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process book

THESIS RESEARCH

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SEMANTIC PAR ADIG M

study of Language Arts. It would be

of typography often needed to be

abstract

an independent semantic exploration

compromised, in order for the end

I am exploring the possibility of the

within the language itself, which

result to appear realistic, which raised

implementation of an interactive, three

would allow students to engage their

questions for me about what today’s

dimensional language domain for

intuition, empathy, logic and curiosity.

standards actually were, what the

possible application to Middle School

The stimulating semantic realm

students in North America, for the

would keep students engaged with

purpose of learning Language Arts.

the material presented to them by an

purpose of the study

The goal of this study is to develop
a new learning environment, which

aesthetic actually was, and how they
were relevant in the design process in
this current day and age.

instructor, as an alternative to the

This was part of what had led me to

traditional forms of learning Language

the subject that I initially wanted to

Arts.

pursue for my thesis research project.
I wished to study the relevance of

would be more suitable for the

study background

generation growing up with all the

While working for the past 10

current technology that is available to

and how the standards of typography,

years as a Graphic Designer in

them, and who have in turn developed

and our perception of it, were

the motion picture industry, I’d

different thinking patterns from those

impacted by our society through

noticed a tendency in regards to

of the previous generations.

our media, the digital world and our

how typography was utilized in the

everyday lives.

The proposed environment would

design process. When designing a

serve as an educational tool for the

film, the standard and the aesthetic

Introduction

typography in our cultural framework,

However, after some primary research,

page no. 3

I became more interested in the

into a different kind of communication,

typography in our cultural framework,

relationship between language and

not only typographically, but also

into the hypothesis of a semantic

modern technology, in particular,

symbolically and linguistically.

domain creation with its application to

digital technology, such as the
Internet.

I researched people’s current methods

a language arts class.

of communication, correlated

I began my first semester Master

I began the study researching the

to life style and to linguistics.

Thesis Research by studying digital

technological impact of our current

I also analyzed technology as a

technology and its effect on people’s

lifestyle on the English language, as

historical means to advance people’s

communicative habits.

well as its effect on people’s everyday

connectivity, researching as far back

communication. As the way we

as 1130 BCE

communicate is encountering major
technological modifications, so to is
the English language encountering
major modification, in order to make it
work with our current communicative
technology.
The written form of language, which
is still today’s prevalent form of
communication, has been evolving

Introduction

In this process book, which begins
with the definition of communicative
issues occurring within the digital
domain as a result of a constant
exposure to a technologically
dominant environment, I showcased
my ideation process.
This process shaped my original idea
of investigating the relevance of

page no.4

CO LO U R
Researching digital technology and its effect on people’s communicative habits,
has made me realize that despite numerous advantages, digital media,
in the form of electronic messages, emails, and social networking in general,
has one major deficiency – it is missing the paralingual factor of speech.
To study emotions, and their application to digital technology, I have commenced
my visual explorations by examining colour. I analyzed specific work, by
Artists who are known for their colour expressions. I examined their application
of colour to communicate an emotional aspect of a narrative. One of the main
artists, whose work I focused on, was Wassily Kandinsky.

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page no.5

WASSILY K AN DINSK Y

F1 . Painting with Three Spots

Visual Refe re n ces

F2 . Red Spot II

page no.6

CO LO U RITE X T
Colour is complex. Colour is always evolving and
is in constant motion. It is emotional and
endless. Colour becomes even more expressive with
the application of random text.
Even if letters do not spell a specific word, they can still
say a lot. They speak with emotion.

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page no.7

CO LOU RITE X TITE X TU R E
While exploring, I used colour,
variations in letter sizes and different
type faces to create complex
emotional textures.
The question that I came across
during the process of exploration,
was the actual application of
this emotional complexity into the
digital world.

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page no.8

CO LO U RITE X TICO M PLE XIT Y
In recent years, our environment
has become incredibly complex, due
to the overwhelming dominance of
technology. People, in their daily lives,
experience a tremendous cognitive
load.
In this particular visual analysis, I
have attempted to isolate meaning
by putting it on three different
levels: text, color and density. I tried
to navigate through these levels
to understand which one is more
prominent, and why.

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page no.9

CO G NITIVE LOAD

F3 . Zappos

Visual Refe re n ces

F4 . Heaven Works

page no.10

CO LO R , TE X TU R E AN D
CO M PLE XIT Y

F5 . Textures for Inspiration

Visual Refe re n ces

page no.11

R EBUSESILO G O G R AMIID EO G R AM
First introduced through mobile devices, and later, through the Internet
application Twitter, short, coded and heavily abbreviated messages became a
very popular method of fast communication.

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page no.12

I feel that this method, along with
other text based applications and
electronic messaging systems, is
altering the fundamentals of written
communication, such as form,
structure, grammar, and spelling, by
allowing people to express complex
meaning in a short and fast form.

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page no.13

Striving to detect whether or not

as early pictographs, ideograms,

a writing system could be designed

logograms, and early rebuses

to sustain complex meaning

(Egyptian hieroglyphs).

in a short form without affecting
fundamentals of written
communication, I have discovered that
writing, being a graphical
form of speech and representation
of language, is a system that

I also spent quality time studying
ligatures, experimenting with
Devanagari, Hebrew and Arabic
writing systems, all of which are
consonant based scripts.

can only mature within a culture

The visual explorations that derived

prepared to sustain it.

from this research appeared static

Does this mean that our culture is
prepared to sustain a new writing
system heavily based on
abbreviated forms of spoken
language?
To answer this question, I began to
look at ancient written forms such

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at first, but then acquired kinetic
properties, as I decided to fold
meaning (electronic messages) into
logograms, ideograms and rebuses.

page no.14

E AR LY WRITIN G

F6 . Hebrew Script

F9. Dipylon Vase

F7, 8 . Devanagari and Aramaic Scripts

Visual Refe re n ces

F10 . Inscriptions from 3rd Century BCE

F11 . Development of Alphabet

page no.15

N EW FO R MS O F “ L AN GUAG E ”

F12 . Twitter Abbreviations

F13 . Leet Speak

Visual Refe re n ces

page no.16

SCH EMATIC “A”
To better understand this
technological impact on our society
and its connection to language and
typography, I created a diagram.
In this diagram, I displayed language
development and factors contributing
to its changes. This diagram shows

MAIN ISSUES
LIFE STYLE, LIMITED DISPLAY SPACE
LIMITED DATA TRANSMISSION,
LIMITED WEB FONT SELECTIONS

T EC H N O LO GY

LANGUAGE EVOLUTION

INTERNET & MOBILE DEVICES

ORAL
PICTOGRAPHIC AND SYLLABIC FORM

LOSS OF EMOTION + TONE

PHOENICIAN SYLLABIC WRITING
SOCIAL NETWORKING

OPEN SOURCE

GREEK ALPHABET

Twitter, Facebook
Flickr, Youtube
Linkedin, Myspace
Blogs

Self Publishing
Free Fonts
eBooks
Books via Email

THE LATIN ALPHABET

L A N G UAG E
SPOKEN
WRITTEN
LOSS OF GRAMMAR, NEW DIGITAL VOCABULARY, LACK OF TONE,
ABBREVIATIONS – NEW DIALECT, CODING

T Y P O G RA P H Y

Schematics

AUTOMATED TYPOGRAPHY
LINOTYPE MACHINE, TYPEWRITER

the basis for my preliminary research.

Preliminar y E x p l o ra t i o n s

DOCUMENT FORMAT DEVELOPMENT

INTERNET/MOBILE DEVICES

page no.17

VARIATIO NS – TH E ELEM ENTS O F EU CLID
This study took a different approach after experimenting with the illustrating
principle of Oliver Byrne’s The Elements Of Euclid, which describes complex
information with color.
First, I intended to analyze how many different combinations could be derived
from a segmented simple form by using different color
and arrangement. Then, I applied a deducting approach, in which each
combination self deducts, becoming a new form, more complex than
the previous one.
I tried to apply this approach to the idea of communicating complex information
by using a simple rule.

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page no.18

VARIATIO NS

F14 . Piet Mondrian, Composition with

F15 . Redrawn from Oliver Byrne, The First Six

Yellow, Blue, and Red, 1921

Books Of The Elements Of Euclid

Visual Refe re n ces

page no.19

CO M PLE XIT YISIM PLICIT Y
My Oliver Byrne’s
The Elements Of Euclid based
examinations eventually led
me to Stephen Wolfram’s theories of
complex patterns derived from a
simple rule. How can one create
a visual code by applying a
simple approach, which could be
easily decoded?

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page no.20

S

CO G NITIVE LOAD
My next set of visual explorations led
to the analysis of cognitive load that
people experience within the digital
domain on a regular basis. I became
interested in navigating text, as well
as navigating within text.
To support my idea of motion as a
solution for simplifying navigation
through complex cognitive load, I
studied complex static compositions of
text and their evolution into a kinetic
state.

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page no.21

CO G NITIVE LOAD IPAT TER NS
To find a visual solution
for navigation through cognitive load,
I looked into patterns, applied to
text.
I explored the idea of chaos
preceding order, which echoed my
ideas of simplicity and complexity
and theories of simple rule by
Stephen Wolfram.

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page no.22

The result of these visual studies on
ideas of complexity and simplicity,
led me to my next exploration – the
study of applying kinetic elements to
text.

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page no.23

CO G NITIVE LOAD AN D
G EO M ETRIC PAT TER NS

F16 . Patterns from Stephen Wolfram’s

A New Kind of Science book

Visual Refe re n ces

page no.24

CO G NITIVE LOAD AN D
PAT TER NS

F17. Ants

Visual Refe re n ces

F18 . Textures for Inspiration

page no.25

KIN ETIC TE X T
In non-verbal communication, the absence of emotional indication,
within plain text, transmitted back and forth through the digital domain, has
resulted in the emergence of a solution known as emoticons, that have in
fact, added even more abstruseness into an already complex codified and
abbreviated language.
To me, this suggests that despite its many communicative advantages,
modern technology does not excel in sustaining the fundamentals of written
communication, possibly due to its linear and two dimensional treatment of
text.
Through my exploration and with the help of kinetic typography, I was
planning to find a solution to convey emotions, bring simplicity and open
up new communicative possibilities within electronic messages.
I began to gradually introduce kinetic elements to static text.

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page no.26

The following portion of research
was aimed at developing a way
to convey meaning by “folding”
signified (message) into a signifier
(word, symbol) as a moving, three
dimensional form, carried over the
digital communicative system as a
message.
I also wanted the user, by kinetic
application of a concept into a symbol
or word, to be capable of
constructing his or her own visual
identity, which would reflect feelings,
intentions and emotions.

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page no.27

I was examining whether or not kinetic typography was the correct direction to
take for improving the missing paralingual factor of oral speech within
instant messaging.

I questioned how the traditional elements of typography can be utilized, by
employing user controlled text within digital communicative systems,
to help deliver complex meaning in a condensed form.
Can we utilize kinetic typography to create a personalized visual identity, which
could be used within social networking & instant messaging technologies?
Would the development of new kinetic typographic characters aid visual
communicative expression in electronic messages by providing consistency and
clarity, which therefore would allow the ability to extract meaning quickly
from symbolic representations of language?

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page no.28

KIN ETIC TE X TIP OTENTIAL
B EN EFITS
One potential benefit of the proposed
concept of kinetic symbols, is the
solution that it could provide for the
hearing impaired community, as an aid
to overcome the linguistic barrier that
they often encounter.
Since text messaging has, to some
degree, liberated this community
from being limited to the use of
a telecommunications device and
has helped provide them with
more of a feeling of independence,
I saw an opportunity to help them
communicate with others on a much
deeper emotional level by visually
communicating an otherwise lacking
paralingual factor of oral speech.

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page no.29

I was researching various work by artists such as John Maeda,
kinetic projects from Carnegie Mellon University, Russian
Constructivism, Wassily Kandinsky and various animated
movie titles.
The question I was constantly asking myself was, what is the
reason behind animating text. I agreed that animation
was providing an emotional factor and could possibly open up
some new communicative possibilities, yet, I was
not convinced whether this kinetic approach was the right way to
bring clarity to electronic communication.

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page no. 30

KIN ETIC TE X T

F19. CM University, Generation and

Visual Refe re n ces

Application of Affective, Animated

F20 . Roy Lichtenstein, Sweet Dreams

Text

Baby

page no. 31

F21 . Emoticons

Visual Refe re n ces

page no. 32

KIN ETIC TE X T

F22 . Vladimir Mayakovsky, For The

Voice

Visual Refe re n ces

page no. 33

M OTIO NISTO RY B OAR DS
In the next phase of my research, I wanted to continue exploring kinetic
properties of text, but I wanted to delve deeper into my original idea of
combining linguistics with typography.

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page no. 34

Note:
These are selected steps from the
storyboard.

I began to research people’s internet habits to see how they read and relate to
language in our technologically dominant environment.
I created storyboards to understand at what point legibility is compromised by
moving text. I wanted to try and navigate through text.

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page no. 35

IN FO R MATIO NISTO RY B OAR DS
While reading various writings about people’s internet habits, I discovered
that due to the universality of text on the Internet, and the prominence of textmessaging on cell phones, people are reading more today than they did in the
past, but it is a different kind of reading.
Internet users’s communicative habits suggest some difficulty to comprehend
or write long paragraphs, as well as the development of quick text “scanning”
tendencies (rapidly moving from one source to another and rarely returning to

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page no. 36

any source they had previously visited), “bouncing”, and “flicking” activities.
I developed storyboards for informational graphics, that would potentially help
to navigate through a large volume of text.
I tried several variations to see if a solution could be found, in which only the
desired selective information could be retrieved from a large and complex text.
This approach, abstractly, was intended to prevent a user from having to
view pages that do not have the desired relevant content for that particular
user, which would therefore eliminate “scanning”, “bouncing”, and “flicking”
activities, during which no information is properly comprehended or processed.

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page no. 37

IN FO R MATIO N , TIM E AN D SPACE

F23 .Ludwig Strecker, Richars Wagner als Verlagsgefährte

Visual Refe re n ces

F24 . Pierre Rameau, Le Matre à Danser

page no. 38

SCH EMATICS “ B ” AN D “ C ”
Investigating how technology has
changed people’s behavior, I came
to the conclusion that despite the
fact that everyone is affected by
technology, it is in fact children, ages

10 to 12, who were born after 1993
and growing up in a world where the

using
Written Form of Language

Internet is fully established, who
are the ones most susceptible to its
negative effects.

employing POSITIVE
aspects of technology

addressing NEGATIVE
effects of technology

TECHNOLOGY

Studies show that children’s
developing cognitive skills are being
compromised due to a constant
exposure to technology.
Studies also suggest that children

Little Time Spent On
Evaluating Information

TECHNOLOGY

Viewing Pages Many Of Which Have
No Real Content

negative

Use Of Natural Language Expression
Horizontal Search Activity

GOOGLE GENERATION - NEW
SKILLS EMERGING
Accessibility

Quick “Scanning” Tendencies
No Interest In Text Reach Readings
“Bouncing”, “Flicking”
Machine Dependency

Self Investigation
Multidimensionality

Interactive
Instant

positive

Collaboration
Self Thoughtfulness

Preliminar y E x p l o ra t i o n s
Schematics

are developing new skills from this
exposure, which could be used to
benefit their cognitive development.
This figure shows both positive and
negative attributes of technology
as well as its effect on children’s
cognitive abilities.

affecting
GOOGLE GENERATION

page no. 39

PAR ADIG M

learning process.

Research shows that as a generation

Research also indicates that North

that grew up in a complex and

American students in the traditional

interactive environment, the Google

educational system are experiencing

I came across different learning

Generation (children born after 1993,

a significant decline in their GPA’s

theories that point to the value of

aka GG) is a versatile generation

because the system does not take

gaming principles implemented into

that is in need of a new learning

into account the technologically

teaching methods as a solution for

methodology, which would sustain

dominant environment these students

GG’s versatile intellect, since the

its unique characteristics, like

are subjected to. This environment

traditional learning system is not as

multidimensional visual-spatial skills,

has altered the GG’s cognitive

engaging for them any more.

learning “on-the-go” (learning while

development, which has resulted in

exploring an unfamiliar environment)

students’ inability to be engaged with

and fast response to stimulation.

an outdated learning system.

However, left on their own and

There are studies, which suggest that

semantic exploration within language.

not properly developed, these

students are not the same kind of

It would allow students to engage

characteristics could end up

students our traditional educational

their intuition, empathy, logic and

having a more negative impact on a

system was designed for. Today’s

curiosity and help to sustain their

child’s development, like difficulty

students understand and process

unique characteristics while learning

concentrating, slowing down the

information differently from their

language.

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predecessors, for whom the current
educational system was originally
developed.

Thus, I have decided to create an
interactive environment, which would
serve as a tool for an independent

page no.40

The following explorations were
intended to develop a visually
ambiguous, inviting and interactive
environment.
This particular work was aimed at
evoking curiosity and was meant
to visually stimulate students,
while leading them into a semantic
exploration.

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page no.41

PAR ADIG M

F25 . Textures for Inspiration

Visual Refe re n ces

page no.42

CELL SIU N D ERWATER
By creating a cell structure within
an underwater environment, I have
attempted to evoke students’ intuition
and spatial navigation skills. This
exploration was partially inspired
by Char Davies’ Osmose interactive
installation, in which a participant
uses principles of diving, like using
breathing techniques to ascend or
descend in water. The way Char
Davies merges a “body” with computer
code and virtual reality, was also of
interest to me.
I was trying to determine what
elements students would like to
explore? How would typography fit in
this realm?

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page no.43

F26 . Textures for Inspiration

F27. Textures for Inspiration

F29. Cells Pattern

F28 . Charlotte Davies, Osmose

Visual Refe re n ces

CELL S AN D U N D ERWATER

page no.44

PAR AD IG MITE X T
Other explorations focused on
implementing text into the paradigm
to evoke different feelings.

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page no.45

PAR ADIG MITE X TICO M PLE XIT Y
This particular exploration was
investigating text as the inhibitor of a
realm. Legibility was an aspect of my
inquiry.
For more ideas, I went back to my
preliminary sketches and revisited
some of the early probes that I had
done. I started by revising this
particular sketch:

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Which led to these series:

page no.46

Although I was quite content with
the end result after revisiting my old
material, I strongly felt that something
important was missing from all this
newly produced visual analysis.
What was missing was the method,
or the mechanics, for which one
would actually learn language in this
semantic realm. I had to decide how to
improve the language learning process
by using the language itself, as the
subject of an interactive environment.

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page no.47

L AN G UAG EIM O D U LE SI

Using modules, and the principle of

RU B IK CU B E

a rubik cube, I wanted the user to

The next phase of my thesis research

be able to move within the space by

exploration was to find a method

arranging different elements together

for creating an interactive domain,

in a logical pattern.

by employing typographic elements

The question that arose, was how to

to communicate fundamentals of

integrate this probe with the visuals

language.

that I have already created and wished

I was having difficulty combining the

to employ for my project.

domain with the process of language

One way of integrating these ideas,

exploration. I could not envision the

was blending this method with more

mechanics of how it would work.

colorful environments, like stained

I created some probes, aimed at

glass and mosaic artworks. This led

developing interactive features

me to discover the absence of another

of typographic elements. To help

key element that was missing in both

myself move forward, I compiled

my visual and theoretical researches.

compositions, theoretically navigating
which one can access different
language related activities.

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page no.48

B O DYICO NTENT
At this stage, I decided to divide the
visual components of my domain into
two parts: the “body” – the host of the
language activity, and the “content”
– the language activity itself.
I was not clear on whether both
components should be interactive, or if
only the “content” part should be.
I brainstormed as much ideas as I
could, through “hits” and “misses”,
in order to achieve a more solid and
clear understanding of how to create
the interactive language domain I
envisioned.

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page no.49

M O DU LES , RU BIK CU B E

F30 . Cells Pattern

Visual Refe re n ces

F31 . Rubik Cube

page no.50

L AN G UAG EITRIAN G LE SI
O RGANISM
More visual investigation resulted in
informational triangles containing
text and unfolding as if the user was
moving each triangle sideways.
I also played with this same idea
by creating an organic looking
“organism”. This organic text
exploration posed some potential for
further study.

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page no.51

L AN G UAG EITR EEI
D IGITAL PAR AD IG M
The organic text formations evolved
into something that looked “treelike”, with multiple “branches”.
Theoretically, each “branch”, upon
being touched, would create more
“branches”, ultimately resulting in the
growth of more text.
Still speculating about the idea of
paradigm division, I concluded that
a “tree” could only serve as part of
the “content”, and I had to find the
appropriate “body”.
The experiments with the “body” have
resulted in a digital looking paradigm.
After this result, I now felt that
none of these explorations had been

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page no.52

representing my target audience, who
were children. These explorations
would appeal more to a mature
audience, not middle school students.

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page no.53

M OSAIC , STAIN ED G L ASS

F32 . Textures for Inspiration

Visual Refe re n ces

page no.54

O RGANIC

F33 . Textures for Inspiration

Visual Refe re n ces

F34 . Octopus

F35 . Tree Branches

page no.55

L AN G UAG EIO RGANISM
After completing all of these
explorations, I realized that I needed
to learn more about children’s visual
preferences for interactive interfaces.
This is where I would direct my
research next.

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page no.56

O RGANISM

F36 . Textures for Inspiration

Visual Refe re n ces

page no.57

Side A

Side B

INTER AC TIVE INTER FACE S
I began to work on the Interactive Interface of the domain. At this stage, I
decided to keep the kinetic part of the domain to a minimum, to eliminate
unnecessary visual stimulation and readability issues.
In this exploration, I used colored bars to act as placeholders for future text.
Students would be able to rotate the whole structure, in multiple directions.
Each view will represent a different language learning activity.
Side C

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After researching different cognitive theories, a language acquisition

page no.58

theory, and looking at grades 4 – 6
school curriculum material, I came
up with 3 language activities, one of
which would most likely be employed
in the domain. I concentrated on the

WORDS/LET TERS IN USE

following topics: Exploring Language
CLASSMATES
WORKING SPACE

With A Narrative, Exploring Language
by Learning New Words and Exploring
Language with Grammar.

SHARED IDEAS

I also worked on the navigational
map to help visualize the logistics of
the domain and integrate all of the
elements into one working unit.

LET TERS’ BANK

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Navigational Map

page no.59

This is another visual and
navigational exploration, which
combines the previously designed
“organism” element for moving letters.
I also experimented with the 3D
rotation aspect and legibility of text.

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page no.60

L AN GUAG E AC TIVIT Y AN D
M ECHANICS

F37. Patterns

Visual Refe re n ces

page no.61

CHILD R EN ’S INTER FACE D E SIG N
These explorations arrived after
researching children’s preferences in
interface design and web portals.
Studies indicate that elementary
school children possess strong
preferences towards bright colors,
clear representative icons, simple
instructions, and a non-overwhelming
kinetic approach.

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VISUAL CO N T E N T

page no.62

It also suggests that students within
the range of grades 5 – 6 are particular
in regards to type face, with legibility
being most important.

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VISUAL CO N T E N T

page no.63

CHILD R EN ’S INTER FACE D ESIG N
F38 . Letters

Visual Refe re n ces

page no.64

In conclusion, I believe that my first

engage the Google Generation with an

importantly, a reflection of cultural

year of Master Thesis Research has

alternative English language learning

and historical heritage, therefore

been a success. After a long journey, I

process, and provide a visual example

resulting in proper language use and

feel that I now have a solid ideation of

to support my research findings.

its preservation.

my primary thesis question, which is:

Aimed at providing a new learning

Would a visually stimulating and

environment, which is more suitable

interactive goal-oriented environment

for the generation growing up with

that could produce instant outcomes

technology and who have developed

and feedback, aid a profound

different thinking patterns from those

and motivated language learning

of previous generations, the final

experience for the Google Generation?

designed product would serve as a
model of a new educational approach

envisioned creative outcome

for Language Arts study.

My research will result in a creative
outcome in the form of interactive,

The successful outcome will

typography-based, English language

not only have the potential to

explorations.

improve students’ unique cognitive
abilities, but also constitute their

My conclusions will manifest in the

understanding of language as a

semantic paradigm, which would

method of communication, and most

Conclusion

page no.65
Wassily Kandinsky

F10 Inscriptions from the Temple of Minevra at

Kinetic Text

F1 “Painting with Three Spots”. 1914 year

Prienne, third century bce

F20 CM University, Generation and Application

Oil on canvas, 120x111 cm

F11 Development of alphabetic letterforms

of Affective, Animated Text Samples, http://

Madrid. Collection Thyssen-Bornemisza

www.cs.cmu.edu/~johnny/kt/

F2 “Red spot II”. 1921 year

New Forms Of “Language”

F21 Roy Lichtenstein, Sweet Dreams Baby,

Oil on canvas

F12 Twitter Abbreviations - www. twitter.com

90.4x65 cm, http://www.artnet.com/

131x181 cm

F13 Leet Speak – www. virtu-software.com

artwork/425945309/496/roy-lichtenstein-sweet-

Munich, Stadtische Galerie, Germany

dreams-baby.html
Variations

F22 Vladimir Mayakovsky, For The Voice, 1923

Cognitive Load

F14 Piet Mondrian, Composition with Yellow,

F23 Emoticons – www.knowyourmeme.com

F3 Site – www.zappos.ca

Blue, and Red, 1921, oil on canvas, 72.5 x 69

F4 Site – www.heavenworks.com

cm, Tate Gallery. London. http://www.ibiblio.

Narratives Of Time And Space

org/wm/paint/auth/mondrian/ryb.jpg

Tufte, Edward R. Envisioning Information.

Complexity

F15 Tufte, Edward R. Envisioning Information.

Graphics Press. 1990. Redrawn from Oliver

F5 Textures – www.cgtextures.com/

Graphics Press. 1990. Redrawn from Oliver

Byrne, The First Six Books Of The Elements Of

Byrne, The First Six Books Of The Elements Of

Euclid

Euclid

F24 Ludwig Strecker, Richars Wagner als

Early Writing
Drucker, Johanna, McVarish, Emily.
Graphic Design History: A Critical Guide
Prentice Hall. 2008
F6 Hebrew Script – www.michaellanglois.fr
F7,8 Devanagari and Aramaic Scripts – www.
linotype.com, www. catholicapologetics.org
F9 Dipylon vase, 730 –720 BCE. Greek
inscription

Credits

Verlagsgefährte, 1951, Mainz
Cognitive Load And Geometric Patterns

F25 Pierre Rameau, Le Matre à danser, 1734,

F16 Wolfram, Stephen. A New Kind of Science

Paris, illustration 84

Wolfram Media. 2002.
F17 Ants – http://www.utexas.edu/features/

Paradigm

archive/2004/graphics/ants1.jpg

F26, 27 www.cgtextures.com/

F18 Textures – http://www.cgtextures.com/

page no.66
F28 Grau, Oliver. Charlotte Davies: Osmose. In

Patterns

“Virtual Art, From Illusion to Immersion”

F37. Patterns. Photo by Slava

Cambridge, Massachusetts: MIT Press. 2003
F29 Cells. Photo by Slava

Interface Design And Children
F38. Letters. Photo by Slava

Modules, Rubik Cube
30 OFT Transformable House and plans.
http://www.neublack.com/modern-home/ofttransformable-house/
31 Rubik Cube –http://upload.wikimedia.org/
wikipedia/commons/3/30/Rubik_cube.png
Mosaic, Stained Glass
F32 Textures – www.cgtextures.com/
Organic
F33 Textures –www.cgtextures.com/
F34 Octopus, http://static.howstuffworks.com/
gif/willow/octopus-info1.gif
F35 Dry Branches, http://img1.eyefetch.
com/p/qe/938617-79253025-a324-41f9-bd69aabdd6b0914bl.jpg
Organism
F36 Textures – www.cgtextures.com/

Credits