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.

The Untidy Story of Goldie Showers is a collaborative paper written by Lee Murray and me with the approval of the Graduate School and submitted in partial fulfillment of the requirements of both degrees. Chapter Four is different in each of the two papers which we have submitted to the Graduate School. Since this chapter contains the overall conclusion to the project we considered it best to present our individual impressions rather than to attempt a joint statement. The video tape produced in connection with this project is on file in the North Texas State Art Department slide library.

The purpose of this study was to examine the changing definition of color harmony and to ascertain a general state of understanding of the term. A content analysis method was applied to writings taken in a special sampling technique, selecting for analysis those works regarded as classics in the broad field of color literature.

The problem of this study was to compare the expectations of the interior design profession regarding entry level requirements of new graduates of Southwest Texas State University and the present interior design curriculum at Southwest Texas State University. Questionnaires seeking information regarding skills and knowledge thought necessary for graduating interior design students were sent to professional interior designers in the South Texas area. Simple descriptive statistics were used to analyze the responses. The survey of the interior designers practicing in the South Texas areas conducted in this needs assessment of the Interior Design program at Southwest Texas State University supports giving consideration to the development of new courses or content revision of existing interior design courses offered at Southwest Texas State University.

This project was designed to afford me the opportunity to work with the possibility of combining painting and music through the creation of narrative art. I endeavored to produce a body of work in which the individual paintings and songs would also stand on their own as autonomous works, and still function as components of a work that was larger in scope. The challenge was to develop the visual and verbal elements into a unified whole.

I decided to simplify the composition of my work in subject matter, color, size and style without destroying its visual impact. Experimentation in surface quality gave variety to the simplified content. My main commitment to the accomplishment of this problem was to avoid complexity in any form. I wanted to give as much information as possible using minimal means.

One hundred and seventy-eight pieces of Victorian furniture in six Texas historic house museums have been photographed and researched in order to fulfill the three-part problem. (1) to research and write descriptive essays of the four major Victorian substyles--Victorian Empire, Rococo Revival, Renaissance Revival, and Eastlake; (2) to identify and choose six Texas historic houses which are open to the public and which display these Victorian substyles in period room settings; and (3) to identify, photograph, measure, and catalogue each piece of authentic Victorian furniture, and to compile a research guide which includes each of these six houses and their Victorian furnishings. This six-part guide includes brief histories of each house and a catalogue of authentic pieces which represent the major substyles of Victorian furniture. To give the study a broad base, and to make it useful for all students, teachers, and professional interior designers in Texas, two houses which represented the best collections of furniture from each geographic location were chosen. These included: (1 ) from North Texas, the George House and Millermore, both in Dallas; (2) in Central Texas, East Terrace and Fort House, located in Waco; and (3) in South Texas, Fulton Mansion in Fulton Beach, and …

In the monotypes I have done, a third figure has emerged in the spontaneity of the process as a simple face shape and element of composition. Virtually ignored by the others the third figure becomes a puzzle as to its complete role. As this third figure came about from a natural development in the monotypes, I have explored its meaning in my paintings for the creative project in lieu of thesis. I have investigated the role of the third figure in meaning and content as I introduced it to the interaction of the two figures in my paintings.