The project involved the investigation of the effects on my painting when switching from single, large-scale portraits to a narrative format involving two or more figures.

My research explored the possibilities of achieving the raku halo through variations of the standard engobe (pronounced on-gobe) and oxide formulas, using ceramic vessels as media. This included alterations of the ingredients, consistencies, and methods of application. Throughout the research, a journal was kept including individual information about research pieces, a statement of results, and my reaction to those effects. From this information, an analysis of the completed vessels was compiled.

The purpose of this investigation, therefore, was to compare the viewer's perceptual response to the small-scale constructions with that of the large-scale ones. Specific questions of concern were: 1. What is my response as a viewer to these constructions when built as maquettes, with regard to the following specific concerns? a. Formal visual elements (i.e., line, shape, value, etc.). b. The presence of a sense of threat. c. Visual reference to a theatrical set. d. A make-believe, or childlike quality. e. Any physical or technical problems encountered. 2. What is my response as a viewer to the constructions when built on a large, or approximately life-sized scale, with regard to the same specific concerns listed above?

Throughout history man has decorated paintings and art objects with materials as diverse as shells, seeds, beans, horns, seedpods, hair, feathers, ostrich eggs, coral and nuts. I proposed to explore the potential of using such materials to embellish framing devices for small paintings. Any material could be included in this exploration. The embellished frames have become a part of the total painting and are not removable. The solution included not only the practical, physical aspects of presentation, but also dealt with the purely visual aesthetic ones as well.

From this investigation, I hoped to answer the following questions. 1) Was there a relationship between the apparent disorder evident at a boundary area and the wave form? 2. Was the wave configuration an archetypal motif? 3. If there was an archetypal wave form, did its presence transcend the use of a scientific medium?

This study examines the development of Edward Larrabee Barnes's design concepts for the Dallas Museum of Art, from preliminary concepts and program statements by Director Harry Parker and Dallas Museum trustees, through initial planning and architect selection, to site selection, the Program and Space Study, Barnes's early conceptual plans, and his Dallas Arts District master planning. Influences on Barnes's work and his career development leading to the Dallas commission, his most ambitious museum to date, are examined. Discussion and documentation of design development is based on schematic studies, presentation drawings, models, and trustees' minutes. Design changes during construction and all phases of expansion planning are also discussed. The conclusion summarizes historical influences on the design and Barnes's fulfillment of program concepts.

My concerns relate to the process of imagery development and the process of utilizing suitable materials to execute my work. These concerns are dictated by the themes in a particular piece and revolve around an acute sense of loss. These themes are frequently presented with humor.

At the time of writing the proposal, one part of me wanted to move ahead and explore the new territory, while another part wanted to understand what I was leaving behind. I proposed to examine the following questions in order to resolve this dilemma: 1. What common personal themes or ideas are behind my work? How can I clarify and refine these themes to make them more manifest in my work? 2. Do I need to investigate new materials in order to express and explore my concerns? 3. Can I form a relation between my use of imagery and materials? Could new materials or objects replace this imagery? 4. Are new formal strategies needed that would link the use of my materials, objects, and imagery?

This study investigates the liturgical attire of the Church of England from the seventeenth through the nineteenth century, by studying the major Anglican vestments, observing modifications and omissions in the garments and their uses, and researching the reasons for any changes. Using the various Anglican Prayer Books and the monarchial time periods as a guide, the progressive usages and styles of English liturgical attire are traced chronologically within the political, social and religious environments of each era. By examining extant originals in England, artistic representations, and ancient documentation, this thesis presents the religious symbolism, as well as the artistic and historical importance, of vestments within the Church of England from its foundation to the twentieth century.

This thesis investigates how the visual arts philosophy promulgated in the 1960s by the Second Vatican Council of Roman Catholic Churches is manifested by commissioned artists for a particular parish. The primary data were the new sanctuary and the artworks, which include stained glass by Lyle Novinski, a carved-glass Marian Shrine by Claire Wing, bronze Stations of the Cross by Heri Bartscht, and wooden medallions depicting two saints carved by Don Schol. This paper reviews pertinent ecclesiastical doctrines along with interpretational publications, physically and iconographically describes the sanctuary and artwork, and considers aspects of the relationship between patron churches and the artists they commission.

This study seeks to explore relationships between Logo turtle graphics and visual literacy by addressing two related questions: (a) can traditional visual literacy concepts, as found in the published literature, be synthesized in terms of Logo turtle graphics, and (b) do the literature and "hands-on" experience with turtle graphics indicate that visual competencies are pertinent to graphics-based electronic communications in computer culture? The findings of this research illustrate that Logo turtle graphics is a self-contained model to teach visual literacy skills pertinent to computer culture. This model is drawn from synthesizing published literature and the classroom experience of Logo learners, which is demonstrated through their visual solutions to Logo assignments. A visual analysis and interpretation of the subjects' work concludes that the principles and competencies associated with traditional visual literacy skills manifest during the Logo turtle graphics experience. The subjects of this study demonstrate that visual literacy pertinent to computer culture includes reading, writing, and drawing alphanumerics and pictographic information with linguistic equivalence. The logic for this symbolic metaphor is body-syntonic spatial experience explained in geometric terms. The Logo learner employs computational models for visual ideas and visual-verbal symbols for spatial ideas in the course of doing turtle graphics.

In my Problem in Lieu of Thesis I explored the use of analogy in my work. I searched for ways to heighten the difference or distance between the imagery within an analogous relationship and yet maintain meaningful similarities or relationships. An analogy, for the purpose of this paper is defined as the following: "a similarity or likeness between things in some circumstances or effects, when the things are otherwise entirely different."

My proposal involved gathering and analyzing both visual and written information. The following steps were specifically considered: 1. Exhibition catalogues and related information on Robert Rauschenberg and Zao Wou-Ki were reviewed. Those artists deal with cross-cultural ideas in their work. 2. A sketchbook and an artistic journal were kept, as well as a record of my creative processes. 3. A body of work was done in a consistent matter. I employed a spontaneous/intuitive strategy in my creative activity. I kept myself flexible in order to approach the idea in a loose manner by simultaneously making several paintings with the same content.

The problem I proposed to explore involved the evaluative process of finished dinnerware. For the problem I made three sets of dinnerware in three different patterns. Based on this work I asked the following three questions. 1. How do the different forms within each series visually relate to one another? 2. What qualities make this work visually successful? 3. What qualities enable these pieces to function well?

The idea of using the computer as a design tool seemed ideal for my sculpture. The simplicity of my sculptures and their repeating elements are easily rendered by computer technology. The computer allowed me to perceive my designs accurately from different perspectives. My hand-rendered designs, by contrast, were difficult to read, especially from multiple views. The computer sharpened my designs, while showing me the different views in less time. Although the designs were computer assisted, I commanded all of the manipulations. This procedure is different from computer-generated design, in which the computer is programmed to do the designing itself. My investigation of the computer as a design tool answered several questions.

In my problem-in-lieu-of-thesis, I investigated the connections formed between images which refer to disorder and those which connote imposed order; therefore, I pursued the following questions: 1. What connotations did each of the images have for me? 2. How was each image affected by taking it out of one context and placing it in a new one? 3. What relationships formed between images thus juxtaposed?

This study involves an investigation of artist's intent (purpose) and the effects of altering the dimensional structure of a print utilizing the materials as imagery. Concerning the nature of the creative project, The following questions arose: 1. How will changing my current two-dimensional format to a three-dimensional presentation produce the desired intensity of physical, emotional, mental and spiritual depth? 2. What kinds of materials can be combined to effectively produce the desired imagery? 3. What technical problems arise in regard to a supporting armature in the three dimensional structures? 4. How is the artist's intent communicated through the imagery created in the three-dimensional structures?

In order to discover more about the nature of my work, I conducted an investigation of the evolution of symbols generated in a body of work. For the purpose of this study the term symbol was defined as something that represents the term symbol was defined as something that represents another entity by association, resemblance, or convention, specifically, a material object or image used to represent an idea.

As much as I like the effects of low-fire salting, I hesitate to use salt. The hydrochloric acid released into the environment during the salting process creates a dense fog that is not only toxic, but visually offensive as well. Therefore, the purpose of this study was to find a source of sodium that would achieve aesthetic results as equally exciting as the effects of salt.

After practicing Interior Design professionally for ten years and concurrently watching the rapid expansion of the use of computers in the business world, the problem of incorporating the use of computers into the field of interior design became increasingly important to me. Many designers seem to be rather leery of "the computer" and they are reluctant to accept it as a valuable tool in their design process. One aspect of applying the use of the computer to the interior design field is in the area of pattern generation for fabrics and wallcoverings. It is this area that will be explored in the following project.

I wanted to produce a body of work related to the problem of decontextualizing objects. By challenging the object's habitual associations, I hoped to provoke a new set of relationships for the viewer. I kept a journal of personal information, dreams and events, that might later provide imagery for and insights into the work. My goal in the endeavor was to acquire concision and complexity in imagistic language, a language in which the definite and the indeterminate would coincide very simply to provoke a variety of unexpected associations.

The purpose of this study was to investigate the relationship between media and content in my work. I began a series of paintings in the fall of 1985 which was based on 35mm transparencies. At this point, the slides were nothing more than a visual aid, a way to augment my technical skills; my chief interest in these paintings was narrative. I was also taking a drawing class at the time, and several times I recycled a transparency I had used with a painting to create a drawing. Sometimes Both versions were relatively successful (though often for very different reasons), other times one version would be more successful than the other. Technical proficiency (or lack of it) did not seem to be the determining factor in these cases.

The purpose of the study was to make an assessment of Arkansas middle school/junior high art programs using National Art Education Association standards. Data were collected from questionnaires, curriculum guides, and school visitations. Participating in the study were 127 schools enrolling 53,502 students of which 14,755 (28%) were taking art classes. For comparisons, the state was divided into five regions.

The focal point of the study was the use of gestural and photographic imagery in printmaking, and how that imagery could be combined to form a personal aesthetic. The purpose of this project was twofold: to create, describe, and interpret works which called attention to the dichotomy and unification of gestural and photographic imagery; and, to allow for positive personal growth, which would be absorbed into future studio work.