Stained Glass

Code:

V504

Acronym:

V

Keywords
Classification	Keyword
CNAEF	Fine Arts

Instance: 2024/2025 - 1S

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	19	Plano de estudos de LAP_publicaçao em DR de 24/05/2021	3	-	6	60	162
			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 stained glass, slumping, fusing and laminated glass.
Developing specific knowledge and apply it to a particular content
Use the availability of glass transparency in the different fields of its operation.
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

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

Mandatory literature

Duncan Alastair; The technique of leaded glass. ISBN: 0-7134-3032-X
Casciani Paul San; The technique of decorative stained glass. ISBN: 0-7134-7984-1
Beveridge P; Doménech I, Pascual E; El vidrio, Parramón Ediciones SA, 2003
Neiswander J, Swah C; Stained & Art Glass, A Unique History of Glass Design & Making,, The Intelligente Layman, 2005
Klein D; Lloyd W; The history of glass, Crescent Book, 1984
Petrie, K; Glass and Print, Glass handbooks, A & C Black Publishers, 2000
Moris, E; Stained & Decorative Glass, Chancellor Press, 2000
Halem H; Glass Notes, A reference for the glass artist, Library of Congress, 3rd Edition, 1996

Complementary Bibliography

Clarke, B.; Brian Clarke, Architectural Artist, Arte & Design monographs, Academy Editions, 1994
Charbonneaux AM, Norbet H; Architectures de Lumiére – vitraux d’artistas 1975 – 200, 2000
Moor A; Colours of Architecture: coloured glass in contemporary buildings, Mitchell Beazley, 2006
Bray C; Dictionary of Glass – materials and techniques, A & C Black. Publishers Limited, 2001
Oldknow, T.; 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
Bédoyère, C.; Louis Confort Tiffany masterworks, Flame tree publishing, 2007

Teaching methods and learning activities

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.

•  Traditional stained glass, which should include the following items:

Specificities of painting a stained glass with enamels and grisailles. Painting with light.

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

• Tack fusing and/or full fusing

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

 

• Slumping

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.

Extracurricular activities such as study visits, demonstrations of techniques by guest artists, seminars and workshops will also be held at times.
  

All the work developed by the students should have:

Strict and adequate fulfilment of the proposed work plan, taking into account its degree of understanding and development.

Ability to understand and realise the different techniques proposed on the glass.

Ability to finalise the work on time.

Attendance and punctuality.

Involvement and production capacity.

Capacity for reflection and self-criticism.

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	10,00
Trabalho escrito	10,00
Trabalho laboratorial	30,00
Trabalho prático ou de projeto	50,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Estudo autónomo	30,00
Frequência das aulas	30,00
Trabalho de investigação	20,00
Trabalho escrito	20,00
Trabalho laboratorial	62,00
Total:	162,00

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

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)

 

Observations

Much of the material for the UC work is provided by the workshop - float glass, enamels, grisailles, brushes, plaster among others. However, the UC does not have coloured glass, so if the student wants colour glass (it is not compulsory) they must purchase it. A good free alternative is bottle glass. If the student intends to make large-scale works, he/she must purchase the glass with the correct sphericities for what he/she intends to develop. A list of materials and places where they can be purchased is provided in the first lesson.