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There is no abstract available for this thesis.

The purpose of this Creative Project was to create and analyze the student's art work,which was finished within the academic year 1985-86, at Ball State University. Due to the difference in geographical features between Indiana and Hong Kong (where the student originally came from), the attitude and approach of the student towards painting was affected. This paper traced and identified how and where his works of art changed.The whole analysis was based on three major pieces. They were Frankton I, A Cold Summer, Frankton II and LandscaDe VI (which was a landscape of Muncie). These three works were oil paintings. The student also used some of the preparatory watercolor sketches that he made to help describe the different developing stages of his art. During the analysis, technical aspects of handling oil paint were discussed too.

This creative project has traced the development of shaped canvases from two-dimensional shapes to a more three-dimensional shaped form. This project has compared work completed in the past by Newman, Noland, and Stella and work presently being done by Bonticou, Baer, and Hinman with the work defined in the project.In addition, work defined in the project has been carefully described as to the selection of materials, the preparing of individual sections, the preparation of the canvas surface, and the proper way of displaying the art form.Finally, the project discussed the unique utilization of corner space for display purposes and the various techniques and methods of lighting used to alter the appearance and effect of the projected forms.

The purpose of this creative project was to explore various ways of using acrylic paint other than the traditional methods of direct application to canvas or paper and produce a suite of fifteen mixed media drawings using methods developed during the creative project. With the drawings produced during the creative project the writer discovered a new approach in using acrylic polymers. Subtle relationships of color, texture, value, and spacial illusion were achieved through the use of this method. The technique involved making a thin sheet of nonsoluable, flexible acrylic, cutting it, manipulating it, and applying it to a sheet of paper. Through the creative project the writer explored riew concepts in composition and personal imagery. Work completed during the project yielded over one hundred drawings. Works from the project have been exhibited regionally and nationally. Two pieces were included in Indiana Artists Exhibition in 1983 and two others were purchased by the Evansville Museum for their permanent collection.

From Introduction: The balance between practical and theoretic components in the total submission bears relation to the title of this essay where aesthetic advantages are largely theoretical and where technical advantages refer mainly to the practical component. The historical significance of this structure is to be found in the earliest treatises on painting, Cenninni's treatment of painting as a purely practical matter is in accord with medieval tradition. His recipes are aligned according to the various individual techniques, tempera painting being the most significant to this essay. Practical recipes are interspersed with directions for the representation of various pictorial themes, and in the resultant conglomeration, the subdivisions are discernible only as basic premises. In contrast to him, the Renaissance authors beginning with Alberti make a significant innovation in that they divide their material into a theoretical and a practical part . The inter-relationship of practical and theoretical - aesthetic and technical aspects are un-avoidable when it comes down to realities. This is clearly illustrated in the notes of Leonardo da Vinci. Plans for the organization of the treatise are vaguely formulated .

The thesis is in the form of a commentary on the development of my work from the beginning of this year. The studies have followed a general pattern of closed to open, or linear to painterly. Numerous changes in attitude towards the basic elements of composition, and their use, have taken place. Among those most frequently mentioned are: line, dark and light, intensity and warm-cool color relationships. In connection with these compositional elements, surface texture, subject matter and various media are discussed. Some consideration is given to conflict between conceptual and media orientations. The effect of this conflict in a teaching situation completes the general outline of the thesis.