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 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 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.

In my Problem in Lieu of Thesis I explored the use of analogy in my work. I searched for ways to heighten the difference or distance between the imagery within an analogous relationship and yet maintain meaningful similarities or relationships. An analogy, for the purpose of this paper is defined as the following: "a similarity or likeness between things in some circumstances or effects, when the things are otherwise entirely different."

In pursuit of the project, I sought to address the following concerns: 1. Which intaglio processes, or their combination, proved to be the most useful in production of the book? 2. In establishing a concept for the book, what problems were encountered? 3. What is the visual relationship between the printed images, the book, and its container?

Feline images have been an element in much of my work since 1981. These cat images were usually included in self-portraits. As my work progressed, the feline images increased in importance until 1985, when I abandoned the self-portraits almost entirely and began working predominantly with the cats. Although the feline image has been an important aspect of my work for several years, I never attempted to discover what these images symbolized or meant. I rarely thought consciously about the content of my work, as i arrived at my images primarily in an intuitive manner.

I examined and evaluated three sets of gallery installations and related handmade books. The following questions were considered foremost: 1) Visually, how different from and how similar to the gallery installations are the books? 2) What verbal elements are adapted from the installations to the books? 3) How does the difference in format (that is, the books) alter or affect the content and meaning of the installations?

The primary purpose of this study was to investigate how imagery evolved in my work, in dealing with the relationship between body and landscape and the relationship between image and abstraction. Five paintings were created for the investigation of the evolution in my imagery. A journal of notes was kept concerning each piece while in progress and immediately following its completion. The analyzing method was a visual analysis of the structure and content, as well as the process through which the imagery evolved.

The purpose of this study was to examine the difference between language and the use of visual imagery to represent experiences and ideas. It focused on the following questions: 1. Can the meaning of a painting be ascertained by analyzing the referents of the images and their relationships to one another? 2. How does the purely formal part of the painting function in the creation of meaning? 3. What is the difference in the meaning created by language and visual imagery when they were used to represent the same idea or experience? 4. Where do my ideas come from?

My interest in pictorial representationalism began when I started painting and drawing as a child, and my concern for working realistically continued and developed through my undergraduate years in college. In this investigation i explored the working processes used in a representational approach to contemporary woven tapestries. A brief discussion of the origins of representational woven tapestries with concentration upon Twentieth Century textiles was followed by an analysis of the influences upon my work by artists and stylistic trends.

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?

This descriptive report is designed to document the development of this conceptual structure. The purpose is to clarify each aspect of the metaphor and its relationship to the conceptual structure thereby providing more organized , as well as new material to strengthen future work. This metaphor serves as a triggering mechanism for visual imagery.

The intent of this problem was twofold: (1) to demonstrate the adaptability of woven tubular forms in an exhibition space and (2) to demonstrate how support structures could be successfully combined with woven fabric forms as part of the overall design. The problem was executed to alleviate some of the limitations imposed by exhibition spaces. Specifically, the more versatile the piece, the greater the potential for aesthetic and structural effect.

The problem was to combine yarns and fabrics, through various textile processes, (off-loom and on-loom techniques may be incorporated), that involve a personal dimension and an aesthetic value. The specific questions to be examined were the following: 1. How are successful textural surfaces achieved? 2. What kinds of interdependence among color, surface texture, and imagery exist? 3. How foes scale affect the works? 4. In what ways are autobiographical images compatible with the processes?

In the visual arts, I was interested in creating patterns with clay, glass, and metal, utilizing the visual elements (line, color, shape and texture). I arranged, rearranged, and distorted the elements until I obtained a fragmented, yet, unified pattern. My visual ideas were rhythmical (gestural) in nature with or without the direct stimulus of music. Concepts originated in my mind with symbols and sounds simultaneously.

I wanted to produce a body of work related to the problem of decontextualizing objects. By challenging the object's habitual associations, I hoped to provoke a new set of relationships for the viewer. I kept a journal of personal information, dreams and events, that might later provide imagery for and insights into the work. My goal in the endeavor was to acquire concision and complexity in imagistic language, a language in which the definite and the indeterminate would coincide very simply to provoke a variety of unexpected associations.

The purpose of this project has been to consider the importance of the words in my work. The problem was to focus more clearly on the use of words and their relationship to the visual elements and content. It was hoped also that it would determine how the work is altered by these factors.

For my problem, I proposed to document and analyze the relationships of the spontaneous and premeditated approaches in my work. The pieces that I began during the Spring and Summer 1979 were to be my primary sources of data. Two means were used to document these works and my approaches to them. I photographed the pieces as they progressed up to and including the finished product, and a sketchbook-diary was used to compile ideas and responses.

In this investigation the possibility of a "soluable" type of space and its formal properties was explored. The project took the form of four objects, ranging in size from three to eight feet in total length. The investigation was based on the following questions: 1. How does the form suggest extensions of itself in space? 2. How does color alter the viewer's response to the form? 3. How do color and form work together in suggesting additional elements? 4. In what manner do materials and/or patterns affect the form? 5. What new avenues of investigation does the work suggest?

For the last few years my work has been concerned with an exploration of the landscape image through the use of the traditional printmaking techniques of intaglio and lithography. The images which were produced during this time became increasingly flat and at the same time increasingly spontaneous. At the onset of this project, the images were the result of feelings about and memories of landscape, rather than studies taken directly from nature or from secondary sources. As the desire for spontaneity within the image increased, I felt the need to alter my method of working in order to accommodate additional flexibility. I concluded that this would exclude the traditional print methods.

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.

The purpose of this investigation has been to review the various forms of passementerie in order to provide a background for weaving narrow bands and ribbons. While the basic fabric structures, plain weave, twill, and satin are used in the production of ribbons, some problems occur in adapting them to the narrow form.

It was the intention of this project to test selected objects to determine which ones could be used for decoration. If an object became a stable, aesthetically pleasing, part of the glazed piece, then it was considered successful. Two firing temperatures are important to my work; they are 1796 degrees Fahrenheit, oxidation (which is cone 06), and 2372 degrees Fahrenheit, reduction (which is cone 10). I expected some of these objects I chose to work better at the lower temperature, and some to work better at the higher temperature. All objects were test-fired on small plate-tiles at both temperatures. After testing, I decided which items were successful as decorative additions. With these successful objects, I was concerned about what methods of attachment were possible and what surfaces were appropriate.

As a result of my interests I became concerned with 1. The invention of eccentric imagery for use in painting formats. These images were intended to subtly allude to archaic and archetypal objects of forms (artifact reference) yet remain anonymous in terms of absolute identity. 2. Random and ambiguous placement of the imagery on a surface resulting in a mapping or diagramming of a possible 'place,' with a broadly interpreted landscape orientation to space. 3. Paintings having the characteristics of the objects in terms of materials and processes used, surface tactile qualities, irregular shape. These three ideas formed the basis of the problem.