Visual Design and the Marketing Manager

See Read H. , Art and Industry (New York: Harcourt, Brace and Co., 1935), p. 119.

Weltfish G. , The Origins of Art (Indianapolis: Bobbs-Merrill Company, 1953), pp. 10–21. Weltfish uses symmetry as a synonym for pure form.

Ibid., pp. 19–21.

Mumford L. , Art and Techniques (New York: Columbia University Press, 1952), p. 17.

Hamlin T. , Architecture: An Art for All Men (New York: Columbia University Press, 1947), p. 169.

Auerbach A. , “Modern … From Where to Where,” Interiors, CXII:12 (July 1953), 42h.

Evans E. S. Jr. , “The Manufacturers' Position,” Good Design is Your Business (Buffalo, New York: Albright Art Gallery, 1947), p. 28.

Ogburn W. F. , Social Change with Respect to Culture and Original Nature (new ed.; New York: Viking Press, 1950), p. 159.

See Kubier G. , The Shape of Time (New Haven: Yale University Press, 1962), p. 79.

Veblen T. , The Theory of the Leisure Class (reprint; New York: Random House, 1934), p. 103. Words in parentheses inserted by author.

Wolfflin H. , Principles of Art History (reprint of 7th ed.; New York: Dover Publications, Inc., 1929), p. 230.

Riesman David with Denney Reuel Glazer Nathan , The Lonely Crowd: A Study of the Changing American Character (New Haven: Yale University Press, 1950), pp. 46, 47.

Rogers Everett M. , Diffusion of Innovation (New York: Free Press of Glencoe, 1962), pp. 168–192.

Nelson G. , “Problems of Design: Ends and Means,” Interiors, May 1948, p. 85.