The idea of using the computer as a design tool seemed ideal for my sculpture. The simplicity of my sculptures and their repeating elements are easily rendered by computer technology. The computer allowed me to perceive my designs accurately from different perspectives. My hand-rendered designs, by contrast, were difficult to read, especially from multiple views. The computer sharpened my designs, while showing me the different views in less time. Although the designs were computer assisted, I commanded all of the manipulations. This procedure is different from computer-generated design, in which the computer is programmed to do the designing itself. My investigation of the computer as a design tool answered several questions.

For my problem-in-lieu-of-thesis, I proposed to do a collaborative installation involving three or four spaces which incorporate multi-media and audience participation. My intent was to focus on the decision-making process for creating an installation.

The primary concerns and problems which were addressed in this project were: 1. were the shaped formats more of less effective when derived directly from maps and/or photographic panoramas as opposed to deriving them from my own memory and imagination? 2.Was the negative space in which the intaglio prints float, more or less effective than the paintings and drawings which have no bordering negative space? 3. What differences exist in the spontaneous imagery when putting down the initial marks, with my eyes closed, as opposed to when my eyes were open. 4. Did values painted, drawn, or printed over the spontaneous imagery expand the spacial implications and enhance the overall coordination? 5. What problems arose in construction of the shaped formats, how they were solved, and what was the best way to finish the edges for presentation?

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?

The source and development of the shelter as a personal symbol in my work has been explored in a body of work consisting of twelve pieces. The approximate size of these objects is 10" X 14" X 18". I plan to address the following questions during the review of this body of work. 1. What part do architectural sources play in the development of the shelter symbol? 2. What part do cultural and anthropological sources play in the development of the shelter symbol? 3. How does surface embellishment affect the shelter symbol? 4. How does the size affect the shelter symbol?

The purpose of this project was to develop a body of work in which the content has probable, if not definite, cross-cultural application. It was my intent to analyze images for their content and underlying themes. This collection of "image content" was to be used in the production of a body of work which hopefully would transcend cultural bias or limitations. I consulted art and anthropological texts, books, and periodicals (listed in bibliography) which contained images produced by different cultures.

For my creative project I produced five life-size pieces consisting of human and animal figures constructed in clay and mixed media. Rather than creating figures around or as part of an environment, the figure, being the primary subject, dictated what type and how much of an environment I built. I explored the manipulation of the materials in order to determine how best to produce emotional impact.

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.