Master of Fine Arts in Graphic Design and Master of Arts in Art and in Studio Art Plan B Project Papers

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This collection contains some of the final works (Plan B project papers) produced by master's degree students in the discontinued Master of Fine Arts in Graphic Design, Master of Arts in Art, and Master of Arts in Studio Art graduate programs.

To see Plan B project papers for specific graduate degrees, click the links below:

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Now showing 1 - 20 of 23

The Historical Development of Islamic Lustre Overglazes and Experimentation and Exploration of Modern Methods of Lustre Production
(1975-07) Richmond, John
The technique of firing a metallic surface onto a glazed ceramic vessel developed and was mastered by the Islamic potter. The technique, referred to as a lustre overglaze decoration, has been admired by potters for centuries. Recently, the overglaze technique has once again become popular. Contemporary potters have found that lustres yield exciting possibilities, yet the wares produced today lack the sophistication of the former Islamic vessels. Unlike the mid-Eastern wares, the overglazes employed on contemporary vessels lack the magnificent overtones of the previous Islamic lustres. As a result, a course of study was undertaken to trace the historical development of the overglazes in Islam as well as to explore and to experiment with modern methods of production in hopes of obtaining results similar to the Islamic lustres.
From Idea to Image
(1973-11) Norberg, Russell M
This paper is an attempt to trace the evolution of my paintings from their earliest beginnings in the mind and eye through the completed work. The primary purpose is to bring about a greater realization on my part of the creative process as it is involved in my own work. This realization, I would hope, will have a positive effect on my future work as well as giving me a greater insight into the creative problems of my students. To me, painting seems to be an expression of feelings or emotions done through the medium of paint, by an individual which is characteristic of his personality. To better understand why my paintings have become what they are, I feel it is necessary to go back to my beginnings as a person and as an artist.
A Studio Manual for Casting Bronze by the Lost-Wax Method
(1974-08) Anderson, Terry M
Two Nature Studies
(1976-07-14) Bennett, Lloyd
From the Literal to the Symbolic
(1970-07) Mike, Tyne Tanttila
Referential Art
(1976) Belisle, Mark H
In this modest paper I have attempted to allude to the attitudes and references which form a basis for my work. I have refrained not only from discussing specific examples of my work, as seems to be traditional procedure for papers such as tl'1is, but have left myself out of the paper almost entirely, even writing it in the third person. What follows is not a dissertation or a thesis but a series of more or less:. related allusions, hyperboles, and innuendoes, all centered on the problem of the so-called "identity crisis" in modern art. Beginning with a brief discussion of modern art and modern philosophy, the paper in turn touches upon modern art and subjectivity, art and edification, and art and philosophy. It has not been my intention (much less my hope) to write a thorough and definitive paper on these issues; rather, my goal has been to elaborate a bit on my own prejudices.
The Development of Form in Jewlery, Prints, and Painting
(1968-06) Amundson, Arthur G
Ovenware Clay Bodies
(1970-05) Bayard, Joan M
Man has made clay objects and containers since approximately 5000 B.C. One can say that the early pottery was generally functional; clay was the medium for objects of fertility rites to funerary rituals, and toys and games to cooking utensils. Since this paper deals with the functional pot, and ovenware clay bodies in particular, the focus will be on cooking utensils and the various types of clays used. A brief history of pottery cookware, from early to contemporary times, precedes the technical findings of my experiments with ovenware clay bodies. The motivation behind such experimentation is simple; I enjoy making everyday functional pots. I like using pottery, and others seem to enjoy using it also. This then led to the experiments to find the most durable and satisfactory clay body for functional ware.
Staining with Acrylics
(1975-06-22) Smith, Helen Stuart
Grading Art Products and Its Effect on Student Interest in Art
(1976-07) Brouse, Ross
Francis Bacon: The Photographic Image, Motion, and a Mode of Vision
(1977-05) Shefchik, Barbara
Burnished Ceramic Ware
(1973-07) Peters, Marion I
Burnishing offers to the contemporary potter a means of decoration alternative to the standard glazing techniques. The method was developed in the early history of pottery in several parts of the world. This paper is a brief history of the burnishing techniques used in several cultures and an exploration of those techniques as they can be used by the contemporary potter. In the historical documentation, particular emphasis has been placed on the Greek “varnish" ware and on Peruvian burnished ware. These two were chosen for special emphasis because each reached exceptionally high technical and artistic 1evel in the production of their burnished pottery. Their particular techniques can be used or improved upon by the contemporary potter interested in making burnished pottery.
Metal Casting: Implementing the lost wax and waste mold gravity process of metal casting in the public school art program
(1969-08-22) Hansen, Rodger C
Repronar and Films
(1975-07) Hanson, Gracemarie
Establishing a Production Pottery
(1975-08) Gogerty, Gary
My decision to examine and discuss the problems which the potter faces when trying to start a production studio is based upon my belief that this important area is often omitted from the ceramic programs of many colleges and universities. Neglecting this subject often limits the student's professional choice to a career in teaching because he lacks the experience and training necessary to operate a production studio. The craft community is also at fault because very little specific information is available from craft organizations in regards to the life of a practicing potter. As a result of this lack of information, most students believe the decision to establish a production studio to be simple. Few take the time to carefully examine the situation, its demands and the commitment necessary for a successful operation. This is not to imply that the situation is so demanding that it becomes an impossible task. It is, however, one that requires more than superficial consideration. The aim of this paper is to present some of the problems new professionals encounter, and to discuss, based upon observation and research, the guidelines potters should consider before attempting to establish a production studio. The information presented in this paper was obtained by several methods. Published material provided insufficient and limited information. Therefore a questionnaire was devised and sent, with a letter of introduction, to a number of experienced potters in the United States and Canada. As well as providing a means of obtaining information, the questionnaire served as the basic outline for the body of this paper, and as the format for taped interviews with local production potters. (See appendix) Unfortunately, the written response to these questions was weak. Most of the potters simply refused to take the time to answer the questions adequately. On the other hand, the interviews were informative and provided contrasting views as to their interpretation of the production potter's position in the art community and his problems.
Overglaze Colorants for Cone Six Glazes
(1968-06) Levine, Ben
During the spring and summer of 1967, as an undergraduate student about to enter graduate school, the problem of writing a paper and having a graduate exhibit was uppermost in my mind. Looking back to my undergraduate studies in ceramics I found it had been quite rewarding and I was not as satisfied with the challenge of decoration. In pottery a truly authentic statement is a challenge. To meet this challenge and develop the creative insights needed, I embarked upon a series of experiments using ceramic coloring oxides. The ceramic colorants were to be used as decorative elements to enhance a particular form. Too often, testing, experimentation, and the various processes of surface involvement have become ends in themselves. Pottery, instead of being expressive, or fitted for its purpose, has been merely the vehicle for a display of dexterity and technique. The artist potter is constantly searching and exploring for new ideas and ways to perpetuate his existence. In this paper I have tried to present a useful exposition of the materials and methods which are available to the studio potter in the development of ceramic colorants to be used as overglaze decorations on pottery. This study has revealed many exciting discoveries that perhaps are known to many. Those of us who have found this direction know that the resolvement of a problem is one of the most important factors in man's existence.
Nothing is Incongruous
(1972-10) Von Rabenau, Cecilia
Raku
(1968-07) Wold, William C
Cone Six Oxidation Clay Bodies and Glazes
(1973-06) Udenberg, Floyd L
Salt Glazing
(1973-07) Carlstrom, Laura L
The intent of my paper is first to give a brief historical background on salt glazing from its origin to the present form. Secondly, I would like to explain the process for those who have not experienced the fun of having a salt glaze firing, as well as the advantages and disadvantages. Next, I would like to talk briefly about some modern developments and uses. Finally, I would like to explain my experiments and their results.