Gotowe bibliografie tematyczne / Visual design

Gotowa bibliografia na temat „Visual design”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 10 marca 2023

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Artykuły w czasopismach na temat "Visual design"

Maitreya, V. K. "Energy Consideration in Visual Environmental Design". JOURNAL OF THE ILLUMINATING ENGINEERING INSTITUTE OF JAPAN 78, Appendix (1994): 119–20. http://dx.doi.org/10.2150/jieij1980.78.appendix_119.

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Gündoğdu, Hülya. "The affects of the new media design on the visual communication design". New Trends and Issues Proceedings on Humanities and Social Sciences 2, nr 1 (19.02.2016): 373–81. http://dx.doi.org/10.18844/gjhss.v2i1.321.

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秦, 铭乾. "Preliminary Study on the Design of Visual AIDS for Garbage Classification". Design 05, nr 03 (2020): 32–38. http://dx.doi.org/10.12677/design.2020.53006.

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Wadlow, Maria G. "Visual Interaction Design". ACM SIGCHI Bulletin 28, nr 4 (październik 1996): 10. http://dx.doi.org/10.1145/242417.568018.

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Simlinger, Peter. "Visual communication design". Information Design Journal 25, nr 3 (31.12.2019): 314–24. http://dx.doi.org/10.1075/idj.25.3.09sim.

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Abstract Having graduated in architecture at the University of Technology Wien [Vienna], I subsequently engaged in post-graduate studies at The Bartlett School of Architecture and Planning / University College London. Corporate design and signage design attracted my attention. Back home a major bank and Vienna airport (VIE), among others, were the first clients of my company. As chairman of Committee 133 “Public information symbols” of “Austrian Standards”, I was responsible for the elaboration of several theme specific national and international standards. In 1993 I founded the IIID International Institute for Information Design. Several r&d projects within the frame of the 6th and 7th European Union Framework Programmes for Research and Technological Development were carried out. However, due to the required but denied support from the Austrian Ministry of Science and Research, the founding of an interdisciplinary institute, affiliated to the United Nations University (UNU), did not materialize. No chance either to establish “Visual Communication Design” at a local university. Until now the Department of Typography and Graphic Communication of The University of Reading (UK) seems to be the only theme specific institution on tertiary university level in Europe. Challenges nowadays range from legible medical package inserts to a much required unified system for the European Union highway signs.

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Wadlow, Maria G. "Visual interaction design". ACM SIGCHI Bulletin 28, nr 1 (styczeń 1996): 32–33. http://dx.doi.org/10.1145/249170.249178.

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Ford, Shannon. "Visual interaction design". ACM SIGCHI Bulletin 30, nr 4 (październik 1998): 22–23. http://dx.doi.org/10.1145/310307.310336.

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Marchak, Frank M. "Visual interaction design". ACM SIGCHI Bulletin - a supplement to interactions 2000 (lipiec 2000): 9. http://dx.doi.org/10.1145/362378.362393.

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胡, 坚. "A Research of Approach on the Visual Design of Integrity Education in Universities". Design 03, nr 02 (2018): 53–57. http://dx.doi.org/10.12677/design.2018.32009.

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Pascoe, Robin, Judith Dinham, Neil C. M. Brown, Kath Grushka, Judith MacCallum i Peter Wright. "Visual Education - Repositioning Visual Arts and Design". International Journal of Learning: Annual Review 12, nr 6 (2007): 77–86. http://dx.doi.org/10.18848/1447-9494/cgp/v14i06/45375.

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Rozprawy doktorskie na temat "Visual design"

Pålsson, Nicholas. "Guiding the viewer using visual components : Eye-tracking for visual analysis". Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74563.

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Are there ways to assess the objective value of the image? By first breaking down visual components and visual structure that are commonly used in image construction, this report will try to predict how a audience chooses to view an image. Through eye-tracking technology using a webcam to track the subjects' eye movement, these visual components validation will be tested. The result is presented as heatmaps; which illustrate the point of attention of the audience. The result is then compared with a hypothesis that was compiled in preparation for the examination. The result of the survey shows that potential off using eye-tracking for analysis, though the technology of using a web camera might not be the most suitable.

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de, Cabo Portugal Sebastian. "Non Visuals : Material exploration of non-visual interaction design". Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-182466.

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Design is all about visuals, or that is what I have found out during this thesis, from the process materials to the outcome our main entry point to any problem is how will we solve it visually so it’s understandable for the general user. This aspect is problematic in itself due to the fact that we, as humans, understand the world and the things around using all our senses continuously, even though we can forget as visuals are so overpowering. There is a huge opportunity area in exploring our other senses and bringing them back to technology, and this can be seen in works in the past like Tangible Interactions [1] or Natural User Interfaces [2]. But in this moment in time, where all these new technologies like VR/AR and IoT are about to enter our lives and change them forever, this topic is more important than ever. We have already seen what happens when we turn humans into mere machines with some fingers as interactive inputs, and barely any senses to process all the information given to us. Now that these technologies are still young and malleable, we can direct the future to where we want it instead of being guided by the technology itself. To do this we need to reimagine the design process, not reinvent the wheel, but add experts which we currently leave behind and I argue are key to unlock these technologies, experts not only of the technological side of things but on the human side too, like physiotherapists and dancers. Add also people who we never think about when we think of VR like visually impaired users, which could make these technologies inclusive since early on, instead of as an afterthought like we usually do. Not only people, but we also need to add new materials to understand how we use our senses and explore ways that we can understand and explore them differently; like bodystorming and improv theatre because when things aren’t visual, how do you sketch it? A sketch turns into a video about movement. The end result provides a wide breadth of examples of the types of innovations that can come out of using these new design materials, and to open new frontiers. From a VR game with no visuals whatsoever to an AR location based story game, to a home sized multimodal operating system containing several different apps controlled through physical movement. The examples open up the space instead of closing into a single solution. This is just the tip of the iceberg, a hope that others will be inspired by it and continue with this journey that has just started, to guide the future into one that is more technological and at the same time more human than ever before. What we know is that VR does not equate Visual Reality.

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Zanzi, Alice <1995&gt. "Applicazione di Visual Design". Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15882.

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La mia tesi si focalizza sull'applicazione di Visual Design nei confronti dell'arte. Viene effettuata una ricerca per un linguaggio unico da poter utilizzare per la spiegazione delle opere d'arte e viene messa in pratica a favore di una piattaforma per artisti emergenti. L'elaborato sarà suddiviso in diversi processi: il primo riguardante uno studio teorico del Visual Design, il secondo riguarda la pratica in ambiti differenti e in fine verrà applicato, questo linguaggio, per la spiegazione di artisti emergenti e delle opere di questi ultimi.

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Mejia, Ramirez German Mauricio. "Visual Communication Design for Human Differences and Needs: Visual Intelligence and Mood". University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277124546.

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Isoda, Gil Tokio de Tani e. "Sobre desenho: estudo teórico-visual". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-12082013-100125/.

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Esta dissertação tem como objeto de estudo o desenho, entendendo-o como um fenômeno complexo que se situa na zona de tensão entre arte e técnica, fazer e pensar. É possível considerá-lo como meio, processo e fim. Os objetivos são mapear o significado da palavra desenho, analisar o fenômeno e também os procedimentos envolvidos na ação de desenhar. O trabalho foi dividido em três capítulos, sendo o primeiro voltado para as definições do termo estudado, a etimologia e estudos do desenho como processo; o segundo capítulo aborda algumas especificidades do desenho e desafios de elaborar uma pesquisa sobre desenho; e o terceiro capítulo reúne diversas entrevistas feitas com artistas e/ou teóricos especialistas no assunto. Consideramos esse estudo como teórico-visual, pois foram utilizados recursos gráficos como ferramenta de pesquisa, em conjunto com o material escrito. Exemplos: infografia, ilustração, diagramas, narrativas gráficas, entre outros. A abordagem da pesquisa é no âmbito da estética descrito por Pareyson, de modo que seja apenas especulativa e não normativa. Ou seja, buscando definir conceitos e não normas.
The subject of this thesis is the drawing (desenho) as a complex phenomenon situated in the tension area between art and technique, doing and thinking. It can be considered as means, process and goal. The objectives are to map the meaning of the word \"drawing\", analyze the phenomenon and also the procedures involved in the action of drawing. The work has been divided into three chapters: The first focuses on the definitions of the studied term, the etymology and the study of drawing as a process; the second chapter discusses some of the drawing specificities and the challenges of developing a research about it; and the last one gathers several interviews with artists and/or theoreticians that are experts in the field. We consider this study as both theoretical and visual, since as graphical features (computer graphics, illustration, diagrams, graphic narratives, among others) have been used as a research tool, combined with bibliography. The research approach situates itself in the context of aesthetics defined by Pareyson, so that it is only speculative and not normative. In other words, we defined concepts and not rules.

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Medwetz, Abigail. "The Effects of Color on Visual Perception and Visual Clutter". Kent State University Honors College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1556373271322324.

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Ibrahim, Nurulhuda. "Persuasive visual design model for website design". Thesis, Ibrahim, Nurulhuda (2018) Persuasive visual design model for website design. PhD thesis, Murdoch University, 2018. https://researchrepository.murdoch.edu.au/id/eprint/42354/.

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This research investigates the possibility of influencing users' motivation with visual persuasion. Visual persuasion is identified as the design triggers that affect users’ first impression, which is seen as the conceptualisation of motivation. While past research studied the effect of web design towards users’ motivation, not many are looking into the persuasive value of the visual design itself. It is foreseen that visual persuasion helps to produce a more persuasive website and consequently, has an impact on web users' first impression of the website. Once motivation is positively influenced, the likelihood for them to stay on a website long enough to influence certain behaviour will be higher. Hence, this research is designed to empirically measure the effects of persuasive visual design on people’s attitude and behavioural intention. The investigation is accomplished by looking at the causal relationship between the variables in the proposed persuasive visual design model. For this purpose, a persuasive model for the destination website is extended. In the persuasive visual design model for website design, the constructs are divided into two factors: 1) the hygiene factor that consists of perceived informativeness and usability as the underlying determinants and 2) the motivation factor that is predicted by perceived credibility, visual aesthetic, engagement and social influence. Meanwhile, users’ satisfaction and behavioural intention are identified as the observed variables. In the early stage of the research, the measurement constructs were identified and pilot-tested. Two web prototypes (non-persuasive website and persuasive website) were developed for an experiment conducted in an actual online environment. Participants of the age 18 or older were recruited with the expediency of Facebook. Each of them was randomly assigned to evaluate a website and answer the relevant questionnaire. Participants were encouraged to invite their Facebook friends to also participate in the research. This makes the sample group non-representative as it relies heavily on volunteers. Once the measurement model of the research is verified and validated, the conceptual model was analysed using Partial Least Squares - Structural Equation Modelling (PLS-SEM); amendments to the model were made as necessary. In general, the results show favourable outcomes as it confirms the significance of visual persuasion in affecting the first impressions on web design. The findings offer new insights into the role of visual persuasion in web design with respect to the relationships between predictors (dimensions of hygiene and motivation factors) and observed variables (users’ satisfaction and behavioural intention). From the theoretical perspective, the research contributes to the understanding of the persuasion process in an online environment. Furthermore, the identification of persuasive visual triggers could help web designers create more effective websites.

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McAulay, Ian Charles. "Visual descriptors : a design tool for visual impact analysis". Thesis, University of Plymouth, 1988. http://hdl.handle.net/10026.1/2401.

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This study is concerned with the development of a practical and effective form of computer-aided analysis of the visual impact of building development in rural areas. Its contribution is fourfold. Firstly, a conceptual model has been developed for the process of seeing in the context of visual impact analysis. Secondly, a mathematical model for a consistent series of visual descriptors has been devised. Thirdly, a suitable design tool has been devised to make use of visual descriptors in visual impact analysis. Fourthly, visual descriptors have actually been implemented as computer software. The concept of visual impact analysis is defined and placed within the wider context of landscape research. The problems faced by a designer in the context of visual impact analysis are identified and the concept of a 'design tool' is introduced and defined. A number of existing computer software packages, intended or used for visual impact analysis, are reviewed critically. The concept of 'visual descriptors' as measures to be used by designers is introduced and examined critically. A conceptual model is presented for the process of seeing in the context of visual impact analysis. A range of possible measures for use as visual descriptors is presented and developed further into a series of precise definitions. A method of implementing visual descriptors is presented together with formal algorithms for the derivation of eight visual descriptors. A software package incorporating these descriptors is presented and verification and case studies of its use carried out. Visual descriptors, as implemented, are assessed for their effectiveness as a design tool for visual impact analysis.

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Pimentel, Ronald Ward 1955. "Consumer preference for logo designs: Visual design and meaning". Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/282334.

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Logo designs provide a quick visual shorthand for all the meaning, associations, and equity associated with a brand. Virtually all major companies utilize logos, but there is little theory-based research regarding logo design published in marketing and consumer behavior journals. Related research from psychology regarding preference for visual images has generally used special stimuli created for the laboratory that do not carry the meaning that logos acquire in the markerplace and consequently have very limited generalizability. This study seeks to begin to fill the void by examining preference for actual, familiar logo designs. An improved understanding of preference for logo designs can be a great advantage to a company considering a logo design change. The costs involved in such a change can be enormous. Beyond the cost of the services of graphic designers, a change in logo design incurs the cost of changing everything that displays the logo, and any lost sales that may result if the new design is ineffective in some way. The equity of the brand may be connected to the logo design, so a change in the design of the logo may have long-term implications. Many logos have evolved over the years through successive changes to keep the designs from becoming outdated. This study examined theoretical bases for such activity. According to adaptation-level theory (McClelland et al. 1953), individuals become adapted to an object or image due to experience with it. Slight changes to this adaptation level result in increased preference while drastic changes result in decreased preference. These effects are represented by the distinctive butterfly curve. The current study developed a technique that allows for differentiation of visual designs, indicating the degree of change. This was used to test whether adaptation-level theory applies to familiar logo designs. The results indicate a general preference for no changes in familiar logo designs. While practitioners make changes in logo designs that are consistent with adaptation-level theory, it appears that consumers react instead, in accordance with social judgment theory--they tolerate rather than prefer the changes.

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Agostinho, Maria Raquel de Sousa Santos. "Design de comunicação e literacia visual". Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2017. http://hdl.handle.net/10400.5/15110.

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Książki na temat "Visual design"

Wollner, Alexandre. Visual design, 50 years =: Design visual, 50 anos. São Paulo: Cosac & Naify, 2003.

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Wollner, Alexandre. Visual design, 50 years =: Design visual, 50 anos. São Paulo: Cosac & Naify, 2003.

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Malamed, Connie. Visual Design Solutions. Hoboken, NJ, USA: John Wiley & Sons, Inc, 2015. http://dx.doi.org/10.1002/9781119153801.

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W, Porter Albert, i Selleck Jack, red. Exploring visual design. Wyd. 2. Worcester, Mass: Davis Publications, 1987.

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Mitton, Maureen. Interior Design Visual Presentation. New York: John Wiley & Sons, Ltd., 2007.

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Brad, Merrill, red. Visual Basic design patterns. Indianapolis, IN: Wiley Pub., 2005.

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GmbH, Stauffenegger +. Stutz, red. Visuelle Gestaltung =: Visual design. Sulgen: Niggli, 2010.

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service), ScienceDirect (Online, red. Visual thinking for design. Burlington, Mass: Morgan Kaufmann, 2008.

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Visual design in dress. Wyd. 3. Upper Saddle River, N.J: Prentice Hall, 1996.

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Grand, Mark. Visual Basic Design Patterns. New York: John Wiley & Sons, Ltd., 2005.

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Części książek na temat "Visual design"

Moser, Christian. "Visual Design". W User Experience Design, 181–218. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-13363-3_9.

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Coleman, Carla Viviana. "Design Development". W Visual Experiences, 265–72. Boca Raton : Taylor & Francis, CRC Press, 2017.: Chapman and Hall/CRC, 2017. http://dx.doi.org/10.1201/9781315154305-20.

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Huck, Friedrich O., Carl L. Fales i Zia-ur Rahman. "Electro-Optical Design". W Visual Communication, 139–73. Boston, MA: Springer US, 1997. http://dx.doi.org/10.1007/978-1-4757-2568-1_7.

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Lester, Paul Martin. "Graphic Design Ethics". W Visual Ethics, 104–14. Wyd. 2. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003243045-10.

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Spence, Robert, i Mark Witkowski. "Design". W Rapid Serial Visual Presentation, 83–102. London: Springer London, 2013. http://dx.doi.org/10.1007/978-1-4471-5085-5_6.

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Coleman, Carla Viviana. "Evolution of Digital Design". W Visual Experiences, 3–26. Boca Raton : Taylor & Francis, CRC Press, 2017.: Chapman and Hall/CRC, 2017. http://dx.doi.org/10.1201/9781315154305-2.

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Hirsch, Robert, i Edward Bateman. "Design: Visual Foundations". W Light and Lens, 33–61. Wyd. 4. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003174592-2.

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Grushka, Kathryn, i Nicole Curtis. "Visual Art, Visual Design and Numeracy". W Numeracy in Authentic Contexts, 423–53. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-5736-6_18.

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Navas, Eduardo. "Visual Aurality". W Art, Media Design, and Postproduction, 89–97. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315453255-11.

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Carman, Christopher. "Visual Hierarchy". W Visual Design Concepts for Mobile Games, 43–52. Boca Raton : Taylor & Francis, a CRC title, part of the Taylor & Francis imprint, a member of the Taylor & Francis Group, the academic division of T&F Informa, plc, [2018]: A K Peters/CRC Press, 2018. http://dx.doi.org/10.1201/9781315751382-5.

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Streszczenia konferencji na temat "Visual design"

Yu'an Shu i Xingfu Xiong. "Visual sense and the visual features of design". W 2010 IEEE 11th International Conference on Computer-Aided Industrial Design & Conceptual Design 1. IEEE, 2010. http://dx.doi.org/10.1109/caidcd.2010.5681911.

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Westmoreland, Sophoria, Ashley Grenier i Linda C. Schmidt. "Analysis of Capstone Design Reports: Visual Representations". W ASME 2008 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/detc2008-49378.

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Engineers require effective written communication skills, including the appropriate presentation of mechanical design information in visual format. A study of 48 Capstone Design Reports submitted over a period 5 semesters gives insight into the choices students make when selecting visual representations for describing designs. Student choices reflect assignment requirements, student preference, student skill level, and perceived appropriateness of representation type. This study presents observations on the use of visuals in a set of Capstone Design Reports with particular emphasis on sketches.

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Staples, Loretta. "Visual interaction design". W CHI '97 extended abstracts. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/1120212.1120303.

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Hascoet, Mountaz. "Visual Color Design". W 2012 16th International Conference on Information Visualisation (IV). IEEE, 2012. http://dx.doi.org/10.1109/iv.2012.21.

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Ahsbahs, F., i J. L. Mercier. "Modern Design of Unifocal Lenses". W Ophthalmic and Visual Optics. Washington, D.C.: Optica Publishing Group, 1991. http://dx.doi.org/10.1364/ovo.1991.fa2.

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An unifocal ophthalmic lens is an optical system, in which image formation follows the same rules just as in classical optical design applied to zooms or telescopes. The geometrical model is sufficient, in most cases, for predicting the images, so the designer has to cope with classical chromatic and geometric aberrations. We will describe the philosophy of the modern software tools for automatic optical design by optimization, which are the unique way to design complex aspheric modern lenses.

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CSILLAG, Paula. "Relationships between Neuroscience and visual perception model Sens-Org- Int contributing to Design practices". W Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-073.

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Guilino, Günther H. "Design Philosophy For Progressive Addition Lenses". W Ophthalmic and Visual Optics. Washington, D.C.: Optica Publishing Group, 1991. http://dx.doi.org/10.1364/ovo.1991.fb1.

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Although the basic ideas for the realization of progressive addition lenses (PALs) go back a lot further, the first patents which contain the essential characteristics of those PALs which have been successful on the market date back to the years 1953 (FR 658760 by Maitenaz) and 1954 (US 287 8721 by Kanolt).

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Atchison, David A. "A Review of Spectacle Lens Design". W Ophthalmic and Visual Optics. Washington, D.C.: Optica Publishing Group, 1991. http://dx.doi.org/10.1364/ovo.1991.fa1.

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For the purpose of this review, spectacle lens design refers to the design of lenses in order to minimise side-effects of wearing corrective spectacle lenses. These side effects include: aberrations which reduce image quality; factors affecting spatial perception such as spectacle magnification, distortion and visual field size; weight; poor cosmesis.

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Börekci, Naz A. G. Z. "Visual Thinking Styles and Idea Generation Strategies Employed in Visual Brainstorming Sessions". W Design Research Society Conference 2016. Design Research Society, 2016. http://dx.doi.org/10.21606/drs.2016.147.

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"Research of Visual Performance in Visual Communication Design". W 2018 4th International Conference on Social Sciences, Modern Management and Economics. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/ssmme.2018.62236.

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Raporty organizacyjne na temat "Visual design"

Anschuetz, Robert. ADST ARWA Visual System Module Interface Design Document. Fort Belvoir, VA: Defense Technical Information Center, luty 1994. http://dx.doi.org/10.21236/ada283297.

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Manyashin, A. V. Visual design of simulation model components in Stamm 4.1. OFERNIO, lipiec 2020. http://dx.doi.org/10.12731/ofernio.2020.24556.

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Yang, Eunyoung, i Martha Burpitt. Artistry in Design-Visual Connection: an Interdisciplinary Student Exhibition. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-775.

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Miller, Phyllis Bell. Revealing the Value of Visual Design: Utilizing Design Concepts to Create Mardi Gras Masks. Ames: Iowa State University, Digital Repository, listopad 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1387.

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Hasty, Ashley, i Jessica Ridgway. Navigating Design Rules vs. Creativity in Two Visual Merchandising Courses. Ames: Iowa State University, Digital Repository, listopad 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1539.

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Bell Miller, Phyllis. Helping Students Take Visual Design to New Heights: Utilizing Design Concepts to Create Fantasy Fascinators. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-769.

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Paxton, William. Expanding the Visual Potential of Subject Matter Through Two-Dimensional Design. Portland State University Library, styczeń 2000. http://dx.doi.org/10.15760/etd.1500.

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Brown, Victoria, i Cathy Nowicki. Adopt-A-Store: An Innovative & Immersive Experiential Pedagogy for Visual Merchandising Design. Ames (Iowa): Iowa State University. Library, styczeń 2019. http://dx.doi.org/10.31274/itaa.8368.

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Spencer, Ronald A. Analysis of Performance Resulting from the Design of Selected Hand-Held Input Control Devices and Visual Displays. Fort Belvoir, VA: Defense Technical Information Center, luty 2002. http://dx.doi.org/10.21236/ada399819.

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Hall, Martha L., Belinda T. Orzada i Dilia Lopez-Gydosh. Visual Characterizations of “Gowns by Adrian”: Documentation of the Costume Design Aesthetic of Gilbert Adrian, 1928-1941. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-613.

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