This interface was bought to perform floating-point arithmetic and for its function capabilities such as SIN, COS, and e^x. My application required an integer truncation function that is not performed by this calculator, so i wrote a small assembly language subroutine to do it. A potentially irritating problem is that the calculator chip does not automatically convert to scientific notation if the numbers become too big to display in floating point. The control program must keep track of the display mode.

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?

The introduction to printmaking in most universities and college directs students to learn the basic techniques of intaglio using zinc. This continues throughout one's academic career, with little emphasis placed on experimentation with other metals. During my undergraduate and graduate studies I etched with zinc. I had wanted to use aluminium and magnesium in order to explore the similar and dissimilar qualities of the three.

My problem was to investigate some of the possibilities which have arisen through my previous work by producing twelve fabric pieces and eight paper pieces. Specifically, the following questions were to be examined: 1. Are there traditional designs or techniques in quilts of the past that can be utilized in my own work? 2. Are the primary colors (red, yellow, blue) in manufactured unaltered fabric more effective than painted or altered fabric? 3. Is there a correlation between the color and imagery in the paper pieces and those of the fabric pieces? 4. Of the project pieces, is there a size that generally appears to be more successful than others?

In the fall of 1972 I was required to read Dee Brown's "Bury My Heart At Wounded Knee" as an "atmosphere setter" for a seminar on artists of the westward expansion in the United States. When I first started making drawings of some of the Indian leaders, I had no idea of doing a series. I also had no idea that Indians and more especially those of the West, would be consuming so much of my time and thoughts for such a long period. In the beginning the drawings were prompted by a fascination with the bone structure of the Indian faces. The high cheekbones, the prominent noses and unusual eyes caused marvelous patterns of light and dark, making the faces very conducive to caricature. As I began to know these faces as individuals and personalities, however, I knew that caricature was not the direction which i wanted to pursue.

The purpose of this problem was to investigate the advantages and limitations in the use of blacksmithing techniques combined with the construction techniques of arc welding and the use of power tools to construct large outdoor sculpture. Specific questions will be asked to determine the suitability of this method of working. The questions are: 1. Can blacksmithing techniques be used in the construction of large outdoor sculpture? a. what specific techniques are appropriate? b. Will some techniques be used more than others? 2. Will these techniques be used more than others? 2. Will these techniques take an inordinate amount of time and make them impractical for the artist to use?

I resolved to consciously examine the role of precise and spontaneous aspects of my drawings as my creative project. I felt that an investigation into the use of precise and spontaneous elements and their relationship to each other would strengthen my understanding of my own work.

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?

The abstract expressionist movement aided in the development of this new personality for the clay world. An entire new dimension was added with extreme manipulation of ceramic pieces. My work reflects feelings and ideas concerning today's society and the status-quo. Common, everyday images recur in my art objects, with a major interest in cars, food, slogans, and puns. These are all a part of the hysteria of the American scene today.

During the last several years, my art work has evolved around a developing concept nurtured by a fascination with timeworn relics of the past centered itself around an emotional sensibility toward deteriorating fragmentary remnants of archaeological finds and relics of ancient art, predominately pottery shards and old textiles. I was intrigued and stimulated by the feeling of age and by the beauty of these worn and irregular shapes.

This study involves investigating the combination of delicately cast forms, domed shapes and forged silver into an aesthetic form of jewelry. The specific questions considered were as follows: 1) can the sequential interplay of forms be interrelated from initiation to completion of the study? 2) Can the techniques contrast with one another? 3) Can the scale of the forms be varied? 4) Can the three techniques of construction create body adornment? 5) Can these forms individually or in a combined grouping make a personal statement?

My work is based upon the photographic image and deals with the juxtaposition of abstract elements within a figurative format. The camera and the photograph have become my sketch book and, as such, seem to influence the manner in which I approach and compose my prints and drawings.

Three intaglio prints and three drawings will be investigated to answer three specific questions. The questions are: 1. Is it possible to isolate the source of subject matter in my work? 2. What effect do media and subject matter have on each other during image development? and 3. Does my subject matter contained in an entire work contribute to the subject matter of my later works?

The reason for this paper is to present a study of several commercial clear sprays used to affect drying of artists' oil paint. A number of tests were conducted in order to discover which spray might achieve optimum drying without inhibiting creative efforts. After the initial experiments, or "test panels," the information derived was used to complete the remaining panels required for the creative project.

This problem concerns the production of large scale ceramic sculpture and its affect on the working method of the artist. Traditionally, western ceramics deals with functional pieces of a personal scale, that is smaller ceramic works which serve specific utilitarian purposes. The concepts of clay as an art medium and the studio-potter have developed over only the last 125 years of western ceramic history.

The impetus for this project emerged in an effort to move beyond small scaled weavings executed in neutral hues to larger pieces with more color. All of my previous work had been technically oriented, lacking in direction, and limited to neutral hues which blended well together and were readily available. I determined that the project would involve answering two basic questions: (1) could i successfully push these panels to large scale, and (2) could several of these large panels be manipulated to create an interchangeable piece that would work visually in more than one arrangements.

This project was an investigation into the specific influences upon my art produced by my living in Riyadh, Saudi Arabia for two years from August 1976 through August 1978. Initially, I had to make a major psychological and environmental adjustment. This period of adjustment, referred to as culture shock, was a time of personal confusion about the differences between the American and the Arabian cultures. I characterized my state of mind during this period as a psychological numbness and confusion. This adjustment period altered my interests so that the drawings I had done before I left the United States no longer held their original significance and new interests began to appear. I hope to identify some of the changes that occurred by examining and comparing my earlier drawings with those completed since my return.

To clarify this investigation, certain questions were formulated to guide the research. These were: 1. is the working procedure markedly different when using a photograph as a source for a work than the procedure used when working from direct observation? 2. If different, does this working procedure affect the final outcome or product? and 3. Whether the working procedure is similar or dissimilar, is the end result, i.e., the work of art, affected by the method used? That is, will the style of the works done from photographs be different from the style of those done from direct observation?

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?

This paper analyzes Ralph Vaughan Williams' Songs of Travel and asserts that the songs are a song cycle rather than just a collection of songs set to to the poetry of Robert Louis Stevenson. Richard Porter Cole performs a musical and poetic analysis of the songs and makes suggestions to aid performers of the piece.

This paper analyzes Johann Sebastian Bach's Cantata No. 52, Falsche Welt, dir trau' ich nicht. Janette Cook Williams presents findings on the evolution of the sacred solo cantata and examines the style of Bach's work.

This project is an investigation into the sources of sustained, thematically related images through a series of drawings, prints, photographs and sculpture. Because I have always worked best when I have hit upon an image or set of images of considerable symbolic depth, and because I have generally found such images intuitively, a major portion of this project is to determine if such images can be discovered more consciously.

In selecting a thesis project, my interest and experience with fibre-tip pen drawings suggested that further investigations would be profitable. Fibre-tip pens provide a fast and convenient means to draw under outdoor conditions. The pens make dense black and consistent lines at whatever speed they are moved. The ink supply is automatic; not requiring a separate container for dipping and not requiring cleaning. Fibre-tip pens designed to make lines of different widths are commercially available at low cost.

The problem was to investigate illusionary space as affected by dark surfaces using the elliptical and spherical shapes from previous work. I explored the potential of visual tension, movement, pattern, and various degrees of space on surfaces of opposite tonalities from those previously used. An investigation of space on dark surfaces was undertaken and ten works completed.