UMD Theses and Dissertations

Permanent URI for this collectionhttp://hdl.handle.net/1903/3

New submissions to the thesis/dissertation collections are added automatically as they are received from the Graduate School. Currently, the Graduate School deposits all theses and dissertations from a given semester after the official graduation date. This means that there may be up to a 4 month delay in the appearance of a given thesis/dissertation in DRUM.

More information is available at Theses and Dissertations at University of Maryland Libraries.

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Subject: search.filters.subject.Design and Decorative Arts

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Now showing 1 - 6 of 6
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    Gilgamesh: A Scenic Design
    (2010) Huizenga, Carissa; Conway, Daniel; Theatre; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    The purpose of this thesis is to provide research, supporting paperwork, and production photographs that document the scenic design for the University of Maryland-College Park, Department of Theatre's Gilgamesh. This thesis contains the following: research images collected to develop and visually communicate ideas about color, texture, scale, and mood to the production team; preliminary sketches and photographs of the ¼" scale model, visual tools used to convey the idea of the scenic design; a full set of drafting plates and paint elevations used to communicate the look of each scenic element to the technical director and paint charge; a unit list providing detailed information about each element of the scenic design; a props list detailing each prop used in the production; and props / paint research images, used to visually supports the information in the unit and props list. Archival production photographs are included as documentation of the completed design.
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    "Beans are Bullets" and "Of Course I Can!" Exhibiting War-Era Posters from the Collection of the National Agriculture Library
    (2009) Bernat, Cory A.; Freund, David M; History; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    An exhibit of food and agriculture posters in the Special Collection of the National Agriculture Library will display posters from World Wars I and II side by side. What did these messages look like and how did they change over time? Public servants produced the earlier WWI posters to reflect "reason-why" approaches to mass communication. During WWII, the Advertising Council's business-minded admen produced posters with their techniques for modern advertising and mass persuasion. Poster text shortened, the tone lightened and images were more frequent and splashier. This collection of posters bears witness to the professionalization and rising influence of the advertising industry in the 1920s and 30s, and reveals the agendas of the creators and their assumptions about homefront populations. The posters raise questions about the sources and ambitions of government sponsored messages designed to encourage cooperation with war efforts and modify homefront behavior.
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    "Live in the country with faith": Jane and Ralph Whitehead, The Simple Life Movement, and Arts and Crafts in The United States, England, and on The Continent, 1870-1930
    (2008-01-23) Nasstrom, Heidi; Sies, Mary C.; American Studies; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    American artist Jane Byrd McCall Whitehead (1858-1955) and her English husband Ralph Radcliffe Whitehead (1854-1929) are best known for co-founding the Byrdcliffe Art and Crafts school and colony in Woodstock, New York, which was active from 1903 into the present. Long before Byrdcliffe, however, the Whiteheads formulated plans for an "art convent" founded on principles of the simple life movement. A rejection of repressive social mores and materialistic behavior and a critique of social inequality in the modern world, the Whiteheads' simple life was enacted in rural places where nature served as a model for spirituality and aesthetics in art and the built environment, and where handwork in the form of art and craft and working the land were balanced with intellectual activity, leisure time and socializing in order to improve physical and psychological well being. This dissertation uses the wealth of primary source material on the Whiteheads--their personal papers, photographs documenting their lives, arts and crafts by them and their circle, built environs and landscapes--to trace the evolution of simple living as it was holistically expressed in the lifestyle and environs they constructed in their early years abroad; their first attempt at simple living as a married couple at Arcady in Montecito, California; and finally, their mature expression at Byrdcliffe in Woodstock, New York. Incorporating an interdisciplinary methodology involving a material culture approach that looks at the man-altered world as evidence for social and cultural history, this is the first scholarly effort to explore what simple living meant and looked like to these particular individuals, and the first project to look at the interconnectedness of simple living on a bi-coastal United States and trans-Atlantic scale between 1870-1930. It also seeks to restore an understanding of Jane's contributions to the simple life environs and art schools she formulated collaboratively with her husband, which were previously attributed solely to Ralph.
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    A Costume Design for John Patrick Shanley's "Savage in Limbo"
    (2006-05-02) ryan, yvette m; Huang, Helen Q; Theatre; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    The purpose of this thesis is to document the artistic process of the costume design for John Patrick Shanley's Savage in Limbo, which was produced at the University of Maryland, College Park by the Department of Theatre in March of 2006. The intent of this document is to depict the costume designer's process from textual analysis through completion of the stage design in four chapters. Chapter 1 is a textual analysis of Shanley's script. Chapter 2 details the meetings, visual research and pre-production collaboration of the director and design team that worked to create the design concept. Chapter 3 documents the technical realization of the costume design and collaboration with other members of the production team. Chapter 4 is a critical self-analysis reflecting on both strengths and weaknesses of the costume design and the designer's process.
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    'Have honestly and fairly laboured for money': William and Washington Tuck and Annapolis Cabinetmaking, 1795-1838
    (2004-05-28) Lourie, Alexander J.; Struna, Nancy L; American Studies
    The careers of William and Washington Tuck coincided with a significant transition of Annapolis furniture-making, and changes in the political and economic hierarchies in the post-revolutionary market economy of Maryland. Both brothers learned their trade under the tutelage of John Shaw at a time when the center of Maryland's cabinetmaking shifted to Baltimore. Politically, republican ideas of democracy and representation began to take hold, and slowly found a place in Annapolis, a town characterized by its adherence to an older system of patronage and backroom negotiations. The Tucks' entrepreneurial talents and social, political, and artisanal connections facilitated their access to the State House, Annapolis' most important source of commerce and employment. This study adds two new players to the scholarly understanding of Annapolis cabinetmaking, a story heretofore dominated by John Shaw, and shows how two artisans in Maryland's capital pursued their trade and maintained their competency in early national Annapolis.
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    Infinity in Time and Space
    (2004-05-18) Mangitli, Irem; Morse, Brandon; Art
    In the research process of this thesis, my practice has developed from small-scale two-dimensional prints, photographs and advertisements to life-size installations of video editing, animations and digital photography. In other words, this thesis is an exploration of three-dimensional space based on visual perceptions of geometrical and chaotic imagery. "Time as a pattern" and "time as a space" are the two major concepts discussed in my work. It investigates the effects of digitally manipulated images incorporated into animated video projections changing with time in a certain space to argue the significance of infinity. It has an intense effect of making people interact unconsciously with the artwork itself by both physically and visually challenging them in an isolated space full of obstacles. Interactivity plays a big role in the presentation of my work to engage the observer and to keep him conscious about the relationship between time and space. This thesis also talks about the ways of creating synchronization for the audio and visuals. Computer generated images forming abstract landscape illusions are harmonized with digitally produced irritating sound effects to build a claustrophobic atmosphere. To maintain that disturbing and annoying ambiance, I study the behavior of light and shadow and their relation to time and space. Eventually, I create two room-sized installations to give you an idea about the significance of the subject matter. These dark rooms consisting of cubes in the interior are divided into segments to play with the idea of space. The basic idea behind this is to force the viewer to experience the relationship between time and space by interacting with it.