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Glass Fusion Techniques

Code: TFV500     Acronym: TFV

Keywords
Classification Keyword
OFICIAL Fine Arts

Instance: 2020/2021 - 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 7 Official Study Plan 2011 2 - 4,5 64 121,5
3
4

Teaching Staff - Responsibilities

Teacher Responsibility
Teresa Maria Castro de Almeida

Teaching - Hours

Theoretical and practical : 4,00
Type Teacher Classes Hour
Theoretical and practical Totals 1 4,00
Teresa Maria Castro de Almeida 4,00

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 20,00
Trabalho escrito 10,00
Trabalho laboratorial 20,00
Trabalho prático ou de projeto 50,00
Total: 100,00

Amount of time allocated to each course unit

Designation Time (hours)
Estudo autónomo 20,00
Frequência das aulas 20,00
Trabalho escrito 10,00
Trabalho laboratorial 40,00
Trabalho de investigação 10,00
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

 

 

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)

 

Observations

 

 

 

 

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