Stained Glass II

Code:

V502

Acronym:

VII

Keywords
Classification	Keyword
OFICIAL	Fine Arts

Instance: 2016/2017 - 2S

Active?	Yes
Responsible unit:	Fine Arts Department
Course/CS Responsible:	Fine Arts

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
AP	16	Official Study Plan 2011	2	-	4,5	64	121,5
			3
			4

Teaching language

Portuguese

Objectives

Analyze and understand glass as a material for fine art. Be able to use it in different techniques such as the kiln casting: pâte de verre and casting .

Developing specific knowledge and apply it to a particular content

To distinguish, select and make use of multiple media and modes of representation of the various glass techniques

Understanding glass as a material to produce contemporary art.

Learning outcomes and competences

The students start to make exercises to learn the several techniques: mold making (free style) for pâte de verre pieces; pieces with talk and without talk, study of different granulometries, hollow and solid pieces; molds for casting (open molds and molds with vessel), lost wax technique. The students should be able to understand the glass compatibility (COE) and annealing schedule.

Along with these new techniques, fusing and slumping exercises will be made.  In this works the student should apply the knowledge acquired in the first level (Stained glass I) and made works in advance level.

Pate de verre technique

Glass Fragility

The students should be able to comprehend the glass compatibility (COE) and made a correct annealing schedule for the works they are doing.

Casting technique

Variation of colour in glass

The students should be able to comprehend the glass compatibility (COE) and made a correct annealing schedule for the works they are doing.

The students can integrate several techniques in one single project, such as, fusing and slumping

Working method

Presencial

Program

The functions of glass and its representation in different fields of contemporary art

Overview of the role of Glass art in History

The slumping technique

Compatibility test and annealing schedule

Silica and plaster moulds

The kilncasting technique

artists and their artistic work

 definition and concepts

 3d pieces

pâte de verre

compatibility test and annealing schedules

silica and plaster moulds

placing the glass inside the moulds

Pieces with talc and without talc

Gramulometries

Realization of projects with small dimension

Casting technique

Mould drying

Placing the glass inside the mould

Realization of projects with small dimension

Glass and space : projects with this concept

Participation in seminars and workshops

Mandatory literature

Boyce Lundstrom; Advanced Fusing Techniques, Glass fusing book two, Vitreores Publications, Colton, 1991
Boyce Lundstrom; Kiln Firing Glass, Glass fusing book one, Vitreores Publications, 1994
Henry Halem; Glass Notes, A reference for the glass artist, Library of Congress, 1996
Dan Klein, Ward Lloyd; The history of glass, Crescent Book, 1984
Keith Cummings; Techniques of kiln- formed glass, A&C Black Publishers Limited, 1997
Charles Bray; Dictionary of Glass – materials and techniques, A & C Black. Publishers , 2001
Charles Bray; Ceramic and Glass: A Basic Technology, Sheffield: Society of Glass , 2000
Philippa Beveridge; Ignari Doménech ; Eva Pascual ; El vidrio, Parramón Ediciones SA, 2003
Maria Helena Fernandes; Introdução à ciência e tecnologia do vidro, Universidade Aberta, 1999
Brad Walker ; ); Contemporary Warm Glass- a guide to fusing, slumping, and kiln-forming techniques, Four Corners International, 2002
Susanne Frantz; Contemporary Glass, New York: Corning Museum of Glass, Harry N. Abrams, Incorporated, , 1989
Susanne Frantz; Stanislav Libensk/ Jaroslava Brychotová, Corning Museum of Glass, Harry, 1994
Keith Cummings ; A history of glassforming, A&C Black (Publishers) Limited, 2002
Titus M. Eliëns; Caroline Prisse ; Glas/s : Gerrit Rietveld academie Amsterdam 1969-2009. , Nertherlands, Waanders Uitgevers, Zwolle Gemeentemuseum Den Haag,, 2009
Nick Brooks; Mouldmaking and casting, the crowood press, 2005
Jim Kervin; Dan Fenton; Pâte de Verre and Kiln casting of glass, Glass Wear Studios, 2000
Dan Klein ; Ward Lloyd; The history of glass,, Crescent Book, 1984
Jennifer Hawkins Opie ; Contemporay International Glass. 60 artists in the V&A., V&A publications, 2004
Kevin Petrie ; Glass and Print, Glass handbook, A & C Black Publishers, 2006
Helmut Riecke; Contemporany Glass Art, Lausanne et la Bibliothéque des arts, 2006
Graham Stone ; Firing Schedules for Glass, . First Edition Melbourne, 2000
Steve Weinberg ; Glass Casting Techniques, Glass Art Society Journal, 1985
Steve Weinberg ; Glass Casting Techniques, Glass Art Society Journal, 1985

Complementary Bibliography

C, W Ammen; The complete handbook of sand casting, Blue Ridge Summit (Pennsylvania) : Tab Books, 1979
Victor Arwas; Glass- art nouveau to art deco, Great Britain: Academy Editions, 1977
Beáta Balgavá; Titus M Eliëns; Thinking in Glass: Václav Cígler and his school, Waanders Publishers, Zwolle Gemeentemuseum, The Hague, 2005
Timothy Anglin Burgard ; The craft of craft. Contemporary works from the sax collection, Fine Arts Museum of San Francisco, 1999
Federick Cooke; Glass- twenty century design, Great Britain: Bell &Hyman, 1986
Peter Davis ; Glass north east, Art editions north, 2007
Robert Kehlmann ; The inner light Sculpture by Stanislav Libenský & Jaroslava Brychotova, Museum of Glass: International Center for Contemporary, Tacoma in association with University of Washington Press, 2002
Susan Kieffter ; 500 glass objects: a celebration of functional & sculpture objects, Lark Books, 2006
Dan Klein; Sabina Jankovičová ; Zora Palová, ¦těpán Pála, FoArt, 2007
Antonín Langhamer; Milan Hlave¨ ; Glass and light 150 years of Secondary school of glassmaking in Kamanický ¦enov, 1956-2006, Museum of Decorative Arts in Prague, 1ST Edition, 2006
F Lynggaard; The story of studio glass, Rhodos International Science and Art Publishers, 1998
Alan Macfarlabe, Gerry Martin ; The Glass Bathyscaphe, Profile Books, 2002
J Navarro; El Vidrio, Madrid: Consejo Superior de Investigaciones Científicas, 2003
I Noris ; Australian Studio Glass, the movement, its makers and their art., Craftman House, 1995
Tina Oldknow ; Contemporary Glass Sculptures and Panels. Selection from the Corning Museum of Glass, New York: Corning Museum of Glass in association with Hudson Hills Press, 2008
Tina Oldknow; Pilchuck: A glass school, Suzanne Kotz, 1996
Sylva Petrová ; Czech Glass, Czech Republic, , 2001
Klasova Milena ; Stanislav Libenskỳ, Jsroslava Brschotová, Gallery, 2002
C Shiess ; The Light artist anthology-neon and related media, Cincinnati, Ohio: St Publications, 1994
Théophile; Essai sur Divers Arts, Théophile, 1977
Hugh Tait; Five thousand years of glass, Brithish Museum press, Revised edition, 2004

Teaching methods and learning activities

The Working Hours Semester this course is organized as follows: in the working hours of the discipline and in the studio

The contact hours in the semester are distributed by:

Theoretical classes: presentation and explanation of the pregame.

Practical/theoretical classes. Implementation, development and exploration of exercises

Analysis, criticism and evaluation of the results obtained

The remaining working hours are used in the development and research of the practice involved, from the exploration of the materials. 

keywords

Humanities > Arts > Fine arts > Plastic arts

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	70,00
Trabalho de campo	30,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Frequência das aulas	0,00
Trabalho de investigação	0,00
Total:	0,00

Eligibility for exams

Continuous assessment which involves the systematic presence in the class. The students need to attend ¾ of the lessons

Calculation formula of final grade

 

Continuous assessment

The assessment is done during the classes regarding the following items:

Achieving the objectives propose in the discipline

Work plan well structure.

Ability to observe and understand the different applications of the glass technique.

Knowledge of the glass heritage places

Interesting in participating in the workshop offer

Ability to organize and systematize the work developed

Involvement and capacity of finishing the work produced

Capacity for reflection andself-criticism

Ability to complete the work within the deadline

Attendanceand punctuality

Examinations or Special Assignments

glassblowing workshop in CENCAL, Marinha Grande and VICARTE (Research Unit "Glass and Ceramic for the Arts") FCT/UNL

Classification improvement

Byfrequencyin the following year