A Dissertation Submitted tc the Faculty of Science, University of the Witwatersrand, Johannesburg, for the degree of Doctor of Philosophy. Johannesburg 1981 / An area of about 200 'sq km has been mapped at a scale of 1 : 25 000 between Messina and Tshipise. Subsequent laboratory work has included petrographic, whole-rock and mineral analysis in order to describe the Precambrian rock-types and lithologies, their structure, and their metomorphic history. The Precambrian lithologies underlying the study area consist of grey banded basement gneisses of granodioritic composition, together with a large variety of supracrustal rocktypes. These include quartzo-feldspathic gneiss, Singeleletype granitoid gneiss, garnet-cordierite-sillimunite gneiss, sapphirine-bearing rock, garnet-orthopyroxene-plagioclase symplectite, pyroxenitic amphibolite, quartzite, banded magnetite quartzite, amphibolite, calc-silicate gneiss and marble. These supracrustal rocks may belong to a geosynclinal-type series of depv .» Led or extruded lithologies. Intrusive rocks of the Messina Layered Intrusion consist of gabbroic and anorthositic gneiss. Metapyroxenites and serpentinites also occur. Both ancient deformed and you ger fabric-free mafic dykes transect this stratigraphy. Polyphase deformation has produced complex and intense folding of the area. Early isoclinal and ductile folds, now manifest as tight intrafolial folds, have been refolded around later structures. Most fold hinges plunge moderately to the south-west. Considerable flattening, attenuation and alongstrike boudinaging of the units occurs in the region, probably as a result of regional simple shear The assymetry of the folds in the region suggest that this simple shear was left lateral. Peorce-type variation diagrams for data from the Messina Layered Intrusion show plagioclase fractionation trends, and support the argument that these rocks are of plutonic igneous origin. The anorthcsites were the earliest cumulates, with the gabbros forming by subsequent fractionation. Rayleigh's law indicates that about 70 per cent fractionation has occurred in these rocks. The parental liquid appears to have been anomalously enriched in rubidium. The supracrustal units have experienced a high-grade metamorphism between about 3 100 m.y. ago and 2 400 m.y. ago. The P-T conditions for this metamorphism range from about 9 kbar and 900 C at the 'peak' of the metamorphism, to about 4 kbar and 650°C, and thus represents a retrogression within the field of medium pressure granulites. Earlier high-pressure granulite metamorphism is indicated by assemblages reported from other regions in t.ie Central Zone of the Limpopo Mobile Belt. These data suggest that the supracrustal rocks were subjected to burial into regions of the lower crust up to 40 km depth, and geothermal gradients between 15°C/km and 35°C/km were experienced. Water activities were low durin.j this high-grade metoeorphism, with water making up not more than 10 per cent of the fluid present during this event. The onset of relative tectonic stability and the end of high-grade metamorphism was achieved by about 2 200 m.y. 0go.

As the modernising Irish state sought to project a positive image of post-war Ireland, a paradox emerged: how could the symbolism of national distinctiveness (heretofore synonymous with the past) be reconciled with modernity? This thesis outlines the role which graphic design played in attempts to resolve tensions between the national and the modern. The thesis examines how design was mobilised as a symbol and agent of modernisation in Ireland in the run-up to and immediate aftermath of the 1958 ‘Programme for Economic Expansion’, widely considered to be the manifestation of an explicit state-led programme of modernisation. It examines the gradual replacement of the outward symbols of Republican Nationalism with a pervasive symbolism of modern efficiency, suggesting that this was a visual manifestation of the drive towards ‘organisation’ and rational management that gripped the civil service. It examines the paradoxical situation whereby designers in Ireland sought to present themselves and the nation as modern and professional, while the Irish Trade Board (charged with both design and export promotion) looked to professional designers abroad to present Ireland and her exports as traditional. Central to this discussion is the critique by designers (particularly those associated with Ireland’s first professional body, the Institute of Creative Advertising and Design) of so-called ‘Stage Irish’ versions of national image-making. An examination of their work and writings provides evidence for a series of alternative visual strategies for being Irish and modern —often quoting Celtic and early-Christian artefacts in otherwise modernist settings— which I have termed ‘Celtic modernism.’ From the early 1950s onwards, debates over ‘tradition’ and ‘modernisation’ were given visible form in the contentious issue of which letterform to use for the Irish language: ‘roman’ or ‘Gaelic’. This culminated in 1965 in the decommissioning of the Irish alphabet – at which point typography, that most everyday and habitually overlooked of visual material, became briefly visible and highly charged. The final section of the thesis focuses on the relationship between language, typography and identity. It argues that the debates about language reform in the mid twentieth- century led to a reconsideration of the variety of ways of ‘being Irish’ typographically and that the ‘Celtic’ associations of the uncial letter in particular offered potential for the negotiation of tradition and modernity. The thesis concludes that design in Ireland was presented as a means and a metaphor of modernisation. It attempts through an examination of a range of design examples, to follow Roland Barthes’s injunction to ‘track down in the decorative display of what- goes-without-saying’ the ideological constructions hidden in plain sight.

Graphic arts provide the channel for the reproduction of most brand communications. The reproduction tolerances in the graphic arts industry are based on standards that aim to produce visually acceptable outcomes. To communicate with their target audience brands, use a set of visual cues that may include the definition of a single or combinations of them to represent themselves. The outcomes are often defined entirely by their colour specification without an associating it to target parameters or suitable colour thresholds. This paper researches into the feasibility of defining colour tolerances for brand graphical representations. The National Health Service branding was used as a test case borne out of a need to resolve differences between contracted suppliers of brand graphics. Psychophysical evaluation of colour coded navigation used to facilitate wayfinding in hospitals under the varying illuminances across the estate was found to have a maximum acceptable colour difference threshold of 5ΔE00. The simulation of defined illumination levels in hospitals, between 25-3000 lux, resulted in an acceptable colour tolerance estimation for colour coded navigation of 3.6ΔE00. Using ICC media relative correction an experiment was designed to test the extent to which substrate white points could be corrected for colour differences between brand proofs and reproductions. Branded stationery and publications substrate corrections to achieve visual matches had acceptable colour difference thresholds of 9.5ΔE*ab for solid colours but only 2.5ΔE*ab. Substrate white point corrections on displays were found to be approximately 12ΔE*ab for solids and 5ΔE*ab for tints. Where display media were concerned the use of non-medical grade to view medical images and branded content was determined to be inefficient, unless suitable greyscale functions were employed. A STRESS test was carried out, for TC 1-93 Greyscale Calculation for Self-Luminous Devices, to compare DICOM GSDF with Whittle’s log brightness. Whittle’s function was found to outperform DICOM GSDF. The colour difference formulas used in this research were tested, using near neutral samples 2 judged by observers using estimated magnitude differences. The CIEDE2000 formula was found to outperform CIELAB despite unexpected outcomes when tested using displays. CIELAB was outperformed in ΔL* by CIEDE2000 for displays. Overall it was found that identity branding colour reproduction was mostly suited to graphic arts tolerances however, to address specific communications, approved tolerances reflecting viewing environments would be the most efficient approach. The findings in this research highlights the need for brand visualisation to consider the adoption of a strategy that includes graphic arts approaches. This is the first time that the subject of defining how brands achieve tolerances for their targeted visual communications has been researched.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1979. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references (leaf 34). / by Donald Karl Thornton. / M.S.V.S.

Digitized by Kansas Correctional Industries / Department: Journalism and Mass Communications.

Machines of Curation is an attempt to confront the ever-growing landscape of technology I observe and live inside of daily. This work is specifically concerned with my interest in how we interact with and alter our surrounding environments through technology. The constant tether we have to our devices is becoming more reminiscent of a parasite and host, rather than of a device and user. It informs how we are to look at things, speak with those we love, pay for things, and receive news; just to name a few. I seek to co-opt these methods to urge the viewer to ask their own questions and make their own decisions on how they feel technology is shaping them in ways they may be unaware of. Graphic design holds a unique vernacular to our digital universe as one of the primary mediums that helps organize and create it. The overall goal of this work is that a consistent irony can be established through the work that helps the viewer experiencing it question their views of technology.

A graph may he drawn in many different ways. We investigate how to draw a graph nicely, in the sense of being visually pleasing. We discuss the history of this field, and look at several algorithms for drawing graphs. For planar graphs this problem has been algorithmically solved: that is, there is an algorithm which takes a n vertex planar graph and places the vertices at some of the nodes of an n-2 by 2n-4 array so that each edge of the planar graph can be drawn with a straight line. We describe in detail one particular implementation of this algorithm, give some examples in which this embedding is pleasing, and give a number of examples in which this grid embedding is not as visually pleasing another drawing of the same graph. For the more difficult problem of drawing a nonplanar graph, we investigate a spring based algorithm. We give a number of examples in which this heuristic produces more pleasing drawings than those produced by the planar embedding and a few cases where it fails to do so. / Graduation date: 1997

Thesis (M.S.) in Teaching--University of Maine, 2009. / Includes vita. Includes bibliographical references (leaves 76-80).

Thesis (M.F.A.)--West Virginia University, 2004. / Title from document title page. Document formatted into pages; contains v, 35 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 35).

Thesis (Ph. D.)--Indiana University of Pennsylvania. / Includes bibliographical references.