It is the purpose of this study to present three units for the instruction of certain aspects of color by using the techniques of audio-visual education which utilize the school stage as a laboratory. The study demonstrates how a stage and its apparatus become an audio-visual tool that the teacher may not hope to duplicate in the classroom.

Until the 1960s there was more interest in Josef Albers as an artist. Albers' successful teaching career began in 1923 at the Bauhaus where he was eventually placed in charge of the whole elementary course. Albers' American educational career centered around Black Mountain College in North Carolina and Yale University where he was chairman of the Department of Design.This paper, in effect, will deal with Albers as an artist, teacher, and theorist. Albers as an artist will be explored by a study of Homage to the Square, the series from which much of Albers' present fame is derived. Albers' color theory is contained in his writing, Interaction of Color, a book dedicated to his students which records his method of teaching color. It is the purpose of this paper to show Albers' theory and his paintings, Homage to the Square, exemplify many principles of perception: the realization that color experience is a subjective, inward experience, the Gestalt notions on "good" forms, and the awareness that our knowledge is of the perception of things -- not of things themselves. In order to pursue such a course of study, it will be necessary to investigate other color theories, theories of perception, Albers' work and evaluations of his works.

Vår kunskapsöversikt fokuserar på att besvara frågan: hur kan lärare arbeta med färglärai bildundervisningen, för att öka elevers kunskap om färglära? Kunskapsöversikteninnefattar också att beskriva definitionen av färglära och hur färglära är relevant ibildundervisningen. Syftet med vår kunskapsöversikt är att presentera olikaundervisningsmodeller som innefattar färglära och vidare diskutera omundervisningsmodellerna fungerar för bildundervisningen, eller inte. För att finnarelevanta undervisningsmodeller för vår frågeställning, använder vi oss avlitteraturöversikt som metod. I sökandet efter relevanta undervisningsmodeller, märktevi att det fanns en brist på forskning kring framtagna modeller för färglära ibildundervisningen. Resultatet blev därför att vi fann några undervisningsmodeller somfungerar för vår frågeställning och några fungerar till viss del. Ett parundervisningsmodeller fungerar inte alls, men dessa undervisningsmodeller visar dockpotential för ett vidare arbete i färgundervisning och är därför med i vårkunskapsöversikt.

I believe an individual can be profiled by their color preferences, but not indefinitely, for a shorter period of time, a 24-hour period of time. A person's state of mind will change continually based on their experiences. These experiences will affect their perception and preference of color. I developed a model that will map an individual's profile, a portrait, through color. Participants are given a worksheet and a list of terms describing personality traits and states of mind. The worksheet is categorized by event, time of day, duration, impact, and summed term. From midnight to midnight, a 24-hour period, the participant records any event that they encounter providing information-fulfilling categories stated above. I use that information to then map out their portrait of 24-hours through color.

No description available.

No description available.

No description available.

Players must often make choices in equipment when playing videogames. These choices can be informed by some level of interest shown by the players. This thesis explores the impact of visual design on the interest in game Mechanics, in the form of in-game equipment. This subject was explored by an iterative process, spanning over three iterations, in which groups of testers rated how interested they were in a selection of four visual representations of equipment in a local cooperative videogame. The iterative process was informed by using nudging as a lens to increase interest in the worst-rated visual representations. Results indicate that players' initial interest can be more affected by nudging, in contrast to the players' final thoughts after interacting with the game’s mechanics. More often than not, their final thoughts were unaffected by nudging after which the knowledge of a preferred mechanic took precedence. However, nudging through added Juiciness did increase the visual appeal and interest in previously unfavored mechanics.

No description available.

Upon receiving a role, an actor must research the major themes, concepts, and relationships associated with the play, its collaborators, and the character they are to portray. Only by layering this combination of research and analysis to the rehearsal process and performances in a detailed format can an actor cohesively transform the learned knowledge from the performer's training and research to a finished product on stage. Many forms of art are created using a similar process. This thesis will explore the similarities between the Post-Impressionist technique of pointillism and the actor's process in developing a role. Upon observing the basic process of each technique, one can conclude that the method of consistently adding many specific elements eventually creates a finished product whether it is in the form of a painting on a canvas or a performance on a stage. By paralleling these two artistic techniques, a new contribution to musical theatre is made by presenting a fresh outlook for performers in their approach to creating roles. Research on pointillism and George Seurat's painting technique when interwoven with Stephen Sondheim's techniques in music theory (specifically the examples derived from the score of Sunday in the Park with George), and compared to my technique and process as the actor playing the role of Dot in the University of Central Florida Conservatory Theatre's 2006 Spring production of Sunday in the Park with George, demonstrates how the theories of pointillism and the actor's process are clearly comparable and arguably inseparable.