986 resultados para Rhode Island School of Design. Library.
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Mode of access: Internet.
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Issued in four portfolios enclosed in a case.
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Includes tables.
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Digital image
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Descriptions of graphic language are relatively rare compared to descriptions of spoken language. This paper presents an analytical approach to studying the visual attributes and conventions in children’s reading and information books. The approach comprises development of a checklist to record ‘features’ of visual organization, such as those relevant to typography and layout, illustration and the material qualities of the books, and consideration of the contextual factors that influence the ways that features have been organized or treated. The contextual factors particularly relevant to children’s reading include educational policy, legibility and vision research and typeface development and availability. The approach to analysis and description is illustrated with examples of children’s reading and information books from the Typographic Design for Children database, which also demonstrates an application of the checklist approach.
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So what do you want to know? I was in Paris between ‘75 and ‘78. But about half way through, Sylvère published the Anti-Oedipus issue of Semiotext(e) and, actually, that was for me one of the deciding events that made me decide to come to the United States, to come study at Columbia University. There appeared to be this little group working at Columbia working around these issues. In 1970, in Paris even, Deleuze was a cult – there was an incredibly small number of people following Deleuze... A transcript of my Interview with Kwinter about the Architectural Reception of Deleuze in America, which took place at Jerry’s,' Soho, New York, 15 January 2003. The transcript appeared as an Appendix at the back of my Masters Thesis undertaken at Yale School of Architecture, printed May 2003.
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This paper examines the Rhode Island Test of Language Structures (RITLS) and its measurement of the comprehension of syntax, and the relationship of this comprehension to the use of syntax in the production of spoken English by orally educated hearing-impaired students.
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Readers need to easily discriminate between different letters, so typefaces are designed to make these differences distinctive. But there is also a uniformity of style within a typeface. These styles are recognised by typographic designers and may be categorised to enable more efficient discrimination among typefaces. The manner in which designers perceive typefaces is explored using the paradigm of Categorical Perception (CP). A continuum of fonts is created by interpolating between two typefaces and two tasks (identification and discrimination) are used to test for CP. As the application of CP to typefaces is a new approach, various methodological issues are pursued. The experiments reveal that the conditions required to demonstrate CP are quite specific and CP was only evident in Times and Helvetica and not Garamond and Bodoni. Possible reasons for this difference are the characteristics of the two typefaces and their context of use. Speculation as to the purpose of CP in non-designers raises the under-researched question of how we identify letters in different typefaces when reading.
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Faculty from Rhode Island School of Design representing Interior Architecture, Industrial Design, and Textiles detail their thoughtful interactions with materials.
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Mode of access: Internet.
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Mode of access: Internet.
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A diary study tracked the paper documents received by nine UK informants over one month. Informants gave simple ratings of individual documents’ attractiveness and the ease of understanding them; more detailed reactions to the documents were gathered through informant diaries and follow-up interviews. The detailed reactions extended beyond the feedback gathered through the rating task. Informants showed sensitivity to the content, language, design and circumstances of receipt of documents, with indications that they developed opinions of originating organizations based on their experience of using their documents. Documents that failed to provide all the information needed, that failed to make their intentions clear (or obscured their intentions) or that were perceived as miss-targeted received negative comment. Repeat experiences of receiving either well- or poorly-conceived documents strengthened informant reactions to individual originating organizations. The paper concludes with recommendations for steps document originators, writers and designers need to take to prepare documents that enhance organization to consumer communication. We recommend that organizations evaluate and act on consumers’ reactions to their documents, beyond user testing in document development or scorecard ratings in use.
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We describe development of a questionnaire to elicit pain symptoms and experience, for use by people with dementia or their carers, at hospital admission. The questionnaire provided contextual information to support professionals’ use of the Abbey Pain Scale, a validated tool used by nursing staff internationally. Appropriate information and physical design were required in order, not only to create an approachable questionnaire for patients and carers, but also to ensure fit with hospital processes. Fit with hospital process had significant influence on the final form of the questionnaire, compromising some aspects of design for patients and carers, but this compromise was considered essential to ensure pain management procedures were supplemented by wider, contextual information.