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.

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 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.