graphicdesignershould:

"Analyzeyourtargetaudience. Pick

stimulating colors, those thatwill evoke a response. Choose huesthatare

namable, with good _recognition,

retention, recall. Limityour color

combinationsto two or three...Audience

color preferences are in constant flux. Theyvary annuallyand seasonally. _Age,

economic_{conditions, sex, culture,}

geography, and religion influence color

choices."7

One ofthe mostimportant aspects offrame design

is that of_designing menus forthescreen. A menu

presents aselection to the userand asks foradecision.

All ofthe elements of graphicdesign come into play

here because ofthe importance forclarity, legibility,

and the need for interactive responses from the viewer.

The menu should maintain the interestofthe viewer

while _{providing easy}access of choices. _Overcrowding

the screen with information and _confusing graphics at

this stage can cause the userto quitthe menu instead of

proceeding towards a more viable solution to the

program. Aaron Marcus discusses needs andexpectations

13

"In the computer graphics systems _being

created, there is andwill continue to _be, a great need for graphicdesigner's

expertise in _typography, spatial

arrangement, and color selection. More importantwill be the influence designers

can exert on computer manufacturers _by

advising them on howto produce better

systems forthefuture. There will be a

constant need for _individuallydesigned frames as well as graphicdesign

systems_{for many frames. In} the end it

is quality that is important, even for computer graphics systems whose

imagery is rather crude."8

Those who design forcomputers must realize the

fatigue factorofthe normal human being. A program

that _{only has} touch screen menus _{may quickly}tire the

user. Severalquestions have to beconsidered _bythe

designer.

How _many menus will there be in thisprogram?

How _long isthe program?

How much text is there to read?

Interestcan be added to the program _{by varying} the

interaction requested _by the user. Choices may be made

through the _keyboard, a mouse, graphics_{tablet, joy} stick

14

in programs thatinsiston numerous touch screen

choices. The designer mustconsiderthe following.

How far _awayfromthe user isthe screen?

What is the reach ofthe viewer?

Isthe user rightor left handed?

In hisarticle, "Visuals for Interactive Video: Images

fora New _Technology (With Some Guidelines)", Roberts

A. _Braden,when _discussing ergonomics and _aesthetics,

states:

"The visual design specialist must

always _keep in mind that his or herwork

is ultimately destined to beviewed _by others. These viewers can be likened to

the consumers of_any tangible product.

Their needs and desiresare a high

priority concern when the productis

being fabricated. Viewercomfortthus becomes a _primary consideration, as

represented _by lettersthatare large

enough to read, color combinationsthat

are _easyto view, and _anyother of several techniquesthat minimize

discomfort. The wise designerwill even

go a _stepfurther _{by catering} to viewer

preferences and sensitivities."9

Detailed explanation of problems and examples

15

section of thisworkbook could expand into acomplete

book in itself. Thiswork is meant as an introduction to,

and a reminder _{of, the} principles ofgraphicdesign.

Therefore, a limited _bibliographywas included in the

manual forreference _by anyone interested in pursuing

furtherexplanation ofthe principles covered in the

workbook. The _bibliography is limited because this

manual is geared towards non-designers who would look

for basic materials first before _heading towardsdesign

16

Chapter Two.

Construction

The formatof_{the manual,} 8 1/2 _by 1 1 _inches, is a

comfortable _{size, easily handled,} and _easy to read. It is

the same size as the acetate transparencies and color

keyswhich are the constructionaltools for_developing

design answers to the problems presented to the user in

the manual. _Uniformity ofdesign was kept _bycontinual

placementoftexton the right hand sideof each _page,

reserving the leftsidefor illustrations. The text is

twelve point Helvetica Regular set on thirteen points of

line spacing. _Thecolumn width is _twenty picas forease

of reading. Thecomposite grid (Figure ₄₎ for page

structure is included in the appendix. Geared toward the

technological world of_{computers, the text} ofthe manual

would _{naturally have} to suggestthe propertext to be

used on the monitor. As a sans-serif, even-weight letter

is the best fontstylefor_viewing on _{the screen,}

17

The rule atthe _top of each page indicates the page

division, and the use of the right side of each pagefor

verbal _{information. The horizontal format followsthe}

general horizontal shape of the monitor and prepares the

reader _{for easy recognition of problem}

solving using the

acetate cells and colorkeys. To establish a pattern of

quick referencefor_{the reader, the following} symbols

were developed.

Figure 5

The shape of theframe is a reminder of the final

application of the manual. The exclamation point states

that information is aboutto follow. Theword _Design,

used here as a_verb, requires action on the partofthe

viewer. The question mark requests the viewerto ponder

the previous action taken and towork through a

18

The Macintosh Plus and MacDraftwere used to

createthe framesfound on thecover and throughoutthe

manual. All text and titleswere typeset on the

Merganthaler MVP-VIP_typesetting equipment located in

one ofthe Photocomposition _Technology Labs ofthe

School of _Printing under theauspices of Mr. Robert

Tompkins. The contentsof the workbook were printed _by

Kathy Scherer on the Xerox 9500 in the _Copy Centerat

RIT. The cover ofthe manual was screen printed on

white railroad boardwith Advance Excello Black

SAM-700 Screen _Printing Ink mixedwith 2.5% SS Zephyr

RM Slow Thinner. The screen was a Monofilament

Polyesterwith a mesh count of254 threads perinch.

The stencil was a Direct-IndirectAutotype Capillex 35

CapillarySystem Stencil. Themanual was wire-bound

using aJames Burn _Easy Bind Wire Binderand a 1/4 inch

wire.

The templateforthe TV monitor _{scanning area,}

safe action area and safe title area was created on the

Macintosh _{Plus using} MacDraft. Reference material for

the templatewas Kodak Publication H-42b, the

Television Graphics Production Template for the Motion

Picture and Audiovisual Markets Division ofthe Eastman

19

Binding

With the assistance and guidance of Mr. Werner

Rebsamen, Professorof _Planning and _Finishing in the

School of _{Printing, I was able to make a cloth-bound}

binderto housethe completed project. The outer binder

wasscreen-printed priorto final construction. Once cut

to size the binder'scloth was printedwith the coverand

spineartwork in the Screen _Printing Lab of the School of

Printing with the _help and instruction of Hans Mortensen.

Using a Monofilament Polyester fabricwith a mesh

count of 306threads perlinear _inch, a Direct-Indirect

stencil was applied _{using Autotype Capillex 35 Capillary}

System Stencil. Oncedry, the stencil is exposed to a

film positive of theartworkfor_thirty seconds ofVNH

Flourescenttubes. _{After washing} and _blocking out

non-printing areas ofthe screen, the pre-cut binder's

cloth was printed with SS Zephyr-Set 500 Turquoise Blue

K-67297 with 35% Additive ofZephyrSet Slow Thinner.

The binderwas constructed in two parts, then

20

traditional means ofthree cut binder'sboards forthe

front, back and spine ofthecover. All _bindingwas

accomplished _using a white polymer glue. Oncecovered,

the _facing was _covered, andweight applied over nightto

keep thecoverflat. _Next, the pocket was constructed in

two pieces. The backwas covered with binder's cloth

and placed underweight. The pocketwas made ofthree

pieces of_{binder's boards. Thesewere firstglued}

together and held in place until _dry with _masking tape.

The inside ofthe pocketwas covered with binder's cloth,

then the outside ofthe pocketwas _{covered, leaving} an

excess of cloth for attachmentto the back. The excess

fabricwas then glued to the outside of the back panel,

and thefinished pocketwas weighted and leftto dry.

Finally the pocketwas attached to the back ofthe

outside _{binder, weighted,} and leftovernightto dry. A

visual _step representation ofthe above _binding

procedures is included in the appendix (Figure 6). The

final result is a handsome clothbound binderwith a

pocketwhich can accomodate_{the manual,} acetate

overlays, and printed screen _template, and _any

photocopiesof the solutionsto the problems that the

21

Transparencies

For_durability, I decided to _photocopytheacetate

cells. Atfirstthis presented achallenge in_finding a

material thatwould remain intactwhen fed through the

copy machine. _{C-Line products proved to be}

unsuccessful. _{The light}weight acetatetends to melt if

the _copy machine isthe least bitoverheated. In _looking

fora sourceto _buy a_quantity of acetate_cells, I asked

KayJenkins, _Secretaryforthe Collegeof Fine and

Applied Arts. She mentioned that Assistant Dean Ed

Lincoln had some Kodak _Transparency Material which is

forthe purpose of _making overhead projections from

copy machines. Mr. Lincoln gavesome transparencies to

me to _try and _theyproved to hold _upwell. After

unsuccessfullytrying to _buythe _quantity of

transparencies needed forthis project, I ended _up

purchasing two boxes of Kodak _Transparency Material

from the College of Fine and Applied Arts.

At first itwasthought that screen _printing on

22

coloroverlays. _However, as itwas thought thatscreen

printing ink might_chip off ofthe acetate_easily, color

keys were produced. Negatives were made _using

Orthochromatic D Litho Film - DuPont COD-4

which was

exposed on a horizontal nuArc 1418 Process _Camera, then

processed in the Fuji Film Processor in the Reproduction

Photographic Department in the School of Printing. _Next,

Color-Key Negative _Imaging Material was placed under

the negative film and exposed in a nuArc26-1K _Mercury

Exposure System for forty-five units oftime. The

exposed _Color-Key material was developed with 3-M

Negative Color _Proofing Film Hand Developer, then

washed and dried. These color keys hold up quite well to

handling.

The illustration of the Robotwas created to add

interestto the projectfor theviewer. _Using a Macintosh

Plus computer and the Pro-3D program, Lauren

McDermott, a fellow MFA degree candidate in Industrial

Design, taught me how to construct athree-dimensional

figure using cubes, cylinders, spheres, and a lathe. The

23

seen from _anyangle. It is then possible to obtain a laser

print_directlyon a _{transparency. The various} views of

the figure were done in this manner. Subsequentcopies

were printed on the _photo-copy machine _directly onto

24

Chapter Three.

Conclusion

One purposebehind this thesiswas thedesireto

combinethe skills I've learned atthe Rochester Institute

of_Technology into one creative effort. Another purpose

wasto _developa _teachingtool. This project has

positively addressed these goals. From research begun in

classes on_videodisc, the idea emerged to _develop a

learning toolfor interactive frame design. As the

project_grew, a conscious effort was made to access

every area of _my education at RIT. I was ableto screen

printthe cover and _binder, bind _{the project,} process film

negatives, and typeset the entireproject in the School of

Printing. The manual and overall project wasdesigned

with the knowledge and skills learned in Graphic Design

in the College of Fineand Applied Arts. Computer skills

were used to_develop the screen template and the

illustration ofthe Robot.

It is hopedthat this manual will be useful to those

25

programming, _programming for interactive videodisc, or

those who design in some _capacity on the TV monitor. It

isalso hoped thatthis manual becomes aforerunner for

subsequent instructional services concerned with frame

26

Footnotes.

1 . Aaron Marcus, Lecture

Proposal, "The Three Faces of

the _{Future", (Berkeley: University of California,}

1981).

2. Allen _Hurlburt, The Design Concept. (New York:

Watson-Guptill _{Publications, 1981)} page 40.

3. Peter _Laundy and Massimo _Vignelli, Graphic Design for

Non-Profit Organizations. fNew York: The

American Institute ofGraphic _{Arts, 1980)} page 8.

4. Jerrold E. _{Kemp, Planning} and _Producing Audiovisual

Materials. (New York: Harper and _Row, Fourth

Edition, 1980) page 119.

5. Richard D. _Zakia, Perception and Photography.

(Rochester: Light Impressions _{Corp., 1979)}

page 15.

6. _{Gregg Berryman,} Notes On Graphic Design And Visual

Communication. (Los Altos: William Kaufmann,

Inc., 1979) page 8.

7. _Ibid., page35.

8. Aaron _Marcus, "The Department of Crude Arts:

Viewing Videotex and Teletext from the Graphic

Designer's Perspective, Design in the Information

Environment. (New York: Alfred A. Knopf, 1985)

27

Roberts A. _Braden, "Visuals for InteractiveVideo:

Imagesfor a New_Technology (with Some

28

Figure2

30 n

Z 3

1

!

i I 1

i

i

i

i

1

t

'

! 1

1

Figure 6 BinderConstruction 33

V-Cover Board

Back

Board

V :

r

i Inside

y 3

Inside of

Pocket

2i

Backof

Pocket

Pocket

Attached to

Backing

34

Bibliography

Berryman, Gregg. Notes On _{Graphic Design And Visual}

Communication. _Los Altos: William _Kaufmann,

Inc., 1979.

Braden, Roberts A. Educational Technology. Volume _26,

Issue 5. "Visuals for Interactive Video: Images

for a New_Technology (with Some Guidelines). _May,

1986.

Carter, Rob, and _{Day, Ben,} and _Meggs, Philip. Typographic

Design: Form and Communication. New York: Van

Nostrand Reinhold _{Company, Inc.,} 1985.

Craig, James. _Designing With Type. A Basic Course in

Typography. New York: Watson-Guptill, 1980.

Eggleton, Elizabeth _{M., Editor,} The Eastman Kodak

Company. Eroonomic Design For People At Work.

Volume I of II. _Belmont, CA: Lifetime _Learning

Pub., 1983.

Hofmann, Armin. Graphic Design Manual. Principles and

Practice. New York: Van Nostrand Reinhold

Company, Inc., 1965.

Hurlburt, Allen. The Design Concept. New York:

Watson-Guptill Publications, 1981.

Johnson, Pauline. Creative Bookbinding. Seattle:

35

Kemp, Jerrold E. Planning and Producing Audiovisual

Materials. New York: Harperand _Row, Fourth

Edition, 1980.

Laundy, Peter, and _Vignelli, Massimo. Graphic Design for

Non-Profit Organizations. New York: American

Institute of Graphic _Arts, 1980.

Marcus, Aaron. Lecture Proposal, "The Three Faces of

the Future". Berkeley: _University of _California,

1981.

Design in the Information Environment. "The

Departmentof CrudeArts: _Viewing Videotexand

Teletext from the Graphic Designer's Perspective.

New York: Alfred A. Knopf, 1985.

Muller-Brockmann, Josef. Grid Systems in Graphic

Design. New York: Hastings _House, Visual

Communications Books, 1981.

Ruder, Emil. Typography. New York: Hastings House,

Visual Communications Books, 1984.

Zakia, Richard D. Perception and Phntonraohv. Rochester: