This problem is involved with attempting to answer two basic questions: (a) Can I, a commercial artist, expand and develop as an artist through screen printing and make valid aesthetic statements unrelated to client and/or product? and (b) Can knowledge of reproduction methods and photo-mechanical techniques be successfully utilized in screen printing for non-commercial purposes? Extensive notes in the form of a journal were maintained as work on the project progressed. These notes, combined with the completed prints, were the sources of data for this paper.

This is a method in which designs as a whole are not pre-planned or pre-arranged, but are developed by applying layers of color. This is an additive method for obvious reasons, and it is subtractive because shapes can be covered with opaque paint or very intense stain. Transparent layers of color applied over existing colors cause hue changes, and the process creates subtleties resulting from one color showing through another.

It was my intent to find objects that were both historically symbolic and symbolic of the times we live in, and that could be melded into a nineteenth century interior where their presence would be secondary to the overall atmosphere. I wanted to incorporate objects that would function as metaphors or personal symbols as well as historical icons.

The project involved producing a group (16) of audio-visual installations that successfully displayed and exposed various Muzak situations. The following questions, relating to individual pieces, were of concern: 1. What is the basic intent of each installation or piece? 2. Does the piece communicate the intent of the artist? 3. Which installations or pieces will adapt to any space? 4. What visual documentation is necessary to preserve the idea?

Although drawing had offered me many avenues for image exploration and mark making, it lacked the actual physical relief surface that was a natural part of the printmaking plate process (i.e., intaglio plates or relief surfaces). Sculpture allowed the images and marks to be realized dimensionally in the round; therefore, the images became objects.

The primary objective of this creative project was to create an environmental performance through the use of light as the principal medium. Most of the photographic imagery had been completed. The remaining task involved creating an effective and workable system to integrate the projected imagery with the neon light placements. Each system, illustrated in the figures, attempted to create a different approach in using the light mediums.

The primary purpose of this study was to investigate how imagery evolved in my work, in dealing with the relationship between body and landscape and the relationship between image and abstraction. Five paintings were created for the investigation of the evolution in my imagery. A journal of notes was kept concerning each piece while in progress and immediately following its completion. The analyzing method was a visual analysis of the structure and content, as well as the process through which the imagery evolved.

The object of this problem in lieu of thesis has been the exploration and identification of the retained two dimensional design idiom in the sculptural format of my work. (By this, I am referring to the lateral, planar quality which often continues as part of my designs.)

The purpose of the creative project was to investigate the relationship of figure to ground in a series of paintings in order to better understand how I perceive the space in my work and to analyze the block-out process. Questions regarding the figure/ground relationship are as follow: 1. What is figure, what is ground and what is ambiguous as I see it? 2. What effects do overlapping, shape size, color and value have upon the figure/ground relationship? The portion of the investigation concerning the block-out process has two questions. They are as follow: 1. How do I begin the block-out process? 2. How do I decide what to block out?

For my problem, I proposed to document and analyze the relationships of the spontaneous and premeditated approaches in my work. The pieces that I began during the Spring and Summer 1979 were to be my primary sources of data. Two means were used to document these works and my approaches to them. I photographed the pieces as they progressed up to and including the finished product, and a sketchbook-diary was used to compile ideas and responses.

I believe the frame or housing of a printed image plays an integral role in the context of the work. It functions as a vehicle for possible interpretation. It should respond to and complement the concept of the central image. The image presented in a vessel or reliquary format should instill a meditative or religious response.

The purpose of this study was to analyze the physical issues of verticality and architectural reference in the presentation of my figurative sculpture and to determine how these issues affect me as viewer. In this analysis, the term architectural reference refers to the fundamental structural elements historically associated with architecture, such as column, pylon, pilaster, pyramid, elevated platform, and bilateral symmetry. The term does not address broader architectural concepts such as spatial organization, circulation, or shelter.

In summary my main three objectives are as follows: 1. To create large black and white photographic murals of isolated facial expressions with written phrases beneath each image. 2. To explore my capability to magnify and reinforce a strong emotional feeling through the large images. 3. To discover if the written phrases strengthen and support the photographic image.

This paper describes the artist's conception of their scientific knowledge and spiritual beliefs, and the juxtaposition of the two in a single awareness. Michael Muller discusses the use of printmaking, drawing, and photo mechanical processes to represent this awareness through visual imagery, and includes photographs of the works.

I am interested, both from a personal standpoint and from a cultural perspective, in pursuing the meaning of thes eimages singly and as they combine with others. In turn, the results, I hope, will lead to the discovery of more images for my image encyclopedia. After this introduction subsequent chapters will explore my reasons for the combinations of images I choose and will place the finished drawings in their contemporary art context. My goal will be to note the changing meanings of the objects as they interact serially.

In order to more fully explore this problem and to uncover important aspects of my work and work processes, I posed these questions to be answered after the completion of the five books: 1. In what ways am I able to synthesize the traditional concerns of the literary and visual image into an Artbook format? 2. To what extent am I able to develop this synthesis into an aesthetically valid and personally satisfying expression of my own artistic philosophy? 3. In what ways does this development represent and/or reflect what appears to be another major shift in my art, toward a more conceptual, two-dimensional or cognitive expression? 4. What does this attempt and the resultant image symbolize for me?

I examined and evaluated three sets of gallery installations and related handmade books. The following questions were considered foremost: 1) Visually, how different from and how similar to the gallery installations are the books? 2) What verbal elements are adapted from the installations to the books? 3) How does the difference in format (that is, the books) alter or affect the content and meaning of the installations?

For centuries, books have been a traditional way to display prints. Contemporary artists' books have become more than simply a method of displaying prints and have, in fact, become a relevant medium for artistic expression. It has been important to my work that each of my artist's books have functioned as a unified whole, all parts of complementing each other and strengthening the overall concept.

I planned to explore the concept of the dichotomy of barriers and connections further. The works I planned to produce would incorporate a variety of printing techniques, drawing, and conceptual development. Each technique and method allowed for my perception to speak in a slightly different voice. The use of these multiple techniques would allow me to explore fully the complexity of barriers and connections in a manner more comprehensive than the one technique alone.

The idea for this creative project evolved as the result of communication between myself and Cathie Bernhardt during the first half of 1977. Both of us had been dealing with similar concepts such as reliquary-like containers and the objects contained within them. We also had a congruent approach concerning the use of materials and the manner in which they can be fabricated. These two things resulted in a mutual respect for each other's forms and imagery. We, therefore, decided to explore and combine specific aspects of our talent and, in collaboration, produce a series of pieces. Our project became one of collaborative art, and we defined that as follows: One, the process of discussing ideas for pieces; Two, the act of working on pieces together, Three, the completion of pieces wherein both artists have contributed significantly to the final products.

I intended to create a body of work using a variety of media and a combination of imagery that is both subjective and objective in regards to representation. I incorporated into the work, words and phrases which are not related to the imagery. This has allowed the work to be variously interpreted. I wanted certain elements of the work to appear simultaneously very old and very new.

The purpose of this study was to develop a vocabulary of patterns and motifs based on Persian and Mesopotamian styles. Then, using the characteristics mentioned above, to create a body of work, approximately twenty pieces, using that vocabulary.

The focus of the problem was to challenge the more traditional. Western approaches to jewelry as adornment in respect to areas such as placement and scale. Approaching adornment as sculptural forms interacting with the human body could possibly challenge the individual's awareness of jewelry as wearable art. This approach brought up the issue of using the human body as a pedestal for adornment.

The purpose of this study was to use the bomaki/arashi shibori process to create three-dimensional fabric forms which could be incorporated by the design of a garment.