Code: | V504 | Acronym: | V |
Active? | Yes |
Responsible unit: | Fine Arts Department |
Course/CS Responsible: | Fine Arts |
Acronym | No. of Students | Study Plan | Curricular Years | Credits UCN | Credits ECTS | Contact hours | Total Time |
---|---|---|---|---|---|---|---|
AP | 21 | Official Study Plan 2011 | 3 | - | 4,5 | 64 | 121,5 |
4 |
Analyze and understand glass as a material for fine art. Be able to use it in different techniques such as stained glass, slumping, fusing and laminated glass.
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.
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
The functions of glass and its representation in different fields of contemporary art
Overview of the role of Stained Glass in the History Painting from the beginning to the present day.
Identification of the different techniques: stained glass, fusing, slumping, laminated glass
Knowledge of materials and tools
The stained glass technique
Materials for the stained glass technique: painting grisaille and enamels
Relationship with stained glass and monumental painting
Glass and society, its performance.
The colour in stained glass
Screen-printing on glass
stained glass and architecture
Project for a stained glass in the faculty
Engraving on glass
Laminated glass
3d pieces
Relationship between sculpture glass and painting glass
Coating, resins on laminated glass
Fusing and slumping technique
Compatibility between glasses and annealing schedules
Full fusing and tack fusing
Silica and plaster moulds
Seminaries and workshops
The students start to make exercises to learn the several techniques: cutting glass, painting glass with enamels and grisailles, tack fusing and full fusing, silica/ceramic plaster moulds, slumping, engraving and lamination, laminated glass, screen-printing on glass. Flowing this exercises the students should learn the annealing curves and the compatibility of the glasses.
3 pieces should be made with different techniques learn previously.
Painting with light. Specificities of painting a stained glass with enamels and grisailles
Relationship with stained glass and monumental painting
Stained glass and society, its performance.
The colour in stained glass.
Planning the stained glass: cutting glass, painting, assemble with lead, welding
Annealing curves and the compatibility of the glasses. Compatible materials. The student should be able to formulate the correct annealing schedule for the piece he/she is making
The colour in fusing
Mould making
Annealing curves and the compatibility of the glasses. Compatible materials. The student should be able to formulate the correct annealing schedule for the piece he/she is making
The students can integrate several techniques in one single project, such as, engraving and lamination, laminated glass, screen-printing on glass.
The last work should be the realization of a theoretical/practical project of a glass work to be place in a faculty space.
This work should have the following items:
Glass and architecture
Glass and public places
Knowledge of the historical glass and stained glass heritage
All the work developed by the students should have:
Ability to observe and understand the different applications of the glass technique.
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
Designation | Weight (%) |
---|---|
Participação presencial | 10,00 |
Trabalho escrito | 10,00 |
Trabalho laboratorial | 30,00 |
Trabalho prático ou de projeto | 50,00 |
Total: | 100,00 |
Designation | Time (hours) |
---|---|
Estudo autónomo | 30,00 |
Frequência das aulas | 10,00 |
Trabalho de investigação | 10,00 |
Trabalho escrito | 10,00 |
Trabalho laboratorial | 40,00 |
Total: | 100,00 |
Continuous assessment which involves the systematic presence in the class. The students need to attend ¾ of the lessons
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
The final report must contain:
Index and bibliography
Synopsis about the work developed: motivation and concept;
Reference artists;
Ideas, drawings of the three works that would be carried out with the respective techniques and detailed materials (ex: references of colors and temperatures to be used);
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.
For students who perform work in the faculty, technical sheets with temperatures and kilns used (can use the technical sheet provided in class)
Taking into account the situation in which we find ourselves and the necessary changes due to COVID-1, a practical theoretical and practical work is also carried out. Elaboration of a theoretical / practical project in glass and a model for a space in the Faculty. As mentioned above in the teaching methods.
This work is done at home taking into account the relationship between glass and architecture.
The project can:
Occupy the entire area of the windows, or just a portion;
Use one of the techniques learned in the workshop: Stained glass, painting, fusing (partial or full), slumping, printing techniques (screen printing, engraving, kaolin impression), gluing;
Can integrate several techniques;
It can be two-dimensional or three-dimensional, but keep in mind that people will walk there.
The students should present:
Drawings to be executed on polyester film and painted with watercolor.
Realization of a three-dimensional model;
Digital format assembly of the intervention inserted in the space (eg: Photoshop).
Synopsis where you should explain your conceptual idea.
Depending on the evolution of the situation of COVID-1 the student presents 3 practical works, but the realization of them in the workshop space of the faculty can be conditioned
The final report must contain:
Index and bibliography
Synopsis about the work developed: motivation and concept;
Reference artists;
Ideas, drawings of the three works that would be carried out with the respective techniques and detailed materials (ex: references of colors and temperatures to be used);
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.
For students who perform work in the faculty, technical sheets with temperatures and kilns used (can use the technical sheet provided in class)