The problem of this thesis is to determine the evolution of the architectural design of the Kimbell Art Museum building from its origin as a concept to its realization in the completed structure. This study has two objectives.The first is to discover the process by which the physical museum building cam into being. The second is to trace the conceptual evolution of the Kimbell Art Museum building. This problem has three parts, each of which has been made the subject of a chapter. The first, "Concept Development," sets forth the pre-design concepts of the founder, the director, and the architect. The second, "Design Development," establishes a chronological sequence of architectural design presentations. The third, the "Conclusion," compares the pre-design concepts to the finished building.

This thesis concerns the utility of including the art of hand lettering in a curriculum of a university advertising art program. Data secured from 155 questionnaires sent to 266 advertising firms in five states were analyzed by simple descriptive statistics including frequency counts and percentages. Two hypotheses were examined, and it is concluded that hand lettering is still needed in advertising art and should be taught in university art programs.

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 primary purpose of this investigation was to acquire information about the fundamentals of participating in group and one-person shows. The assumption was made that upon acquiring this basic information an understanding of the intricacies of the larger exhibition procedure could be attained. I proposed to investigate aspects important to the production, selection, and installation of my work in a formal gallery setting.

In this creative project, I investigated the problems of producing, selecting, presenting, and installing a one-person exhibition. I executed a series of 31 drawings, paintings and prints from which 21 pieces for the exhibit were selected. From the body of work executed prior to and during my graduate study, 21 pieces were included based upon the relative quality of the imagery. There were no restrictions with regard to media or size. My goal in this project was to assemble and present a coherent and harmonious exhibit in the North Texas State University art gallery.

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.

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 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?

This paper is to present a student interior design laboratory manual for Perspective Drawing 134. A mechanical and freehand approach to the grid method of perspective is used. Chapter I reviews the significance of the problem, definitions of terms of perspective, data sources and method of procedure. Chanter II explains a brief overview of perspective from primitive man to its present use in interior design. Chapter III reviews the general principles of perspective. Chapter IV presents the grid method to one-point and two-point perspective, both mechanical and freehand approaches. Included are step by step illustrations and explanations of the method. Chapter V summarizes the intent of this study.

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.

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 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.