lHE‘. EFFECT OF NEWSPAPER DESIGN
COMPLEXITY ON READERSHIF.
COMPREHENSION, INTERESTINGNESS
AND PLEASINGNESS

Thesis: For The Degree 0f Ph‘ D.

MICHIGAN STATE UNIVERSITY

By
HENRY THOMAS PRICE

1972

 

LIBRARY

Michigan State
University

 

This is to certify that the
thesis entitled
THE EFFECT OF NEWSPAPER DESIGN COMPLEXITY
ON READERSHI P, COMPREHENS ION,
INTERESTINGNESS AND PLEAS INGNESS

presented by

Henry Thomas Price

has been accepted towards fulfillment
of the requirements for

 

 

 

Ph.D. degree in Communicat ion
W7
Majo: professor
DateW

0-7639

Accepted by the faculty of the Department of Communication,
College of Communication Arts, Michigan State University, in partial

fulfillment of the requirements for the Doctor of Philosophy degree.

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Director of Thesis

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Guidance Committee: k, ég’j/xf/gféL/139Chairman
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ABSTRACT
THE EFFECT OF NEWSPAPER DESIGN COMPLEXITY

ON READERSHIP, COMPREHENSION,
INTERESTINGNESS AND PLEASINGNESS

By

Henry Thomas Price

This experiment attempted to provide some initial insights into
the effect of three newspaper design complexity variables on the reader-
ship and comprehension of news stories and on judgments of the interest-
ingness and pleasingness of the page designs using the various complexity
variables. The three design complexity variables used were: horizontal
and vertical headline pattern, horizontal and vertical picture pattern,
and vertical, narrow measure (ll-picas, or almost two inches, wide) body
type setting and horizontal, wide measure (varying from 17-picas, or al-
most three inches, wide to 23-picas, or almost four inches, wide) body
type setting.

The experimental vehicle was a four-page tabloid newspaper, page
3 of which was the experimental page with the other three pages being
identical for all subjects. The three independent variables were mani-
pulated in all possible combinations resulting in eight different versions
of the experimental page. The content of the headlines, stories and pic-
ture on the experimental page were the same across all eight versions.
The manipulations were restricted to those that affected the pattern of

the display elements-—either horizontal or vertical.

Henry Thomas Price

The tabloid newspapers containing the eight versions of the ex-
perimental page were randomly ordered and given to the 144 subjects (58
men and 86 women recruited from classes at the University of South Caro-
lina). The subjects were given 10 minutes to read the newspaper and then
were asked to mark how much of each story and picture in the paper they
had read and to answer comprehension questions about the stories and pic—
ture on the experimental page.

Each subject was also asked to rate each page of his newspaper
in terms of complexity, pleasingness and interestingness by use of a
seven-point scale with either "simple-complex," "pleasing-displeasing"
or "interesting—uninteresting" as anchors.

Based on D. E. Berlyne's conceptualization of the complexity vari-
able and the research findings of F. Attneave, H. Day, A. C. Hall and
others, 12 hypotheses were tested. Vertical headlines, vertical pictures
and narrow measure, ll-pica wide body type setting were expected to result
in increased readership and comprehension and to lead to higher ratings
of interestingness but lower ratings of pleasingness. None of these 12
hypotheses, as worded, received support. There were, however, three sig-
nificant interactions found in the analyses of variance for the readership
of the six display elements used on the experimental page. Verticality
of headline display seems to interact with Verticality of body type setting
and horizontalness of headline display with wide measure body type setting
to increase readership. Vertical headline pattern appears to interact
with horizontal picture pattern and horizontal headline pattern with ver-
tical picture pattern to increase readership. Likewise, horizontal pic-
ture pattern seems to combine with narrow measure body type setting and

vertical picture pattern with wide measure body type setting to increase

Henry Thomas Price

readership of the picture and its accompanying explanatory material (its
cutlines).

The analysis seems to refute Berlyne's findings that interesting-
ness and pleasingness are negatively correlated. In this study interest—
ingness and pleasingness show a moderate positive relationship (r = .54).
A small positive correlation was found between readership of the experi-
mental page and rated interestingness of the page design (r = .22).

A number of possible explanations for the results were presented,

and a number of possibilities for fhture research were discussed.

THE EFFECT OF NEWSPAPER DESIGN COMPLEXITY
ON READERSHIP, COMPREHENSION,
INTERESTINGNESS AND PLEASINGNESS

By

Henry Thomas Price

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

DOCTOR OF PHILOSOPHY
Department of Communication

1972

.x%'
J 1.2 "i

(9 i! 3 ACKNOWLEDGMENTS

In an endeavor that spans almost eight years there are people who
exert a direct and vital influence on the course of events. My heartfelt
thanks go to Dr. David K. Berlo, former chairman of the Department of
Communications and now president of Illinois State University, Dr. Erwin
Bettinghaus, Dr. Everett Rogers and Dr. Randall Harrison, all of whom
said "yes" at various times when an affirmative response was essential to
the successful completion of my program.

One man, however, has had a particularly strong influence in the
development of my career. Dr. Verling C. Troldahl, as committee chairman,
dissertation director, counselor and friend, has provided patience, kind—
ness, understanding, inspiration and impetus at the precise time and in
the precise amount when they were needed most. This is, unfortunately,
one of those situations where words fail as an adequate expression of
appreciation.

A special thanks is due John H. McGrail, of the faculty of the
College of Journalism at the University of South Carolina, for his tech-
nical assistance in the preparation of the experimental vehicle used in
this study.

Finally, I must acknowledge the patience, understanding and love
of my family. My wife, Bobbie, suffered quietly through churlish moods
and periods of sacrifice and unfailingly provided the right words to make
what at times seemed to be an endless road appear just a little shorter.

With the help of God and the unselfish assistance of so many others,

the deed is done. May I prove worthy of their confidence.

ii

TABLE OF CONTENTS

Page
ACKNOWLEDGMENTS . . . . . . . . . . . . . . . . . . . . . . . . ii
LIST OF TABLES. . . . . . . . . . . . . . . . . . . . . . . . . v
LIST OF FIGURES . . . . . . . . . . . . . . . . . . . . . . . . vi
Chapter
I. NEWSPAPER DESIGN AND COMMUNICATION . . . . . . . . . . . 1
Complexity as a Variable. . . . . . . . . . . . . . . 4
Review of Past Research . . . . . . . . . . . . . . . 6
Complexity and Readership . . . . . . . . . 13
Complexity and Interestingness/Pleasingness . . . . . 17
II. THE EXPERIMENT . . . . . . . . . . . . . . . . . . . . . 21
Overall Procedure . . . . . . . . . . . 22
Construction of Experimental Vehicle. . . . . . . . . 25
III. FINDINGS . . . . . . . . . . . . . . . . . . . . . . . . 31
Data on Hypotheses Tests. . . . . . . . . . . . . . . 31
Page Design and Readership . . . . . . . . . . . . 31
Page Design and Interestingness. . . . . . . . . . 32
Page Design and Pleasingness . . . . . . . . . . . 32
Page Design and Comprehension. . . . . . . . . . . 33
Data on Interactions. . . . . . . . . . 33
Headline Pattern, Width of Body Type
Setting and Readership. . . . . . . . . . . . . 35
Headline Pattern, Picture Pattern
and Readership. . . . . . . . . . 38
Picture Pattern, Width of Body Type
Setting and Readership. . . . . . . . . . . . . 38
IV. DISCUSSION AND FUTURE IMPLICATIONS . . . . . . . . . . . 43
Summary of the Study. . . . . . . . . . . 43
Headline Pattern, Width of Body Type
Setting and Readership . . . . . . . . . . . . . . 47
Headline Pattern, Picture Pattern
and Readership . . . . . . . . . . . . 50
Picture Pattern, Width of Body Type
Setting and Readership. . . . . . . . . . . . . . 52
Theoretical Implications. . . . . . . . . . . . . 53
Practical Applications of Findings. . . . . . . . . . 58

iii

TABLE OF CONTENTS
(Continued)

Chapter
IV. DISCUSSION AND FUTURE IMPLICATIONS (Continued)

”If I Had It To Do Again. . .".
Future Researdh . . . . . .

BIBLIOGRAPHY.
APPENDICES.

A. SCHEDULE OF ACTIVITIES DURING EXPERIMENT AND
DATA—GATHERING INSTRUMENTS.

B. PAGE DESIGNS USED IN THE EXPERIMENT.

iv

Page

60
62

66

7O

7O

79

Table

10.

LIST OF TABLES

Description of Subjects: Sex, Age, Education
and Courses from Which Recruited. . . . . . . . . .

Mean Page Readership for Each of Four Pages in
Experimental Vehicle. . . . . . . . . . . . . . . . . .

Analysis of Variance of "GRAVATT" Story Readership.

Mean Readership Scores on "GRAVATT" Story for
Horizontal vs Vertical Headlines and ll—Pica
vs Wide Measure Body Type Setting . . . .

Analysis of Variance of "WOMEN'S LIB" Story
Readership. . . . . . . . . . . . . . .

Mean Readership Scores on "WOMEN'S LIB" for
Horizontal vs Vertical Headlines and
Horizontal vs Vertical Pictures . . . . . . .

Analysis of Variance of "SPIRES" Picture Readership .

Mean Readership Scores on "SPIRES" Picture for
Horizontal vs Vertical Picture and 11—Pica vs
Wide Measure Body Type Setting. . . . . . . .

Mean Experimental Page Display Elements Readership
Scores for Each Experimental Page Version . . . .

Mean Ratings of Pleasingness, Interestingness and
Complexity for Different Levels of Designed
Page Complexity . . . . . . . . . . . . .

Page

24

34

36

37

39

40

41

42

49

55

LIST OF FIGURES
Figure Page

1. Placement of Picture in Relation to "WOMEN'S LIB”
Story by Experimental Page Version. . . . . . . . . . . 51

vi

CHAPTER I

NEWSPAPER DESIGN AND COMMUNICATION

A prime consideration of communication research-~and probably the
one most neglected by the professional communicators of the mass media--
is the receiver. The researcher is vitally interested in the sources of
the receiver's information. He also seeks answers to the problems of in—
creasing the probability that the receiver will attend to a given message
and of how the receiver determines what messages he will attend to. How
can the receiver be persuaded to take a given course of action once his
attention has been gained? These are but a few of the hundreds of in-
terests the researcher has concerning the receiver's relationship to the
sea of information in which he is immersed.

Mass media communicators are in the business of contributing to
this welter of messages. One problem they wrestle with on a minute-by-
minute basis is how can they get the receiver to pay attention to the in-
formation they offer him. There are literally thousands of daily and
weekly newspapers that face this situation, and for them it often boils
down to a question of dollars and cents--and survival. The paper that
fails to gain attentien loses readers, a loss of readers causes a loss
of advertising revenue, and a loss of advertising income means extinction.

Over the past decade these newspapers have watched their sizable
lead over others of the mass media, and particularly television, steadily

erode to the point where television now enjoys a 2-to-1 edge in the

percentage of respondents rating it as the more credible of the two
media.1 Burns Roper, whose report for the Television Information Office
of the National Association of Broadcasters provides the information con-
cerning this 2-to-1 margin, also says that his data indicate that in 1963
television replaced newspapers as the source of most news for the general
public. Harvey K. Jacobson has generally supported Roper's findings on
media credibility and adds to the problem of the professional newspaper—
man by saying that television news reports are seen as significantly more
complete than either newspaper or radio reports.2

A few newspapers, coupling these findings with the results of
rare readership studies that show readers pay scant attention to their

paper's information offerings, have made changes in their reporting and

-1

writing styles such as investigative reporting and team reporting. Others
have tried to meet the growing problem by increasing their circulation
efforts. Only a few have been_concerned about the design of their publi-

cations, and they_have trusted themggut feeling" preachments of such lay-

 

out 1um1nar1es as Edmund Arnold and Howard Taylor. This is not to deni—
grate "gut feeling" as a means of obtaining insight into the problem of
developing new and more effective methods of newspaper design nor is it

intended to belittle the efforts of the aforementioned gentlemen, butlit,

  

is to pgint out that little attempt has been made to examine scientifically

 

 

the potential of newspaper design as a form of nonverbal communication.

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1Burns Roper, Report for the Television Information Office of the
National Association of Broadcasters (July, 1969).

2Harvey K. Jacobson, "Mass Media Believability: A Study of Re-
ceiver Judgments," Journalism Quarterly, Vol. 46 (1969), 20-28.

 

This study proposes to offer a starting point in this area by
examining certain elements of newspaper design in an attempt to determine
if manipulation of these elements can increaSe the probability that a
given story will be read and comprehension of that story's content in-
creased. The importance of the study to print journalism is evident.

Every day millions of Americans voluntarily subscribe to newspapers and

at least the potential exists for them to expose themselves to more of 7
the information carried in these newspapers. If<f§é§érship)can bein-qfliég;
creased through attention to certain design elements, then the newspaper"

is well on the way to assuring itself of an audience and accomplishing

its primary function--that of informing the public.

The value of the study to communication theory is essentially the
same. Given that one of the goals in the development of communication
theory is to discover ways by which the receiver can be induced to ingrease
the amount of his meaningful information intake, and given that the news-
paper is a major potential source of that information,(then_theflurgentw

need for understanding the role of newspaper design in reachingwthat re-

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ceiyer...an5.l.-.claimingshisiattentionsbeccmessehyieusaawédmittedl)’ a great
deal of the information in the typical newspaper is irrelevant (probably
because most papers try to be all things to all people) and serves to

clog the flow of more important items,{but this cgnsideratiop merely segygs

 

to heighten the need for greater understanding of the non-verbal communi-

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cation role of newspaper desigp). Perhaps there are elements of typographi-
cal design and page layout that will enable the professional communicator
to ensure that his really important messages surface through the irrelevant.

That design is a consideration in day-to-day newspaper production

V{requires no debate. Anyone who has been exposed to a number of different

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newspapers knows that aside from their local news and editorial policy,

they differ most in their appearance. Some, such as the New York Times,

 

the Baltimore Sun and the Kansas City Star, follow a basically vertical

 

 

design and display pattern. Others, such as the Cleveland Plain Dealer,

 

the Christian Science Monitor and the NatiOnal Observer are more horizon-

 

 

tal in their design approach. Some, such as the Miami Herald, the

 

Detroit Free Press and the Louisville Courier-Journal combine some of the

 

 

elements of both design concepts. The important point to be made here
is: Do these various approaches to newspaper layout really make any dif-

ference in the ultimate measurements, readership and comprehension?

Complexity as a Variable

 

One researcher, D. E. Berlyne, probably more than any other, has
devoted much of his work to attempting to gain insight into the effect of
different variables on attention in terms of looking behavior. One vari-
able of particular interest to Berlyne is stimulus complexity. He says
that roughly "it refers to the amount of variety or diversity in a stimulus
pattern."3 He lists some of the most obvious properties of complexity
as: (1) other things being equal, complexity increases with the number
of distinguishable elements; (2) if the number of elements is held con—
stant, complexity increases with dissimilarity between elements; and (3)
complexity varies inversely with the degree to which several elements

are responded to as a unit.

 

3D. E. Berlyne, Conflict, Arousal and'Curiosity (New York: McGraw-
Hill, 1963).

 

5

It is obvious from these three criteria that Berlyne recognizes
the importance of£pégégp§ionfiin his conceptualization of complexity. It
is entirely conceivable that two different people could be exposed to the
same stimulus pattern, and one could rate the pattern as being complex
and the other could rate it being simple. It is somewhat anaIOgous to
the situation where source credibility is awarded by the receiver. Per-
haps we should simply paraphrase an adage and say that "complexity is in
the eye of the beholder." Surely, however, we can isolate some area be- \

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tween the extremes of severe complex1ty and severe 51mp11c1ty where it / f

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can be agreed that relative complexity or simpligity e

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Berlyne has said that complexity is one of what he calls "colla-
tive" variables (others including novelty, surprisingness and incongruity)
and suggests that the perception of stimuli high in these characteristics
results in the arousal of incompatible response tendencies within the
subject and thus mild conflict. This conflict is brought on largely
through what psychologists refer to as "redintegration." Simply stated
this means that stimulus A is related to stimulus B, and therefore stimulus
A elicits not only responses (a) to it, but anticipatory responses (b) to
stimulus B; when, however, rather than receiving stimulus B, stimulus X
is introduced, the organism responds to stimulus X in the presence of
anticipatory responses (b) to stimulus B, and conflict occurs.

Berlyne does not present conflict as a state that a person is
either "in" or "not in." It is not a dichotomous situation, but rather
one of degree. Berlyne also sees a relationship between complexity and
uncertainty. The more complex the figure, the more uncertainty it will
generate with this increased uncertainty leading to increased conflict

within the organism. Added to these considerations of complexity, conflict

and uncertainty, Berlyne says that increasing complexity will result in
increased arousal for the Subject. He points out that a subject generally
tries to keep his state Of arousal as low as possible (which is, for the
normal person, moderately high). Subjects in such a state might even wel-
come the slightly higher levels of arousal likely to result from exposure
to more complex stimuli simply for the reward of arousal-reduction. Those
subjects, however, who are in a heightened arousal state will seek to de-
crease their arousal to an acceptable level. The subjects will remain
with the more complex pattern until they have received enough information
from it to decrease their arousal state.4 He says that this desire to

decrease arousal to an acceptable level is paralleled by a desire to de-

   
 
  
  

crease unacceptable levels of conflict. The point here is that if through.

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the complexity of newspaper design, a subject's state of arousalxbr con-
flict can beqincgggsgda that subject will attempt tongEEEEEEDtheseLyna.

aggfiptdblk levels through his looking behavior. Therefore; he will expose

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himSelf to more of the page which should result.inim91§m£§§ding of the

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Review of Past Research

 

If one sets out to find any meaningful research in the area of
newspaper design, he should be prepared for some disappointment. Experi-

mental reports can be found on the content of newspapers such as studies

 

,4D. E. Berlyne and J. Lewis, "Effects of Heightened Arousal on
Human Exploratory Behavior," Canadian JOurnal of Psychology, Vol. 17
(1963), 398n4ll.

of bias or the lack of it, but even something as basic as the effect of
various writing styles has been relatively ignored. Occasionally one can
unearth a study on headline connotations or some such, but most studies
of newspapers are of the qualitative, historical variety. The field is
not completely fallow, however. Researchers such as Jean Kerrick, Percy
Tannenbaum and Merald Wrolstad have made important contributions to the
area. For instance, Kerrick has reported several studies concerning the
effect of picture captions on the judgments of the pictures they accom-
pany.5 Tannenbaum has shown a continuing interest in the effects of news-
paper headlines on respondent perceptions of the stories that accompany
those headlines. The research sparked by this interest, in part, led to

his formulation of the concept of the "indexing process" whighmsgys esgggf
f

I

tially that by alteringwa;part of the whole w§_can_influence the percep-

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tion of the whole. He carefully points out, however, thatLan_indaxais_an.
index only if the regeiver_pggceive§ it as suchjfit must have meaning for
the receiver.6 Wrolstad, in viewing typographic design as a form of non-

verbal communication, experimented with five design principles--ba1ance,

contrast, proportion, rhythm and unity. (He found that his group of adult

 

 

subjects made no preference distinction between,ggod examples and poor
M M” -‘ N‘w‘.‘.m_“~wuwan .. rung. . ' xv.‘ Hanan-’14“ tanner/Jun tm.WWi-LTM Mx‘ubmub - ant-v Wow-rm; "‘m

 

examples of typographic design. Even thou h the design differences in

 

his study were readily evident to a grgyp~o£;txpogxaph§r-judges, they

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were not so to his subjectégg 'It should be pointed out, however, that

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SJean S. Kerrick, "The Influence of Captions on Picture Interpreq
tation," Journalism Quarterly, Vol. 32 (1955), 177-182 and "News Pictures,
Captions and the Point of Resolution," Journalism Quarterly, Vol. 36 (1959),
183-188.

 

6Percy H. Tannenbaum, "The Indexing Process in Communication,"
Public OpiniOn Quarterly, Vol. 19 (1955), 292-302.

 

*: 7Merald E. Wrolstad, "Adult Preferences in Typography: Exploring
the Function of Design," Journalism Quarterly, Vol. 37 (1960), 211-223.

8
Wrolstad was using book title pages and not newspaper pages as his stimuli.

But, with these few exceptions, the Only people who seem to have
been interested in studying complexity of pattern and its influence on
looking behavior appear to have been the psychologists. One must admit
that any inferential leap from studies dealing with the nonsense pattern
preferences of rats, baby chicks and children to an investigation of the
effects of newspaper layout and design on the reading habits of adults
requires that the investigator place himself on the extreme end of a wind-
tossed branch. Hopefully what follows will allow this investigator and
others to edge just a little closer to the solid trunk of communication
theory.

For instance, Berlyne says that "tachistoscopic experiments show
that, at least in some conditions, subjects first identify the general
class to which a perceptual figure belongs and then gradually narrow down
its specific nature and minor details,"8 and adds that the less complex
figure involves less conflict because the number of alternatives for its
general class are fewer. If one conceives of a newspaper page as a per-
ceptual figure, this would seem to offer some support for the idea of the
reader noting page design first, then reading the headline, then reading
the story, hence pointing out the potential importance of page design on
readership, and, ultimately, comprehension.

Berlyne has also fbund that, at least as far as infants are con-
cerned, complexity of design in pattern is a recognizable variable, and

infants seem to prefer the complex design to the simple.9 This preference

 

8Berlyne, Conflict, Arousal...., p. 41.

 

9D. E. Berlyne, "The Influence of the Albedo and Complexity of
Stimuli on Visual Fixation in the Human Infant," British Journal of
Psychology, Vol. 49, 1948), 315-318.

seems to stem from the fact that the complex design has more contours
than the simple and thus produces more exCitations of the eye. Some of
the early, basic work dealing with the relationship between complexity
and contours was performed by Attneave. In the study that established
his linkage of complexity and the number of contours present in a given
figure, he points out that in most patterns, information is concentrated
along contours at those points on a contour where its direction changes
most rapidly.10 He wrote that in his study of the judgments of complex-
ity of 72 shapes "about 90 per cent of the variance of ratings was ex-
plained by (a) the number of independent turns (angles or curves) in the
contour, (b) symmetry, and (c) the arithmetic mean of algebraic differ-
ences, in degrees, between successive turns in the contour," and that the
contour variables explained 73.7 per cent of the variance accounted for.
He said that the increased contour triggers increased excitation of the
eye cells that respond to the onset or termination of illumination.
Attneave supported this linkage in another and later study where he re-
ported that there is a positive and significant correlation between the
number of independent turns in a figure and its rated complexity.11 More
recently Hall has found that the number-of—turns variable accounts for

about 72 per cent of the variance in subjective complexity whiCh fits

nicely with Attneave's result for his stimuli.12 Robeck has also found

 

10F. Attneave, "Some Informational Aspects of Visual Perception,"
Psycholo ical Review, Vol. 61 (1954), 183-193.
:3

 

11F. Attneave, "Physical Determinants of the Judged Complexity of
Shapes," Journal of Experimental Psychology, Vol. 53 (1957), 221-227.

 

12A. C. Hall, "Measures of the Complexity of Random Black and
White and Coloured Stimuli," Perceptual and Metor Skills, Vol. 29 (1969),
773-774.

10

that designs with more contour angles were judged more complex than de—
signs with fewer angles.13

Other researchers offer support for Berlyne‘s findings concerning
the preference for complexity among infants. Fantz, for instance, found
that infants are born with an interest in objects and they show a definite
preference for the more visually complex objects, prompting Fantz to state
that infants haVe an inborn form perception.14 Caron has also found this
preference among human infants for the more Complex visual stimuli.15
Paw and Nunnally add to the evidence with their findings from two studies
that eye fixations of children are dominated by more complex figures as
compared to less complex figures.16 Cantor, Cantor and Ditrichs worked
with preschool children and found that children spend more time with more
complex designs and that their subjects preferred "high complexity” pat-

1 .
‘7Eisenman, Grove,

terns to either "medium" or "low" complexity patterns.
Coyle and Redick have reported that children between the ages of 6 and

12 seem to have a greater tolerance for complexity than do college students;

 

13George B. Robeck, "The Influence of Design Symmetry and Contour
on Eye Fixations and Judgments of Perceived Complexity, Interestingness
and Pleasingness," (unpublished Ph.D. thesis, Department of Communication,
Michigan State University, 1970).

14R. Fantz, "The Origin of Form Perception," Scientific American,
Vol. 204 (1961), 66—72.

15Rose F. Caron, "Degree of Stimulus Complexity and Habituation
of Visual Fixation in Infants," Psychonomic Science, Vol. 14 (1969), 78-79.

16Terry T. Faw and Jum C. Nunnally, "The Influence of Stimulus
Complexity, Novelty, and Affective Value on Children's Visual Fixations,"
Journal of Experimental Child Psychology, Vol. 6 (1968), 141-153, and
"The Effects on Eye Movements of Complexity, Novelty, and Affective Tone,"
PerceptiOn and'PSychophysics, Vol. 2 (1967), 263-267.

 

17G. Cantor, J. Cantor, and R. Ditrichs, "Observing Behavior in
Preschool Children as a Function of Stimulus Complexity," Child Develop:
ment, Vol. 34 (1963), 683-689.

11

they also found that preference for complexity tends to be associated
with a more open life-Style, less defensiveness and a more creative ap-
proach to life with preference for simplicity and/or symmetry being associ-
ated with a more rigid, simpler outlook.18 Rabinowitz and Robe tested
some of Berlyne's theories and findings and found, among other things,
support for his findings concerning a preference for complexity.19 Not
all evidence, however, points in the same direction. Karmel has found,
experimenting with rats, chicks and human infants, that definite prefer-
ences can be found across the three types of subjects for patterns con-
taining greater amounts of contour. He, however, makes a distinction
between amount of contour and complexity and finds that no clear prefer-
ence can be found across the species for the more complex design.20
Based on the combined findings of Berlyne, Attneave and Hall concerning
the relationship between contour and complexity, however, one must view
Karmel's distinction between the two with at least a modicum of caution.

Other studies dealing with complexity as a variable include
Frances findings that complexity had more distinctly differentiating ef-

fects for his subjects (workers and students) than did preference and

 

18Russell Eisenman, Michael Grove, F. A. Coyle, Jr., and Lenice
L. Redick, "Studies in Complexity-Simplicity: 1. Children's Prefer-
ences; II. Personality Correlates in College Students," Proceedings of
the 77th Annual Convention of the AmeriCan Psychological AssOciation,
Vol. 4 (1969), 473-474.

19F. Michael Rabinowitz and Charlotte V. RObe, "Children's Choice
Behavior as a Function of Stimulus Change, Complexity, Relative Novelty,
Surprise and Uncertainty," Journal of Experimental PsyChology, Vol. 78
(1968), 625-633.

20Bernard C. Karmel, "Complexity,Amounts of Contour, and Visually
Dependent Behavior in Hood Rats, Domestic Chicks, and Human Infants,"
Journal_of Comparative and PhysiOlogical PsychOIOgy, Vol. 69 (1969),
649-657.

12

interest. He also found that his student subjects had more tolerance

for complexity than did the workers, and they associated preference and
interest less frequently than did the workers for the same perceptual
figure.21 Lowenthal has reported that his subjects preferred intermedi-
ate amounts of complexity and that experience with complexity above the
optimum produced the most systematic change in preferences toward greater
complexity.22 Minton replicated some of Berlyne's work and found con-
firmation for the results of positive correlation between stimulus com-
plexity and perceptual curiosity.23 Bryson and Driver have also supported
other of Berlyne‘s findings that increased complexity results in increased
internal arousal.24 Dember and Earl have presented probably the most
cogent argument for the consideration of complexity as a psychological
variable by defining it in terms of change in stimulation and adding that
complexity involves spatial heterogeneity.25 Again, however, there is

scholarly dissent. McCall and Melson question whether complexity as a

 

21R. Franees, "Interet et Preference Esthetique Pour des Stimuli
de Complexite Variable," Journal de Psychologie Normale et Pathologigue,
Vol. 67 (1970), 207-224.

22Alan S. Lowenthal, "Stimulus Variability, Preference, and Per-
ceptual Change," (Ohio State University), Dissertation Abstracts, 1968,
28(9-B), pp. 3867-3868.

23H. Minton, "A Replication of Perceptual Curiosity as a Function
of Stimulus Complexity," Journal of Experimental Psychology, Vol. 65
(1963), 522-524.

24Jeff B. Bryson and Michael J. Driver, "Conceptual Complexity
and Internal Arousal," Psychonomic Science, Vol. 17 (1969), 71-72.

 

25W. N. Dember and R. W. Earl, "Analysis of Exploratory, Manipula-
tory, and Curiosity Behaviors," Psychological Review, Vol. 64 (1957),
91-96.

 

13

visual stimulus has been sufficiently defined to allow conclusions to

be drawn from experiments using it.26 They, however, ignored Berlyne's
three elements of complexity in their discussion of its definition or
lack of it. The studies reported here might serve to somewhat quiet
their discord. A sufficient number of studies would appear to have been
done investigating complexity and its relationship to looking behavior.
Further, the results of these studies seem sufficiently promising to war-

rant the preliminary acceptance of complexity as a variable.

Complexity and Readershipg

 

Before a link can be established between complexity and page design,
a few definitions are in order. Horizontal page design is defined as that
design which used predominantly multicolumn headlines ("multicolumn" taken
to be three-column headlines or wider, multicolumn pictures and body-type
setting wider than the standard 11 picas (a little less than 2 inches wide)
found in most contemporary newspapers. Vertical design is defined as that
design which uses predominantly one- and two-column headlines and pictures,
and body-type setting of the standard 11 picas.

Since a vertical page generally has more angles than a horizontal
page, the vertical design would be considered more complex than the hori-
zontal design. This deduction finds support in the findings of Attneave
and Hall that the more complex a pattern, the more contours it will have.
The fact that the vertical design uses more ll-pica wide setting of body

type and therefore contains more columns of body type than the horizontal

;

 

26Robert B. McCall and William H. Melson, "Complexity, Contour,
and Area as Determinants of Attention in Infants," Developmental Psycho-
logy, Vol. 3 (1970), 343-349.

 

14
design serves to increase the number of angles in the vertical design and
hence, its complexity.. The larger number of columns of type present in
the vertical design serves to increase the number of eye cell excitations
discussed by Attneave.

Berlyne, whose linkage of complexity and conflict was discussed
earlier, says that "it would seem plausible that simpler figures would
entail less prolonged and less intense conflict." He continues, "Further
possibilities of conflict, increasing with complexity, come from eye move-
ments. The assumption that visual patterns with.more distinct parts
arouse more numerous visual adjustments is central to both Birkhoff's and
Rashevsky's theories of aesthetic value."27 He has also found that once
conflict is established within the individual, arousal is said to occur.
It would seem that this arousal, or attention, is a prerequisite to reader-
ship.

In an experiment with.rats that dealt with vertical and horizontal
designs, Dember, Earl and Paradise found their rat subjects invariably
displayed greater voluntary preference for the more complex design when
offered a choice. The rats preferred to explore a horizontally striped
pathway in preference to an all-white or all-black pathway, and preferred
a vertically striped pathway to any of the other three. The authors'
decision as to the relative complexity of the four designs was based on
the fact that, physically, there were more elements such as stripes or
within-stimulus brightness changes in the vertical stimulus than in the

horizontal stimulus.28 In yet another study using infants as subjects,

 

27Berlyne, ConfliCt, Arousal...., p. 50.

 

28W. N. Dember, R. W. Earl and N. Paradise, "Response by Rats to
Differential Stimulus Complexity," JOurnal of Comparative and Physiologi-
cal PSychology, Vol. 50 (1947), 514-518.

 

15
Moffett found that the older an infant is, the more it prefers complex
visual stimuli. The subjects looked longer at patterns with a greater
number of lines, regardless of arrangement, and the number of white
rectangular spaces was a major determinant of visual attention.29 This
would seem to be another reason to expect increased attention to a verti-
cal page since the narrow measure setting requires more rectangles of
white space to separate the blocks of body type than are found in more
horizontal designs using wider measure setting of body type.

Berlyne has found that subjects spend more time with more complex
figures as compared to simpler ones. He approaches this finding from two
directions, information theory and behavior theory. He says the human
being requires more time to absorb more information and that complex
figures have more information in them. From theory, he draws on Pavlov's
"investigatory reflect." Berlyne says, "We should have to conclude that
'more complex' stimuli elicit the investigatory reflex more strongly than
others..." He also talks in terms of a link between perceptual curiosity
and attention.30 Likewise, in examining the influence of stimulus com-
plexity on free looking time and inspective exploration, Gaschk, Kintz
and Thompson found that looking time increased with complexity.31 This
tends to support the notion that more complex page design will increase

the time spent with that page and, in turn, increase readership. Wohlwill

 

29Adrienne Moffett, "Stimulus Complexity as a Determinant of Visual
Attention in Infants," JOurnal of EXperimental Child Psychology, Vol. 8
(1969), 173-179.

 

30D. E. Berlyne, "The Influence of Complexity and Novelty in Visual
Figures on Orienting Responses," Journal of‘EXperimental Psychology, Vol.
55 (1958), 289-296.

31JudithA. Gaschk, B. L. Kintz and Richard W. Thompson, "Stimulus
Complexity, Free Looking Time, and Inspective Exploration," Perception and
Psychophysics, Vol. 4 (1968), 319-320.

 

16

was interested in taking the work of Berlyne, Day, Dember and others which
relied on basically nonsense patterns and relating it to "more meaningful
and aesthetically relevant ones." He found it could be done with virtually
the same results. He also found that visual exploration increased with
complexity.32
Berlyne has suggested that as complexity increases, so does in-
terest in the design. Evans supports Berlyne and says that increased com-
plexity results in increased viewing time, which indicates epistemic, or
knowledge-seeking, behavior in the form of directed thinking.3:5 It would
seem logical that if the subjects' state of arousal is increased by verti-
cal design, his knowledge-seeking behavior may be to read the stories on
the page in lieu of asking questions (a result suggested by both Berlyne
and Evans). Therefore, if a vertical design is more complex than a hori-
zontal design, and if interest increases with increased complexity, then
readership of a vertical page will be greater than readership of a hori-
zontal page. This points to the general hypothesis that complexity leads
to greater attention and, hence, to increased readership, and, in turn,
to the following specific hypotheses:
H1: Vertical headline display in a page design will
result in greater readership of the stories on
that page than of the same stories displayed with
horizontal headlines.
H2: The use of ll-pica wide setting of body type in
a page design will result in greater readership

of the stories on that page than of the same
stories displayed with wider measure setting.

 

32Joachim F. Wohlwill, "Amount of Stimulus Exploration and Pre-
ference as Differential Functions of Stimulus Complexity," Perception
and PSyChophysics, Vol. 4 (1968), 307-312.

 

 

33David R. Evans, "Conceptual Complexity, Arousal, and Epistemic
Behaviour," Canadian Journal of PSychology, Vol. 24 (1970), 249-260.

 

17
H3: Vertical picture layout in a page design will

result in greater readership of the stories on

that page than of the same stories displayed

with horizontal pictures.

Complexity and InterestingneSs/Pleasingness

In addition to the findings that as complexity increases so does

interest in the design, Berlyne has stated that as complexity increases,
the pleasingness of the design decreases. In one study he found that his
subjects seemed to indicate that the more irregular patterns presented to
them were more interesting and more arousal-raising. The less irregular
patterns on the other hand were seen as more pleasing and arousal-reducing.34
In yet another study involving semantic space, he established the idea
that interestingness and pleasingness are both major elements in the com-
plexity space and that complexity is a major determinant of these proper-
ties.35 Day has also found that interest is directly related to complexity
and that pleasingness is inversely related to complexity.36 He also re-
ports that as complexity increases, pleasingness decreases such that pleas-
ingness is high at extremely low levels of complexity and low at extremely
high levels of complexity. He points out, moreover, that interest increases
with complexity to a peak and remains at a high level thereafter. He sup-

ports Berlyne's contention that pleasingness reflects arousal-reducing

 

34D. E. Berlyne, "Complexity and Incongruity Variables as Deter-
minants of Exploratory Choice and Evaluative Ratings," Canadian Journal
of Psychology, Vol. 17 (1963), 274-290.

 

35D. E. Berlyne, J. Ogilvie“ and L. Parham, "The Dimensionality
of Visual Complexity, Interestingness and Pleasingness," Canadian Journal
of Psychology, Vol. 22 (1969), 376-387.

 

 

36H. Day, "The Importance of Symmetry and Complexity in the
Evaluation of Complexity, Interest and Pleasingness," Psychonomic Science,
Vol. 10 (1969), 339-340.

18

stimulus prOperties while interestingness reflects arousal-raising stimu-
lus pr0perties.37 Eisenman's findings support Berlyne's that the more
complex figures will also be judged more interesting, but he did not con-
firm Berlyne's findings that complexity and pleasingness vary inversely.38
The same results were also found by Robeck.39

However, in a later study Eisenman and Robinson found support for
the negative correlation between complexity and pleasingness although they
did find that their findings apply to high complexity.40 In still another
study by Berlyne it was found that the duration of exploratory behavior
increases with complexity variables, and even though the subjects spent
more time with the more complex figures, there was a tendency for the less
complex figures to receive more verbally expresSed preferences than the
more complex figures.41 He was concerned at one time that perhaps his
subjects spent more time with the more complex figures simply because they

took longer to identify; in a replication of an earlier experiment he

 

37H. Day, "Evaluation of Subjective Complexity, Pleasingness and
Interestingness for a Series of Random Polygons Varying in Complexity,"
Perception and Psychophysics, Vol. 2 (1967), 281-286.

 

38R. Eisenman, "Pleasing and Interesting Visual Complexity: Sup-
port for Berlyne," Perceptual and Motor Skills, Vol. 23 (1966), 1167-1170.

 

39Robeck, "The Influence of Design Symmetry....," p. 47.

40R. Eisenman and N. Robinson, "Complexity-Simplicity, Creativity,
Intelligence, and Other Correlates," Journal of Psychology, Vol. 67 (1967),
331-334.

 

41D. E. Berlyne and G. Lawrence, "Effects of Complexity and
Incongruity Variables on GSR, Investigatory Behavior and Verbally Expres-
sed Preference," Journal of General PSychology, Vol. 71 (1964), 21-45.

 

19
lengthened exposure time from 10 seconds to two minutes with the same
results--the subjects still spent more time with the more complex figures.42
Cizkova has also found that search time Varies with complexity and the
number of stimuli, or that the subjects spent more time with complex sti-
muli, thus indicating a greater interest in them.43

These statements suggest the general hypothesis that vertical
design of pages will be judged more interesting, but less pleasing than
horizontal pages. This leads to the following hypotheses:

H4: A page using vertical headline display will be

judged more interesting than one using horizontal
headline display.

H5: A page using ll-pica wide setting of body type
will be judged more interesting than one using
body-type setting wider than 11 picas.

H6: A page using vertical picture display will be
judged more interesting than one using horizontal
picture display.

Since both Berlyne and Day have pointed out that pleasingness is
negatively correlated with interestingness in the presence of complexity,
the following specific hypotheses are offered:

H7: A page using vertical headlinedisplay will be

judged less pleasing than one using horizontal
headline display.

H3: A page using ll-pica wide setting of body type
will be judged less pleasing than one using body-

type setting wider than 11 picas.

Hg: A page using vertical pictures will be judged
less pleasing than one using horizontal pictures.

 

42D. E. Berlyne, "Supplementary Report: Complexity and Orienting
Responses with Longer Exposures," JOurnal of Experimental Psychology,
Vol. 56 (1958), 183.

 

43Jitka Cizkova, "Effect of the Quantity and Complexity of Visual
Stimuli on Operator's Search Activity," Studia'Psycholggica, Vol. 9 (1967),
241-247.

20
Although there are no research findings to offer as support, it
is felt that the increased attention and increased readership resulting
from vertical page design will lead to greater comprehension of the
stories read. This general hypothesis suggests the following specific
hypotheses:

H10: Vertical headline display in a page design will
result in greater comprehension of the stories
on that page than the same stories displayed with
horizontal headlines.

H11: The use of ll-pica wide setting of body type in
a page design will result in greater comprehen-
sion of the stories on that page than the same
stories displayed with wider measure setting.

H12: Vertical picture layout in a page design will
result in greater comprehension of the stories
and pictures on that page than the same stories
and pictures displayed with horizontal pictures.

CHAPTER II

THE EXPERIMENT

The most realistic vehicle for studying the relationship between
newspaper design complexity and other variables, of course, would be a
newspaper specially designed for the purpose. In the fall of 1971 the
College of Journalism at the University of South Carolina began publica-

tion of an experimental laboratory newspaper, the Carolina Reporter. The

 

newspaper generally appears in tabloid format and has a limited circula-
tion to campus departmental offices and various departments, schools and
colleges of journalism across the country. Because of this limited cir-
culation it was felt that while the student subjects might have heard of
the paper they would not be likely to be too familiar with the Reporter
and would lack any predisposition toward the newspaper. Therefore it was
decided that the experimental vehicle would use the nameplate of the
Reporter and would be a tabloid format as opposed to a full-sized, eight-
column newspaper. Although it was of no particular scientific value,

the tabloid format was useful in another area as well since it enabled
the experimenter to personally set all copy for the experimental pages
and to avoid as much as possible the occurrence of typographical errors
with their potentially contaminating influence. The experimenter was re—
quired to set only about one-half the copy it would have taken to fill

a full-sized page.

21

22

The offset process was used for the experimental vehicle because
it offered superior quality of reproduction and allowed the use of type-
setting and pasteup facilities at the College of Journalism. As with the
typesetting, the experimenter performed the pasteup operation of the ex-
perimental pages to assure standardization of quality across all experi-
mental versions.

As for contents, it was felt that the subject matter of the stories
on the experimental page should be of such a nature that they could compete
successfully with the stories on the three non-experimental pages of the
tabloid newspaper. This was accomplished by asking a group of university
students to indicate what contemporary areas of news were of the most
interest to them. Using this information, the experimenter prepared the
stories appearing on the experimental page of the newspaper. The pictures
were taken by College of Journalism photography students and were arbitra-
rily selected on the basis of their general interest from among approximately
200 possibilities. The stories appearing on the three non-experimental
pages of the tabloid newspaper were the products of various writing classes

in the College of Journalism.

Overall Procedure

 

The overall procedures to be described hereafter were found to be
viable through pre-test with a group of 45 subjects, divided into three
subgroups of 15 subjects each. The prime task in the pre-test was to estab-
lish the optimum exposure time to the experimental newspaper. Each of the
three subgroups involved in the pre-test was given different amounts of
viewing time. Group I was allowed 20 minutes, Group II 15 minutes and
Group III 10 minutes. It was determined that both the 20-minute and 15-

minute reading periods allowed the subjects to proceed through the

23

newspaper once and then to go back into the paper for additional reading.
The lO-minute reading period, on the other hand, allowed sufficient time
for perusal of the four pages without permitting additional reading.
Also, the experimental page's percentage of the total readership of the
four pages was virtually unchanged across the three different reading
periods--27.05 per cent for the lO-minute version, 23.91 per cent for
the 15-minute version, and 27.41 per cent for the 20-minute reading
period. Therefore, it was decided to allow a 10-minute exposure period
in the actual experimental situation.

It was felt that since this study involved newspaper design,
journalism students should be excluded from the experiment because their
obvious interest in newspapers and newspaper layout could influence re-
sults. Therefore subjects for the experiment came from two sections of
a course in contemporary fiction and three sections of a course in intro-
ductory psychology. This resulted in obtaining 144 subjects, 58 men and
86 women. A description of the subjects is in Table 1.

The experiment was performed in a classroom situation. The sub-
jects were allowed to select their own seats and were given randomly
ordered copies of the experimental newspaper. They were allowed 10
minutes in which to read the paper as established in pre-test. At the
end of the lO-minute reading period, the subjects were told to stop
reading and were provided with marking pencils. They were instructed to
indicate their readership of each item on each page in their newspaper
by marking a line through those portions read and to make no mark on those
items they did not read. These marking instructions were not limited to

the experimental page in an effort to avoid alerting the respondents to

24

 

 

 

 

 

NN NH NH NH NH NH HH HH HH NNoHocoNNa NoHHaa<
Hm N N N N N N N N coHHUHN NHNHomaouaou
Umuwfihowm 0H0:
Npooanm HUHHZ
Eonm momhsou
N H H H H N egos Ho N
N N H N N N-N
NH N H H N N N-N
mm 4 N N N N N N N N-N
HN HH NH HH HH NH NH N N N-H
AmaopmoEom :Nv
flowpmozfim
N.NH N.NH N.NH N.NH N.oN H.oN H.oN N.NN N.NH HNHNNN eHV oN< cam:
NN NH HH NH NH N HH NH HH "oHNsom
NN N N N N N N N N ”oHN:
"Rom
N N N N N N N H
Hmuoh. fiowmho> ommm Hmpcofiwhomxm

 

. opHSHUoH UN 3 50H momasoo am coHuwo: o .omm .xom
. . p . w

”mpoomn3m mo :ofigmwwomomnu.fi mam<b

25

the fact that this was the only page in which the experimenter was in-
terested. It was felt that this would allow a more normal response to
the experimental page.‘

When they had completed their marking tasks, the subjects were
given instructions on the use of semantic differential-type rating scales
and provided with a booklet of four 8-inch by 5-inch Sheets of paper on
each of which was a 7-point scale ranging from COMPLEX to SIMPLE. They
were told to use sheet 1 of the booklet for page 1 of their newspaper,
sheet 2 for page 2, etc. Ratings were also obtained in the same manner
on each page of the paper on the PLEASING-DISPLEASING continuum and the
INTERESTING-UNINTERESTING continuum.

On completion of this stage of the experiment, the newspapers
were gathered from the subjects as were the three completed sets of rat-
ing scales, and subjects were provided with.and instructed to respond
to 18 multiple choice questions dealing with the five stories and one
picture on the experimental page. Finally the subjects were asked to
provide brief information of a personal, demographic nature. (See
Appendix A.)

At this point, the nature of the study was discussed, the sub-
jects were asked not to talk about the experiment with others, and then

dismissed.

ConstruCtion of Experimental Vehicle

 

As mentioned earlier, it was decided to create a four-page tabloid
newspaper to serve as the experimental vehicle. It was fUrther estab-
lished that the newspaper could contain no advertisements so as to con-
trol for the possible competition for attention between ads and news.

Three of the four pages in the newspaper (pages 1, 2, and 4) were the

26

same for all subjects. In order to test the various hypotheses eight
versions of the experimental page (page 3) were created, ranging from
an all-horizontal version to an all-vertical version varying the three
experimental stimuli (headlines, width of body copy setting, and picture
shape) one at a time. It was decided to use page 3 as the experimental
page rather than, for instance, page 1 in order to avoid any possible
sensitization as to the purpose of the experiment. The experimental sti-
muli in each version were as follows:
Version l--horizontal headlines
horizontal picture
'wide-measure setting
Version 2--horizontal headlines
vertical picture
wide-measure setting
Version 3--vertical headlines
vertical picture
wide-measure setting
Version 4--vertical headlines
horizontal picture
wide-measure setting
Version 5--horizontal headlines
horizontal picture
ll-pica setting
Version 6--horizontal headlines
vertical picture

ll-pica setting

27

Version 7--vertical headlines
vertical picture
ll-pica setting
Version 8--vertica1 headlines
horizontal picture
ll-pica setting
As outlined in Chapter I, the basic assumption is that the verti-
cal versions of the page will be more complex in their design than the
horizontal versions. To ensure that the only variables having an effect
in the experiment would be those intended to do so by the experimenter,
it was necessary to include certain controls. It has already been pointed
out that pages 1, 2, and 4 were the same in content and appearances for
all of the 144 subjects. It was also necessary to exercise control over
the stories and headlines used on the experimental page. The stories in
the eight versions of the experimental page are identical from page-to-
page, both in content and length, as is the wording and type size of the
headlines under which they appear. The only thing varied is the vertical-
ness or horizontalness of the display of the story and its headline. Thus,
a four-column wide, 36-point, one-line headline (a horizontal display)
can be made into a vertical element by cutting the headline in two and
making it into a two-column, 36-point, two-line headline. Likewise, a
five-column, 36-point, one-line headline (again, a horizontal display)
can be transformed into a vertical element by cutting it into two parts
and displaying it as a three-column, 36-point, two-line headline or by
cutting it into three parts and letting it be a two-column, 36-point, three-
line headline. In each instance the same words are used for the headline

and in the same order. In this manner the verticalness or horizontalness

28

of the headline and story display can be varied while holding constant
the content.

The body type used throughout the experimental vehicle was
9-point Bodoni Book with 1 point of leading. Width of body-type setting
was varied between the vertical and horizontal versions of the experi-
mental page with the horizontal versions using more wide-measure setting.
For instance, the typical typewritten page of newspaper copy will pro-
vide a block of type approximately seven inches deep when it is set on
a line of 11 picas width. The same page of typewritten c0py will yield
a block of type approximately three-and-a-half inches deep when it is
set on a line of 22 picas width. The narrower setting appears more verti-
cal than the wider setting. If one were to place this type in the same
two-column wide by three-and-a-half inches deep hole on a page, he would
have one block of type on the wider measure setting, but two blocks of
type on the narrow, ll-pica setting. This treatment contributes to the
increased complexity of the vertical display of the narrow, ll-pica set-
ting both because more contour angles are created and because of the
white space between the blocks of type. The wide-measure settings used
varied from 17-picas width (almost three inches) to 23-picas (almost four
inches) depending on the particular layout situation involved. (See
experimental pages in Appendix B.)

As with headlines and body type, picture width was varied while
holding content constant. The picture on the experimental page was ac-
tually two pictures, a two-column wide picture and a one-column wide pic-
ture. For horizontal display the pictures were placed side-by-side, and
for vertical display the one-column picture was placed underneath the

two-column picture.

29

The readership marking method of having subjects indicate what
they have read by extending a line from the top of the headline through
the last paragraph of the story they read has already been explained.
The "seen," "read any" and "read all" method was considered, but it was
felt that, by definition, the system was too gross for this study. "Read
any" readership is defined as reading the headlines of an item and at
least the lead paragraph. "Read all" is defined as complete or virtually
complete readership of the item.44 The gap between reading the lead
paragraph and reading the complete story is too wide to be useful here.
Therefore it was decided to count each headline as one unit of reader-
ship, each paragraph as one unit of readership, each picture as one unit
(the two-column portion of the picture and the one-column portion taken
together as one unit), each headline on the cutlines for the picture as
one unit, and the cutlines as one unit.

As mentioned earlier, each subject was required to rate his ver-
sion of the experimental page on the three continuums of COMPLEX-SIMPLE,
PLEASING-DISPLEASING and INTERESTING-UNINTERESTING. Again, to mask at
this stage of the experiment that the experimenter was interested only
in their judgments concerning page 3 of their newspaper, the subjects
rated all four of the pages in their paper on the three continuums.

An eighteen—question multiple choice comprehension test was
designed for the elements on the experimental page. Each of the five

stories and the picture were represented with three questions. On each

 

44Robert L. Jones and Leslie A. Beldo, ”Methodological Improve-
ments in Readership Gathering," Journalism anrterly, Vol. 30 (1953),
345-353.

30

question the respondent was required to select from four possible answers,
including a "don't know" option. The three comprehension questions used
on each news story and the picture were summed for a tetal_"story compre-
hension index."

The data on complexity, interestingness, pleasingness, readership

and comprehension were analyzed through multivariate analysis of variance.

CHAPTER III

FINDINGS

As outlined in Chapter I, this study attempts to measure the
effect of Berlyne's complexity variable, represented by three independent
variables--headline pattern (either horizontal or vertical), picture pat-
tern (either horizontal or vertical), and body type setting width (either
the vertical ll-pica width or the more horizontal wide-measure width)--
on the four dependent variables of readership, comprehension, interest-

ingness and pleasingness.

Data on Hypotheses Tests

 

Twelve hypotheses were formulated, and the data analyzed to deter-
mine whether or not these hypotheses were supported by the findings of
the study. Discussion of these 12 hypotheses follows with the hypotheses
grouped according to the dependent variable involved.

Page Design and Readership,

 

It was predicted that the use of vertical headline patterns,
vertical picture patterns and narrow measure (ll-pica) setting width for
body type would each result in higher readership of the stories on the
pages so treated. None of the three hypotheses dealing with these pre-
dictions was supported by the data. The overall mean page readership
scores for these different display versions were as follows:

Headline Pattern Horizontal (19.0) Vertical (19.3)
Picture Pattern Horizontal (19.0) Vertical (19.4)

Column Width Wide (18.5) Narrow (20.0)

31

32

Although the page readership mean scores were in the right
direction, the use of analysis of variance showed that the F values of

all main and interaction effects were non-significant.

Page Design and Interestingness

 

The hypotheses of Chapter I predicted, based on the findings
of Berlyne and others that more complex designs are rated as more in-
teresting than less complex designs, that those pages incorporating ver-
tical headlines, vertical pictures, and narrow measure (ll-pica) setting
width for body type would be rated as more interesting than those pages
pages using horizontal elements. None of the three hypotheses dealing
with these predictions was supported by the data. The mean interesting-
ness scores for these different display versions were as follows:

Headline Pattern Horizontal (4.7) Vertical (4.7)

Picture Pattern Horizontal (4.5) Vertical (4.3)

Column Width Wide (4.5) Narrow (4.4)
Using analysis of variance, the F values of all main and interaction ef-

fects were non-significant.

Page Design and Pleasingpess

 

It was also predicted in Chapter I, again in keeping with the
findings of Berlyne and others, that the vertical, more complex page
designs would be rated by the subjects as less pleasing than the hori-
zontal, more simple pages. None of the three hypotheses dealing with
these predictions was supported by the data. The mean pleasingness
scores for these different display versions were as follows:

Headline Pattern Horizontal (4.3) Vertical (4.4)

Picture Pattern Horizontal (4.5) Vertical (4.2)

Column Width Wide (4.3) Narrow (4.4)

33

Using analysis of variance, the F values of all main and interaction ef-

fects were non-significant.

Page Design and Comprehension

 

It was predicted in Chapter I that, even though there were no
research findings to support such an inferential leap, the more vertical
and complex page designs would lead to higher readership, and this higher
readership would lead to greater comprehension of the stories so displayed.
None of the three hypotheses dealing with these predictions was supported
by the data. The mean comprehension scores (with the maximum possible
comprehension score equalling 18.0) for these different display versions
were as follows:

Headline Pattern Horizontal (7.4) Vertical (7.1)

Picture Pattern Horizontal (7.2) Vertical (7.2)

Column Width Wide (7.1) Narrow (7.3)

Using analysis of variance, the F values of all main and interaction ef-

fects were non-significant.

Data on Interactions

 

None of the overall page readership main effect or interaction
findings was significant for any of the criterion variables. Further
evaluation of the findings indicated that this may be because of the
large variability in readership from story to story, as shown in Table 2.
The better-read elements generally show the effect of the different

page designs utilizing the three independent variables.

34

TABLE 2.--Mean page readership for each of four pages in experimental

 

 

 

vehicle
Mean Mean Percent
Readership Readership Available
Item Units Available Units Read Units Read
Page 3:

"GRAVATT" Story 10 1.8 18.0
"POLICE" Story 7 4.8 68.6
"SCPIRG" Story 5 1.7 34.0
"WOMEN'S LIB" Story 8 5.1 63.8
"HEALTH CENTER" Story 11 4.0 36.4
"SPIRES" Picture 3 1.8 60.0
TOTAL....Page 3 44 19.2 43.6
TOTAL....Page 1 45 28.0 62.2
TOTAL....Page 2 48 18.0 37.4
TOTAL....Page 4 46 16.7 36.4

 

Total N for each page = 144

These effects are shown through several significant interactions
that will be discussed later. One of these significant interactions was
found in the analysis of the readership of the "WOMEN'S LIB" story (per-
centage readership of 63.8%), one in the analysis of the "SPIRES" picture
readership (percentage readership of 60.0%) and one in the "GRAVATT"
story readership analysis (percentage readership of 18.0%). As seen in
Table 2, the "POLICE" story had the highest percentage readership of
any of the elements on the experimental page, but the analysis of the
readership data for that story showed no significant effects for either
the main effects variables or for first- and second-level interactions.

Although the main effect of headline treatment and the interaction of

35

headline and picture treatment approached the .05 level of significance
(.065 and .057, respectively), it is felt that the lack of significance
can be explained by the fact that the story had such high reader interest
that it was well-read regardless of its experimental treatment.

The data seem to suggest that the 12 hypotheses in Chapter I
are too simple. All of them deal with the main effects of the three in-
dependent variables and it would appear that one cannot look at the ef-
fect of one of these variables without taking into consideration the ef-
fect of the other variables.

Readership scores were obtained and analyzed for each story on
each version of the experimental page. In this analysis some significant
results were found. In every case there was interaction between two of
the three manipulated variables.

Headline Pattern, Width of Body Type
Setting and Readership

 

 

As mentioned above, several significant first-level interactions
appeared in the analysis of the readership data for the display elements
on the experimental page. The first of these significant interactions
occurred in the analysis of variance of the readership of the "GRAVATT"
story between headline pattern and width of body type setting as shown
in Table 3. An examination of the mean readership scores for the two
variables (maximum possible readership score is 10.0) seems to explain
the interaction (see Table 4). The significant interaction found in the
"GRAVATT" analysis would seem to suggest that the interaction of head-
line pattern with body type setting width is a strong one. As shown in
Table 2, the mean readership for the story is the lowest of any of the

display elements on the experimental page (18.0%), yet the significant

36

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37

TABLE 4.--Mean readership scores on "GRAVATT" story for horizontal vs
vertical headlines and ll-pica vs wide measure body type setting (maximum
readership score = 10.00)

 

Headlines
Horizontal Vertical Mean
Wide
Width Measure 2.75 1.14 1.95
of Body
Type
Setting ll-Pica 1.22 2.06 1.64
Mean 1.99 1.60

N per cell = 36

 

interaction appeared. The data (Table 4) indicate that verticality of
headline display works with verticality (narrow measure setting) of body
type to increase readership, and that horizontalness of headline display
works with horizontalness (wide measure setting) of body type to increase
readership of the story so displayed. The mean readership scores also
suggest that, for a top-of-the-page story, horizontal headline and

wide measure body type display will serve to increase readership over
any other combination of headline and body type display. It should be
noticed that the horizontal headline display on the experimental pages
used in this study places the headline and lead paragraphs of the
"GRAVATT" story in what has been traditionally accepted as the primary

optical area of a page, the upper left corner (see Appendix B).

38

Headline Pattern, PiCture Pattern
and Readership_

 

Another significant interaction was found in the analysis of
variance of the readership of the "WOMEN'S LIB" story between headline
pattern and picture pattern. This significant interaction can be seen
in Table 5 and is explained in Table 6 where the maximum possible reader-
ship score is 8.0. Unlike the interaction in the "GRAVATT” story where
like element went with like element, here an opposite kind of inter-
action was found. In this interaction the readership means indicate
that vertical headline pattern interacts with horizontal picture pattern
to increase readership and horizontal headline pattern interacts with
vertical picture pattern to provide higher readership.

Picture Pattern, Width of the Body Type_
Setting and Readership

 

 

The third significant interaction is to be found in the analysis
of variance of the readership of the "SPIRES" picture and can be seen in
Table 7. The mean readership scores in Table 8, where the maximum pos—
sible readership score is 3.0, seem to explain the interaction. Again,
as in the two previous significant interactions, the effects are reversed.
Also, as in the previous interaction of headline pattern and picture
pattern and its effect on the readership of the "WOMEN'S LIB" story, the
pairing of unlike elements seems to enhance readership. The vertical
picture in conjunction with wide measure body type and the horizontal
picture used with narrow measure body type appear to result in increased

readership.

39

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40

TABLE 6.--Mean readership scores on "WOMEN'S LIB" for horizontal vs
vertical headlines and horizontal vs vertical pictures (Maximum readership
score = 8.0)

 

Headlines
Horizontal Vertical Mean
Horizontal 4.44 5.36 5.40
Picture
Vertical 6.03 4.39 5.21
Mean 5.24 5.38

N per cell = 36

 

41

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42

TABLE 8.--Mean readership scores on "SPIRES" picture for horizontal
vs vertical picture and ll-pica vs wide measure body type setting
(maximum readership score = 3.00).

 

Picture
Horizontal Vertical Mean
Wide
Width Measure 1.50 1.69 1.60
of Body
Type
Setting ll-Pica 2.31 1.64 1.98
Mean 1.91 1.67

N per cell = 36

 

CHAPTER IV

DISCUSSION AND FUTURE IMPLICATIONS

Summary of the Study

 

This study could be viewed as the natural outgrowth of almost a
decade of frustration and doubt in the teaching of newspaper layout and
design at various institutions of higher education. Any teacher of
future mass media practitioners who has been fortunate enough to have
even minimal exposure to the theory and findings of communication re-
search must admit that he is at times plagued with uncertainty about
the quality of the information and techniques he is passing on to his
students. Those who instruct in newspaper design are doubly afflicted
because the skills they teach will be used as the culmination of the
combined efforts of an entire newspaper staff in trying to reach its
audience with information. What they teaCh determines in large measure
how the product, the news, will be packaged. Since they are competing
with an enormous variety of stimuli for the attention of their audience
and for that audience's time, packaging assumes increased importance.

For suCh teachers, the problem ultimately boils down to a re-
latively simple question: "Do the design teChniques I am passing along
as 'gospel' really make any difference at all?" The experiment reported
here attempted to provide some initial insights in the area of newspaper
design. Three design variables were selected for study--horizonta1 and
vertical headline pattern, horizontal and vertical picture pattern, and

ll-pica (almost two inches) and wide measure body type setting width.

43

44

The wide measure setting width varied from 17 picas (almost three inches)
to 23 picas (almost four inches). Various combinations of these three
variables were examined for their effect on readership, comprehension,
rated interestingness and rated pleasingness.

The basic theoretical framework for the study evolved from the
work of psychologist D. E. Berlyne with a stimulus variable he identi-
fied as complexity. Essentially Berlyne says that increased pattern
complexity leads to increased uncertainty which in turn produces in-
creased conflict and arousal for the subject. The subject, finding him-
self with these unacceptable levels of conflict and arousal, will at-
tempt to decrease them to an acceptable point. It was felt in the pre-
sent study that the subjects would try to lower these high levels of
conflict and arousal through increased looking behavior. It was anti-
cipated that this increased looking behavior would result in increased
readership and ultimately in greater comprehension of the material on
the experimental page.

Berlyne's considerable efforts in coming to grips with the com-
plexity variable have been supported and expanded upon by Attneave who
offers strong evidence that one of the key components of complexity is
the number of contours in the design. For instance, in one study of the
judgments of complexity he reported that contour variables explained
73.7 per cent of the variance accounted for.45 He suggested that a
higher number of contours and angles in a design causes more excita-

tions of the eye cells that respond to the onset or termination of

 

43Attneave, "Some Informational Aspects . ."

45

illumination. Later studies by Hall46 and Robeck47 have offered further
support for the findings of Berlyne and Attneave concerning the positive
relationship between design contour and rated complexity.

The research work of Berlyne and others has also indicated a link-
age between complexity of design and rated interestingness and pleasing-
ness. For instance, Day48 has offered support for Berlyne's findings49
that interestingness is directly related to design complexity and pleas-
ingness is inversely related to complexity.

In order to test the effect of newspaper design complexity on
readership, comprehension, interestingness and pleasingness, a four-
page tabloid newspaper was constructed. Three of the four pages (pages
1, 2 and 4) were the same for all 144 subjects. Page 3 was selected as
the experimental page so as to avoid as much as possible the problem of
sensitization of the subjects as to the purpose of the study. There
were eight versions of the experimental page on each of which complexity
was manipulated through varying the combinations of the three independent
variables one at a time from an all-horizontal page design (i.e., hori-
zontal headlines, horizontal picture and wide measure body type setting)
to an all-vertical page &.e., vertical headlines, vertical picture and
ll-pica body type setting). It was felt that the all-vertical experi-

mental page version offered the maximum in complexity since it contained

 

46Hall, ”Measures of the Complexity . . ."
47Robeck, "The Influence of Design Symmetry . . ."
43Day, "The Importance of Symmetry . . ."

49Ber1yne, et al., "The Dimensionality of Visual .

46

the largest number of layout blocks (one of Berlyne's criteria for com-
plexity) and the largest number of contours. Through a series of proce-
dures outlined in Chapter II the subjects provided responses as to the
readership and comprehension of the six display elements on their version
of the experimental page as well as their ratings of the complexity, in-
terestingness and pleasingness of the version of page 3 to which they
were exposed.

Based on the research findings of Berlyne, Attneave, Day, Hall
and others, 12 hypotheses were formulated and tested. Vertical head-
lines, vertical pictures and ll-pica wide body type setting were ex-
pected to result in increased readership and comprehension and to lead
to higher ratings of interestingness but lower ratings of pleasingness.
None of these 12 hypotheses were supported by the data. There were, how-
ever, three significant interactions found in the analyses of variance
for the readership of the six display elements used on the experimental
page. Before these significant interactions are discussed, some effort
should be made to explain just why the hypotheses of Chapter I failed
to receive support. Given the benefit of hindsight, it would appear that
the 12 hypotheses were too simple. Each of them deals with a main effect
of the three independent variables. The data suggest that these vari-
ables, taken by themselves, are simply not strong enough to produce any
significant effect on the four dependent variables. The significant
interactions seem to indicate that none of the three main effects vari-
ables can be considered in isolation, but rather must be viewed in con-
junction with the other variables. They do not work alone to produce a
significant effect, but they can and do work together. The reversal of

effects as shown in Tables 4, 6 and 8 serves to strengthen the notion that

47
the problem is much more complicated than originally thought.

Headline Pattern, Width of Body-Type
setting and Readership_

 

 

An analysis of variance for the readership of the "GRAVATT"
story revealed a significant interaction between headline pattern,
either horizontal or vertical, and width 0f body type setting, either
wide measure or narrow measure (ll-pica). As mentioned in Chapter 111,
this interaction seems to be a strong one since it came from a story
that had the lowest readership of any display element on the experimental
page. It also should be pointed out that the "GRAVATT" story was the
lead story on the page across all versions. In the horizontal versions
it was spread across the top of the five-column page, and in the vertical
version it occupied the upper-right three columns. The data indicate
that verticality of headline display interacts with verticality of body
type setting (ll-pica width), and horizontalness of headline display works
with wide measure setting (IQ-pica width in this case) to increase read-
ership. The mixing of these elements tends to impede readership (i.e.,
horizontal headline with vertical body type setting and vice versa).

An examination of the different versions of the experimental page
(see Appendix B) offers some points of conjecture as to why this parti-
cular interaction of variables might have occurred. For instance, in
versions 1, 2, 5 and 6 the "GRAVATT" story is displayed horizontally thus
placing the beginning of its headline and its lead paragraph in what has
traditionally been the primary optical area of a page, the upper left
corner. In versions 3, 4, 7 and 8 the "GRAVATT" story receives a more
vertical display and is not located in the upper left corner, but in the

upper right. The four horizontal display versions had a mean readership

48

score of 2.0 while that of the four vertical display versions was 1.6.
When the "GRAVATT" story was displayed vertically, the Upper left corner
was occupied by another story and headline, "POLICE." In the horizon-
tal displays, the ”POLICE" story was under the "GRAVATT” story on a five-
column headline. The mean readership score for the four vertical dis-
play versions of "POLICE" where the headline and story were in the upper
left corner was 5.3 while the horizontal mean readership score was 4.4.
This would seem to indicate that placing a story in the upper left corner
of a newspaper page can influence its readership.

There is another characteristic of the various ”GRAVATT" display
forms that seems to offer some insight into just what is operating in
this interaction. As can be seen in page versions 1 and 2 in Appendix B,
the "GRAVATT" display offers the reader three wide, shallow blocks of
body type wile versions 5 and 6 present him with five narrow, shallow
blocks. To the experimenter's eye, the three blocks seem to be less for-
bidding than the five blocks. Table 9 indicates that the mean reader-
ship scores of the "GRAVATT" story for versions 1 and 2 are higher than
those for versions 5 and 6 (2.2 and 3.3 as opposed to 1.5 and 0.9,
respectively). In vertical version 4, the "GRAVATT" story is presented
in two wide, equally deep blocks of type while in vertical version 8
it is displayed in three narrow, equally deep blocks with the three nar-
row blocks receiving a better mean readership score (2.2) than the two
wide blocks (0.3). This would seem to indicate that the subjects prefer
their wide measure type in shallow blocks and their narrow measure type

in deep blocks.

49

 

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50

While the differences in readership are not great, the same prin-
ciple seems to be operating in the other longer stories on the experi-
mental page where the body type is presented in equally deep blocks (i.e.,
the "HEALTH CENTER" story in versions 4 and 8; "WOMEN‘S LIB" in versions
1 and 2 versus versions 5 and 6, version 3 versus verSion 7, and version 4
versus version 8; etc.).

Headline Pattern, Picture
Pattern and Readership

 

 

Unlike the above significant interaction between headline pattern
and body type setting width in the readership of the "GRAVATT" story which
indicated that like pattern went with like pattern, the significant inter-
action in the readership of the "WOMEN'S LIB" story between headline pat-
tern and picture pattern shows an opposite effect. Here it seems that
combinations of "unlike" patterns work best to increase readership. In
other words, vertical headline pattern interacts with horizontal picture
pattern and horizontal headline pattern with vertical picture pattern when
a high readership score is produced.

It appears that how the story is placed on the page in relation
to the picture has an influence on the story's readership (see Figure 1).
For instance, the highest mean readership scores for the "WOMEN'S LIB"
story occur in versions 2 and 6 of the experimental page. In these two
versions the picture impinges on the top of the story's headline suggest-
ing that perhaps the eye sees the picture, reads the accompanying explana-.
tory material (the cutlines) and then is led into the headline of the story.
By comparison, in versions 3 and 7 the story is separated from the cutlines
of the picture by a portion of the picture itself. Table 9 shows that

the mean readership scores for the story in these two versions are lower

 

 

 

 

 

 

 

STORY STORY

 

 

 

 

 

 

Experimental Page

Experimental Page
Versions 2 and 6

Versions 4 and 8

 

 

PI

 

 

 

 

 

 

 

STORY j STORY

 

Experimental Page

‘Experimental Page
Versions 1 and 5

Versions 3 and 7

Figure l.--P1acement of picture in relation to "WOMEN'S LIB" story by
experimental page version.

51

52

than the scores for page versions 2 and 6. Similarly, it can be seen that
whenever the "WOMEN'S LIB" headline impinges in any way on the cutline
material for the picture, whether under it (as in versions 2 and 6), or be-
side it (as in versions 4 and 8), the story has better readership than
when the headline is separated from the cutline material as in versions 3
and 7 (separated by picture itself) and versions 1 and 5 (separated by
another story).

It seems that another phenomenon is operating here as well. Those
pages that offer a horizontal headline/vertical picture combination appear
to offer more visual contrast between their horizontal and vertical rec-
tangles than do the "like" combinations, thus contributing to higher
readership.

Picture Pattern, Width of Body
Type Setting and Readership_

 

 

Picture pattern and the width of body type setting interacted sig-
nificantly in the readership of the "SPIRES” picture, but as with the
"WOMEN'S LIB" story there was a reversal of effect. Horizontal picture
pattern combined with vertical body type setting (ll-pica width) and ver-
tical picture pattern with horizontal body type setting (wide measure
width) seem to increase readership of the picture and its accompanying
explanatory material (its cutlines). As with the readership of the
WOMEN'S LIB" story, it is felt that contrast is involved in this effect.
The horizontal picture pattern appears to contrast well with the vertical,
narrow blocks of ll-pica wide type as does the vertical picture shape with
the wide measure setting. Although there were no significant findings in
the analysis of variance of total page readership, one of the interactions

did approach significance (.086)--that of picture pattern and width of

53

body type setting. This, too, showed a reversal of effect. This parti-
cular interaction very nearly overcame the weakening effect of the low

readership received by some of the elements on the experimental page.

Theoretical Implications

 

When, after careful and painstaking construction and execution
of an experiment, it is found that none of the thoughtfully formulated
hypotheses was supported by the data, there is a compelling need to pause,
to reconsider. Were there lapses in theoretical construction? Was there
faulty reasoning involved? In short, what happened?

It has already been pointed out that one of the most basic prOblems
with the 12 hypotheses of Chapter I is that they are too simple. They are
written in terms of direct, main effects, but the data indicate the problem
is much more complicated than that. The hypotheses should have been writ-
ten with interaction of variables in mind. Another point that may have
contributed to the lack of finding significant direct effects is that sim-
plicity in newspaper design may be harder to come by than the experimenter
suspected.

As outlined in Chapter I, one of the goals in the design of this
study was to create experimental page layouts that varied in their com-
plexity. Apparently this was an unsuccessful effort since the respondents
rated all the pages as being slightly complex. It was stated early in
this study that "any inferential leap from studies dealing with the non-
sense pattern preferences of rats, baby chicks and children to an investi-
gation of the effects of newspaper layout and design on the reading habits
of adults requires that the investigator place himself on the extreme end
of a wind-tossed branch." It is felt that this inferential leap represents

part of the difficulty of this experiment.

54

Most of the studies reported in Chapter I were the result of
experimentation involving nonsense stimuli. Even in those experiments
where other than children or infants were used as subjects, the stimuli
were nonsense patterns. It is felt that these nonsense stimuli presented
the experimenters with an inherent advantage since the subjects could have
no preconceived dispositions toward the stimuli. Such is not the case
with newspapers. Most people cut their reading "eye teeth" on the funny
papers and have been reading a newspaper with varying regularity since
their early childhood years. Indeed, in retrospect, only an extreme opti-
mist could have expected simple manipulation of single variables to cut
through this strongly reinforced, built-in predisposition to newspaper
design. That the interacting variables were able to show an effect indi-
cates the strength of their combinations.

This study offers no support for Berlyne's conceptualization of
complexity as a variable or for the findings of many probings of comple-
xity inspired by Berlyne's work. The fault may not lie in Berlyne's
theory, but in the experimenter's failure to provide designs of sufficient
simplicity. Although the idea of what design variables to use came from
Berlyne's theories, the elements used did not produce the complexity ex-
pected on the basis of his definitions. In fact, the version that was
considered the most simple by his definitions received the highest "per-
ceived complexity" scores (see Table 10). The complexity ratings might
even suggest findings in the opposite direction of those hypothesized.
This did not occur. The main effects that were found were not signifi-
cant and the observed means from hypothesis to hypothesis were very simi-
lar and did not show any general direction. One of the reasons for this

may be indicated by the fact that the only significant differences found

55

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mmocmcHumenoucH can mmocmchmon .NuonHmaoo mo mwaHumn ecu mo mnwoe one mo name may manomenmou

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56

were interactions between two independent variables, which usually tends
to neutralize any possible main effect. It is felt that this lack of any
real perceived range in the complexity of the experimental pages as far as
the subjects were concerned contributed directly to the lack of support
for the hypotheses dealing with rated pleasingness and interestingness.

It is felt that another reason for the lack of support by the data
for the hypotheses dealing with rated pleasingness and interestingness is
that the hypotheses were formulated on the basis of the findings by Berlyne
and others that pleasingness and interestingness are negatively correlated.
In this study, not only are the two ratings not negatively correlated, but
they show a moderate positive relationship (r = .54). Thus, while it was
anticipated that because of the varying levels of design complexity the sub-
jects would respond in different ways to the pages as being interesting or
pleasing, as far as they were concerned the two sets of polar opposite ad-
jectives (pleasing-displeasing and interesting-uninteresting) were measur-
ing substantially the same thing. This positive correlation between rated
pleasingness and interestingness would seem to serve as a contradiction to
at least a part of Berlyne's theory.

The data also indicate a definite, but small relationship between
overall readership of the experimental page and rated interestingness
(r = .22). Even though this is a low correlation, it still reveals a
small, positive relationship. The correlation between readership of the
experimental page and rated pleasingness was almost negligible (r = .11).

In addition to the problem of using a basically different stimulus
than previous studies had used, there is another difficulty involved with
its subjects. Most of the early work on complexity, pleasingness and in-
terestingness by Berlyne, Attneave and others was performed using infants

and children as subjects. This experiment used college students as subjects,

57

most studies that have done so have come up with mixed support for Ber-
lyne's findings. As reported in Chapter I, Frances has even found that
different types of adults (students and workers) respond differently to
complexity. This is not to say that one should allow children and infants
to set the standards for complexity. Rather the differentiating limits of
complexity, perhaps through age or education or a combination of both, or
even other variables, should be established through continuing experimen-
tation. The homogeneity of the subjects used in this study may have served
as a restriction on the variability of the rated pleasingness and interest—
ingness scores.

There are at least two other differences between this experiment
and those that have been performed earlier in the study of complexity. In
the previous studies the subjects have been in a forced exposure situation,
while in this investigation exposure to the experimental stimuli was volun-
tary. This voluntary exposure also involved considerably more time than was
used in earlier studies. Most of the previous findings had exposure times
of considerably less than one minute, generally in the vicinity of 10 sec-
onds. While no effort was made in the present experiment to check the
amount of time the subjects spent with the experimental page, the total ex-
posure time for the four-page tabloid newspaper was 10 minutes, and it is
felt that the subjects probably spent in excess of two minutes on page 3.
It could also be that a different approach to the experiment using the eye
camera techniques described by RobeckSO would have resulted in other findings.

From the findings of this study, the following general conclusions
appear to be in order in the consideration of newspaper design and its effect

on readership:

 

50Robeck, "The Influence of Design Symmetry . . ."

58

1. In horizontal page display, the combination of horizontal
headlines with wide measure body type setting will result
in increased readership of the lead story on the page.

2. In vertical page display, the combination of vertical head-
lines with narrow measure body type setting will result in
increased readership of the lead story on the page.

3. The combination in page design of horizontal headlines with
vertical pictures will result in increased readership of
the elements so displayed.

4. The combination in page design of vertical headlines with
horizontal pictures will result in increased readership
of the elements so displayed.

5. Stories displayed so that their headlines impinge on the
accompanying explanatory material for the pictures on that
page will have higher readership than stories that are sepa-
rated from the pictures' accompanying explanatory material.

6. The combination in page design of wide measure body type
setting with vertical pictures will result in increased
readership of the display elements on that page.

7. The combination in page design of narrow measure body type

setting with horizontal pictures will result in increased
readership of the display elements on that page.

Practical Applications of Findings

 

It was mentioned in Chapter I that current newspaper layout and de-
sign principles are largely the result of the "gut feeling" pronouncements
of a few men. This study has the advantage of having scientifically checked
some of these principles and their effect on readership. The general conclu-
sions listed above offer some potentially useful techniques for the profes-
sional newspaper designer. The significant interactions reported in Chap-
ter III also seem to provide some pointers for the practitioner.

For instance, these interaction findings indicate that the profes-
sional newspaper designer would do well to take into Consideration that
design principles work in combination and not singly. What the subjects in

this experiment appeared to respond best to, as evidenced by their increased

59

readership in certain situations, is a contrast in shape between various
display elements. It also appears that the upper left corner of a news-
paper page is a potent location for a display element insofar as enhancing
its probability of readership is concerned.

The pulling power of a picture is another consideration that should
not be overlooked if one is interested in increasing the readership of a
story. It appears that if the headline of a story impinges on the cutline
material for a picture the story will be better read than if it does not.
Although picture cutlines are traditionally displayed under the picture,
there is really no reason why they must always appear in that position. For
instance, if the layout man has an important story that he wishes to display
to the right of a picture, the readership of that story might well be in-
creased by placing the cutlines on the right side of the picture--between
the picture and the story.

When a decision is being made on how to display a story, there are
basically two forms that the display can take. It can either be in wide-
shallow or narrow-deep rectangular shape. This study indicates that reader-
ship is enhanced if the wide-shallow combination uses wide measure body type
setting or if narrow measure setting is used in the narrow-deep situation.
The use of narrow measure body type setting in the wide-shallow combination
and wide measure setting with the narrow-deep pairing should be avoided. It
would also appear that care should be taken in matching picture shape with
the width of body type setting around it. As with magnets, opposites at-
tract. Higher reader attention, as indicated by increased readership, seems
to be the result of using wide measure setting around vertical pictures or
narrow measure setting with horizontal pictures.

The mean readership scores given in Table 2 of Chapter III should

sound a note of warning for anyone who sees page design as the ultimate

6O

determiner of readership. It would seem that, generally, subject matter

of the story will determine its readership with some potential assistance
from careful design. As an example, the "WOMEN'S LIB" story readership was
increased when it appeared under the picture on the experimental page.
Placement under the picture, however, did not help the readership of the
"HEALTH CENTER" story. The readership of the "GRAVATT" story in the dif-
ferent experimental page versions which produced the significant interaction
between headline pattern and width of body type setting indicates that dis-
play can be of assistance in drawing attention to stories of less interest-
ing subject matter.

Another reason for exercising caution before drawing too many con-
clusions from the results of this study is that the experiment examines the
effect of the different display variables in a tabloid format. It is pos-
sible that other results could be obtained if the experimental vehicle were
a full-size, eight-column newspaper. There could be a difference in the

way the reader responds to the varying size of the two formats.

 

"If I Had It To Do Again. . ."

Regardless of how carefully one thinks through a problem before
tackling it, there always seems to come a time after the deed is done
where one says: "If I had it to do again . . ." Such is the case here.

When intact groups are used as subjects, there is a tendency to
wish that a more representative sample could have been obtained. It is
extremely doubtful that any non-campus newspaper in the world has as its
average reader a lQ-year-old female who is a rising SOphomore in college.
Might a sample of subjects that was more nearly typical of the average
newspaper reader have produced different results? Research findings re-

ported in Chapter I and alluded to earlier in this chapter suggest that

61

such might be the case. It could be that the independent variables used
in this study are perceived differently in newspaper design by persons
of varying age, sex, education, etc.

The fact that the subjects in this study perceived all of the ex-
perimental designs as being slightly complex seems to indicate that greater
effort is needed in the production of a simple newspaper design. Perhaps
it would be useful at the design stage to have the pages being consider-
ed for inclusion in the experimental vehicle rated for their perceived com-
plexity. This might serve to ensure a more reasonable testing of Berlyne's
theory of complexity and its effect on rated pleasingness and interestingness.

As mentioned earlier, it is felt that the low readership of some of
the stories on the experimental page tended to decrease the chance of any
significant differences being found in the overall page readership. It is
felt that the time lapse between setting the experiment up and the gather-
ing of data caused some of the stories to be of lesser interest than others.
It has been pointed out earlier that students were allowed to indicatethose
areas of news that were of the most interest to them. This information was
used in selecting and writing the stories that appeared on the experimental
page. Unfortunately, by the time the experiment was run, at least two of
the subject areas ("GRAVATT" and "SCPIRG") had largely lost the interest of
the students. Perhaps general readership would be increased if the stories
used were on longer-lasting interest topics such as the "POLICE" and "WO-
MEN'S LIB" articles. It is also felt that great care must be taken in the
writing of headlines for stories in such an experiment. In retrospect, the
headlines "When Police Stumble, Public Often at Fault" and "Praise, Blame
Tossed at 'Lib'" seem to possess more inherent interest than "SCPIRG Form-

ing" and "Infirmary Expansion Scheduled.” The readership percentages in

62

Table 2 are considerably higher for the stories under the first two head-
lines than for the latter two.

Finally, it is obvious that the Original hypotheses should have
included the notion of potential interaction of variables. As has been
mentioned several times already, the relationship between newspaper design
and readership is nowhere nearly as simple as originally thought, but in-

volves an intricate and complicated blending of stimulus variables.

Future ReSearch

 

All one has to do is to check this particular section of most mas-
ter's and doctoral theses and he realizes that experiments generally tend to
provide more questions than answers. This experiment was no exception.

The possibility of linking a study of this sort with the precision
of eye camera research is an intriguing one. As mentioned before, the data
in this experiment seem to indicate that the relationship of a picture to
the display elements around it can have an effect on readership. It would
be most interesting to use an eye camera to test the eye-directing power of
pictures and their accompanying explanatory material in various combinations.
The same approach could be used to check the attention-getting potential of
the different combinations of typographical devices available to the designer.

The layout techniques used in this study are fairly standard ones
that are used by most newspapers. It is felt that the majority of these tech-
niques evolved out of an attempt to operate within the restrictions of the
"hot metal" printing process. There are other techniques, however, that
have been made available to newspapers with the advent of offset, or "cold
type" printing. Many of the design procedures that were formerly open only
to magazines can now be adapted to newspaper production. Much useful re-

search could be performed in the area of comparing newspaper design prin-

63

ciples with those of magazines in an effort to determine if there is a dif-
ferential effect on readership. It is commonly held, for instance, among
magazine layout practitioners that the eye can be guided through a display
by the careful placement of pictures, blocks of type and the use of white
space. Can this assumption be supported scientifically? Is it adaptable

to newspaper design? Do the relative sizes of magazine pages, tabloid-size
newspaper pages and full-size newspaper pages have anything to do with their
readership or lack of it. In fact, would there be a differential readership
of stories displayed in magazine format as compared with those same stories
in standard newspaper layout style?

Earlier in this chapter it was pointed out that the findings indi-
cate that the respondents may have been responding, at least in part, to
the shape of the various displays. It would be possible to design a study
using offset pasteup that would hold constant the number of angles present
in the design but would vary the shapes of the display elements. It could
be that contrast of shape is an important variable in the effect of news-
paper design on readership. Perhaps the pages that systematically combine
horizontal and vertical rectangles in their design are more attention get-
ting than those pages that do not do so. Can the amount of white space in
and around display elements heighten the visual perception of contrasting
shape? Miles Tinker, for instance, has reported that the amount of leading
or white space between lines of type in books can influence the readibility
of type.51 If contrasting shapes can influence readership, must they be
rectangular shapes or could they perhaps be circles, triangles, squares or
curves in various combinations?

Another interesting extension of the present experiment would be

to examine newspaper readership as an element of choice behavior. For

 

51Miles A. Tinker, Legibility of Print (Ames, Iowa: Iowa State
University Press, 1963).

64

instance, after designing several newspaper pages that are radically dif-
ferent from each other, expose the subjects to the pages in a "newsstand"
situation. Once the subjects have made their choice as to which page they
prefer, carefully structured interviewing could determine what design ele-
ments on the page led them to select it over the other alternatives. As
has been mentioned earlier, the design changes involving the independent
variables in the present study were apparently too subtle to result in any
significantly different effect on the dependent variable of readership.
The design differences in a study of this sort would be much more obvious,
thus providing the subject with a more readily discernible choice.

Page design is obviously only one of the considerations in what
people read in their newspapers. There are also the areas of headlines
and writing styles. It is not that these points have not been studied.
Tannenbaum, for instance, has investigated the effects of headlines on
the ”superficial reader."52 Griffin,53 SchrammS4 and Rarick,55 among
others, have looked into the response of readers to the inverted pyramid
style of writing that is the standard mode of presentation for news stories.
The problem is that these two areas have not been sufficiently studied.

Any program of research that seeks to gain a better understanding ofjust

 

52Percy H. Tannenbaum, "The Effect of Headlines on the Interpre-
tation of News Stories," Journalism Qparterly, Vol. 30 (1953), 189-197.

 

53Philip F. Griffin, "Reader Comprehension of News Stories: A
Preliminary Study," Journalism Qparterly, Vol. 26 (1949), 389-396.

 

54Wilbur Schramm, "Measuring Another Dimension of Newspaper
Readership," Journalism Quarterly, Vol. 24 (1947), 293-306.

 

55Galen R. Rarick, Field Experiments in Newspaper Item Reader-
ship (Eugene, Oregon: Division of Communication Research, School of
Journalism, University of Oregon, 1967).

65

what is involved in newspaper readership must include a careful study of
such items. It could be that one must consider the interaction of design,
headline content and writing style if true understanding is to be gained.
It is felt that the next research project this investigator should
undertake would involve a refinement of the present one. There is a re-
luctance to abandon the work of Berlyne and others in relation to news-
paper design on the basis of this study, particularly because of the pro-
blems encountered with perceived complexity. With a restructuring of
hypotheses to take into account the influence of interaction of variables,
a more representative sample and a careful reworking of some of the page
designs, it is possible that more significant and meaningful results could
be obtained. The concept of complexity still seems to have much to offer
to those interested in newspaper design. It is a question of finding the

prOper key.

BIBLIOGRAPHY

BIBLIOGRAPHY
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Journal of Experimental Psycholpgy, Vol. 53 (1957), 221-227.

"Some Informational Aspects of Visual Perception." Psycho-
logical Review, Vol. 63 (1954), 183-193.

 

Berlyne, D. E. "Complexity and Incongruity Variables as Determinants
of Exploratory Choice and Evaluative Ratings." Canadian Journal
of Psychology, Vol. 17 (1963), 274-290.

Conflict, Arousal and Curiosity. New York: McGraw-Hill, 1963.

 

 

"The Influence of the Albedo and Complexity of Stimuli on
Visual Fixation in the Human Infant." British Journal of Psy—
chology, Vol. 49 (1958), 315-318.

"The Influence of Complexity and Novelty in Visual Figures
on Orienting Responses." Journal of Experimental Psychology,
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"Supplementary Report: Complexity and Orienting Responses
With Longer Exposures." Journal of Experimental Psycholegy,
Vol. 56 (1958), 183.

Berlyne, D. E. and Lawrence, G. "Effects of Complexity and Incongruity
Variables on GSR, Investigatory Behavior and Verbally Expressed
Preference." Journal of General Psychology, Vol. 71 (1964).

Berlyne, D. E. and Lewis, Jr. "Effects of Heightened Arousal on Human
Exploratory Behavior." Canadian Journal of Psychology, Vol.
17 (1963), 398-411.

Berlyne, D. E., Ogilvie, J., and Parham, L. "The Dimensionality of
Visual Complexity, Interestingness and Pleasingness." Canadian
Journal of Psychology, Vol. 22 (1969), 376-387.

 

Bryson, Jeff B. and Driver, Michael J. "Conceptual Complexity and In-
ternal Arousal." Psychonomic Science, Vol. 17 (1969), 71-72.

Cantor, G., Cantor, J., and Ditrichs, R. "Observing Behavior in Pre-
school Children as a Function of Stimulus Complexity." Child
Development, Vol. 34 (1963), 683-689.

 

Caron, Rose F. ”Degree of Stimulus Complexity and Habituation of Visual
Fixation in Infants." Psychonomic Science, Vol. 14 (1969),
78-79.

66

67

BIBLIOGRAPHY
(Continued)

Cizkova, Jitka. "Effect of the Quantity and Complexity of Visual Sti-
muli on Operator's Search Activity." Studia Psychologica,
Vol. 9 (1967), 241-247.

 

Day, H. ”The Importance of Symmetry and Complexity in the Evaluation
of Complexity, Interest and Pleasingness." Psychonomic Science,
Vol. 10 (1969), 339-340.

"Evaluations of Subjective Complexity, Pleasingness and
Interestingness for a Series of Random Polygons Varying in
Complexity." Perception and Psychophysics, Vol. 2 (1967),
281-286.

Dember, W. N., Earl, R. W., and Paradise, N. "Response by Rats to Dif-
ferential Stimulus Complexity." Journal of Comparative and
and Physiological Psychology, Vol. 50 (1957), 514-518.

 

Dember, W. N., and Earl, R. W. "Analysis of Exploratory, Manipulatory,
and Curiosity Behaviors." Psychological Review, Vol. 64
(1957), 91-96.

 

 

Eisenman, R. "Pleasing and Interesting Visual Complexity: Support for
Berlyne." Perceptual and Motor Skills, Vol. 23 (1966), 1167-
1170.

Eisenman, R., Grove, M., and Coyle, F. A., Jr., and Redick, L. "Studies
in Complexity-Simplicity: 1. Children's Preferences; II.
Personality Correlates in College Students." Proceedings of
the 77th Annual Convention of the American Psychological Associ-
ation, Vol. 4 (1969), 473—474.

 

Eisenman, R., and Robinson, N. "Complexity-Simplicity, Creativity, In-
telligence, and Other Correlates." Journal of Psychology,
Vol. 67 (1967), 331-334.

Evans, David R. "Conceptual Complexity, Arousal and Epistemic Behaviour."
Canadian Journal of Psychology, Vol. 24 (1970), 249-260.

 

Fantz, R. "The Origin of Form Perception." Scientific American, Vol. 204
(1961), 66-72.

Faw, Terry T., and Nunnally, Jum C. "The Influence of Stimulus Comple-
xity, Novelty, and Affective Value on Children's Visual Fixa-
tions." Journal of Experimental Child Psychology, Vol. 6
(1968), 141-153.

"The Effects on Eye Movements of Complexity, Novelty, and
Affective Tone." Perception and Psychophysics, Vol. 2 (1967),
263-267.

68

BIBLIOGRAPHY'
(Continued)

Frances, R. "Interet et Preference Esthetique Pour des Stimuli de
Complexite Variable." J0urna1 de PsychOlogie Normale et
Pathologigue, Vol. 67 (1970), 207-224.

 

 

Gaschk, Judith A., Kintz, B. L., and Thompson, Richard W. "Stimulus
Complexity, Free Looking Time, and Inspective Exploration."
Perception and Psychophysics, Vol. 4 (1968), 319-320.

 

Griffin, Philip F. "Reader Comprehension of News Stories: A Preliminary
Study." Journalism Qnarterly, Vol. 26 (1949), 389-396.

 

Hall, A. C. "Measures of the Complexity of Random Black and White and
Coloured Stimuli." Perceptual and Motor Skills, Vol. 29 (1969),
773-774.

 

Jacobson, Harvey K. "Mass Media Believability: A Study of ReceiverL/,H-
Judgments." Journalism Quarterly, Vol. 46 (1969), 20-28.

 

Jones, Robert L., and Beldo, Leslie A. "Methodological Improvements in
Readership Gathering." Journalism Quarterly, Vol. 30 (1953),
345-353.

 

Karmel, Bernard Z. "Complexity, Amounts of Contour, and Visually De-
pendent Behavior in Hood Rats, Domestic Chicks, and Human In-
fants." Journal of Comparative and Physioiogical Psychology,
Vol. 69 (1969), 649-657.

Kerrick, Jean S. "The Influence of Captions on Picture Interpretation."
Journalism Quarterly, Vol. 32 (1955), 177-182.

 

"News Pictures, Captions and the Point of Resolution."
Journalism Quarterly, Vol. 36 (1959), 183-188.

Lowanthal, Alan S. "Stimulus Variability, Preference, and Perceptual
Change." (Ohio State University), Dissertation Abstracts,
1968, 28(9-B), 3867-3868.

McCall, Robert B., and Melson, William H. "Complexity, Contour, and
Area as Determinants of Attention in Infants." Developmental
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Minton, H. "A Replication of Perceptual Curiosity as a Function of
Stimulus Complexity." Journal of Experimental Psychology,
Vol. 65 (1963), 522-524.

69

BIBLIOGRAPHY
(Continued)

Moffett, Adrienne. "Stimulus Complexity as a Determinant of Visual
Attention in Infants." Journal of Experimental Child Psycho-
logy, Vol. 8 (1969), 173-179.

 

Rabinowitz, F. Michael, and Robe, Charlotte V. "Children's Choice
Behavior as a Function of Stimulus Change, Complexity, Relative
Novelty, Surprise and Uncertainty." gpurnal of Experimental
Psychology, Vol. 78 (1968), 625-633.

Rarick, Galen R. Field Experiments in Newspaper Item Readership, Eugene,
Oregon: Division of Communication Research, School of Journalism,
University of Oregon, 1967.

 

Robeck, George B. "The Influence of Design Symmetry and Contour on Eye
Fixations and Judgments of Perceived Complexity, Interesting-
ness and Pleasingness." Unpublished Ph.D. thesis, Department
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Roper, Burns. Report for the Television Information Office of the
National Association of Broadcasters (July, 1969).

Schramm, Wilbur. "Measuring Another Dimension of Newspaper Readership."
Journalism Quarterly, Vol. 24 (1947), 293-306.

 

Tannenbaum, Percy H. "The Indexing Process in Communication." Public
Opinion Quarterly, Vol. 19 (1955), 292-302.

 

"The Effect of Headlines on the Interpretation of News Stories."
Journalism Quarterly, Vol. 30 (1953), 189-197.

 

Tinker, Miles A. Legibility of Print. Ames, Iowa: Iowa State University
Press, 1963.

 

Wohlwill, Loachim F. "Amount of Stimulus Exploration and Preference as
Differential Functions of Stimulus Complexity." Perception and
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Wrolstad, Merald E. "Adult Preferences in Typography: Exploring the
Function of Design." Journalism Quarterly, Vol. 37 (1960),
211-223.

APPENDICES

APPENDIX A

SCHEDULE OF ACTIVITIES DURING EXPERIMENT
AND DATA-GATHERING INSTRUMENTS

SCHEDULE OF ACTIVITIES DURING EXPERIMENT

Part I
Seat subjects and give copies of their version of the experimental
four-page tabloid newspaper.
Allow subjects 10 minutes for reading the newspaper.
Instruct subjects on marking procedures for indicating

how much of each story and picture they have read.

Part II
Distribute to each subject a set of rating scales with "Complex-
Simple" used as scale anchors. Distribute and read the Rating Scale
Instruction Sheet.
Have subjects rate pages on "Complex-Simple” continuum; collect set
of rating scales.
Distribute set of rating scales using "Interesting-Uninteresting"
as anchors; have subjects perform evaluation; collect set.
Distribute set of rating scales using "Pleasing-Displeasing” as

anchors; have subjects perform evaluation; collect set and newspapers.

Part III
Distribute and read instruction sheet on how to answer multiple-
choice questions on the five stories and one picture on the experi-

mental page.

Distribute questions and allow subjects time to answer.
Have subjects fill out personal information sheets.
Collect all materials from subjects.

Explain experiment to subjects. Dismiss.

7O

READERSHIP-MARKING INSTRUCTION SHEET

 

Using the marking pencil that has been provided for you, please
indicate how much of each story and picture you have read by extending
a line from the top of the headline through the last paragraph in the
story you read or through the picture and its accompanying explanatory
material. Please mark through the copy and not in the margins.

For instance, if you read only the headline, your vertical line
would extend only through the headline. If you read the headline and
the first 7 paragraphs of the story, your vertical line would extend
through the headline and the first 7 paragraphs of the story, etc. If
you only looked at a picture and did not read the accompanying explana-
tory material, your vertical line would extend only through the picture
and would not reach into the accompanying explanatory material. If you
looked at the picture and read the accompanying explanatory material,
your vertical line would extend through both elements. Again, please
mark through the copy and not in the margins.

If you did not read any part of a story or look at any part of
a picture, you would make no mark on that story or picture. Please
examine and consider EEEE item on eagn_of the four pages in your news-

paper in this manner.

71

RATING SCALE INSTRUCTION SHEET

We would now like for you to consider the APPEARANCE and PATTERN
of each page in your newspaper and NOT its content in providing the called-
for evaluation. We are not interested at this point in the content of the
stories, headlines or pictures, but only in the APPEARANCE and PATTERN of
the pages. Here is how you use the scales:

 

If you feel the page is extremely closely related to one end of
the scale, you should place your check mark as follows:

 

 

 

 

GOOD: X : : : : : : :BAD

or

GOOD: : : J : : : X :BAD

If you feel the page is very closely related to one or the other
end of the scale (but not extremely), you should place your check mark as
follows:

 

 

 

 

GOOD: : X : : : : : :BAD

 

or

GOOD: : : J L : X : :BAD

If the page seems only slightly related to one side as opposed
to the other side (but is not really neutral), then you should check as

follows:

 

 

 

GOOD: : : X : : : : :BAD

 

OI‘

GOOD: : : j : X : : :BAD

If you consider the page to be neutral on the scale (both sides
of the scale equally associated with the page) or if the scale is com-
pletely irrelevant and unrelated to the page, then you should check the
boxed middle space.

 

Be sure you check every scale--do not omit any. Never put more
than one check mark on a scale. The information in the upper left of

72

73

your rating scale sheet indicates which page of your newspaper that
rating scale goes with.

Go straight through the scales, checking each one as you go. Do
not leave some to go back to later. It is your first impressions, the im-
mediate "feelings" about the page that we want. On the other hand, please
do not be careless, because we want your true impressions.

The
a.

b.

C.

d.

Group No. Subject No.

panel discussion on Women's Liberation was held at:
the University of South Carolina

Clemson University

Winthrop College

don't know

defender of the Women's Liberation movement was:
Gloria Steinham

Ti-Grace Atkinson

Bella Abzug

don't know

According to the Los Angeles psychiatrist, the Women's Liberation

movement is causing many of today's young men to suffer from:

a.

b.

C.

d.

a fear of confrontation
impotency
guilt feelings

don't know

A sociologist and former New York policeman said that frequently

today's policemen are themselves lawbreakers, and that the fault

lies partially with the police and partially with:

a.

b.

the public
penny-pinching governmental administrators
the schools for neglecting to teach proper respect for the law

don't know

74

75 Group No. Subject No.

The sociologist said the average policeman suffers from:

a. paranoia

b. anomie

c. lack of respect

d. don't know

He also said the problem of police who themselves break the law is:
a. a problem for which there is no solution

b. unique to New York City

c. national in scope

d. don't know

According to the USC vice-president for business affairs, the great-
est inadequacy of the current University Health Service is:

a. lack of money

b. lack of space

c. a lack of student interest

d. don't know

University women can have birth control devices prescribed by the
Health Center if:

a. they are 21 years of age or older

b. they have a note of permission from their parents

c. they will only ask for the devices

d. don't know

In comparison with other university health centers, according to the
USC Health Center's acting director, the USC Center:

a. stacks up "very poorly"

b. is in "good shape"

c. is "about the same"

d. don't know

10.

11.

12.

13.

14.

The

76 Group No. Subject No.

official USC administration reaction to the Camp Gravatt Report

has been to:

a.

C.

d.

ignore it

give close attention to it

laugh at it

don't know‘

report recommended that the National Merit Scholar Semi-Finalist
be:

expanded

discontinued

kept the same

don't know

According to the University registrar, a revised plan for pre-

registration will be ready by:

a.
b.
c.

d.

the 1972 fall semester
the 1973 summer session
the 1973 spring semester

don't know

SCPIRG's aims are to improve and maintain acceptable environmental

standards and to:

a.
b.
c.

d.

elect environment-conscious persons to the state legislature
protect the state's consumers
raise money for the national Ralph Nader organization

don't know

SCPIRG seeks an annual budget of:

a.

b.

$20,000

$300,000

14.

15.

16.

17.

18.

77 Group No. Subject No.

(Continued)

c. $100,000

d. don't know

SCPIRG wants to fund itself through:
a. student activity fees

b. state legislature appropriation
c. door-to-door solicitation

d. don't know

The number of church spires shown in the spires picture is:

a. three
b. two
c. four

d. don't know
According to the accompanying explanatory material, the spires are:
a. waiting to be torn down

b. part of a disappearing skyline

c. reaching out to heaven

d. don't know

The spires shown represent:

a. old architecture

b. modern architecture

c. a combination of old architecture and modern architecture

d. don't know

Group No. Subject No.

Please provide the information requested below. It will be of
great help to us in the analysis of our data.

1. Your age

 

2. Your sex

 

3. Number of semesters of college-level education (count the current
semester as a completed semester and each summer session attended

as a half semester with two summer sessions equaling one semester)

 

4. Number and title of the course you are taking from which you were

recruited for this study

 

78

APPENDIX B

PAGE DESIGNS USED IN THE EXPERIMENT

CONTROL PAGES

The Carolina Reporter

H" I \HHI‘IH III “II III: “mug In” ”a" a I

Zoo Dream
Near Reality

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Scenery Fall: To Progreu'

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....I I.. II II II IIIIIIII,II II.IIII‘III‘ .“., ......IIIIIIuIIII III II. II.I III I.....II I.. III IIIIII II‘IIINH “\Hh ..II ..I II II . .I I ..I....muh ; .I.. ..I... I ‘
' " "" "I I I. I. “..I.....“ I..... ...... .-....
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"'""' "" "' " "‘ V" ‘ ”"""' l" d“ M" m 1" mm M H" "mum" "W“. m m“ “..II «..II. WIN II. «.II .....II I.I.I .L ..I .IIIIuIII ht...

I.
"" "W“ “W" ’" ' 'l" " ”mm” "“ m II. .II.» IIIIII ..III “.I.... I..“ I.....IIIIII.I II... II Ismm

 

I “up In! "DI Inn-Ia lm :l' "I! I" '"
..I..:ylu In I I'm; II.I.IIIIIIIII IIIIII. I-lM IIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIII IIIIIyIIIIII aIuIIIwII “U“ “m mw‘: d “,0“ h h m, “..I...“ IMIMIII >- IINIII I..
Itumuw ”WI-“II ""l """l' Iqu IIIIIII IIIIIIIIII III: I It IIIIIII IIII IIIIIII IIIII III. \I I“ w ““4““ ..I "‘ "‘I‘N' “A ~ "I“ "'
:IIIIIIM ..III II» I nun-III \I. run IIIII luvh “ltfl' IIII’IIIIII II.IIIIIIIII‘ III. IIIIIIII IIIlI IIIIIIIlII‘ “KI IIIIIII IIIIIII “W “In mud III..-I I...III.I.I.I
III-II nut. In «I .qu I -II rIIII IIIIIIIIII III‘ In. I....IIIIIIIIauIIII I...

83

 

Experimental Version 3

When Police
Stumble, Public

Often At Fault

I... .I.. ......I......I...I.IIII. I. .. .I...II . ..I .I...I.I.
....I 'III. I...III. .II.I I. ....III. .. ..II. II.. ..I... II
I.

 

   

m‘ I.. mu um ..I. IIIII III-
III-I :qu'wvu .II III II.- IIIIIII ..I IIII III.

II.I- ”II ..I II.I-II .IIIIII II-nII'II- IIIIII IIIII. I I.I-II III-I III -
I a I

“In”

III-I III- IIII II.I II.I IIIII Ird-III --l l

   

III III. .II-II.I ..I anal-III- In II-aIIII
J-IuI-I-I .'I-IL I I...-

l.. «.".-1 «III- II... \IIvvaII-II-o and II: III-III II-II. .II IIII
“I .II III .II

Ilud 3|!qu—
vatlnII II.I-l ‘IIIIJI-m-II-
\II-dvfl-Illvv I-IIIIIIJ IuI IIIoI I:- [It-IMv- p In! .I. \v‘

\-d I-I I- IuI-IuI II. «1-
.I-IILIIIIII-I-I-I I..-"
I‘l-|h‘..'.

Infirmary Expansion

WN‘IIIIHH ”Hinton.
Wu‘w I‘lTl‘mbfi-I ‘O—V‘. 5.“
“MM

"'1'"
..III ‘I I-IqIII I.. I- -1!
Idlr III II- pr-v "mm.-

II-Ihr IMI II VIC.
l*‘|t‘*

     

Gravatt Report Faces
Problem—No Money

 

 

 

I II I .IIIIIIIII-IInII-m II (II-”1 . I..- II III-II.I. II.I”- ..I. up. ., ”.44 I..-Ir Ab
IIIIIIIII. I I III. II.II. .-II luau" Mop-II m.— n. I.. ..I .n— It .4 brainy-l II.
..II-III“. «..I-I .'II IIIIIIII ”I. lulu-III! ~97M1~’ mn- brand

‘1 III. II.I. II.I I'thlvv‘t- IIIIIII III-I uni Lon.-. I... ..I" ..y. .I. It. ~74!
IIIII. III. "Iran..." ..I II.I-I A II ”I I.“ . "..I III-I... I.I .1 ... 4- n.
"......I II. IIII .I.-II II .I- .IIIIIII '- 1 L4..- .I.“. - ha. and 4.94.
..I..." IHI4I II.I.I.,II.I. II.I -.IIIIII II.I».u-w-n I.. II... Ia.- I .

I I IIIIIIIIIII MI‘I‘V'I‘ '- I'M I" I” I' IIp<4.y.J‘-4-~I.«ua
..II-II-I a..." II. ~44. out .I.— q, » h—ol

I..IIIII. -ll" "..II I ".'I-1" I'I-abIII III-mud I. -‘I I-< . I , A L4 I ...,
'III'~ .IIII III. .‘I-Al" II I
I. III-II .

 

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Ian M I.. .I-III-IIII .IIII I.. l I... l—r .I.-I
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Scheduled

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dfil-«II I I‘- - “a“Dh—h- u
my“- I! dv -..,Ih HhOFO—I *
mutua- "rhubarb“... .-
«b‘qu-uh-«g—wuuh d III-IIfi-I-«u-I-I-Ib-h-n-d
dp—o—qu-HII‘III nuumbI-c- pnmd~bfl
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I.I.4I£..¢.I.I. I-II'IIII

 

 
 
 
  

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..II I.. I.....I II II.I.I..,I.
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humu- II.-II I...» ‘uIIImI'. I..“...I .....IIIII luau-Ill

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II III III: IIIII 'l‘ltl. In II
I-II

 

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III III: IIIIIIIIIII III
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I ‘I‘ B» In. A Ink») ..I ..I--
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84

Experimental

When Police
Stumble, Public
Often At Fault

IIII- III IIIIiw “mm IIIII|IIIIIIIIIIIv I“. IN‘ IIwInvIIr-Iawlm-nh "I.
IMI "If IIIIII Ir- “ IIIIII-II IIIII IIIr lmIrII II IIIII "If [II-II"- IIII‘III
“M‘Ifll ”tal-mu- \I-I III“ II) lIIIIII-I-IIun

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SCPIRG Forming

Thideb-I‘IIMII
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IinIJJIbI'n-u'mn F
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lb .144 lid «Hm; I. an nun-ad II.I-III, IuIII Ihr \dn
qty-nun.

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Praise, Blame

Tossed At ‘Lib’

lll‘l Im- ArlnuInI ml I’I'llll' hull IIIII I II- II I III-m
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yin y-ym M.,.mmul nut IIuI many :Im IIIII' 'm- "I" IIIII
”In": un- Iu uu‘arluu-y IIIIIIIII mm mm. IIIIII IIIII IIw ”IN?“

""me lM-m “MI-I. uulImr ul "I Mul “IIIIIIII' Mm
um ml m In.“ null be. m I II. 'IIIIIII' I mu
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M Im nuIrII ul II» I. m mm II MIIIIII «... IIIIIIII ‘
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III M'I IIIII. IIu- mIIMonmII «ll-m

Version 4

"'1

Gravatt Report Faces
ProblemeNo Money

Nymlmbfizofi-‘v
ItnIIIIII Illulbnr MI' mm
uI'I‘mIII‘InlI I" If
... b

! 4 HM Oh! Hbupnln-“HAI‘ III-In
III-I when! “buy-talllhbn iIII—vtIM-‘rn-t luv-”chunk-
n-"I'l Ibflflh-fihll rancid-no a y. a In," 4
no hula . lulu-b min-III lh-mofi-w'
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pun-I. o‘kfivI—rbfb
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M

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nun-17H“
h- m lb vi" ”and.

mm

ndIl-lh-nlors-m
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:I-upfinhfi—Jm b

wadflw
lili- AMh-la “.5“ hr 5,

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hquIh—a—nn — hinb-‘H‘l‘ Ind

 

Old Spires Roach OIII To III-am

IIIn-IuIIIhrqv-IAIM-m MM lub-

Ivu. lhc\*w.hd-
mu].l unlu- MI IwInnI'Mtv-Itt MI urn-o:-
II.I‘

album-ruin.» bl-

lnflrmary Expansion Scheduled

III "IIIIII‘II IITIIIIIIIH. MIN INIHWIQVI. nd‘r
.MIIIII III‘IU \IIIJ “..I. III-I VIII-n III-M w.\
III'III huh“ MIWIBI III IN IIIAINI) III \IIIII M‘; fl
IOII‘IIII I l‘ *\

IIIIIIIII IIIIIIIIIIII. Inna-«I In M III I» I..-nu
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vuv "1:“!th III \muu It» ugh-I

IU‘II I 0. «I.
IIIIZQIII‘ IIIIIII III “II III
um “I I«III \‘ Huh «In MIN “MIN“
III IIw I‘I‘IIIIHII Hum \wI MI
)Il' 'u-I MIIINIICIIUII IIII‘ IIMM In «I who II. MN «A Md III-II.I
um wlluulmlmh II “MW munch!» MM\I¥M¥‘ A‘W Inn-(II

IIIIIIIIIIII. IIIIIIIIIIIIII luau IMW Iwh-IuwflufiwdeN

“qu III» mm: II III III Mun \M‘uh

 

.‘N. “55a... fin.-
*WH~

.:

'WI

M“ Ion-dq-udvflnmbu-
:I‘IMIIMIKIAM .II-Mk
MW MINI-Inn

C I-
m- IN I m \ MM mm a“.
“my [III-III)“ wIIh mmmmnm
I

IIII mm mm In

E

G-
I'
f

M IIIII mm III Nu "m In

NH

85

Experimental

Version 5

Gravatt Report Faces Problem-No M01145,

TI: I rum Mum-mum :qu In IIur "pt-I "If: m
Emma III-o .IlrnI-uu In II-r I9 '7th Hnrl In. t ".II,
"II", Mun-I In an "0"“ arm huh-I

"In. In I l ~4 .'I-Am.» nuvul Ind IIIII In I Inna. I- l

"‘0 "It‘lll" III Inland: fill all" I

III-I lrnl nu.- lIr yan-
II-n "II II II.- I
."." I“. 1“" 71TmrgbI-vm'
IM‘IIII III-fled an- llIrIIdlI 4'
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— and II -

HIH- and Ilul In“. I...“ m I '1
firm: Iquu-I lawn-d um II-o nun-up”..-
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n-lm-—I~~4Ib-J b Ib'IIII-nvudl
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mb—nl In
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n lb "it I and
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I'nm- '1'

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pups—Who.“
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van mm In
fi—J‘vh.

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IL I-b In 1" «the
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II: IM. .4 II: “a .
run-l «nun-Iv Jul «unn-

Ilv ‘h‘f m— a .'I.‘
«—--\.-51

:“1'1'33' .2711.“ ...?I.‘ 'I- .4“ M " "m- - -.
qu-I n um... ..u nu. .. "W“ "M" "* " “
in . I.-

.quv :4 u In ..II-
(bu-III: I’IIIII- I-uvw-I Mr:u.I.
Inuqu'l III-I

‘rul All; I:- .h-k-I-ul

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In pvulnl the an:
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M

 

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9‘

.II-cm.

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“hula-.‘ul—AIC‘hfi.‘ idol-H

lulirmary Expansion Scheduled

 

nan h\»q ha I...
Iii-III“ un- ~ .I.
.4 ma and I.. \al
5.. u-*n- I 5‘
cn-I H .-\ - .I—
.w find-uh. I... In
Nu‘
\- I\"~.IJ :d ant-r

:-
A-- In. hm- I: II uh—u

Praise, Blame 'I‘oesed XI ‘Lib’

LII: In ulv-InIub-II nu .IIII- In.- In“ III- hid nu

   

 

fly. "I qul unl llIIllIl um" .'I» I-Iu nI- -II-I In m- It“
IMIII III ' lull-Ian. Irluflrn‘ quI III: I'm-hula ‘IIthl II
III M I II I nun-I run-I I“. Inu ”II; In .II IIII II.I MIMI
tun-om II VIII-MIN: Iru II" I I. I.“ II III."
I“ MIAMI-III IIIINI II, I IIIIIIIH In IvhlIuIm-I
- yIIIIImI'Ilu III llw ‘II II I Mada-m III 5.
u - III IIIqu \Ium-uurIuI Iv-I lll'" II‘II
Il-r Innr luv 1 IIIIIIIIIIII III-mu ”I". IIIIIII IIIIII- II II. I A
an III" - um: IA In: In hllll‘ IIIIIII I‘ In :qu II.I "III
"Mr" an nuI IIu rmun lIu u-uu nlqu lulaI IIuI II.I:I
IIIII) mllIlu u ‘Iu 'uumuuduul III mu. III . umll IIIIIIIII
II u-I Im'u u. quI' IIIiI duh-Mun. III I "I
1anth III-I Immun mnul Hm ".'I. Huullurnunw I.....II ....
mm Inn-II nah II: III II.I-mm

II -- nluu
I-ll ‘

mu u» h. ‘huv II-« In Im II“ I“ :-

ln-quI

 

IIIII «I «u- .I.!

 

ulna .II-I IIuI u IIIIM
“..III'III I\In\ \huhm \u
um «ul uI Ihl Iqm IuI huh

 

nun-u. - ‘II III‘oI - Ill
II: «Ml "Ilium-m mum: nu

86

I“ In h in. ...-av
:1 5“ II. but!“ i

panic-ninet-
m.“ I.‘HMI-.
“dd-.m-ubh

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Iunhu In. walnut-u II .-
unowmnh uh" uh Ina-Mud
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nah-- ”I Imhd‘Inu
‘lm‘u‘ LEI»... .I.... I .II

u «m. I II. J ....I ..I

I m ul w RuJo \u‘

II. huh ..I ...Imm. I..-..I

fi. but-IN“.--

 

"I but I:-
‘wa Il-\ nu ...-I .I.
Ihu-I m nun-I
In “Ian-h wI II.I ,-
h I- I- l I
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IV. LIBRARIES
HUN“NIHIWHIIWI
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