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.

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.

To investigate this process I selected, as my creative project, the execution of a series of drawings. The objective of my creative project was the synthesis of additive/subtractive procedures of a drawing from its inception to its completion. A written journal was utilized to gather data pertinent to the investigation.

The purpose of this study is to examine the development of a series of paintings and drawings confined to the subject of trains and the derailings of trains. This creative project includes a descriptive study which documents the development as it occurs in the series. The written material is utilized with regard to its relevance in uncovering pertinent conditions and events that contributed to the drawing and painting processes during the execution of the series.

This paper is presented in satisfaction of the requirement for two problems in lieu of thesis which are required for the degree, Master of Science. The two problems are: (1) to provide an electric interface between the M6800 microprocessor and the printer; and (2) to design an Arabic character set and to provide the logic required for its implementation. As it would be artificial and impractical to document these problems separately, a single document here is provided.

Time-sharing computer systems permit large numbers of users to operate on common sets of data and programs. Since certain parts of these computer resources may be sensitive or proprietary, there exists the risks that information belonging to one user, may, contrary to his intent, become available to other users, and there is the additional risk that outside agencies may infiltrate the system and obtain information. The question naturally arises of protecting one user's stored program and data against unauthorized access by others.

This problem is intended to be an introduction to the design of a software system which translates PDP-8 assembly language source into it's machine-readable object code. This assembler runs on the IBM 360/50. It is assumed that the reader is familiar with the basic PDP-8 assembly language. For the description and use of this assembler the reader is referred to the PAL-III SYMBOLIC ASSEMBLER PROGRAMMING MANUAL from DEC (order number DIGITAL 8-3-5, Digital Equipment Corporation: Maynard, Massachusetts, 1965.). The Second problem of the study concerns the design of a simulator for the PDP-8 computer.

The purpose of this paper is to illustrate the use of the computer in solving complex real time scheduling problems. This problem involves the airline industry and is concerned with the local scheduling of security personnel to the gate areas for outgoing flights from one terminal at Dallas-Fort Worth airport. The purpose of this type of program is to enhance personnel efficiency and management control over a large group of people while cutting the cost of lower management.

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.

This program will be used in operant behavior research to monitor and record responses and trigger and record reinforcements on a variable reinforcement (VI) schedule. The original application of this program will be the servicing of several rat cages simultaneously. The response will be the pressing of a metal bar in the cage, the reinforcement will be the triggering of a feeding mechanism which disperses a food pellet into the cage. The subsequent applications of this program are not limited, in that the actual response and reinforcement devices and the subject type are all treated indifferently by the program.

The objective of this work is to help the faculty, staffs and students of NTSU to use the CalComp plotting facility very easily. Therefore, this work is written in such a step by step and self-explanatory way to help the reader to understand and grasp the essential technique of the computer plotting. Each subroutine illustrated in this work has been run and checked by our NTSU computer-CalComp plotting facility; the results of sample programs and illustrated graphs are believed to be very useful to understand each individual subroutine. Basically, software packages are stored in the magnetic disk of the IBM 360 computer as the standard graphic subroutines. These subroutines were written in FORTRAN IV. The user can write the driving program to call these subroutines and also inputs the desire data to the computer for computation. The results of computation will be outputed and stored in the magnetic tape.

PILOT (Programmed Inquiry, Learning or Teaching) is a simple, conversational language developed in 1969 by John A. Starkweather at the University of California Medical Center in San Francisco. Originally designed for computer assisted instructional needs, PILOT also has been effectively used as an introductory computer language. The PILOT system developed for the Apple II microcomputer consists of two programs, PILOT EDITOR and PILOT DRIVER, which are written in Applesoft and which use the Apple II disk operating system. The PILOT system was designed to facilitate easy authoring and execution of programs written in an extended version of the PILOT language. Due to the memory requirements of the programs and the Apple II disk operating system, the PILOT system described here should be executed on a machine with at least 32k bytes of random access memory.

The scientific subroutine package is one of the most important parts of the software for the scientific industry. By now, most big computers have scientific packages, but applying such a software package in microprocessors requires consideration of the microprocessor's facilities, such as limited main memory, slow execution time, and only a few small registers. In any scientific package, the trigonometric functions are the ones more widely used. This paper discusses a method for implementing several trigonometric function programs in a scientific package in microprocessors. These programs will contain routines for computing sin, cos, tan, and cot of any angle within the range of (-360°,+360°).

The author's primary goal is to begin research leading ot the attainment of a low cost computer/music system which will allow the composer to write polyphonic music of up to eight voices into a computer through a terminal, and have the music played back by means of computer synthesized sound or by means of a conventional synthesizer controlled by a computer via digital-to-analog converters. The goal system will allow the composer to retreat and hear his product objectively as the painter steps back to review his canvas.

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.

The ancient artist's influences can still be felt in today's craftsmen. For example, the contemporary weaver Sheila Hick's prayer rugs are an assimulation of the textile techniques of ancient Peru, Persia, and India, and the macramed forms of the contemporary Spanish artist, Aurelis Munoz, are suggestive of the woven huts of many primitive cultures. Because of this influence upon the current investigation, the evolvement of weaving and its techniques, as well as the three-dimensional techniques of basketry, in different parts of the world and in different historical periods are reviewed briefly.

The problem of this investigation is to determine if the shrinkage resulting from water loss, which causes cracking in polymer-acrylic emulsion artists' paints, can be controlled to produce a predictable variety of surface textures useful in painting. Preliminary information on the behavior of polymer-emulsion paints was taken from published material such as Mayer's Artist's Handbook of Materials and Techniques, Woody's Polymer Painting, and various manufacturers' technical publications. Experimental investigations were conducted to observe the media under varied methods of application and conditions of drying. The information gathered in the experiments was used to develop techniques producing a variety of predictable textural alterations, which were used in a series of experimental paintings.

The purpose of this study was to give information on watercolor painting in combination with printmaking and secondary media. The objectives of the creative problem were stated in two parts. The first dealt with the exploration into kinds of secondary media which affect the printed surfaces and the watercolors, and the second dealt with the investigation into the kinds of secondary media that can be effectively integrated with the collograph and the monoprint.

The objectives of the creative problem may be stated in two parts. First, the utilization of the self-portrait theme in order to explore a variety of drawing techniques, media combinations, and surface manipulations; and second, the maintenance of a sketchbook-diary which accompanies the study as supportive data. The sketchbook entries include not only pertinent visual material but also verbal commentary. The sketchbook-diary is sequential and denotes the various stages of development as well as the progression of the study.

The purpose of this project is to provide a record, much like the ones left to us by Michelangelo and Leonardo da Vinci, of the personal influences which motivated the present artist to function productively as a sculptor for a period of one semester: from September 1, 1975 through December 12, 1975. The methods involved in charting such artistic transpirations consisted of two types: a written diary, daily recorded, which indicated the progress, regression, frustration, inspiration, and perceptions which were experienced by the artist during the three-month period; and a series of personal, emotional self-enquiries.

The purpose of this project is to investigate the sculptural possibilities of warp distortion and manipulation through the utilization of the weighted-warp process. A secondary purpose is to explore the technique of warp weighting beyond a single fabric layer. It is projected that a weighted layer can be combined with one which is tensioned evenly and tied onto the floor loom (loom tensioned). In this manner, the loom-tensioned layer remains stable. The weighted layer is free to move through the heddles while maintaining tension on the warps.