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?

I perceived humans as a certain size, approximately five feet to six feet tall. This reality compelled me to do full length, life size, and larger portraits of my body again overlaid with the lizard's body. The study involved an investigation of self portraits and the effects scale had on their intimacy.

The unique nature of this process raised major technical questions that I intended to address during this project. The purpose was to obtain a quality surface, considering both visual and textural considerations, while using the copper matt finish.

This paper involves the research and testing of surface treatment using fusible engobe for the purpose of decorating large ceramic sculptures. Anthony M. Holman includes formulation and color testing charts and explains the process.

Every business has to keep records. Sometimes these records have to be presented in a standardized form, or more often they can be arranged in any way that suits the user. Business records are of little use unless they can be referred to quickly, to provide information when it is required. In computer systems it is essential to be able to recognize any particular record in a data file which is a collection of similar records kept on secondary computer storage devices.

The focus of this creative project was the production and presentation of electronic imagery generated by personal computers and peripherals. By it's nature, electronic imagery is dependent on light. I proposed that the exhibition project would include computer graphics images presented in a variety of formats, both static and moving.

The source and development of the shelter as a personal symbol in my work has been explored in a body of work consisting of twelve pieces. The approximate size of these objects is 10" X 14" X 18". I plan to address the following questions during the review of this body of work. 1. What part do architectural sources play in the development of the shelter symbol? 2. What part do cultural and anthropological sources play in the development of the shelter symbol? 3. How does surface embellishment affect the shelter symbol? 4. How does the size affect the shelter symbol?

The intent of this study was to construct a group of forty wheel-thrown vessels, comprised of four forms, in series of ten. The surface of these pots was to be enriched through the use of various materials and techniques. These included slip trailing, brushed slip, glaze and over glaze colorants. The decorative theme I pursued was based on abstract floral images. I admire both the ordered structure of plant forms and the slightly imperfect symmetry contained within their various parts. I have attempted to express their gestural quality and delicate nature in my surface decoration.

This paper explores the differences in self-disclosure level of 45 female undergraduates in modeling of a two-chair dialogue using personal and supplied constructs. Beth Marie Peterson discusses the results of the experiment and their implications for therapy and research.

In this paper, five different sorting methods will be discussed. Each method will be analyzed and discussed in detail pointing out its efficiency, weaknesses, powerfullness, and the appropriate type of applications. The different methods are represented graphically using Turbo Pascal where one pass is performed in each method at a time. The methods discussed in this project are, Bubble Sort, Quick Sort, Heap Sort, Shell Sort, and Double Selection Sort. The latter is a new method that I modified from the Selection Sort. Finally, comparisons between the sorting methods mentioned above will be discussed.

In developing the ideas for this project, one of the major questions to be addressed was how well this method of combining prints, drawings and jewelry into a single collage would contribute to expressing the themes of intimacy and secretiveness already present in the individual pieces. It seemed that surrounding the jewelry with an environment that shared and repeated the private qualities of these objects would increase the intimacy of the work.