Thesis (M.F.A.)--Rochester Institute of Technology, 1994. / Typescript. Includes bibliographical references (leaf 18).

Theses (M.F.A.)--Rochester Institute of Technology, 1990. / Includes bibliographical references (leaf 23).

Artists generally begin their craft by relating to what is most familiar to them. It is in this comfort zone that my journey into painting began. From my first painting of the Chrysler Building in New York City to the countryside in Tuscany, my work tells the story of my travels. When I began to create jewelry that contained elements of my paintings, I expanded on the concept of documenting my travels. Further experimentation with new materials used in jewelry making allowed me to create a visual correlation between my paintings and my wearable jewelry.

Chu Hei-keung. / Summary in Chinese. / Thesis (M.B.A.)--Chinese University of Hong Kong. / Bibliography: leaves 72-74.

The primary objective of this creative project was to develop an understanding of the relationship between objects of personal adornment and the spirituality of our contemporary culture. The secondary objective was to produce one-of-a-kind jewelry and table objects that invited the viewer to contemplate the unconscious or intuitive meaning of the pieces. These objects were intended to be reflective of the spirituality of our culture. This body of work employed traditional and non-traditional craft techniques. / Department of Art

The primary objective of this creative project was to fully explore and analyze the centuries old technique of lost wax casting.The secondary objective was to produce a body of work combining my creative inspirations from nature and my African culture.This body of work employed a variety of traditional metalsmithing techniques combining raised/constructed hollow ware, in a variety of metals, with cast metal forms. / Department of Art

Thesis (M.F.A.)--Montana State University--Bozeman, 2005. / Typescript. Chairperson, Graduate Committee: Richard Helzer.

Thesis (MA)--University of Stellenbosch, 2006. / Bibliography. Also available via the Internet.

There is currently need for reform in art programs of all kinds, in regards to use of and focus on contemporary art and current practices. Teaching about art of our time and place enables students to understand and make connections to their world, and facilitates art making that is creative and relevant. This thesis describes theory and rationale for basing curriculum on contemporary art practices and presents a jewelry workshop, for all skill levels, that teaches contemporary art themes and practices. There are two units. The first teaches metal texturing, shaping and simple soldering skills while, focusing on art that deals with spectral and compensatory remembering themes. The second unit teaches bezel setting while focusing on alternative to the establishment art themes. The lessons in the workshop were also created using contemporary art teaching techniques and new principles and elements of design.

Thesis (M.Tech.: Fashion Design)-Durban Institute of Technology, 2006, 168 leaves : ill. + 1 CD-ROM (4 3/4 in.). / My journey of awareness which is an exploration of my identity through design has resulted in a body of artefacts presenting as sculptures and various pieces of jewellery and a written dissertation. The sculptures include bronze castings as well as stoneware ceramic pieces. I produced silver jewellery and vitreous enamelled pieces which include some gold and glass bead detail. Although my sculptures could be considered as fairly small, working on this scale was a new experience to me as a jewellery designer who is used to working on an even smaller scale. I found it challenging to express the necessary emotion and meaning in my work while creating on such a relatively small scale. The body of artefacts is a concrete manifestation of my exploration of identity and was produced as an intuitive expression of memories and emotion. My memories are of personal experiences within a specific cultural and historical context, and the exploration forms part of a critical transformative inquiry. The motivation for this transformative inquiry forms part of a holistic de-fragmentation of my personal and cultural identity in an attempt to construct meaning and authenticity through design. The artefacts were produced in holistic cycles presenting in two distinct phases which are discussed chronologically. I recorded the process and my thoughts and feelings in a reflective journal which included a visual journal in my studio and served as a reference for my discussion of the cycles. I experienced the process of making as a ritualistic enactment of healing and the construction of meaning. In the written and illustrated submission for the award of this degree, I have endeavoured to offer an explanation of my professional and emotional development that formed part of the transformative process. I have chosen not to separate my explanation of my development as a designer and my personal development as it occurred concurrently. Digital imagery of my body of artefacts forms a record of my work offered for exhibition purposes and is included with the written dissertation.