Diss.--Universität Basel.

Thesis (Ph. D.)--University of Pennsylvania, 1930.

Thesis--Utrecht. / Vita. Summary in English. Includes indexes. Includes bibliographical references (p. 70-71).

Thesis (Ed. D.)--Illinois State University, 1976. / Title from title page screen, viewed Nov. 30, 2004. Dissertation Committee: Barry Moore (chair), Eugene Fitzpatrick, Clifford Edwards, Fred Mills, Jack Hobbs. Includes bibliographical references (leaves 85-87) and abstract. Also available in print.

Thesis (Ed. D.)--Illinois State University, 1983. / Title from title page screen, viewed May 17, 2005. Dissertation Committee: Max R. Rennels (chair), Marilyn P. Newby, Susan Amster, Robert Stefl, Forrest Wisely. Includes bibliographical references (leaves 108-112) and abstract. Also available in print.

Thesis--Freien Universität, Berlin. / Includes bibliographical references.

The master’s thesis presents a design for the technology of manufacture of a chandelier hinge from the material ČSN 42 3005 (Cu99.5) with a sheet thickness of 0.5 mm. Due to the spherical shape of the part and the series 40 000 parts per year, the technology of deep drawing was chosen for two drawing operations, while the redrawing is performed by reverse deep drawing. Due to the nature of the component, the additional technology is shearing. The manufacturability of the part was verified using numerical simulation in the PAM-STAMP software. The forming process is performed using three forming tools on three different presses. For the first, combined tool, an LE 160C eccentric press is used. A hydraulic press ZHO100 is applied in the second tool for the reverse drawing, and finally, an eccentric press LEK160 is applied for the shearing in the third operation. With the selected profit value of 25 %, the final price for the component was set at CZK 104.17. The turning point occurs after reaching 16 248 parts.

This text is about the psychological life of the pataphysical character (Aeiou) and the drawing.

Observational drawing has many benefits, yet it can be a difficult and frustrating curriculum for students and teachers alike. As I was teaching elementary and college art classes simultaneously, I noticed a significant discrepancy between my younger and older students. Students in my elementary art classes loved to draw and often expressed how excited they were to make art. However, students in my college art classes were more hesitant and self-conscious about drawing and did not believe they could progress artistically. Many of these students had abandoned drawing in elementary or middle school. This pattern evokes the U curve of artistic development as discussed in Harvard's Project Zero (Davis, 1997). Because of this lack of skill and confidence, many of the students in my college classes could not fully apply themselves to reap the benefits of observational drawing. How can educators help college students reclaim their confidence as visual artists after years of avoidance and fear? In an attempt to help college students overcome these anxieties and improve their art skills, I created and implemented a mindfulness intervention in a traditional drawing curriculum. Using case study methodology, I conducted a qualitative study throughout the winter semester of 2019 at Brigham Young University to examine the affordances or limitations of implementing mindfulness in an undergraduate drawing curriculum.

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