Designing Publications Guidance and Recommendations

Total Page:16

File Type:pdf, Size:1020Kb

Designing Publications Guidance and Recommendations Designing publications Guidance and recommendations Designing publications Guidance and recommendations ii © World Health Organization 2014. All rights reserved. This information product is intended for a restricted audience only. It may not be The mention of specific companies or of certain manufacturers’ products does not reviewed, abstracted, quoted, reproduced, transmitted, distributed, translated or imply that they are endorsed or recommended by the World Health Organization adapted, in part or in whole, in any form of by any means. in preference to others of a similar nature that are not mentioned. Errors and The designations employed and the presentation of the material in this omissions excepted, the names of proprietary products are distinguished by publication do not imply the expression of any opinion whatsoever on the part initial capital letters. of the World Health Organization concerning the legal status of any country, The World Health Organization does not warrant that the information contained territory, city or area or of its authorities, or concerning the delimitation of its in this information product is complete and correct and shall not be liable for any frontiers or boundaries. Dotted lines on maps represent approximate borderlines damages incurred as a result of its use. for which there may not yet be full agreement. iii Contents Elements of design 1 1. Formats 6 4. Colours 22 1.1 Standard paper format 6 4.1 Colour combinations 23 Elements of clarity 2 1.2 Nature of the information 7 TIPS on colours 25 1.3 Target audience 7 Introduction 4 TIPS on formats 9 5. Illustrations 26 5.1 Figures 26 2. Covers 10 5.2 Tables 27 2.1 Front cover 10 5.3 Boxes 27 2.2 Back cover 11 5.4 Maps 28 2.3 Logo 11 5.5 Photographs 29 TIPS on covers 13 TIPS on visuals 32 3. Inside pages 14 6. Bibliography 34 3.1 Margins, white spaces 14 3.2 Grid structure 14 3.3 Text: font, alignement 16 3.4 Text: headlines 17 TIPS on inside pages 20 1 Elements of design © Wordle by Jonathan Feinberg 2 Elements of clarity The challenge in designing any publication is to present The key to proper design is a consistent approach to the large amounts of information in a way that is accurate, display of information that enhances its accuracy, ease of concise, adequate for the purpose and easy to understand. comprehension and dissemination. Contrast is another That challenge relates not only to displays of statistical tool that can draw your reader’s attention to important information, but also to any type of display – even plain text. elements. Contrasting fonts, shapes, colours, etc. can help structure and highlight information. Use the design to enhance the reader’s understanding See how your publication should appear FORMAT, GRID – Once the appropriate page format for your publication is Front cover and inside front cover set, apply a construction grid made of columns and rows to organize and Preliminary pages have lower-case Roman page numbers align the various elements: type area, margins, illustrations and white space. * Title page WH ITE spACES – They allow the reader’s eyes to rest and concentrate on * Copyright + disclaimer + cataloging (behind title page) important information. * Table of contents (list of chapters, figures and tables) TEXts – Use either left-aligned or justified texts. Do not use centred or right- * Foreword or Preface aligned texts: reserve them for rare cases. * Acknowledgements FO NTS – When in doubt with fonts, use Minion Pro (body text) and Myriad * List of contributors Pro (headlines), which are good choices. Use only a couple of different fonts * List of abbreviations and a few different font sizes: this will structure your information better. * Executive summary CO LOURS – Colours are important, but the use of too many different colours Main pages have Arabic page numbers can be distracting and can make text very hard to read. Define a colour * Chapters scheme from the colour wheel. * References or bibliography ILL USTRAT ONS – Show figures, tables, graphs, maps and photos that are * Annexes appropriate for the topic, with appropriate resolution. Inside back cover and back cover BACK COVER – LOGO FRONT COVER – BAR CODE + ISBN SPINE – TITLE TITLE PAGE 3 – ILLUSTRATION(S) INSIDE FRONT COVER, – LOGO BLANK PAGE – TITLE – LOGO BACK TITLE PAGE CONTENTS – CATALOGING – COPYRIGHT FOREWORD ACKNOWLEDGEMENTS – DISCLAIMER OR i PREFACE LIST EXECUTIVE SUMMARY – CONTRIBUTORS iii OR iv – ABBREVIATIONS BLANK PAGE INTRODUCTION v … vi … END OF CHAPTER 4 CHAPTER 5 … vii – – REFERENCES ANNEXES – OR 1 BIBLIOGRAPHY 48 LAST PAGE OR INSIDE BACK COVER, 49 BLANK PAGE BLANK PAGE 56 57 64 4 Introduction Article 2 of the World Health Organization (WHO) Constitution requests the Organization, among other functions, to: • provide information, counsel and assistance in the field of health; and • assist in developing an informed public opinion among all peoples on matters of health. Guidance on Accessible Publishing WHO WHO publications must present accurate, well-written at WHO and clear public health information. If your publication is professionally designed and user-friendly, then it will be WHO easier to get your message across. style guide SecOnd editiOn Designing publications has been created for staff members and designated designers working for the WHO Western Pacific Region on materials produced by the Regional Office. World Health Organization It aims to improve the quality of publications and deliver Visual identity guidelines a consistent visual design across the Region. How to use the WHO logo This guide presents best practices and is based on the combination of existing WHO guidance, including the WHO Style guide, WHO Visual identity guidelines, WHO Design and print it right, Guidance on Accessible Publishing at WHO and some basic manuals on design. 5 Even though WHO works in six official languages, not all Basic rules individuals or groups to whom the information is addressed are fluent in those languages. Applying the rules shown in Approved manuscripts submitted to the Publications unit the “please, do” and “do not” sections of this guide will (PUB) for layout and design must include the following: allow the main message to stand out. • Edited text – Ensure that the Word document submitted This guide and its companion “Quick guide on the publication for layout has been edited according to the WHO Style process” encourage staff members to think about what they guide, revised to address the editor’s queries and want to accomplish and what they want to communicate. comments, and approved by the appropriate responsible It can serve as a checklist of the main issues and most officer. Please keep it simple, design will be done later. important points to consider when preparing a publication. • Appropriate illustrations – Ensure that the files are in high It is also a guide for graphic designers to help them create resolution (300 dpi in their final size), in acceptable (TIFF, designs that will enhance the reader’s appreciation and JPEG, EPS) and original (Excel) formats. If copyrighted understanding. Every decision made in the layout – on materials are to be used, ensure that appropriate format, margins, typefaces, colours, etc. – should be permission has been obtained. deliberate, based on the guidance in this document, and • Regional Office logo – Ensure that the Regional Office have a reason behind it. Think about how your document will logo occupies a clear position and stands out. compare against others when it will be displayed on a shelf In an effort to provide explicit guidance, we have drawn best or on a screen. practices from the basics of graphic design, with examples This guide will be a “living” document that will be updated showing what works and why. These best practices are regularly. summarized in the “TIPS” sections. In addition, several After all, design is all about communication. examples appear in this guide, offering more in-depth information about particular topics. Some recommendations in this guide are intended for authors, others for designers, but do not forget that good design requires time: time to plan, be creative and do the work. 6 1. Formats The way information is presented often influences whether or not documents will be read and understood. Readers A8 begin to identify a document by its physical appearance: A7 A6 A4 A2 format, size and apparent complexity. They will already have recognized different kinds of information before they begin A5 to read the text. So, the first step before starting production of an information A3 product is to agree with the designer on a final format. Unless the document is part of an existing series, the dimensions of the document will depend on the nature of the information it contains and its target audience. A1 1.1 Standard paper formats The international standard A0 paper size is defined to have an area of 1 m2. The successive paper sizes in the A series: A1, A2, A3, A4, A5, etc. are defined by halving the preceding paper size across the larger dimension. Note: by convention, the first number defines the width, the second one the height. 7 The more frequently used formats 1.3 Target audience • The A4 format (21 cm x 29.7 cm) is used in a portrait The specific sector of the public to which an information orientation. It tends to be the international standard paper product is targeted plays a decisive role in the choice of size that is used in most countries today. the format, as well as how this target audience will use the • US Letter (21.59 cm x 27.94 cm) and 8” x 10” document. (20.32 cm x 25.4 cm) are also formats in common use. • Will it be used for workshops and training courses? • The A5 format (21 cm x 14.8 cm) can be used in both • Is it intended for the general public? orientations, portrait or landscape.
Recommended publications
  • Using Experience Design to Drive Institutional Change, by Matt Glendinning
    The Monthly Recharge - November 2014, Experience Design Designing Learning for School Leaders, by Carla Silver Using Experience Design to Drive Institutional Change, by Matt Glendinning Designing the Future, by Brett Jacobsen About L+D Designing Learning for School Leadership+Design is a nonprofit Leaders organization and educational Carla Robbins Silver, Executive Director collaborative dedicated to creating a new culture of school leaders - empathetic, creative, collaborative Dear Friends AND Designers: and adaptable solution-makers who can make a positive difference in a The design industry is vast and wonderful. In his book, Design: rapidly changing world. Creation of Artifacts in Society, Karl Ulrich, professor at Wharton School of Business at the University of Pennsylvania, includes an We support creative and ever-growing list of careers and opportunities in design. They innovative school leadership at range form the more traditional and known careers - architecture the individual and design, product design, fashion design, interior design - to organizational level. possibilities that might surprise you - game design, food design, We serve school leaders at all news design, lighting and sound design, information design and points in their careers - from experience design. Whenever I read this list, I get excited - like teacher leaders to heads of jump-out-of-my-seat excited. I think about the children in all of our school as well as student schools solving complex problems, and I think about my own leaders. children, and imagine them pursuing these careers as designers. We help schools design strategies for change, growth, Design is, according to Ulrich, "conceiving and giving form to and innovation.
    [Show full text]
  • Paratext in Bible Translations with Special Reference to Selected Bible Translations Into Beninese Languages
    DigitalResources SIL eBook 58 ® Paratext in Bible Translations with Special Reference to Selected Bible Translations into Beninese Languages Geerhard Kloppenburg Paratext in Bible Translations with Special Reference to Selected Bible Translations into Beninese Languages Geerhard Kloppenburg SIL International® 2013 SIL e-Books 58 2013 SIL International® ISSN: 1934-2470 Fair-Use Policy: Books published in the SIL e-Books (SILEB) series are intended for scholarly research and educational use. You may make copies of these publications for research or instructional purposes free of charge (within fair-use guidelines) and without further permission. Republication or commercial use of SILEB or the documents contained therein is expressly prohibited without the written consent of the copyright holder(s). Editor-in-Chief Mike Cahill Compositor Margaret González VRIJE UNIVERSITEIT AMSTERDAM PARATEXT IN BIBLE TRANSLATIONS WITH SPECIAL REFERENCE TO SELECTED BIBLE TRANSLATIONS INTO BENINESE LANGUAGES THESIS MASTER IN LINGUISTICS (BIBLE TRANSLATION) THESIS ADVISOR: DR. L.J. DE VRIES GEERHARD KLOPPENBURG 2006 TABLE OF CONTENTS 1. INTRODUCTION.................................................................................................................. 3 1.1 The phenomenon of paratext............................................................................................ 3 1.2 The purpose of this study ................................................................................................. 5 2. PARATEXT: DEFINITION AND DESCRIPTION.............................................................
    [Show full text]
  • Dissertation Body Text FINAL SUBMISSION VERSION
    UCLA UCLA Electronic Theses and Dissertations Title Openness to the Development of the Relationship: A Theory of Close Relationships Permalink https://escholarship.org/uc/item/2030n6jk Author Page, Emily Publication Date 2021 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Openness to the Development of the Relationship: A Theory of Close Relationships A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Philosophy by Emily Page 2021 © Copyright by Emily Page 2021 ABSTRACT OF THE DISSERTATION Openness to the Development of the Relationship: A Theory of Close Relationships by Emily Page Doctor of Philosophy in Philosophy University of California, Los Angeles, 2021 Professor Alexander Jacob Julius, Chair In a word, this dissertation is about friendship. I begin by raising a problem related to one traditionally found within some of the philosophical literature regarding moral egalitarianism: that of partiality and friendship, except that I raise the issue of partiality within the context of one’s close relationships. From here I propose a solution to the problem based on understanding a close relationship as one in which friends possess the attitude of openness to the development of the relationship. The remainder of the dissertation is concerned with elaborating upon and explaining this conception of friendship and its consequences. In the course of doing this I propose a theory of the self and how we relate to one another, consider the importance of the psychophysical self, explore the notion of mutual recognition, reflect on relationship’s end, and, finally, explore the connections between friendship and play.
    [Show full text]
  • Thesis and Dissertation
    Thesis and Dissertation UWG General Guidelines for Formatting and Processing Go West. It changes everything. 2 TABLE OF CONTENTS Table of Contents Thesis and Dissertation Format and Processing Guidelines ...................................................... 3 General Policies and Regulations .................................................................................................. 5 Student Integrity ........................................................................................................................ 5 Submission Procedures ............................................................................................................ 5 Format Review ...................................................................................................................... 5 Typeface .................................................................................................................................... 6 Margins ...................................................................................................................................... 6 Spacing ...................................................................................................................................... 6 Pagination ................................................................................................................................. 6 Title Page .................................................................................................................................. 7 Signature Page ........................................................................................................................
    [Show full text]
  • Removing Boilerplate and Duplicate Content from Web Corpora
    Masaryk University Faculty}w¡¢£¤¥¦§¨ of Informatics !"#$%&'()+,-./012345<yA| Removing Boilerplate and Duplicate Content from Web Corpora Ph.D. thesis Jan Pomik´alek Brno, 2011 Acknowledgments I want to thank my supervisor Karel Pala for all his support and encouragement in the past years. I thank LudˇekMatyska for a useful pre-review and also for being so kind and cor- recting typos in the text while reading it. I thank the KrdWrd team for providing their Canola corpus for my research and namely to Egon Stemle for his help and technical support. I thank Christian Kohlsch¨utterfor making the L3S-GN1 dataset publicly available and for an interesting e-mail discussion. Special thanks to my NLPlab colleagues for creating a great research environment. In particular, I want to thank Pavel Rychl´yfor inspiring discussions and for an interesting joint research. Special thanks to Adam Kilgarriff and Diana McCarthy for reading various parts of my thesis and for their valuable comments. My very special thanks go to Lexical Computing Ltd and namely again to the director Adam Kilgarriff for fully supporting my research and making it applicable in practice. Last but not least I thank my family for all their love and support throughout my studies. Abstract In the recent years, the Web has become a popular source of textual data for linguistic research. The Web provides an extremely large volume of texts in many languages. However, a number of problems have to be resolved in order to create collections (text corpora) which are appropriate for application in natural language processing. In this work, two related problems are addressed: cleaning a boilerplate and removing duplicate and near-duplicate content from Web data.
    [Show full text]
  • Adobe Type 1 Font Format Adobe Systems Incorporated
    Type 1 Specifications 6/21/90 final front.legal.doc Adobe Type 1 Font Format Adobe Systems Incorporated Addison-Wesley Publishing Company, Inc. Reading, Massachusetts • Menlo Park, California • New York Don Mills, Ontario • Wokingham, England • Amsterdam Bonn • Sydney • Singapore • Tokyo • Madrid • San Juan Library of Congress Cataloging-in-Publication Data Adobe type 1 font format / Adobe Systems Incorporated. p. cm Includes index ISBN 0-201-57044-0 1. PostScript (Computer program language) 2. Adobe Type 1 font (Computer program) I. Adobe Systems. QA76.73.P67A36 1990 686.2’2544536—dc20 90-42516 Copyright © 1990 Adobe Systems Incorporated. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated and Addison-Wesley, Inc. Printed in the United States of America. Published simultaneously in Canada. The information in this book is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in this book. The software described in this book is furnished under license and may only be used or copied in accordance with the terms of such license. Please remember that existing font software programs that you may desire to access as a result of information described in this book may be protected under copyright law. The unauthorized use or modification of any existing font software program could be a violation of the rights of the author.
    [Show full text]
  • Conforming to Heaven Organizational Principles of the Shuō Wén Jiě Zì
    Conforming to Heaven Organizational Principles of the Shuō wén jiě zì Rickard Gustavsson S1581066 [email protected] Supervisor: Dr. P. van Els MA Thesis Asian Studies: Chinese Studies Faculty of Humanities Leiden University Word count: 14,879 (excluding appendices) 14 July 2016 1 Table of contents 1. INTRODUCTION .......................................................................................................................... 3 1.1 RESEARCH TOPIC ........................................................................................................................ 3 1.2 LITERATURE REVIEW ................................................................................................................... 4 1.3 METHODOLOGY AND OBJECTIVES ............................................................................................... 10 2. THE 一 YĪ SECTION ................................................................................................................... 12 2.1 THE 一 YĪ RADICAL .................................................................................................................... 12 2.2 元 YUÁN ................................................................................................................................... 14 2.3 天 TIĀN ..................................................................................................................................... 15 2.4 丕 PĪ .......................................................................................................................................
    [Show full text]
  • Qimaging Digital Proof Guidelines NEW.Indd
    Welcome to Quad/Graphics! Client Reference Guide PLANT PROFILE Waseca, Minnesota ADDRESS A web offset plant, Waseca specializes in weekly, bi- Finishing 2300 Brown Avenue weekly and monthly special interest publications; • Waseca’s array of perfect binders includes 24-, 32-, Waseca, MN 56093 consumer magazines and business-to-business 46- and 52-pocket machines. (P) 320.654.2400 publications; and catalogs and retail inserts. (F) 507.835.0420 • The plant operates 8-pocket, 18-pocket, FAQS 20-pocket and 28-pocket saddle stitchers. Year Opened: 1957 Plant Size: 784,000 sq. ft. • Finishing equipment includes polywrappers, Employees: 750 roto trimmers with quarter folders, flat cutters, Product Mix: Publications, catalogs and retail inserts shrink wrappers, a bellyband/auto wrapper a collator and an offline mailer with selective inkjet PLANT TEAM capabilities. Plant Director: George Forge Plant Controller: Julie Mast Distribution Customer Service Manager: Michael Morrison • The plant offers full logistics and distribution Press Department Manager: Darin Coraggio services, including list services, logistics planning, Premedia: David Jorgensen package services, ground expediting, newsstand Finishing Department Manager: Mike Kelly distribution, product tracking, ocean freight, firm Distribution: Daniel Walock bundling, co-palletization and co-mailing. Postal Solutions: Brenda Mullins Human Resources: Ghulam Awan POINTS OF INTEREST • Quad/Graphics acquired the Waseca plant in SERVICES/CAPABILITIES 2014 as part of our acquisition of Brown Printing Printing Company. The plant was Brown’s original site and • The plant is equipped with single- and double- served as the company’s headquarters. web offset presses featuring closed loop control • The plant holds chain-of-custody paper control systems, including Goss Sunday 3000 certifications from FSC, FSI and PEFC.
    [Show full text]
  • Print Design Narrative
    Erin Gunter MIT 511 September 21, 2008 Print Design Criterion Document The five pages that I choose to redesign were the table of contents, the title page, a chapter beginning page, a flow chart (family tree) page pertaining to the story, and one page is from the middle of a chapter. The book that I chose was, A Wrinkle in Time by Madeleine L’Engle. This is a popular novel that is read in today’s classrooms. The reason why this book was chosen was due to its lack of a consistent and cohesive design. For a children’s book, the pictures and text are very boring. I originally purchased this book when I was in middle school, but the book has not changed in years, despite the fact that it is a popular children’s novel. The purpose of this redesign is to change the appearance of the book in hopes that with alterations, children will be more motivated to read the book. The following are the list of the different design criterion that I referenced when completing my redesign: BIAS AND OR/CULTURE: This is a fiction book written about a fantasy world. The novel does not exhibit any type of bias. The book is purely a work of fiction. It is not an opinion book and it does not try to push an opinion on someone else. The images and text that were used in the redesign are also free of bias. The constellation graphic and the clock are both relevant to the story in the book.
    [Show full text]
  • Rocket Multivalue Integration Server Installation
    Rocket MultiValue Integration Server Installation and User Guide Version 1.3.0 March 2021 MVIS-130-IUG-01 Notices Edition Publication date: March 2021 Book number: MVIS-130-IUG-01 Product version: Version 1.3.0 Copyright © Rocket Software, Inc. or its affiliates 1996–2021. All Rights Reserved. Trademarks Rocket is a registered trademark of Rocket Software, Inc. For a list of Rocket registered trademarks go to: www.rocketsoftware.com/about/legal. All other products or services mentioned in this document may be covered by the trademarks, service marks, or product names of their respective owners. Examples This information might contain examples of data and reports. The examples include the names of individuals, companies, brands, and products. All of these names are fictitious and any similarity to the names and addresses used by an actual business enterprise is entirely coincidental. License agreement This software and the associated documentation are proprietary and confidential to Rocket Software, Inc. or its affiliates, are furnished under license, and may be used and copied only in accordance with the terms of such license. Note: This product may contain encryption technology. Many countries prohibit or restrict the use, import, or export of encryption technologies, and current use, import, and export regulations should be followed when exporting this product. 2 Corporate information Rocket Software, Inc. develops enterprise infrastructure products in four key areas: storage, networks, and compliance; database servers and tools; business information and analytics; and application development, integration, and modernization. Website: www.rocketsoftware.com Rocket Global Headquarters 77 4th Avenue, Suite 100 Waltham, MA 02451-1468 USA To contact Rocket Software by telephone for any reason, including obtaining pre-sales information and technical support, use one of the following telephone numbers.
    [Show full text]
  • A Peek Inside the Tent Overview
    A Peek Inside the Tent Overview All about you Cost and Resources Overview of The Circus Recommendation Career Services Admissions Requirements Program Curriculum The Tour Our Mission The mission of The Creative Circus is to graduate the best prepared, most avidly sought after creatives in the industry. The 411 2 Year Certificate Program 210+ Students Founded in 1995 Fully Accredited by C.O.E. Bridge Gap Between Education and Industry Location/Environment What Employers Say How We’re Different Learn By Doing Integrated, Collaborative Programs Individual Attention/Class Size Student Competitions 7 Full-Time Dedicated Faculty Members Scheduling/Homework Part-Time Industry Pros The ‘Nice School’ Career Services Placement Statistics Graduates and Completers working in their field of study within six months of graduation: Forums Program 09-10 10-11 11-12 Mentors Art Direction 96% 100% 96% Portfolio Reviews Design 88.57% 100% 90% Copywriting 96.55% 100% 98% Local and National Networking Image 91.67% 100% 88% Interactive Development N/A N/A 100% Interactive Design N/A N/A N/A Average 93.07% 100% 94.53% Creative Circus Portfolio Review Industry Salaries 2013 The Creative Group 2013 Salary Guide INTERACTIVE STARTING SALARIES CREATIVE & PRODUCTION STARTING SALARIES TITLE LOW HIGH TITLE LOW HIGH Informaon Architect $80,500 $120,750 Copywriter (1 to 3yrs) $40,000 $55,000 User Experience Designer $55,000 $110,000 Copywriter (3 to 5yrs) $56,500 $73,250 Junior Interac0ve Designer $40,000 $55,000 Copywriter (5+ yrs) $72,750 $102,750 Senior Interac0ve Designer
    [Show full text]
  • Rethinking the Book
    Rethinking the Book David L Small B.S., Cognitive Science, MIT (1987) S.M., Visual Studies, MIT (1990) Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, in partial fulfillment of the requirements for the Degree of Doctor of Philosophy, Massachusetts Institute of Technology January 1999 Massachusetts Institute of Technology © 1999 Massachusetts Institute of Technology. All Rights Reserved. David L Small Program in Media Arts and Sciences January 8, 1999 William J. Mitchell Dean, School of Architecture and Planning Stephen A. Benton Chair, Departmental Committee on Graduate Students, Program in Media Arts and Sciences Rethinking the Book David L Small Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning, on January 8, 1999 in partial fulfillment of the requirements for the Degree of Doctor of Philosophy. abstract Electronic media have lagged behind their paper progenitors in the clear, usable display of large bodies of information. New visual lan- guages have been created for information display which exploit the computer's unique ability to render dynamic and three-dimensional typography. These languages demonstrate that the use of three dimensional form, expressive movement, visual focus and layering, in harmony with human perceptual abilities, improve navigation and contextual understanding of complex written documents. This thesis shows that graphic displays can be combined with physical interfaces to create interactions with purely typographic informa- tion
    [Show full text]