This project has been an exploration into the various techniques of watercolor and their resulting effects through research into the work of past and contemporary watercolorists. The investigation of this background knowledge led to experimentation and later implementation of these techniques in a group of seventeen paintings, reproduced in slide form and then framed. Techniques such as wet-on-wet, splatter and dry-brush were illustrated.Subsequently following was the development of an instruction packet designed for interested watercolor students. The packet consists of the slide of the paintings in which the various techniques are illustrated, a text explaining the "how-to" of the different techniques and their resulting effects, and a tape which can be used in co-ordination with the text.

This creative project explored and determined the visual characteristics of drawings and paintings of vegetables. The project consisted of a painting and a drawing of the following vegetables: a potato. a pea and pod, a tomato, a carrot, and an onion. The paintings were done in glazes of oil paint and the drawings in colored pencils. Fundamental to this creative investigation was the control of subject matter, composition and color variables. These variables were controlled in order to understand the way in which the media and techniques differentiated the visual appearance of the drawings and paintings.

[From Introduction]. Prior to 1800 advances made in painting could often be accredited to the advances made in paint technology. Since the beginning of the last century however, paint technology has stabilised, moved into the background and allowed the artist to create with the medium rather than be dictated to by it. This stabilising of art technology has also generated a lack of interest in technique, leading in turn to a number of painting techniques being lost. In some ways we know less today of the oil medium and its correct use than was known to Jan and Hubert Van Eyck and their followers. However, if this lack of concern with technique has produced a large number of valid artistic statements which are unlikely to survive physically, it also means that the hoardes of painters who painted technically perfect paintings with no valid art statement have dwindled as well.

A description of the artistic education and development of the author, Frank Gunter, along with an account of how he conceived of and created several paintings. / "June, 1960." / Typescript. / "Submitted to the Graduate School of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Adolf Karl, Professor Directing Paper.

It was my purpose to study the role of acrylic paints and other products in the secondary high school and junior high school art curriculum in the area of painting, and related activities and to make a realistic evaluation of this medium. Because of its comparative newness and because of a general lack of knowledge of and experience with it, I felt such a study would fill a need relative to the utilization of acrylic products in the classroom. In preparation I read the material which was available on painting with acrylics'. The number of books published on the subject is limited. I talked with art teachers and found that many had only a cursory acquaintance with acrylics or had not used them at all. With this background I became involved in as many aspects of the use of acrylics in. the classroom as I could. A skeptic at first, I became increasingly enthusiastic as my work progressed. From my own experiences with acrylics, I devised some experiments which, for the most part, I took into the classroom and with which I involved students ranging from third grade to high school level. After my own experiences with acrylics as both artist and teacher, it is my conviction that acrylics can be invaluable in the art curriculum, and that they can be most helpful in providing a significant contemporary approach to the fundamentals of painting and other techniques. There are five chapters and an appendix in this thesis report. The first chapter provides an introduction to the acrylic products, with a brief summary of their-development as a fine arts medium, their cost, handling characteristics and their advantages and disadvantages. The second chapter is concerned with the individual acrylic products and with equipment and supplies. Painting techniques and suggestions for the use of acrylics are discussed in the third chapter. Suggestions for additional uses in the related activities of collage, mosaic, printing, drawing, transparent design and other techniques are contained in the fourth chapter. In the fifth chapter I state my conclusions concerning the medium. Photographs of student work and my work are included as a supplement to the text. A list of local suppliers and a list of manufacturers are included in the appendix, as well as photographs of my thesis paintings.

A description of the artistic education and development of the author, William Harold Hopper, along with an account of how he conceived of and created several paintings. / "August, 1960." / Typescript. / "Submitted to the Graduate School of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Karl Zerbe, Professor Directing Paper.

A discussion of the artistic education and development of the author, Stanley Boris Pransky, along with a commentary on the paintings of his one man exhibition. / "August, 1960." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Karl Zerbe, Professor Directing Paper.

It is my intention, in this evaluation of my paintings, to serve dual purposes: the partial fulfillment of the requirements of the requirements for a Master of Arts degree, and a better understanding of my work and myself as a painter. The latter, I hope to achieve through this retrospective analysis of work done a t the intuitive, as well as the conscious level. Before one evaluates his paintings, perhaps he should first state his understanding of the creative process through which these paintings came into being. This process, to me, is the result of one's search for self-expression; a means through which he may put down in paint his philosophies, feelings, and ideas about life. / "February, 1957." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Includes bibliographical references (leaf 46).

Lifeline: Expressions of Intimacy Through Paint is a body of paintings that seeks to bridge physical distance by sensually applying layers of oil paint to recreate the physicality of my husband. I allow the viewer to enter into a private exchange by the use of intimately charged spaces, like the bed, which demonstrates how paint can be a conduit for touch in absentia. By intensely remembering my partner in these works, I reconstitute my knowing him through paint and seek to move beyond mere representation to know and express him better. Therefore, these paintings not only bridge the physical distance between my body and his, but search for meaningful expressions of my internal conversations as I make visual discoveries that expand my understanding of him. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

Painter's Wilderness is a transition between painting strictly from imagination to painting with the use of drawings and sketches to interpret and authenticate an observation. The transition became an exploration of value patterns, compositional shapes and color correspondence in building a technically successful painting while allowing the piece to have its own life.