In pursuit of the project, I sought to address the following concerns: 1. Which intaglio processes, or their combination, proved to be the most useful in production of the book? 2. In establishing a concept for the book, what problems were encountered? 3. What is the visual relationship between the printed images, the book, and its container?

The purpose of this project was to manipulate imagery present within the Tarot in a symbolic and visual space working through my own process of preconception. Each of the finished pieces was to be derived through an initial traditional process and then altered by use of monoprint methods and the incorporation of found object directly upon the print surface to give the illusion of a three-dimensional character, or actually contain the print in a three-dimensional format.

The purpose of this study was to examine the standard line of functional pottery produced in my studio. It involved two areas, and the questions I presented to myself were the following: 1. How is each form developed? 2. What consideration is given to the specific function of that form? 3. How can the development of a standard line of production strengthen the personal style of my pots?

I have designed and built a brickless ceramic studio kiln which is modular in design and consists of ceramic fiber insulation and a protective aluminum exterior skin. I wanted a kiln that employed current technology and would be suited to my needs as a ceramic artist. It is my hope that this research will encourage people to consider the possibilities available when constructing new kilns and to be willing to experiment in order to find new solutions to the problems that continually confront us.

It was my intent that the formats work harmoniously with the printed matter, conceptually, aesthetically, and functionally. Specific concerns addressed were 1. How did the format contribute to a clearer understanding of the print concept? 2. How did the functional design and construction of the formats contribute to or detract from the successful unification of print and format? 3. How did the aesthetic design and construction of the formats contribute to or detract from the successful unification of print and format? Five formats were constructed, several consisting of multiple parts. A comparative photographic record of each print, as originally conceived and subsequently displayed within these formats, will be presented for evaluation.

The question addressed in this project is as follows: How, if at all, are nostalgia and ambiance created in my work through the use of the following: 1. color 2. repeated patterns from textiles, wallpaper, and quilts 3. dimension 4. text 5. personal and nostalgic imagery 6. art deco motifs 7. fixed media/found objects. Each of these items will be discussed as it relates to each piece.

For the last few years my work has been concerned with an exploration of the landscape image through the use of the traditional printmaking techniques of intaglio and lithography. The images which were produced during this time became increasingly flat and at the same time increasingly spontaneous. At the onset of this project, the images were the result of feelings about and memories of landscape, rather than studies taken directly from nature or from secondary sources. As the desire for spontaneity within the image increased, I felt the need to alter my method of working in order to accommodate additional flexibility. I concluded that this would exclude the traditional print methods.

The purpose of this investigation has been to review the various forms of passementerie in order to provide a background for weaving narrow bands and ribbons. While the basic fabric structures, plain weave, twill, and satin are used in the production of ribbons, some problems occur in adapting them to the narrow form.

As a result of my interests I became concerned with 1. The invention of eccentric imagery for use in painting formats. These images were intended to subtly allude to archaic and archetypal objects of forms (artifact reference) yet remain anonymous in terms of absolute identity. 2. Random and ambiguous placement of the imagery on a surface resulting in a mapping or diagramming of a possible 'place,' with a broadly interpreted landscape orientation to space. 3. Paintings having the characteristics of the objects in terms of materials and processes used, surface tactile qualities, irregular shape. These three ideas formed the basis of the problem.

The problem of this study is to review and compare the curricula of selected American, proprietary, fashion merchandising colleges and to examine what kinds of similarities and differences exist among their curricula. Using the schools' respective catalogues, the combined curricula was categorized into sixteen tables representing the different types of courses offered, with the study colleges listed in opposition to the courses; the courses were then checked off in opposition to the schools offering them. To demonstrate the similarities and differences in curricula, a short summary accompanies each table to point out trends, and a final chapter summarizes the findings. The conclusion discusses the remarkable similarity in the courses offered by the schools and recommends further parallel studies comparing other postsecondary schools' curricula.

The purpose of this study was to determine and investigate -the criteria used to identify artistically gifted children and attempt to determine their validity. Sources of data included interviews with art teachers, interviews with children in combination with observations, and observations of characteristics cited in the literature. With one exception, the criteria which these art teachers used to identify artistically gifted children correlate with criteria found in the literature. There appeared to be, however, some characteristics with which these art teachers were not familiar. One characteristic found in the literature was neither listed by these art teachers nor observed by the investigator. Results indicated that these art teachers may value different types of characteristics than the experts.

Because the Dallas Museum of Art has not compiled a catalogue of its graphic collection, the researcher has written a comprehensive catalogue of the museum's prints in conjunction with a history of printmaking from 1400 to 1700. The sources of data include observation of the prints plus catalogue raisonnés of major printmakers, and books and articles on printmaking. The thesis is organized as follows: a history of printmaking, which is divided into three chapters, Woodcut, Engraving, and Etching, and a catalogue which cites the pertinent data on each print. Gaps in the collection and recommendations for future acquisitions are discussed in the preface to the catalogue.