Graphics Reference
In-Depth Information
19. Logothetis NK. Vision: A window on consciousness. Scientific Amer-
ican 1999(November 1999):45-51.
20. Tufte E. Beautiful Evidence. Cheshire, CT: Graphics Press; 2006.
21. Firth R. Symbols: Public and private. London: Allen & Unwin; 1973.
22. Janson HW. The history of art (Revised and expanded by A.F. Janson).
New York: Thames & Hudson; 1995.
23. Hoffman DD. Visual intelligence: How we create what we see. New
York: WW Norton & Company; 1998.
24. Tanner WP, Swets JA. A decision-making theory of visual detection.
Psychological Review. 1954;61(6):401-9.
25. O'Regan JK. Solving the 'real' mysteries of visual perception: The world
as an outside memory. Canadian Journal of Psychology. 1992;46(3):461-88.
26. McPeek RM, Maljkovic V, Nakayama K. Saccades require focal at-
tention and are facilitated by a short-term memory system. Vision Research.
1999;39(8):1555-66.
27.
Shang H, Bishop ID. Visual thresholds for detection, recognition and
visual
impact
in
landscape
settings.
Journal
of
Environmental
Psychology.
2000;20(4):125-40.
28. Faimon P, Weigand J. The nature of design. Cincinatti, OH: HOW
Design Books; 2004.
29.
WBA.
Museum
der
Dinge
-
Deutscher
Werkbund
Archive
<
ht-
tp://www.museumderdinge.de/>
.
Accessed 21 September 2011, 2011.
30. Frampton K. The Bauhaus: Evolution of an idea 1919-1932. In: Framp-
ton K (ed). Modern architecture: A critical history (3rd ed). New York: Thames &
Hudson, 1992.
31. UDS. The Ulm School of Design - History <
http://www.hfg-
archiv.ulm.de/english/the_hfg_ulm/history.html>
.
Accessed 4 May 2010. HfG-
Archive Ulm, 2010.
32. O'Connor Z. The Shillito Design School: Australia's link with the
Bauhaus. The International Journal of Design in Society. 2013;6(3):149-59.
33. BDF. Bauhaus History <
http://www.bauhaus-dessau.de/in-
dex.php?history>
.
Accessed 4 May 2010. Bauhaus Dessau Foundation (BDF),
2010.
34. Lawler R. Sacred geometry: Philosophy and practice. London: Thames
& Hudson; 1998.
35. Tschichold J. The form of the topic: Essays on the morality of good
design. Point Roberts, WA: Hartley & Marks; 1991.
36. Stebbing PD. Creating a real meeting of cultures and media in the
art and design curriculum through the identification of universals of aesthetic be-
