The problem of this study was to compare the expectations of the interior design profession regarding entry level requirements of new graduates of Southwest Texas State University and the present interior design curriculum at Southwest Texas State University. Questionnaires seeking information regarding skills and knowledge thought necessary for graduating interior design students were sent to professional interior designers in the South Texas area. Simple descriptive statistics were used to analyze the responses. The survey of the interior designers practicing in the South Texas areas conducted in this needs assessment of the Interior Design program at Southwest Texas State University supports giving consideration to the development of new courses or content revision of existing interior design courses offered at Southwest Texas State University.

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.

This project was designed to afford me the opportunity to work with the possibility of combining painting and music through the creation of narrative art. I endeavored to produce a body of work in which the individual paintings and songs would also stand on their own as autonomous works, and still function as components of a work that was larger in scope. The challenge was to develop the visual and verbal elements into a unified whole.

In selecting a thesis project, my interest and experience with fibre-tip pen drawings suggested that further investigations would be profitable. Fibre-tip pens provide a fast and convenient means to draw under outdoor conditions. The pens make dense black and consistent lines at whatever speed they are moved. The ink supply is automatic; not requiring a separate container for dipping and not requiring cleaning. Fibre-tip pens designed to make lines of different widths are commercially available at low cost.

This study is concerned with an analysis of twenty paintings by Western European artists from the thirty-five-item segment of the Anthony Denney Collection on permanent loan to the Dallas Museum of Fine Arts. The paintings were considered separately in a two phase visual and verbal analysis accompanied by visual diagrams. Phase one described the primary visual qualities of each painting through examination of the art elements and principles. Phase two was a verbal description of each painting. The purpose of this investigation is to provide an analysis format suitable for abstract and non-objective works of art.

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.

The purpose of this study is to examine the development of a series of paintings and drawings confined to the subject of trains and the derailings of trains. This creative project includes a descriptive study which documents the development as it occurs in the series. The written material is utilized with regard to its relevance in uncovering pertinent conditions and events that contributed to the drawing and painting processes during the execution of the series.

The topographical landscapes of Miss Schell represent diversity in subject matter and media that includes oil, watercolor, and lithograph pencil scenes of Canada, New England, and Pennsylvania. Documentation used in the research included interviews and correspondence with her friends and students; photographs and slides of her paintings and drawings; exhibition lists of her works; and writings of her art ideals. This data formed five chapters of the thesis. The Introduction is a research overview; the second is her biography; the third analyzes three landscapes; the fourth compares her landscapes with eight contemporaries; and, the fifth states a conclusion of her importance as an art educator who transmitted Robert Henri's philosophies. A catalogue also is included,

In the monotypes I have done, a third figure has emerged in the spontaneity of the process as a simple face shape and element of composition. Virtually ignored by the others the third figure becomes a puzzle as to its complete role. As this third figure came about from a natural development in the monotypes, I have explored its meaning in my paintings for the creative project in lieu of thesis. I have investigated the role of the third figure in meaning and content as I introduced it to the interaction of the two figures in my paintings.

The purpose of this thesis is to consider three opposing statements regarding aesthetics in our popular culture. The first statement is that the youth of this age are demolishing the old standards of aesthetic taste and are creating a nonaesthetic; the second statement is that the youth are enlarging the vision and scope of the accepted standard of aesthetic and changing its direction; the thrid statement is that the creations of the youth in our popular culture of today are neither new nor nonaesthetic, but merely a continuation of aesthetics as they are accepted. One statement will be chosen as the most valid of the three.

The use of fantasy by the artists of the period 1250-1650 A.D. will be discussed under five categories. 1. Fantasy was used by artists in religious paintings, which served as a visual book to be viewed by the people. The artist used fantasy to show or illustrate events or miracles which could not be logically explained. 2. Fantasy was used by the artists to portray Greek and Roman mythological subjects and events. 3. Fantasy was used by the artists to present allegorical figures and ideas. 4. Fantasy was used to illustrated dreams or visions. 5. Finally, fantasy was used to create and present all kinds of fantastic creatures and monsters of the subconscious or dream world.

The aim of this study is to seek to determine the philosophic grounds which prompt this painter in particular to incorporate both two- and three-dimensional space within each painting.

As its objective this study develops a modus operandi for the interior designer who must understand and work with both additively and subtractively mixed colors in constructing interior color schemes.

The problem of this investigation is the combining of the spatial concepts of Paul Cezanne and the Analytical Cubists in a single painting.

This study investigates the adaptability of plastic paints to photographic silk screen materials and methods. The problem was to experiment with and further develop another technique for the artist, the silk screening of photographic images directly onto the painting surface with acrylic polymer paint.

This paper is to present a study of ultrastructured elements of the microcosm as a stimulus for painting.