Glass Fusion Techniques

Code:

TFV500

Acronym:

TFV

Keywords
Classification	Keyword
OFICIAL	Fine Arts

Instance: 2019/2020 - 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	14	Official Study Plan 2011	3	-	4,5	64	121,5
			4

Teaching language

Suitable for English-speaking students

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

Students acquire the knowledge of working with glass as a material for the realization of contemporary art pieces, within their individual work with a creative and innovative way

The skills acquired by students aim at understanding and comprehending the several techniques acquire, applying then to their piratical work in an original way, with accuracy demonstrating the technological procedures. Students learn the technician of glass as a material within the workshop practice. The practical knowledge is integrate on their atelier projects (Painting, Sculpture and Multimedia)

The students also learn to work in groups, in a collaborative labor of using the equipment available in the workshops.

Students understand the use and application of glass in its various components, combined with the fine arts, architecture, design and public art

Working method

Presencial

Program

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

Henry Halem; Glass Notes, A reference for the glass artist, Library of Congress, 1996
Keith Cummings; Techniques of kiln- formed glass, A&C Black Publishers Limited, 1997
Dan Klein, Ward Lloyd, ; The history of glass, Crescent Book, 1984
Charles Bray; Dictionary of Glass – materials and techniques, A & C Black. Publishers , 2001
Philippa Beveridge; Ignari Doménech ; Eva Pascual; El vidrio, Parramón Ediciones SA, 2003
Keith Cummings ; ); A history of glassforming, A&C Black (Publishers) Limited , 2002
Susanne Frantz ; Stanislav Libensk/ Jaroslava Brychotová, 1994, 1994

Complementary Bibliography

Charles Bray; Ceramic and Glass: A Basic Technology, Sheffield: Society of Glass , 2000
Maria Helena Fernandes; Introdução à ciência e tecnologia do vidro, Universidade Aberta, 1999
Susanne Frantz; Contemporary Glass, New York: Corning Museum of Glass, 1989

Teaching methods and learning activities

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 ) 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

keywords

Humanities > Arts > Visual arts

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	40,00
Trabalho escrito	10,00
Trabalho laboratorial	10,00
Trabalho prático ou de projeto	40,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Estudo autónomo	10,00
Frequência das aulas	40,00
Trabalho escrito	10,00
Trabalho laboratorial	40,00
Total:	100,00

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

 

 

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 and self-criticism

Ability to complete the work within the deadline

Attendance and punctuality

Type of evaluation:

Continuous assessment

 

Terms of frequency

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

Observations

Taking into account the situation in which we find ourselves and the necessary modifications due to COVID-1, the work plan and date of evaluation was changed, with the following new planning: 

Practical classes at the glass workshop from May 27 to July 8
classes in the glass workshop (the classroom is not yet assigned) on the same time we already have the class. Depending on the assigned room and the number of students, it may be necessary to take turns. The shifts and respective schedules will be determined on the 20th in the zoom class.

 

July 9-20

Conclusion of practical work in the workshop space for students who need to finish the work. On the 8^th is the last day that pieces will be place on the kilns, students who put pieces on this day can see the results the following week. This week is for cleaning the desk. All students should take the works from the workshop until the 20st.

 

July 20

Deadline for delivering the report. The report can be delivered beforehand.

 

July 23

14.00-18.00 - Zoom evaluation of all students

 

works and options:

 

1. a) For students that return to the faculty. Of the 3 work proposals presented, choose a work to be developed during the class period. For safety reasons slumping and classic stained-glass techniques are not an option to be developed;
2. b) For students who do not return to the workshop and do not have the possibility of carrying out practical work, they must carry out a theoretical work on the casting or pâte-de-verre technique where they present a reference author relating the work of this author with their one. The paper must contain Abstract: maximum 300 words. Keywords (3 to 5). Text: 2000 to 2500 words

 

 

All students have a far evaluation regarding the option taken.

 

The final evaluation contains the following items:

 

 

1. Public Art work. São Lazaro garden made during quarantine and presented in the zoom class on April 29 and delivered on the same date;
2. Practical work, in the glass workshop and / or theoretical at home;
3. Report to be sent by the stipulated deadline, July 20; the same date for the theoretical work
4. Presentation of the work developed and respective report on July 23th;
5. Attendances are counted before the college has closed.

 

 

The final report must contain:

 

Index and bibliography

Synopsis about the work developed: motivation and concept;

Reference artists;

Ideas, drawings of the two works that would be carried out with the respective techniques;

Presentation of the choice of the work developed: what is the reason for choosing this work over another.

Photographs of the realization and evolution of practical work, for a better understanding.

technical sheets with temperatures and kilns used (can use the technical sheet provided in class)