There have been many who, like Hausenstein, W., take art as a superstructure of society and study the relation between art and society. As to Visual Communication Design, though it has same origin as art, its existance and development entirely out of sphere of art. For this reason, Visual Commu, nication Design does not belong to the superstructure in the sense that art does. We insist that Visual Communication Design is rather in the understructuure and its role as an element of understructure increases by and by. None the less, it is not certain that Visual Communication Design has not a nature as superstructure. In this point we can consider the peculiar construction of Visual Communication Design. That is to say, we can not but point out that Visual Communication Design is either understructure-superstructure or superstrudure-understructure according to time and place. We take Visual Communication Design as multi-structure and consider the development of it in reference to society as above mentioned. It is accepted for us that the history of the design in this true sense began after Modern Society was formed. This also is mine. To divide the stages of Modern Society and analyze a stage of society we refer to Rostow's theory of the Stages of Economic Growth and exploit its high faculty to explain the matter. Still more, to distingish the stages of the development of the design itself, we also consult the examples which are given in Gerstner and Kutter's die neue Graphik. We consider the theme from two stand point of view. One is to mention the relation between the historical examples of the design and its social background. The other is to compare the facts that Gerstner and Kutter cited as their grounds to divide stages what Rostow does. Looked at from these two stand point of view multi-construction of Visual Communication Design and its relation to society will be studied. In this paper our main aim is to consider "the preconditions for take off" in Visual Communication Design, its social background and "the take off" in Visual Communication Design.

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When we want to study on the value, there needs to settle the subject of value. And to study on the value of design, there needs to clear the subject of value, too. The value is judged by the relation of subject and object of value, the value belongs to the object and the basis of judgement is in the value consciousness of subject. However, it's difficult to clear the subject of value on design. For the work of design is performed in the producer, who is occupied persuiting profit. Saying in a few words, the producer's value is to make a fortune. To design is needed an agreement of its producer which is ruled by profit, economical value. Then the value of design is often explained as the economical value, from the standing point of management. But this is how to manage, not how to design. From the otherside, consumers, as the subject of value to discuss on the value of design, there are some explanations. Whichever, producers or consumers, there ruled by the law of economy. For the relation of producer-consumer is divided by economical act. However, this relation is in the society, divided the members of society. Leaving the relation of producer-consumer, it's able to study on the value of design. As the social existence, ask the social value. But the judgement of the members of society has no basis. It seems to be capricious, to have vast entropy. That is the designers who decrease its entropy. In the society, to decrease the entropy on design, men whose work are to do design or designers are. In where, they act, have to act as the subject. When to study on the value of design, we must settle the subject of value of design on the men who are the members of their society, whose work are to design, to discuss on the design. As an inner group of their society.

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1. RESEARCH OBJECTIVE In this the age which some have termed categorically "The Age of Information Explosion and Control," the complexity of communication is surprisingly on the increase and paralleling changes in communication tools as well as diversity in communication methods. This research project was undertaken for a manufacturer of electronic equipment, and its plan formulation and practices pertinent to a manual to facilitate overall design management were studied through several distinctly different phases, each of which is shown in the table below. The objective of the study was not to obtain a solution to the problem of "visual standardization." Nor was it to obtain data on "visual unification" or "diversification of corporate trademarks" within a civil society in response to the changes affecting methods of communication as mentioned in the opening paragraph. Rather, it embodied discovery of those rules which might possibly be applicable to clearer control of unified patterns in the diversified design items which constitute a corporate image. A basic theoretical approach was employed in analysis of relative problems. [table] 2. CORPORATE IMAGE Diversity today being defined in terms of "two or more distinctly different activities...with a "diversified and informed society" already existant within industry, the public has yet to fail in recognizing a business entity in any other form than an "associated image." In this association the business entity is conceived as an assemblage having orders in both time and space and consisting of grouped elements, which also have orders in time and space, and which possess a number of common characteristic similarities. The terms "design policy," corporate identity", and "design coordination" all include the far-reaching ways and means of effectuating artificial control of a corporate image. This image, spoken of as it is technically termed, performs the very important, indispensable function of creating and delivering uniquely competitive and powerful blows within the "diversified and informed society of industry." It is the aftermath of corporation-public intercourse or, in other words, the image the corporation leaves on the mind of the public after some form of contact, be it initial or otherwise. This being the case, it can be assumed that the image is formed as much on a basis of perception as it is on a basis of emotion. Thus, if the "core" or "origin of the corporation's production activity" is the business concept, visual expression of this concept can be achieved symbolically. Whereas, if the business concept overrules production activity, symbolic expression will affect in part or in whole each design item of the corporation.

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A point used as an element of plastic form in general is neither a mathematical point, nor elemental particles of physics. Neither is it such a point as Kandinsky defined in his book, nor Leibniltz's Monad as well. The point here I reter to is a new 'subjective concept of point' for the creation of objective plastic form. This subjective concept of point is called |F|.-|F| is hereinafter described as F. It is the main theme of this thesis that all forms can be systematically set up within a three-dimensional co-ordinates by various combination of F, just as the color-solid can be established by systematical color combinations; it is my intention to establish the quantitative organization of 'Form-system' -Form-solid. For this purpose 7 axioms may be laid down. "Axiom" 1. Subjective form can, exist in independently of objective form. 2. Subjective form has the ability to make subjective quantity uniformaly continuous for the infinity both of micro-state and macro-state, and its form is explicitly concept of being. 3. The fundamental unit of subjective form is always a non-figurative thing without concerning any subjective quantity; that is the unit has no sizes and no relationship to discrimination of form. 4. Subjective form can be projected on objective and physical form according to subjective intention, and also can be renewed in a moment. 5. Subjective form is retained in a brain by the stimulus of objective exisnce, and the apparatus of memory has the limitation and mean value of human capacity. It is able to exchange and establish rules among human beings. 6. The fundameutal unit of subjective form is counted in number. 7. The unit of subjctive form occupies a constant position and area within all the fields of subjective forms. From these axioms I will draw 23 definitions, and according to them, make clear several laws necessary to plastic order and Form-system.

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