The questions answered by this investigation are as follows: 1. Which silkscreens and stencils will work in screening flat and three-dimensional objects? 2. Which mediums and coloring agents will survive a glaze firing to produce an acceptable image? 3. How can the image be modified by screening during the different stages of a ceramic piece (wet, green, bisque, glazed)? 4. What glazes and glaze applications will be compatible? 5. Generally, what is the relationship between the image and the object?

The introduction to printmaking in most universities and college directs students to learn the basic techniques of intaglio using zinc. This continues throughout one's academic career, with little emphasis placed on experimentation with other metals. During my undergraduate and graduate studies I etched with zinc. I had wanted to use aluminium and magnesium in order to explore the similar and dissimilar qualities of the three.

The purpose of this study was to give information on watercolor painting in combination with printmaking and secondary media. The objectives of the creative problem were stated in two parts. The first dealt with the exploration into kinds of secondary media which affect the printed surfaces and the watercolors, and the second dealt with the investigation into the kinds of secondary media that can be effectively integrated with the collograph and the monoprint.

The objectives of the creative problem may be stated in two parts. First, the utilization of the self-portrait theme in order to explore a variety of drawing techniques, media combinations, and surface manipulations; and second, the maintenance of a sketchbook-diary which accompanies the study as supportive data. The sketchbook entries include not only pertinent visual material but also verbal commentary. The sketchbook-diary is sequential and denotes the various stages of development as well as the progression of the study.

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 purpose of this project is to investigate the sculptural possibilities of warp distortion and manipulation through the utilization of the weighted-warp process. A secondary purpose is to explore the technique of warp weighting beyond a single fabric layer. It is projected that a weighted layer can be combined with one which is tensioned evenly and tied onto the floor loom (loom tensioned). In this manner, the loom-tensioned layer remains stable. The weighted layer is free to move through the heddles while maintaining tension on the warps.

My problem was to investigate some of the possibilities which have arisen through my previous work by producing twelve fabric pieces and eight paper pieces. Specifically, the following questions were to be examined: 1. Are there traditional designs or techniques in quilts of the past that can be utilized in my own work? 2. Are the primary colors (red, yellow, blue) in manufactured unaltered fabric more effective than painted or altered fabric? 3. Is there a correlation between the color and imagery in the paper pieces and those of the fabric pieces? 4. Of the project pieces, is there a size that generally appears to be more successful than others?

In the fall of 1972 I was required to read Dee Brown's "Bury My Heart At Wounded Knee" as an "atmosphere setter" for a seminar on artists of the westward expansion in the United States. When I first started making drawings of some of the Indian leaders, I had no idea of doing a series. I also had no idea that Indians and more especially those of the West, would be consuming so much of my time and thoughts for such a long period. In the beginning the drawings were prompted by a fascination with the bone structure of the Indian faces. The high cheekbones, the prominent noses and unusual eyes caused marvelous patterns of light and dark, making the faces very conducive to caricature. As I began to know these faces as individuals and personalities, however, I knew that caricature was not the direction which i wanted to pursue.

As a painter, I have been working the past few years to develop a mature pictoral image and the concepts of space that were flexible enough for me to produce what I believed was a valid art statement. I have investigated several avenues for improving my work, i.e., acquiring certain technical painting skills, reading more to broaden my concepts and imagination, and visiting various art galleries and museums. During an earlier critique it was realized that the majority of my paintings were all very similar in scale. I decided to approach my work on a much larger scale than previously attempted in the hopes of discovering a better, or at least different painting concept.

The purpose of this problem was to investigate the advantages and limitations in the use of blacksmithing techniques combined with the construction techniques of arc welding and the use of power tools to construct large outdoor sculpture. Specific questions will be asked to determine the suitability of this method of working. The questions are: 1. Can blacksmithing techniques be used in the construction of large outdoor sculpture? a. what specific techniques are appropriate? b. Will some techniques be used more than others? 2. Will these techniques be used more than others? 2. Will these techniques take an inordinate amount of time and make them impractical for the artist to use?

I resolved to consciously examine the role of precise and spontaneous aspects of my drawings as my creative project. I felt that an investigation into the use of precise and spontaneous elements and their relationship to each other would strengthen my understanding of my own work.

The project involved producing a group (16) of audio-visual installations that successfully displayed and exposed various Muzak situations. The following questions, relating to individual pieces, were of concern: 1. What is the basic intent of each installation or piece? 2. Does the piece communicate the intent of the artist? 3. Which installations or pieces will adapt to any space? 4. What visual documentation is necessary to preserve the idea?

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.

Our problem was to produce art in a collaborative manner. Due to the nature of our problem, we proposed to explore specific aspects of collaborative art and answer these questions: 1. in what ways is the co-artist's input beneficial? 2. How are the artist's skills broadened by working with a fellow artist? 3. What is involved in developing a professional working relationship between male and female artist? 4. What understanding of differences in working styles is acquired? 5. What are the differences reflected in each artist's earlier works as compared to the collaborative pieces?

The abstract expressionist movement aided in the development of this new personality for the clay world. An entire new dimension was added with extreme manipulation of ceramic pieces. My work reflects feelings and ideas concerning today's society and the status-quo. Common, everyday images recur in my art objects, with a major interest in cars, food, slogans, and puns. These are all a part of the hysteria of the American scene today.

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.

For my project, I chose to construct ten containers in which clay and non-traditional drawings were combined. The various materials used were ceramics, drawings on Plexiglas, wood, and other found materials. The questions to be answered by the completion of the ten pieces were the following: 1. What types of containers are most complimentary in combining ceramics and drawings? 2. What types of drawing media are most successful for combining drawings with ceramics? 3. What types of presentation are most successful? 4. What three-dimensional materials other than ceramics are visually important in the combined pieces?

Up until this time I have made little effort to investigate the mental processes that I use in the development of these metaphors. I believe these processes are on the unconscious or semiconscious level, and I am interested in finding out how these processes work in the development of the metaphors. I believe these processes are on the unconscious or semiconscious level, and I am interested in finding out how these processes work in the development of the metaphors. I therefore decided on a creative project that would investigate the use of the metaphor in my art work. In order to discover something about the development of my metaphors, I asked myself questions during a period of artistic work.

The problem for this creative research in lieu of thesis has been to investigate in depth the difficulties and possibilities encountered when combining the woodcut and intaglio media into one entirely editionable print. Arriving at this particular problem was natural-- I feel an innate affinity and facility for creating with the woodcut medium.

The problem for the project emerged threefold: (1) to further explore the uses of the graphite medium including the possible integration of wet media color on large surfaces, (2) to use the human figure as subject matter, and (3) to explore gessoed drawing surfaces of masonite and paper.

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.

This problem concerns the feasibility of combining the elements of light and clay in a sculptural concept of design. The study has determined various procedures of combining the sculptural ceramic forms for the internal inplant of light sources. Specific questions posed were 1. Can the surface decoration be enhanced by external and internal lighting? 2. How does each surface quality, raku, and low-fire salt glaze differ with the interplay of light? 3. In what way may two surface qualities be applied to the same sculptural ceramic forms? 4. How does scale effect each of the pieces?

The questions I have addressed in regard to neutralization were as follows: 1. How important was the figure to the environment? 2. How far could the figure's physical presence be reduced and still contribute to the concepts of the painting? 3. How vividly was the figure presented while still complying with the requirements to meet neutralization? 4. Did color and texture aid in neutralizing the figure, and, if so, how? 5. Did the scale of the paintings have any effect on the neutralization process?

This problem is involved with attempting to answer two basic questions: (a) Can I, a commercial artist, expand and develop as an artist through screen printing and make valid aesthetic statements unrelated to client and/or product? and (b) Can knowledge of reproduction methods and photo-mechanical techniques be successfully utilized in screen printing for non-commercial purposes? Extensive notes in the form of a journal were maintained as work on the project progressed. These notes, combined with the completed prints, were the sources of data for this paper.