This study reports on the development of a curriculum guide to insure some degree of experience uniformity in the first art course available to students in high schools in Mesquite, Texas. Current general education and art education literature as well as curriculum guides from American schools provided the behaviorally oriented framework and objectives, content, and teaching strategies. The guide reflects a balance between the ideal and the real physical environment in which the guide will be implemented. Conclusions include the concepts that teacher education in using behavioral objectives is necessary, that a behaviorally oriented guide will work in Mesquite high schools, that behavioral objectives will facilitate evaluation, and that the trend toward tri-part subject content will increase in art curricula.

The present study of an ideal mixture for thrown ware is an outgrowth of a long-time personal interested developed during undergraduate work at North Texas State University. While a natural earthenware clay proved to be the best all-purpose clay for class use, it was not ideal for throwing.

My creative project was to expand the depth at which non-clay materials such as wood and metal (brought, found, or otherwise acquired) were successfully blended with clay, both physically and visually. Also, imagery--so essential to the narrative quality of the work-- was to be expanded upon to provide a constant freshness that avoided repetition or variation for its own sake.

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?

Dreams can be defined as a series of thoughts, images, or emotions that occur during sleep. The impression of strangeness, which is certainly a characteristic of dreaming, comes from three primary performances: (1) a loosened temporal and spacial world, (2) short attentional controls and (3) fewer critical evaluations. In dreams, time and matter are not bound by physical properties, and scenes may change with remarkable rapidity or awesome slowness. One out of three people can recall dreams upon awakening. During a night's sleep there are usually three separate dream periods per night, which contain at least two dream stories within each period.

The objective of my problem in lieu of thesis was to produce twenty hand-built porcelain objects which reflected this conception of beauty. To review the success of my project, I asked three questions to evaluate my work. 1. Was there significant structure to my works? 2. Was there significant discord within these structures? 3. Did the tension created through the interaction of these two elements of my work create beauty?

The purpose of this paper is to record for all interested persons the available facts concerning the life and works of Earl Heika, Montana artist/sculptor. Heika, who lived most of his life in Great Falls, Montana, depicted Western subjects in his art.

This study is the first comprehensive analysis of the fatal woman motif in the writings and art of Edvard Munch from the early 1890s to 1909. It uses a background of the women in the artist's life as well as the literary and artistic worlds in which Munch participated. Following separate accounts of Munch's relationships with five women, the manner in which the artist characterizes each as a fatal woman in his writings and art is discussed and analyzed. Next, the study describes the fatal woman motif in late nineteenth century art and literature. It begins with a discussion of the origin of the Symbolist and Decadent Movements and an ideological examination of the fatal woman motif as it is manifested in the writing and art of these two groups. In addition, it compares Munch's visual manifestations of the femme fatale with the manner in which the artist's contemporaries depicted her. Finally, this study describes two groups of men with whom Munch was particularly close: the Christiania Bohéme and the Schwarzen Ferkel Circle. An examination of the literary works of these men helps to determine the way in which they affected Munch's pictorial perception of the fatal woman.

This study examines the development of Edward Larrabee Barnes's design concepts for the Dallas Museum of Art, from preliminary concepts and program statements by Director Harry Parker and Dallas Museum trustees, through initial planning and architect selection, to site selection, the Program and Space Study, Barnes's early conceptual plans, and his Dallas Arts District master planning. Influences on Barnes's work and his career development leading to the Dallas commission, his most ambitious museum to date, are examined. Discussion and documentation of design development is based on schematic studies, presentation drawings, models, and trustees' minutes. Design changes during construction and all phases of expansion planning are also discussed. The conclusion summarizes historical influences on the design and Barnes's fulfillment of program concepts.

This paper is a report of research at North Texas State University concerning the effect of Art 135-136 on the design judgment of elementary education majors. It describes the measurement of the level of design judgments of elementary education majors who have completed the course and those who have not.

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.

I believe that an artist needs a mechanism(s) built into his or her working method out of which the greatest number of options may arise. I suggested that, for me, painting on paper could be one such mechanism. I wanted to pursue paper as a viable surface on which to paint and discover to what extent it would influence my choices in the working process.

It is the purpose of this study to test whether or not any learning does occur during the viewing of an art educational film. In order to examine this learning, an art educational film was developed and tested at North Texas State University in Denton, Texas.

This study examines the effects that discipline-based art education has upon reading test scores of public school second grade children. The progress in language arts of an experimental group and a control group were followed for two six week grading cycles. The experimental group was treated with DBAE instruction for one six weeks, while the control group received only studio production exercises. Both groups received no art instruction for another six weeks. Gains between mean pre-test and post-test scores indicated a significant difference for the experimental group but not the control group.

The investigation concerned itself with the following questions: 1. What was the relationship of the structural grid system to the layered materials? 2. How much of the final results of the works were dependent on the process of constructing the pieces? 3. What processes were used to change surface quality? 4. What were the various methods of installation in a gallery?

My proposal involved gathering and analyzing both visual and written information. The following steps were specifically considered: 1. Exhibition catalogues and related information on Robert Rauschenberg and Zao Wou-Ki were reviewed. Those artists deal with cross-cultural ideas in their work. 2. A sketchbook and an artistic journal were kept, as well as a record of my creative processes. 3. A body of work was done in a consistent matter. I employed a spontaneous/intuitive strategy in my creative activity. I kept myself flexible in order to approach the idea in a loose manner by simultaneously making several paintings with the same content.

This study considers the equipment needed for the art rooms of the three junior high schools of Corpus Christi, Texas. It discusses the special problems encountered by the teacher-committee that had to determine the minimum list of tools and other equipment necessary to carry out a well-rounded art program.

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 original proposal was altered for the sake of clarity. In contrast, the new introduction offers a stronger and tighter definition of intent without changing the concept of my concerns. Working through the beginning stages of analysis I began to understand the significance of asking specific questions as a means of focusing my intent. I proposed to continue to explore the evolution of imagery in my work through the creation of seven to ten "pieces." I remained open to and involved with the uses of painting, drawing, photography, installation and combinations thereof.

How much art is projected into the home and community as a result of art experiences in the school is difficult to determine without some criterion as a standard for judgement. Based upon this premise, the author attempted, with the cooperation of the art committee of the Dallas Junior League, to test the aesthetic judgement of selected groups of children in the Dallas Public Schools by evaluating their reactions to an exhibition of common household articles currently available on the Dallas market.

For several years the author has viewed with interest the various kinds of outdoor signs. College courses in advertising art and advertising procedure, as well as practical experience in the advertising field, have increased his interest in this fascinating business and prodded him on to further investigation. With the desire to extend his knowledge of outdoor advertising and to pass on the body of his research to others who find it useful, the author has undertaken this study.

The writer, an art teacher of some experience, has felt the need for more easily accessible and more definite and tangible information concerning printed material which could be used by the junior-high-school art teacher in carrying on a program of creative art experiences. This research, "An Evaluation of Art Publications", was made in an attempt to meet this need.

For the average person many opportunities for esthetic enjoyment of useful objects exist if the relationship between beauty and utility is understood. Furniture and other articles of daily use have acquired new and radical changes of design, based on function, which are altering esthetic concepts. This new approach to design is gradually being accepted by manufacturers and producers. Do purchasers appreciate and accept these structural and functional bases of contemporary design? If they do not, wherein does their deficiency lie, and how may it be corrected? This is the problem that the writer has attempted to investigate through this study.

Two curricular needs exist for the elementary art classroom: multi-cultural lessons which are customized to address North Texas ethnicities, and art history materials for early grades, whether taught by art teachers or regular classroom teachers. This thesis addresses both of these concerns by developing lesson plans to meet the needs, and executing an evaluative study with North Texas art and regular classroom teachers of kindergarten and first grade. The teachers represent four districts, including rural, suburban, and urban demographic populations. Findings address time limitations for public school teachers, cultural exchange differences between demographic groups, and differences between presentation of the units by regular classroom teachers versus art teachers.