This study explored the current status of Turkish basic art education and the objectives of the first year art program at the university level in Turkey. Also, the researcher attempted to explore the objectives and expectations of Turkish art professors and to examine the applicability of certain concepts of American basic design education in the teaching of studio foundation courses in Turkish art schools. The study included the literature review concerning changes in educational philosophy related to the history of design education in the West and in Turkey.

The purpose of this thesis is to analyze and discuss the changing ways in which the visual art of heraldiy was perceived by the feudal aristocracy of twelfth- and thirteenth-century England. It shows how the aristocracy evolved from a military class to a courtly, chivalric class, and how this change affected art and culture. The shifts in the perceptions of heraldry reflect this important social development of the knightly class.

One hundred and seventy-eight pieces of Victorian furniture in six Texas historic house museums have been photographed and researched in order to fulfill the three-part problem. (1) to research and write descriptive essays of the four major Victorian substyles--Victorian Empire, Rococo Revival, Renaissance Revival, and Eastlake; (2) to identify and choose six Texas historic houses which are open to the public and which display these Victorian substyles in period room settings; and (3) to identify, photograph, measure, and catalogue each piece of authentic Victorian furniture, and to compile a research guide which includes each of these six houses and their Victorian furnishings. This six-part guide includes brief histories of each house and a catalogue of authentic pieces which represent the major substyles of Victorian furniture. To give the study a broad base, and to make it useful for all students, teachers, and professional interior designers in Texas, two houses which represented the best collections of furniture from each geographic location were chosen. These included: (1 ) from North Texas, the George House and Millermore, both in Dallas; (2) in Central Texas, East Terrace and Fort House, located in Waco; and (3) in South Texas, Fulton Mansion in Fulton Beach, and …

I decided to simplify the composition of my work in subject matter, color, size and style without destroying its visual impact. Experimentation in surface quality gave variety to the simplified content. My main commitment to the accomplishment of this problem was to avoid complexity in any form. I wanted to give as much information as possible using minimal means.

In this creative project, I investigated the combination of photographic images with more spontaneous visual elements in collaged drawing and monoprints in order to produce both visually strong and personally meaningful works.

The Untidy Story of Goldie Showers is a collaborative paper written by Lee Murray and me with the approval of the Graduate School and submitted in partial fulfillment of the requirements of both degrees. Chapter Four is different in each of the two papers which we have submitted to the Graduate School. Since this chapter contains the overall conclusion to the project we considered it best to present our individual impressions rather than to attempt a joint statement. The video tape produced in connection with this project is on file in the North Texas State Art Department slide library.

The purpose of the study was to (1) identify pedagogical touring competencies needed by volunteer docents in art museums, (2) catalog the competency statements into major competency categories, (3) validate the list of competency statements, and (4) compare priority designations awarded each statement by the individuals within the two major subgroups: museum staff and volunteer docents. In conclusion, many of the needs represented by the highest ranking competencies in each category are seldom addressed in the traditional volunteer docent training program. This study showed that abilities to help the child feel comfortable in the museum and combinations of abilities to help the docent make judgments regarding the presentation of the material require attention and, at the very least , special training. It is recommended that training personnel in art museums identify the needs of volunteer trainees and design training programs less on traditional guidelines and more on the specific needs appropriate to the task.

This study concerned the methods in which fourth and fifth grade teachers in one of the larger suburbs of Dallas, Texas, prepared themselves and their classes for a visit to the Dallas Museum of Fine Arts. Twenty teachers who had visited the Dallas museum in the last two years were interviewed using a validated interview questionnaire. The majority of teachers were concerned with both visual and written resources. Although, additional materials were requested, many teachers were uniformed about preparation resources provided by the museum. The teachers' idea and attitudes were found to be supportive of the museum and its programs.

The miniature furniture cataloged is considered to be of the second size, i.e., miniatures which could have been used as traveler's samples, cabinetmaker's models, or toys. The entries are selected from collections of Louisiana and Texas museums and historical societies. They were located through use of a questionnaire sent to the institutions listed in the Official Museum Directory as having furniture and decorative arts collections. Responses showed five institutions owning miniatures of the second size, as follows: Louisiana State Museum, New Orleans; Anglo-American Art Museum, Baton Rouge; Harris County Heritage Society, Houston; Witte Memorial Museum, San Antonio; and Dallas Historical Society.

This study concerns the deliberate subordination in painting of thirteen art elements and principles, the primary pictorial features, and examination of the intervals between pictorial events, the pictorial interface. A written record was kept of the artist's observations and impressions during the making of ten nonobjective paintings and their later study. The artist selected five paintings as more successfully subordinating the primary pictorial features and three paintings as most successfully exhibiting the three characteristics determined for the pictorial inter face: (1) conceptual resonance, (2) ambiguity, and (3) unbiasedness. The three paintings selected as most successfully exhibiting the characteristics of the pictorial interface coincided with three of the five paintings selected as more successfully subordinating the primary pictorial features.

This thesis concerns the utility of including the art of hand lettering in a curriculum of a university advertising art program. Data secured from 155 questionnaires sent to 266 advertising firms in five states were analyzed by simple descriptive statistics including frequency counts and percentages. Two hypotheses were examined, and it is concluded that hand lettering is still needed in advertising art and should be taught in university art programs.

There were no restrictions as to style or technique, and since my previous works had been realistic, this direction was to be continued during the entire investigation. The primary objective was to create a series of drawings and paintings which would concentrate on the basic facial topography and idiosyncrasies of a constant model with variations in color, scale, medium, and expression.

The purpose of this study was to examine certain art education beliefs of teachers and administrators in a large school system. A review of related literature furnished information which gave support to the ideas behind the study and helped in the design of the data-gathering opinionnaire. After being tested in a pilot study, a revised opinionnaire was sent to teachers and administrators in ten elementary schools of a large North Texas district. Analysis of the data revealed areas in which respondents were united in their beliefs, as well as areas of controversy. It was concluded that the district could benefit from using the findings to stimulate increased awareness and communication among those who influence its art program.

This study is concerned with describing the changing concepts of space utilization in Japanese house design and the cultural forces producing the changes. Sources of information include literature spanning approximately one hundred years, a Japanese student of interior design, and-the Japanese Trade Commission in Dallas, Texas. A description of concepts of space design that were very stable for centuries in the Japanese house. The changes in architecture following World War II, and a contemporary house design by a noted Japanese architect are related to concurrent religious, philosophical, and economic forces. The influence of western culture upon Japanese life-style and design solutions to space problems is either indicated or inferred.

The purpose of this paper is to record for all interested persons the available facts concerning the life and works of Earl Heika, Montana artist/sculptor. Heika, who lived most of his life in Great Falls, Montana, depicted Western subjects in his art.

Developed in the study is the thesis that the lighting effects about us in nature can be adapted by the designer for use in interior environments. Because of an overemphasis in lighting practice on engineering techniques required in the design of luminous environments, there has been a neglect of much of the aesthetic requirements of such environments. While interior designers, as artists, may be sensitive to the aesthetic qualities of lighting, many of them have felt insecure in designing in a medium which can be very technical from an engineering standpoint; hence, many have defaulted in shaping or designing a very important segment of man's environment. In light of this situation, the objective of the study is to provide the designer with tools, both aesthetic and technical, with which to communicate with the engineer in achieving a luminous environment that not only is a functional environment for optimal seeing, but is an art experience as well. Lighting as an art experience has its own set of design principles: these are defined in this study as silhouette, focus, uniformity, variety, and glitter. They are common to lighting effects as found in nature and as found in the artificial environments of building …

The purpose of this thesis was to follow a given subject from its inception on a rectangular surface through a series of paintings to a point where the shapes and forms of the original painting culminated in a shaped surface. Each painting except the first one in the series would contain less of the subject than the preceding.

The problem with which this study is concerned is that of identifying new developments in interior design education which may have resulted from curriculum reevaluations.

The Black Revolution, an American social upheaval of this century, poses numerous questions and challenges to all segments of our culture. For the artists, black and white, there is a dilemma of commitment as regards the acceptance of Black art for its merit without approval of the white artist. The purpose of this investigation was to determine if the Black Revolution would be a turning point in American Negro art.

"This study was conducted primarily to determine how relevant the interior design curriculum at North Texas State University is from the viewpoint of the practitioners of interior design in the Dallas-Fort Worth metropolitan area."--2.

The purpose of this study is to analyze and select those psycho-physical color phenomena adaptable to interior design. Among these are phenomena relating to variations in intensity and purity, visual stimulation, spatial relationships, and psychological factors; this study contains suggestions for possible application of these phenomena to strengthen the quality of interior environments.

The problem under investigation is the creation of ceramic forms using both stoneware and porcelain in the same piece of ware. Sub-problems are to experiment with the best techniques of joining different clay bodies and the creation of aesthetically pleasing pieces which combine the textural beauty and rich glazes of stoneware with the bright glazes and the white and sometimes translucent body of porcelain.

It is the problem of this thesis to study recent commercial graphic arts materials and procedures, and to suggest some creative uses of them for college and university advertising art programs.

The problem of investigating the possibilities of direct design transfer from plant to fabric and paper was divided into two parts. The first part is concerned with the exploration of the mechanics of the transfer. Invloved in this process are the technique of manipulating tools, of selecting suitable fabrics and paper, of determining chemicals that would facilitate the printing process and of experimenting with ways to preserve the finished design. The evaluation of the usability and durability of the finished print was based on a series of color fastness tests. The second part of this problem is concerned with the exploration of the design possibilities of the medium. The plants were tested and rated according to their visual attributes relative to the elements of design. Combinations of the successful plant prints were used to produce variations of pattern and texture. The results of the investigation were evaluated to determine the versatility of the medium as a design tool and the usefulness of the technique as a practical printing method