Wonderland is a film about a fictitious, alternate dark society, free of original thought and action. The people toil day to day in a mechanized fashion. All characters are predictable and unquestioning except for our protagonist. He seems to think something is not quite right, and possibly he discovers it too late. Wonderland is a world in which the people work, sleep and repeat this procedure daily with no end until retirement. The story takes place on the last day before our heros retirement. What is the next adventure to come? It must be better than the past comprised of daily toil at the factory and little other stimulation save the drive home and his fancy dual television set. Wonderland explores themes drawn from my personal life and observation in a film representation created from a digitally collaged world comprised of everything from fantastic machine designs to references of constructivist based design merged with grotesque architecture and blocky typography. The viewer is challenged to deciding whether or not Wonderland can be seen as malevolent or benevolent, a vision or reality.

A Storied Surface is an exploration of narrative based graphic design engineered for textile surfaces. Beginning with an experiment involving the characters of the novel Matilda, I developed a design system. My process involves creating narratives and illustrating the characters. Then the illustration is abstracted. The abstraction is used to create prints. Finally, all of the elements including the original illustration, abstraction, and print are used to create engineered designs for three-dimensional surfaces. Advances in digital textile printing and the increasing implementation of graphic textiles in the fashion industry led me to experiment with applying my own design to textiles surfaces. Through the creation of my own narratives, I refined my design system and reached a solution for three-dimensional application involving digital textile printing. The conclusion resulted in the creation of engineered prints applied to textile surfaces, which express my own narratives about the people and places of Provence, Côte d'Azur, and Toscana.

The purpose of this study was to identify the most effective way of communication in cause-related campaign design. The fundraising campaign selected for this study focused on childrens leukemia, Draw a Message of Hope. The five types of public campaign design were developed utilizing different elements and techniques of visual communication: (1) image plus text, (2) infographics, (3) motion graphics, (4) typography, and (5) description only. Each type of public campaign design was assessed in terms of (1) the extent to which audiences understand about the campaign and (2) the extent to which the materials encouraged the audience to participate in the campaign. A range of the audiences underlying thoughts about each type of public campaign design was also investigated. Data was collected from undergraduates (n = 60). Descriptive statistics, a paired T-test, and content analysis were used to analyze the data. The result showed that the motion graphics type design was most understandable for the participants, followed by the image plus text, infographics, typography, and description only type design. Similarly, the motion graphics means of design stimulated participants willingness to participate in the campaign to the greatest degree, followed by the image plus text, infographics, typography, and description only type design. The result of a paired T-test revealed that participants responses to each type of design were statistically and significantly different except the relationship between the image plus text and infographics type design. Thus, it was found that each type of component used in a public campaign design is significantly different in terms of its effectiveness. However, there was no significant difference on the effectiveness of the image plus text and infographics type design. For managerial implications, the result of this study provides graphic designers and organizations an important idea that they should consider utilizing motion graphics that offer sufficient information about the campaign and attract audiences interest. This result also gives an idea that description only-type design should be avoided because audiences would not pay attention to this boring type of campaign design.

The Book of Esther, found in the Old Testament, has been represented in a variety of ways throughout history. In a sweeping tale of love, honor, and sacrifice, the Jewish maiden queen, Esther, is a heroine to the oppressed. Dutch Protestants in the Golden Age felt a kinship to this subject, particularly after the Protestant Reformation and the new religious freedom gained in Holland during the sixteenth century, which continued in the seventeenth century. These men and women saw many parallels between Esthers experience and their own, both as the covenant people of God and as the remnant preserved by Gods care. By looking at the history of the Protestant Reformation, the religious climate of Holland, and a number of representations of the Book of Esther, this paper aims to explore the connection between Dutch Protestantism and the Old Testament Jews, the importance of the Book of Esther for Dutch Protestants in the seventeenth century, and the way in which artists represented Esther in Post-Reformation Holland.

Art historians often refer to the interwar period of the early twentieth century as la retour à lordre. The twenty-one years from 1918 to 1939 represent a return to sober academicism, order, and classicism in art following the destruction and uncertainty caused by the First World War. This mentality of artistic stability, combined with the Western fascination for exotic cultures of Africa and Asia, formed the hallmarks of the Art Déco style. Alexandre Iacovleff was a Russian artist who embodied the international artistic spirit of Art Déco from 1914 until his death in 1938. His paintings and drawings, rendered in a style that can be described as exotic academicism, were a reflection of a marriage between the contrasting principles of classicism and Orientalism. Most known for his African and Chinese portraits, Iacovleff rendered the unfamiliar, exotic Other in a Western academic style. These portraits were completed throughout the duration of his position as official artist of the African and trans-Asiatic Citroën expeditions. They reflected the Western obsession with all things exotic, and stand as testaments of the eclecticism of Art Déco. What makes Iacovleff an ideal representative of Art Déco painting is his international status. As a Russian traveling artist who lived in China, Africa, Paris, Capri, and the United States, he retained an academic yet diverse stylistic vocabulary that granted relevance to his work on an international level. His relevance, in turn, legitimized the versatility of the Art Déco style during the 1920s and 1930s.

Thesis (MA) -- University of South Australia, 1992

Thesis (Ph.D.)--University of Adelaide, Dept. of Architecture, 1998? / Includes bibliographical references.

Inaug.-Diss.--Heidelberg. / Vita. Bibliographical references included in "Anmerkungen," p. 265-331.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript. Sponsor: Edwin Ziegfeld. Dissertation Committee: Mildred Fairchild, James McClellan, . Type B project. Includes bibliographical references (leaves [206]-214).

Thesis (Ed.D.)--Teachers College, Columbia University, 1971. / Typescript; issued also on microfilm. Sponsor: Edwin Ziegfeld. Dissertation Committee: Charles Harrington. Includes bibliographical references (leaves [577]-613).