This study investigates the liturgical attire of the Church of England from the seventeenth through the nineteenth century, by studying the major Anglican vestments, observing modifications and omissions in the garments and their uses, and researching the reasons for any changes. Using the various Anglican Prayer Books and the monarchial time periods as a guide, the progressive usages and styles of English liturgical attire are traced chronologically within the political, social and religious environments of each era. By examining extant originals in England, artistic representations, and ancient documentation, this thesis presents the religious symbolism, as well as the artistic and historical importance, of vestments within the Church of England from its foundation to the twentieth century.

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.

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?

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.

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.

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.

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 idea for this creative project evolved as the result of communication between myself and Cathie Bernhardt during the first half of 1977. Both of us had been dealing with similar concepts such as reliquary-like containers and the objects contained within them. We also had a congruent approach concerning the use of materials and the manner in which they can be fabricated. These two things resulted in a mutual respect for each other's forms and imagery. We, therefore, decided to explore and combine specific aspects of our talent and, in collaboration, produce a series of pieces. Our project became one of collaborative art, and we defined that as follows: One, the process of discussing ideas for pieces; Two, the act of working on pieces together, Three, the completion of pieces wherein both artists have contributed significantly to the final products.

The question addressed in this project is as follows: How, if at all, are nostalgia and ambiance created in my work through the use of the following: 1. color 2. repeated patterns from textiles, wallpaper, and quilts 3. dimension 4. text 5. personal and nostalgic imagery 6. art deco motifs 7. fixed media/found objects. Each of these items will be discussed as it relates to each piece.

This study involves an investigation of artist's intent (purpose) and the effects of altering the dimensional structure of a print utilizing the materials as imagery. Concerning the nature of the creative project, The following questions arose: 1. How will changing my current two-dimensional format to a three-dimensional presentation produce the desired intensity of physical, emotional, mental and spiritual depth? 2. What kinds of materials can be combined to effectively produce the desired imagery? 3. What technical problems arise in regard to a supporting armature in the three dimensional structures? 4. How is the artist's intent communicated through the imagery created in the three-dimensional structures?

I constructed ceramic/mixed media instruments, recorded rhythmic music composed for and played on my instruments, and prepared a slide presentation portraying my daily rituals a studio artist. I describe in this paper the process involved in creating this environment and give an interpretation of the work by answering the following questions. 1. What were the rituals that were essential to the creation of my work? 2. In what ways did the use of the different visual and audio media work together to create a unified environment? 3. In what ways was the total experience of the different media a more direct and fulfilling expression of my goals as an artist, or are these goals better fulfilled when working in one media?

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.

Ikat is a technique used throughout the world for the surface enrichment of textiles. In Ikat, patterns are dyed into the warp, weft, or both by the use of various resists such as twine or plastic wrapped tightly around a group of yarns. The dyed yarns are then unwrapped and woven into fabric. Instead of stretching an entire warp or weft on a frame to apply resist, yarn can also be measured into small groups for tying and dyeing. These small groups of yarn can be dyed with simple patterns and later rearranged and combined to create more complex designs. In order to investigate the possibilities of the above mentioned methods, a series of Ikat fabrics was developed.

In this creative project, I investigated the combination of photographic images with more spontaneous visual elements in collaged drawing and monoprints in order to produce both visually strong and personally meaningful works.

Questions that arise are: 1. How will the form and content of my current work be affected by a more implicit narrative form? 2. How will the work be affected by: a. source of imagery? b. scale of images and overall works? c. materials? d. intent? Will the intent of my current work change because of a more linear narrative format? 3. Assuming the narrative will change from one piece to another, what will be the effect of placement of images in each work and how will the placement of each work in relation to the others be affected?

In order to more fully explore this problem and to uncover important aspects of my work and work processes, I posed these questions to be answered after the completion of the five books: 1. In what ways am I able to synthesize the traditional concerns of the literary and visual image into an Artbook format? 2. To what extent am I able to develop this synthesis into an aesthetically valid and personally satisfying expression of my own artistic philosophy? 3. In what ways does this development represent and/or reflect what appears to be another major shift in my art, toward a more conceptual, two-dimensional or cognitive expression? 4. What does this attempt and the resultant image symbolize for me?

The purpose of the creative project was an attempt to intensify the perceptual disruption while simultaneously continuing my exploration of the expressive power of certain images and symbols. These ideas were explored in a new series of paintings.

As much as I like the effects of low-fire salting, I hesitate to use salt. The hydrochloric acid released into the environment during the salting process creates a dense fog that is not only toxic, but visually offensive as well. Therefore, the purpose of this study was to find a source of sodium that would achieve aesthetic results as equally exciting as the effects of salt.

This study examines the county courthouses of Arkansas with the purpose of discovering certain qualities which they possess as architecture. Stylistic influences are identified, as are influential architects, periods of building activity, and characteristics of age and condition. An historical overview provides information concerning nationwide trends in public architecture over the last century, allowing observations as to the effects which national and regional tastes had on Arkansas' county courthouse builders. It is concluded that Arkansas' county courthouses reflect, to some extent, the stylistic preferences and backwardness of southern and rural courthouses, respectively. The Georgian Revival is identified as the most popular style for courthouses still in use, although the most active building period is found to be the 1930s, when WPA design specifications dominated Arkansas courthouse architecture.

The problem of this study is to review and compare the curricula of selected American, proprietary, fashion merchandising colleges and to examine what kinds of similarities and differences exist among their curricula. Using the schools' respective catalogues, the combined curricula was categorized into sixteen tables representing the different types of courses offered, with the study colleges listed in opposition to the courses; the courses were then checked off in opposition to the schools offering them. To demonstrate the similarities and differences in curricula, a short summary accompanies each table to point out trends, and a final chapter summarizes the findings. The conclusion discusses the remarkable similarity in the courses offered by the schools and recommends further parallel studies comparing other postsecondary schools' curricula.

This study seeks to explore relationships between Logo turtle graphics and visual literacy by addressing two related questions: (a) can traditional visual literacy concepts, as found in the published literature, be synthesized in terms of Logo turtle graphics, and (b) do the literature and "hands-on" experience with turtle graphics indicate that visual competencies are pertinent to graphics-based electronic communications in computer culture? The findings of this research illustrate that Logo turtle graphics is a self-contained model to teach visual literacy skills pertinent to computer culture. This model is drawn from synthesizing published literature and the classroom experience of Logo learners, which is demonstrated through their visual solutions to Logo assignments. A visual analysis and interpretation of the subjects' work concludes that the principles and competencies associated with traditional visual literacy skills manifest during the Logo turtle graphics experience. The subjects of this study demonstrate that visual literacy pertinent to computer culture includes reading, writing, and drawing alphanumerics and pictographic information with linguistic equivalence. The logic for this symbolic metaphor is body-syntonic spatial experience explained in geometric terms. The Logo learner employs computational models for visual ideas and visual-verbal symbols for spatial ideas in the course of doing turtle graphics.

The problem of this investigation is determining the artists, places, dates, subjects, and types of frescoes done in nineteenth century England. Through research in nineteenth and twentieth century materials, this information was disclosed. Included in this paper are discussions of the artists, chronology, the fresco projects, stylistic considerations, reasons fro using fresco, and fresco's relevance to the subjects of the paintings. The differences in the technical aspects of fresco and its adaptations are explored. Included in this paper are discussions of the artists, chronology, the fresco projects, stylistic considerations, reasons for using fresco, and fresco's relevance to the subjects of the paintings. It is concluded that the fresco revival was a part of the prevalent Romantic mood of the period and a wish to make England an important nation in the art world's eyes. The revival, however, failed. Its fresco scenes crumbled off the walls that supported them.

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.