Man has used graphic signs and symbols to express a variety of thoughts and feelings since before the invention of writing; they have helped him to preserve the ideologies that have enabled him to articulate his conception of the world. Every culture in every historical era has invested the objects, animals and plants around it with a multitude of different psychological meanings to communicate its essential belief systems and social aspirations. In my document, I chose to shed light on the responsibility I believe design educators must assume regarding their ability to understand and teach the importance of how similar graphic signs, symbols, ideograms and icons are perceived differently by different cultures in the hyper-connected, inter-global economy of 21st century. It is very crucial not to discount the influence and correlation of symbolic, fundamental building blocks of design with the basic psychological functions that inform our subconscious, and are also informed by our individual social and cultural upbringings. People from different cultures may cognate these shapes similarly, but they perceive and encode their meanings based on their particular social and cultural influences. One-size-fits-all communication design solutions rarely work, especially when they are distributed to culturally diverse audiences, because various ethnic …

Electronic and computer technology have advanced and transformed graphic design. New technologies are forcing design educators to constantly monitor and update their programs, creating a need for a system to be adopted by college-level institutions to better investigate, evaluate and plan art and design curriculum. The author identifies metaphorical approaches to designing a two-part solution, which includes a Comprehensive Visual Information System (CVIS) and Three-Dimensional Virtual Database (3DVDb), which assign volumetric form to education components based on the form, structure and content of a discipline. Research and development of the conceptual design for the CVIS and 3DVDb are intended to aid in the development of an electronic media solution to be made accessible to students, faculty and administrators.

The first section explores how far I could stretch dichotomy in formal terms, while maintaining a visually resonant image. I wanted to manipulate a superficial surface filtered through "natural forms" as seen in scientific imagery. By this I wanted to create access to a place where forms could play and imagination could wander. I was seeking to find a confluence in seemingly opposing forces that would coexist in the same work. The second section answers questions I had established for myself. The most important discovery I made was about the true nature of what I called a dichotomy in my work. The last section discusses the conclusions drawn from mounting the Master of Fine Arts Exhibition. I found that my interests resided more in investigating an already confluent dualism, as opposed to reconciling a conflicting dichotomy.

The submarine and the spaceship fit in perfectly with the ideas of permanence and protection on which my work has been focusing. It is not coincidental that I have long been fascinated with the shapes and mechanisms of these vehicles. They are complex machines designed for a complex function; I find the precision of this to be appealing. I have used their shapes and mechanisms as design aspect in my thesis work. Also, in the studio, I have developed a type of Damascus steel bowl by modifying a technique once used for making gun barrels. I have made three small vessels inspired by spaceships and submarines using this modified technique.

The body of work originating from this Problem in Lieu of Thesis consists of paintings on canvas that incorporate representations of plant material. The impetus for the paintings was black and white photocopies created from mounds of plant material placed on a copy machine. The resulting copies contained forms that were organic in appearance, but unrecognizable as known objects. Parts of the most interesting and ambiguous copies were used to develop the imagery of the paintings. The new forms served the purpose of creating visual interest from unexpected images. Combined with traditional painting techniques, the selected forms produced paintings of mysterious and playful worlds similar to those parts of the environment not readily accessed, such as galactic space, microscopic organisms, and ocean depths.