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?

The questions answered by this investigation were as follows: 1. Will a clay surface accept multiple emulsions and multiple development processes with little or no loss of detail? 2. Can a gum-bichromate print be accomplished using a normal 35 millimeter negative in an enlarger? 3. What is the effect of different oxides and fluxes on the emulsion? and 4. What is the effect of firing on the experimental emulsions?

The intention of this study is to examine the relationship between fired clay and certain found objects. Working from the assumption that clay, being a natural substance, shares a common ground with certain other natural substances, such as wood, hemp, rock, etc., a primary aspect of the investigation consists of discovering successful combinations of these materials. In each design two subordinate problems were encountered. These were (1) determining the best means of combining and preserving objects in a semi-permanent state and (2) ascertaining whether the thrown form is by itself visually satisfying or if it would be improved by distortion.

The problem consisted of creating a series of jewelry pieces in metal which embody the concept of a self-portrait. Each piece in the series has a physical outside and an inside area in its structure which together form a conceptual self-portrait. Each piece was partly preplanned in detail and partly spontaneously executed. The spontaneously executed parts of the individual pieces serve to include the presence of the subconscious self-image. The series when viewed as a whole or as individual parts will give an insight to my self-image.

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 concern in this project was the utilization of metal joining processes which used no heat in the construction of sculpture. The problem area was motivated by an attempt to avoid some of the inherent problems and limitations incurred when welding, brazing soldering are employed. Specifically, the following questions were considered: 1) Can the non-heat joining process be utilized as a design element? 2) Does non-heat joining allow the use of lighter (30-16) gauge metal? 3) Are distortion and bracing problems reduced by use of non-heat joining processes? 4) Can more diverse metals such as aluminum, copper, brass and bronze be utilized in these processes? 5) Do these non-heat processes make allowances for manipulation of the metal prior to the construction of the sculpture?

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.

The purpose of this problem was to investigate the advantages and possible limitations of horizontal, vertical, and contour laminating to the sculptural form. Specific questions were set forth to help determine the different aspects of these types of lamination. The specific questions for which answers were sought are as follow. 1. How complex a design can be executed by the laminating process? 2. How close to the design will the initial lamination be? 3. What are the best methods of lamination for each process: types of clamps, types of wood, types of glue, dowels and weights? 4. How successful may these lamination techniques be combined? 5. As the work was in progress, which became more important-- the surface quality or the form? 6. Will laminated forms remain stable?

This is a method in which designs as a whole are not pre-planned or pre-arranged, but are developed by applying layers of color. This is an additive method for obvious reasons, and it is subtractive because shapes can be covered with opaque paint or very intense stain. Transparent layers of color applied over existing colors cause hue changes, and the process creates subtleties resulting from one color showing through another.

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 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.

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.

In this creative project, I chose to explore the visual potentials of combining plastic materials with paper or fabric or both in such a way as to produce both visually strong and personally meaningful works. During the completion of the ten pieces, a written journal was kept in order to maintain a record of the progress and outcome of this investigation. In addition, data was illustrated by photographic slides. One piece was photographed at various stages of development, and all of the pieces were photographed at completion. The following analysis of the finished work was made from this information.

This document is an attempt to objectify the subjective. The purpose of the investigation was to determine how a previous mode of expression, namely, two dimensional mixed media, could evolve toward an expressive mode which incorporated the making of three dimensional works. The main concern was to determine how the two dimensional statement gave way to one which was three dimensional, or what constituted the three dimensionality of the work.

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?

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.

The primary concerns and problems which were addressed in this project were: 1. were the shaped formats more of less effective when derived directly from maps and/or photographic panoramas as opposed to deriving them from my own memory and imagination? 2.Was the negative space in which the intaglio prints float, more or less effective than the paintings and drawings which have no bordering negative space? 3. What differences exist in the spontaneous imagery when putting down the initial marks, with my eyes closed, as opposed to when my eyes were open. 4. Did values painted, drawn, or printed over the spontaneous imagery expand the spacial implications and enhance the overall coordination? 5. What problems arose in construction of the shaped formats, how they were solved, and what was the best way to finish the edges for presentation?

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 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.