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Истоки дизайна
Arnheim, Rudolf. Art and Visual Perception. London: Faber, 1967.
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___. Toward A Psychology oj Art. London: Faber, 1967.
Bayer, Herbert, and Gropius, Walter. Bauhaus 1919–1928. Boston: Branford, 1952.
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Biederman, Charles. Art as the Evolution of Visual Knowledge. Redwing, Minnesota: Charles Biederman, 1948.
Boas, Franz. Primitive Art. New York: Dover, 1955.
Burckhardt, Lucius. Der Werkbund. Stuttgart: DVA, 1978.
Conrads, Ulrich, and Sperlich, Hans G. The Architecture of Fantasy. New York: Praeger, 1962.
Danz, Louis. Dynamic Dissonance in Nature and the Arts. New York: Longmans Green, 1952.
___. It is Still the Morning. New York: Morrow, 1943.
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___. The Psychologist Looks at Art. New York: Longmans Green, 1937.
___.ZarathustraJr.. New York: Brentano, 1934.
Dorfles, Gillo. Kitsch: An Anthology of Bad Taste. London: Studio Vista, 1970.
Ehrenzweig, Anton. The Hidden Order of Art. London: Paladin, 1970.
Feldman, Edmund B. (ed.). Art in American Higher Institutions. Washington, D.C.: The National Art Education Association, 1970.
Friedmann, Herbert. The Symbolic Goldfinch: Its History and Significance in European Devotional Art.
Princeton, New Jersey: Bollingen Series, Princeton University Press, 1946.
Gamow, George. One, Two, Three… Infinity, rev. ed. New York: Viking, 1961.
Gerstner, Karl. Kalte
