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.

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.

The problem for the project emerged threefold: (1) to further explore the uses of the graphite medium including the possible integration of wet media color on large surfaces, (2) to use the human figure as subject matter, and (3) to explore gessoed drawing surfaces of masonite and paper.

The questions answered by this investigation are as follows: 1. Which silkscreens and stencils will work in screening flat and three-dimensional objects? 2. Which mediums and coloring agents will survive a glaze firing to produce an acceptable image? 3. How can the image be modified by screening during the different stages of a ceramic piece (wet, green, bisque, glazed)? 4. What glazes and glaze applications will be compatible? 5. Generally, what is the relationship between the image and the object?

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.

In the visual arts, I was interested in creating patterns with clay, glass, and metal, utilizing the visual elements (line, color, shape and texture). I arranged, rearranged, and distorted the elements until I obtained a fragmented, yet, unified pattern. My visual ideas were rhythmical (gestural) in nature with or without the direct stimulus of music. Concepts originated in my mind with symbols and sounds simultaneously.

In this investigation I use the term perception as Arthur Comb and Donald Snygg do when they state that perception is any differentiation the individual is capable of making in his personal field. Perception has to do with the organization one gives to his world. Behavior and learning are products of perceiving. Immanuel Kant said: "We see things not as they are but as we are." During this effort to organize my world I realized that I was concerned with myself as an experiencing individual. I felt that one is built out of his experiences and that the best vantage point for understanding behavior is from the internal frame of reference of the individual himself. I was taking a somewhat phenomenological approach to my problem.

The problem I proposed to explore involved making changes in personal work practices in the studio as well as studio organization. Using advice and practices that I have gleaned over the past few years, I made changes in the areas of studio organization, wheel production, and the glaze decoration process with the goal of adapting to a limited studio space and becoming more productive.

Experimentations with overlays of color within my imagery have developed an interest in surface embellishment resulting from the juxtaposition of overlapping hues, integration of collage, and extended use of mixed-media as a printed visual statement. Past printmaking experiences include exploration of a variety of procedures including lithography, intaglio, and serigraphy. Prints have been executed in edition and monoprints, singular techniques and in combination. Individual techniques were expanded through the use of collage and linear application of graphite.

It is the purpose of this study to visually and technically explore the combination of the direct methods of drawing and painting and the more indirect process of silkscreen printing on canvas. The flexibility of the three technical areas- silkscreen, drawing, and painting- proved to make the combination more feasible.

For the problem in lieu of thesis, a series of ten works were created in which a male image replaced the female image; I continued to utilize the same materials, format, and centralized frontal figure. A record of the work was accomplished by maintaining a written and visual journal on progress and outcome. Some research was made into topics related to the work, and the findings from the literature comprise chapter two of the paper. In executing this body of work and researching related topics, I hoped to better understand my conscious and unconscious processes and motivations in creating both the self-portrait series and the new series.

As my creative project, I decided to explore the possibilities for expression of rhythmic life-growth patterns in a variety of abstracted multiple forms. The work was planned to investigate the following questions: 1. What forms can be used to communicate the idea of repetitive, rhythmic or seasonal life or growth patterns? 2. What size/scale is effective in communicating the universal, infinite character of these patterns? 3. What formats or types of presentation are the most effective? 4. How is the overall impact of the work affected by changes in size and form? 5. How do changes in the work affect my responses to it, and what subsequent directions result in the work?

Interspersed color blend lithography is a technique that facilitates simultaneous multi-colored printing. The problem of color blending was to gain control over the process and explore a variety of uses. The research was entirely experimental. Interspersed color blend lithography is a unique process that allows for the application of any number of colors at one time, and complete freedom in their placement. The results of the investigation produced a process that is at once predictable, simple and immediate.

Our problem was to produce art in a collaborative manner. Due to the nature of our problem, we proposed to explore specific aspects of collaborative art and answer these questions: 1. in what ways is the co-artist's input beneficial? 2. How are the artist's skills broadened by working with a fellow artist? 3. What is involved in developing a professional working relationship between male and female artist? 4. What understanding of differences in working styles is acquired? 5. What are the differences reflected in each artist's earlier works as compared to the collaborative pieces?

This study deals with an analysis of facial characteristics and expressions and their interpretation through drawings. Through the past several years of teaching in a Dallas school where so many nationalities are represented and where the various peoples of the lowest privileged groups are segregated, the writer has become deeply interested in what is to be seen in the faces of children. The second problem of the study features an analysis of facial characteristics and expressions and their interpretation through drawings, modeling in clay, and papier mache.

The problem of this study will be to provide information on the degree of influence exerted by the choice of ground in the selection of collage elements and the final development of each collage.

My work dealt with the life within inanimate objects and what occurred when one placed apparently unrelated objects together in an arrangement. The arrangements had three interrelated elements: the objects, spacial relationships, and materials.

Since I was a young child, I have had a deep interest in all facets of the cultures of early humans and more modern primitive peoples-- in particular, their art and their mythology. It was my proposal, therefore, to combine these interests with the styles of my earlier works by using images drawn from the various aspects of my ancestry in several pieces of work in which the layering of those images-- similar to the layers of my heritage-- was used. My choices were limited to a set number of images listed in a "dictionary of symbols." I continued to engage in on-going research of these symbols to determine if there were relationships in their meanings between the various cultural elements of my ancestry.

This study explored how implied texture was used to give meaning to figural imagery. Several questions were answered in proceeding with the creative project: 1. Did implied texture abstract the figurative image? If so, how was content affected? 2. Did implied texture act as an obstruction to content? 3. Did implied texture act as an integral part of content? 4. Did implied texture exist as a separate entity from content?

The purpose of this thesis project was to explore my decision-making process as it took place during the act of painting. I was interested in how my paintings evolved, either naturally or through a critical stage. Resolving a work which was in a crisis between success and failure was an important part of the creative process and required definite purposive action on my part. In this connection, I explored the nature of the decisions which either redirected my work toward a successful conclusion, or toward its abandonment.

This report documents the changes in my work as a ceramic artist over a two-year period, imposed upon, and inspired by, the use of a propane torch on the surface of the clay vessel. The purpose of this study is two-fold: (1) to provide information about this particular tool for methods of survace decoration; (2) to provide information about a subjective thought process directed by properties in this particular tool.

I developed twenty-three stains to use in low-temperature salt firing for my work. The stains that i made were compared to the commercially made stains to determine the similarities and differences. I felt that after much experimentation using a variety of different oxides in different amounts and calcining these amounts together in an electric kiln (heating the oxides up to about 1733 degrees Fahrenheit) that I was able to produce stable and consistent stains.

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 purpose of this project was to investigate the possibilities of reorganizing space by arranging woven modules. These units were to be separable and flexible in regard to their spacial relationships and interrelatedness in any installation. This problem was examined in these specific ways: 1) Is it possible to create a sense of volume in forms woven flat on a standard floor loom as simple, single-layer or double-layer fabrics and later manipulate them into three-dimensional structures? 2) how can fundamentally simple, fibrous materials be utilized to achieve an effect of scale without overpowering their intrinsic qualities? 3) To what extent, if any, will lighting interact with woven fabric to create the illusion of an extended space? 4) can woven modules be created with enough flexibility of form to be responsive to varying relationships to each other and to specific installation spaces?