Tutorial with Kim Charnley – 14th November 2017

We discussed the Stevens Glass Prize brief and Kim though it would be useful to use this to model the considerations of for a brief of this kind. Look at different ways of visualising my thought processes about light, space and movement. So I will use Google Sketchup to produce a number of copies to help me visualise the relationship between the two windows.

I have been looking at various methods to present the notion of movement. Either figuratively through drawing and mark making, possibly using motion capture software as used by animator and digital games designers.

We also discussed what kind of cultural form is dance and Kim suggested looking at the work of Oskar Schlemmer to see now art/design/dance may interact in the avant garde. I have also been looking into Constructivist theatre productions and contemporary dance. I mentioned choreographer Michael Clark as a better known contemporary dance choreographer.

I am interested in dance sub-cultures and it’s influence to artistic practices and Kim though the subcultural dimension of dance would be an interesting and worth exploring. For example Carl Slater and Mark Leckey’s “Fiorucci Made Me Hardcore”

Which leads onto the question of how can dance be explored and represented in architectural glass?

Kim note that I an establishing design principles for my work in glass design and this would allow me to develop a research process in the domain of architectural glass. My research question will probably be restated to how does the research into dance interplay with the technical limitations and potential of architectural glass, that as a form involves image/material/light/relationship to space.

The key goal

To generate lots of image research and visualisation of the space/potential design so that I can see and identify different possibilities that I may pursue.

dance studio x3

Goggle Sketchup visualisation of the dance studio

Technical Journal – Photo-intaglio

Niepce​ ​invented​ ​a​ ​photomechanical​ ​process​ ​using​ ​a​ ​sensitised​ ​pewter​ ​plate.​ ​The images​ ​produced​ ​were​ ​called​ ​​heliographs.​ ​​Photogravure​ ​became​ ​the​ ​commercial process​ ​for​ ​reproduction​ ​in​ ​the​ ​late​ ​19th​ ​Century.

Photopolymer​ ​film​​ ​-​ ​UV​ ​light​ ​sensitive.​ ​Laminated​ ​onto​ ​any​ ​smooth​ ​surface.

Photo-intaglio​​ ​-​ ​Image​ ​is​ ​held​ ​in​ ​the​ ​photopolymer​ ​surface.

Steps​ ​for​ ​Positive​ ​Image​ ​on​ ​Transparency​ ​for​ ​Photo-intaglio
Before​ ​preparing​ ​the​ ​image​ ​in​ ​photoshop​ ​to​ ​make​ ​a​ ​positive​ ​transparency,​ ​ensure that​ ​it​ ​has​ ​been​ ​saved​ ​at​ ​300​ ​dpi.

  1. Open​​ image​​ in​​ Photoshop.​​​ Image>Mode>RGB​​Colour>16​​Bits/Channel​.
  2. Image>Mode>Grayscale​,​​ to ​​remove​​ colour.
  3. Clean ​​and ​​modify ​​the ​​image,​​ i.e.​​​ Image>Adjustments>Levels​​​ or Brightness/Contrast​.​ ​Resize​ ​to​ ​the​ ​dimensions​ ​you​ ​want​ ​the​ ​image​ ​printed.

    Image>Image​ ​Size​ ​​to​ ​set​ ​to​ ​15x21cms​ ​for​ ​this​ ​example.

  4. Edit>Convert​​ to ​​Profile>Grey​​ Gamma​​ 2.2 ​​​(Windows) ​​​Grey ​​Gamma​​ 1.8 (Mac)​ ​to​ ​increase​ ​tonal​ ​range.
  5. Image>Adjustments>Levels ​​​or​​​ Curves ​​​to​​ achieve​​ best ​​tonal​​ range.
  6. Flatten ​​image ​​if​​  necessary,​​​Layers>Flatten​​​  and​​ reconvert​​ to​​ 8-bit​​channel, Image>Mode>8/Bits​ ​Channel​ ​before​ ​printing​ ​the​ ​transparency.
  7. Print,​​​ File>Print ​​​select​​​ CC_Upper_Art_Xerox​​@​​bramley

Image​ ​preparation​ ​from​ ​drawings
The​ ​following​ ​can​ ​be​ ​used​ ​to​ ​create​ ​images:

  • ●  Mark​ ​resist​ ​film.​ ​Can​ ​use​ ​pencil,​ ​acrylic,​ ​guache​ ​etc
  • ●  Photocopies​ ​on​ ​acetate
  • ●  Scanned​ ​images​ ​output​ ​as​ ​half​ ​tones​ ​onto​ ​film

Plate​ ​Preparation
Cut​ ​plate​ ​to​ ​desired​ ​size​ ​and​ ​bevel​ ​the​ ​edges​ ​and​ ​corners​ ​with​ ​a​ ​file.​ ​Lightly​ ​file​ ​the back​ ​as​ ​well.

IMAG2345

Use​ ​electric​ ​sander​ ​to​ ​roughen/key​ ​the​ ​surface​ ​of​ ​the​ ​plate.

IMAG2342

Degrease​ ​the​ ​surface​ ​of​ ​the​ ​plate​ ​with​ ​detergent​ ​and​ ​water​ ​to​ ​neutralise,​ ​then​ ​rinse thoroughly​ ​with​ ​water.​ ​Dry​ ​the​ ​plate​ ​without​ ​touching​ ​the​ ​surface​ ​to​ ​ensure​ ​that​ ​the film​ ​will​ ​laminate​ ​properly.

IMAG2348

Laminating​ ​the​ ​Plate​ ​with​ ​Photopolymer​ ​Film
Avoid​ ​handling​ ​the​ ​film​ ​in​ ​direct​ ​sunlight​ ​and​ ​have​ ​a​ ​light-safe​ ​folder/box​ ​for​ ​the plates.​ ​The​ ​Etching​ ​Room​ ​has​ ​red​ ​darkroom​ ​lights.​ ​The​ ​film​ ​has​ ​3​ ​layers,​ ​a photosensitive​ ​layer​ ​sandwiched​ ​between​ ​two​ ​clear​ ​plastic​ ​layers.​ ​Set​ ​plate​ ​on​ ​some newsprint.​ ​Cut​ ​film​ ​slightly​ ​bigger​ ​than​ ​the​ ​plate.​ ​The​ ​film​ ​curls​ ​back​ ​on​ ​itself.​ ​From the​ ​inside​ ​of​ ​the​ ​curl,​ ​peel​ ​away​ ​the​ ​clear​ ​layer​ ​and​ ​then​ ​stick​ ​to​ ​the​ ​plate.​ ​Take​ ​the plate​ ​to​ ​the​ ​press,​ ​cover​ ​with​ ​the​ ​blankets​ ​and​ ​turn​ ​the​ ​press.

​​ ​​IMAG2350 IMAG2352 IMAG2353

Take​ ​plate​ ​and​ ​return​ ​to​ ​the​ ​darkroom,​ ​ensuring​ ​that​ ​the​ ​plates​ ​are​ ​light-safe,​ ​and trim​ ​the​ ​excess​ ​film​ ​of​ ​the​ ​plate​ ​with​ ​a​ ​scalpel.​ ​The​ ​return​ ​the​ ​plate​ ​to​ ​the​ ​light-safe box.

Exposing​ ​the​ ​Plate​ ​for​ ​Photo-intaglio
A​ ​test​ ​strip​ ​must​ ​be​ ​produced​ ​which​ ​will​ ​result​ ​in​ ​a​ ​more​ ​accurate​ ​way​ ​of establishing​ ​the​ ​correct​ ​exposure​ ​time.
Check​ ​the​ ​UV​ ​light​ ​unit​ ​has​ ​been​ ​switched​ ​on​ ​for​ ​at​ ​least​ ​five​ ​minutes​ ​to​ ​reach optimum​ ​strength.

1st​ ​Exposure
If​ ​the​ ​image​ ​does​ ​not​ ​have​ ​a​ ​halftone​ ​screen​ ​then​ ​you​ ​must​ ​expose​ ​an​ ​Aquatint screen​ ​onto​ ​the​ ​surface​ ​of​ ​the​ ​photopolymer.​ ​This​ ​will​ ​produce​ ​the​ ​midtones​ ​of​ ​the image.​ ​Carefully​ ​place​ ​aquatint​ ​screen​ ​emulsion​ ​side​ ​up,​ ​place​ ​plate​ ​face​ ​down​ ​onto the​ ​screen​ ​and​ ​cover​ ​with​ ​newsprint/blanket​ ​to​ ​protect​ ​the​ ​rubber​ ​vacuum​ ​frame.

IMAG2358

Close​ ​the​ ​frame​ ​and​ ​expose​ ​for​ ​5​ ​units.
5​ ​units​ ​is​ ​a​ ​good​ ​average​ ​for​ ​an​ ​image​ ​with​ ​various​ ​tonal​ ​makeup.

2nd​ ​Exposure
Check​ ​the​ ​test​ ​strip​ ​to​ ​establish​ ​the​ ​optimum​ ​time​ ​then​ ​set​ ​the​ ​UV​ ​to​ ​that​ ​time,​ ​in units.​ ​Place​ ​the​ ​transparency,​ ​right-reading,​ ​onto​ ​the​ ​glass​ ​of​ ​the​ ​exposure​ ​unit.​ ​The emulsion​ ​side​ ​of​ ​the​ ​image​ ​should​ ​be​ ​in​ ​direct​ ​contact​ ​with​ ​the​ ​plate.​ ​Put​ ​the​ ​plate

face-down​ ​onto​ ​the​ ​image,​ ​cover​ ​with​ ​newsprint/blanket,​ ​clamp​ ​down,​ ​switch​ ​on vacuum​ ​and​ ​expose​ ​the​ ​plate.

IMAG2359

Developing​ ​the​ ​Plate
Dissolve​ ​half​ ​a​ ​tablespoon​ ​of​ ​Sodium​ ​Carbonate​ ​(washing​ ​soda)​ ​in​ ​2​ ​litres​ ​of​ ​warm water.​ ​Remove​ ​the​ ​remaining​ ​plastic​ ​layer​ ​from​ ​the​ ​plate​ ​and​ ​place​ ​face​ ​up​ ​in​ ​the developer.​ ​Gently​ ​rub​ ​the​ ​surface​ ​of​ ​the​ ​plate​ ​with​ ​a​ ​sponge​ ​for​ ​2-3​ ​minutes.

​​IMAG2360 IMAG2364

Gently​ ​spray​ ​with​ ​vinegar​ ​to​ ​“Stop”​ ​the​ ​developer.​ ​Wash​ ​thoroughly​ ​and​ ​gently​ ​with cold​ ​water.​ ​Blot​ ​the​ ​plate,​ ​dry​ ​it​ ​quickly​ ​and​ ​thoroughly.
Post​ ​bake​ ​the​ ​plate​ ​or​ ​harden​ ​the​ ​plate​ ​under​ ​the​ ​UV​ ​for​ ​3-4​ ​units.

Printing​ ​the​ ​Plate
Clean​ ​the​ ​plate​ ​with​ ​a​ ​little​ ​vegetable​ ​oil​ ​to​ ​prevent​ ​the​ ​paper​ ​sticking​ ​to​ ​the​ ​plate.

IMAG2368

Ink​ ​the​ ​plate​ ​with​ ​the​ ​edge​ ​of​ ​thick​ ​cardboard.

​​IMAG2371 IMAG2372

Form​ ​an​ ​inking​ ​pad​ ​from​ ​scrap​ ​net​ ​curtains​ ​and​ ​press​ ​and​ ​twist​ ​into​ ​the​ ​inked surface​ ​of​ ​the​ ​plate​ ​to​ ​remove​ ​the​ ​ink​ ​form​ ​the​ ​non-etched​ ​part​ ​of​ ​the​ ​plate.

​​IMAG2373IMAG2375
Unfortunately​ ​on​ ​the​ ​left​ ​side​ ​of​ ​the​ ​plate​ ​there​ ​seems​ ​to​ ​be​ ​a​ ​cloudy​ ​texture. Something​ ​has​ ​gone​ ​wrong​ ​during​ ​the​ ​preparation​ ​of​ ​the​ ​plate.

We​ ​now​ ​plate​ ​the​ ​inked​ ​plates​ ​on​ ​the​ ​press​ ​with​ ​damp​ ​paper.​ ​The​ ​moisture​ ​of​ ​the paper​ ​will​ ​draw​ ​out​ ​the​ ​ink​ ​onto​ ​the​ ​paper.

IMAG2379

IMAG2383

The​ ​cloudiness​ ​is​ ​visible​ ​on​ ​the​ ​right​ ​on​ ​the​ ​printed​ ​image.​ ​Slightly​ ​disappointed.

The​ ​plate​ ​can​ ​now​ ​be​ ​cleaned​ ​with​ ​vegetable​ ​oil​ ​(red​ ​spray)​ ​and​ ​detergent​ ​(blue spray).

​​IMAG2385 IMAG2386

Induction​ ​Reflection

This​ ​was​ ​an​ ​interesting​ ​and​ ​enjoyable​ ​induction​ ​although​ ​I​ ​cannot​ ​see​ ​how​ ​this technique​ ​work​ ​with​ ​glass.​ ​Intaglio​ ​ink​ ​is​ ​very​ ​viscose​ ​and​ ​needs​ ​moist​ ​paper​ ​to​ ​draw out​ ​the​ ​ink​ ​from​ ​the​ ​etched​ ​part​ ​of​ ​the​ ​plate.​ ​However,​ ​for​ ​the​ ​purpose​ ​of​ ​creating prints​ ​and​ ​collages​ ​as​ ​part​ ​of​ ​the​ ​creative​ ​process,​ ​this​ ​has​ ​a​ ​lot​ ​of​ ​potential.​ ​A​ ​scan could​ ​be​ ​made​ ​of​ ​the​ ​finished​ ​prints​ ​or​ ​alternatively​ ​just​ ​using​ ​screen​ ​printing​ ​as​ ​a method​ ​will​ ​save​ ​a​ ​lot​ ​of​ ​time.​ ​I​ ​am​ ​looking​ ​at​ ​etching​ ​directly​ ​onto​ ​glass​ ​in​ ​the FabLab​ ​using​ ​the​ ​laser​ ​cutter/etcher.

The Stevens Glass Prize 2018

Front Stevens-2018-Brief-2 copy

The Worshipful Company of Glaziers & Painters of Glass (‘The Glaziers’ Company’) has been running the prestigious annual Stevens Architectural Glass Competition since 1972. It is open to student glass artists and designers and those who have commenced their vocation in glass within the last eight years.

The 2018 Competition requires entrants to design two windows to be installed in a dance studio at Eastbourne College in East Sussex. The Glaziers’ Company is appreciative of the school’s support.

Diagrams Stevens-2018-Brief-2 copy

The Full Brief 

I visited Eastbourne College where I was taken on a tour of the school, chapel and the new building site where the dance studio will be situated.

SAM_2481SAM_2482

SAM_2489

Photographs of some of the stained glass windows in the chapel at Eastbourne College

The finished windows in the dance studio should have a contemporary feel as it is situated within the new building. The studio will be used for extra-curricular activities but mainly contemporary dance, so the windows should not be traditional stained glass.

The left window from the back of the room

The left window from the back of the room

As you can see form the photograph above, the windows are rather small so the windows must let in plenty of light. They are West facing so there will be sun coming in from the left the afternoon.

The right window still under construction

The right window still under construction

 

A finished window in another room

A finished window in another room

 

The view from the right window

The view from the right window

 

The finished windows will be double glazed. The inner pane will be 6mm safety glass with the out-facing side which can have the design applied directly, or a separate panel which will sit between both panes of glass. I also need to include a logo of the sponsors.

I have a few techniques in mind regarding this brief:

  • Pinhole photography directly onto glass coated with silver nitrate
  • Contour-fused clear glass shapes. I did some test firings using greenhouse glass (see below)

20616819_1873987182864657_5593316277116997808_o 20626724_1874334749496567_2977726223940560302_o

  • Paint enamels/powder/frit onto glass
  • glass chalk and/or glass pen(Glassline)

I have a couple of printmaking inductions which i hope will inspire other possible techniques for experimentation.

 

Tutorial with Gayle and Glenn – 2nd November 2017

This tutorial could not come quick enough for me. I have been ruminating about community engagement and how that would possibly inform my work. I feel that this is an issue that will have to be addressed on a case-by-case basis. Glenn pointed out that with site specific projects, public engagement is also about the space and how it is used and by who occupies the space. Involving the public in the creative process or running workshops as a part of a residency is usually specified in the brief.

I mentioned my interest in photography and graphics/typography and potentially laser-etching a colour photograph, whereby each process colour (CMYK, cyan, magenta, yellow, ‘key’ or black) would be engraved, possibly to a different depth for each colour. This method may still require firing each colour separately. Four colour decals can be made but the quality is negligible and screen printing each colour would require accurate registration, as well as firing after each colour is printed.

We discussed the Stevens Glass Prize which is an annual architectural glass competition organised by The Worshipful Company of Glaziers and Painters of Glass. The commission is to design and make samples for a couple of windows for a dance studio at Eastbourne College. Gayle said in her tutorial notes that I should consider the space and decide which aspect of dance I want to explore, music, dance, rhythm, beats etc. Also try to attend life drawing classes and look at Abstract Expressionism like Pollock, abstract artists such as Kandinsky and also Paul Klee’s Thinking Eye book, Zaha Hadid, Jeff Sarmiento and Erin Dickinson. Even produce large-scale paintings. Also look into 3d Scanning

Maybe because I work with glass, I have always developed my ideas before engaging with the material. However these have been sketches working towards finished piece, whereas now the initial creative process is less mannered and procedural, working to a larger scale. I’m also looking to enrol in life drawing classes and try to develop a sense of movement and rhythm with the drawings and paintings.

This approach is new to me as glass will not be the main focus of experimentation it will be the development of ideas through painting and drawing instead of designing a finished piece.

I am going on a site visit to Eastbourne College on 9th November.

Exercise – The Research Question

Scoping the Research Field – Notes

Practice-based or practice-led research.

Art practice is reflective
More focussed
More engaged with theory
Conscious experimentation
Challenging assumptions

Why do you need questions for research that’s practice-led?
To clarify your research
Ascertain your objectives
Plot your trajectory

Can develop the project although there is tension when developing research questions. Embrace uncertainty is difficult.
Questions establish parameters and there is a need to develop strategies when accumulating research. View this research as a passion or a hunch

Graduate School Symposium 7-2-18

Present/Report on development of the research
Map out what I am doing
Work in progress

Short Word Circle Task

Reflect on area of interest and choose 20-30 relevant words
From this list create a word circle
From this word circle, choose two or three words to create a question
Remember Why, Where, What, How
Try to create 4-5 questions
Answer these questions using “free writing” technique, don’t worry about grammar, spelling, syntax
Take words from the answers to form new questions
Discuss with peers
Use as prompts for making creative work

This technique is useful to overcome being stuck and to clarify your thinking and to keep it moving along.

My Word Circle Task

Glass
Transparent
Technical
Processes
Public
Community
Narrative
Communication
Craft
Context
Materials
Opaque
Light
Texture
Form
Architecture

How can the inherent qualities of glass (light, texture) be used for public engaged artistic interventions?

What form can glass take to be a suitable medium for community engagement?
Usually windows, limits the format
Dangerous to work with if inexperienced
Can glass be a suitable medium for community engagement?
Discuss with peers
Add to our group presentation
Present my segment

“Can glass be a suitable material for public engagement?”

Presentation

"r3Pr0b8s" Group presentation

“r3Pr0b8s” Group presentation

“ My question is, “Can glass be a suitable material for public engagement?”. I will first discuss the pros and cons of glass as a material.
Pros:
Glass is beautiful
Can inspire, inform, present a narrative. Religious building for example.
Cons:
Dangerous material to handle if inexperienced.
Health and Safety
Public liability
Difficult to work as you are limited to what you can do with glass.

The two photographs illustrate two aspects of community engagement.

The top photo is a project I did in the 2nd year of my BA, shows an example of the community contributing to the creative process. The Unity Hall used to be a well known popular venue for rock concerts in the 70s/80s. The plan was to get people to send in any mix tapes or bootleg tapes that may hold some special significance to that individual. The labels would be copied and sandblasted onto a central column of glass on the foyer.
The second photo is from a one-day taster session that I ran in stained glass. The participants were shown how to make a glass panel using the copper foil technique, which i walked through the process with them, demonstrating at each stage of the process. The community engagement was the participants creating their own panels with my assistance.”
My overview is that I need to investigate the “notion” of ownership within community based interventions.

Notes on Eloquence From Intractability by Martin Harrison

Eloquence From Intractability
Martin Harrison on Brian Clarke

Clarke’s paintings generate his abstract language and life drawing is a vital discipline in his art. Painting reflects light whereas glass transmit light and its constant changes in the quality of light, its kinetic modulation which attracts Clarke to stained glass. He does not use opaque paint for this reason, using only the glass and lead.

The paradox of glass art is that it is inextricably linked to architecture therefore ignored in the art world who view architecture as commodity capitalism. Clarke combines both roles as painter and glass artist, without compromise. There is as symbiotic relationship with both disciplines running in parallel. Before the renaissance art wasn’t anything other than ‘applied’ art yet critics have a problem with the ‘craft’ element of stained glass. Maybe the ecclesiastical links deter serious appraisal.

Clarke leant about the Pre-raphaelites during his time at Burnley School of Art. They also designed stained glass, which was fabricated by William Morris’ firm, and this did not seem to be detrimental to their painting. Ruskin’s dictum of “truth to materials” where involvement in all the craft process would lead to better design. Clarke’s craft training will enable him to instruct fabricators, unlike the Pre-Raphaelites who did not involve themselves with the craft process at all. From 1978, with the increase in the scale of his work and the time consuming nature of craft, Clarke now has his windows made outside his studio.

In 1974, Clarke was awarded a Winston Churchill Trust Travelling Fellowship which allowed him to travel to Germany. Britain was a creative vacuum and particularly slow to embrace modernism in the 1930s, and like architecture, the leading exponents of stained glass were not British. Ironically, “Das Englische Haus” by Hermann Muthesius in 1904 was a major influence to modernist architects, who eventually migrated to the Werkbund. During this time grew a flourishing stained glass school inspired by Jan Thorn Pikker who in 1921 rejected symbolist and expressionist styles of his earlier work to embrace geometric abstraction. This was important to Clarke who found there was no modern British glass movement for him to align himself and found that Europe offered a framework for his own ideas. In Germany, Clarke was able to locate stained glass from notable pioneers such as Josef Albers and members of the Dutch De Stijl group. These artists used a gridded format for their paintings and this gridded matrix is the basis for his compositions. Also during this first trip to Germany, Clarke made contact with artist Johannes Schreiter, who although worked in glass was first and foremost an artist.

Johannes Schreiter

Johannes Schreiter

Clarke began to realise that he was working within the traditions of Constructivism. His essay “Towards a New Constructivism” in 1979 he echoed the belief that the distinct disciplines of architecture, painting and craft should be dissolved. He was also affected by the dialogical tension between the static and dynamic, order and chaos. This duality remains at the core of his art. The architectural context provides the starting point for the designs. The static, ordered, structural defines the architectural space. The chaotic, dynamic elements act as contrasting counter-points, subtly eroding it.

The inclusion of grids and a more abstract approach meant that by 1977-78 Clarke and the Church of England parted company, when he refused to bow down to their impositions. He was now able to work on large-scale secular commissions and the repetition of patterns and grids in his work has drawn comparisons to minimalist music, inducing rhythmic meditative states.

final norte sequence_w-people(Stack)_0

Norte Shopping, Rio de Janeiro, Brazil. 1996. Brian Clarke

Clarke embarked on the first of a group of projects for roof spaces at Buxton Thermal Baths in 1987. These require an alternative approach as there is an absence of contrast between window and wall. He provides the ‘frame’ and therefore he becomes the architect himself. Usually stained glass reduces the transmission of light and also encloses the interior space, creating a curtain. At Haus Der Energie, Kassel in Germany, he opens up the interior space. The outside is drawn into the composition, subverting the two-dimensional aspect of the window by introducing exterior imagery and perspectives. At night, lit from within, the views of the window from the outside are equally compelling. The ‘disorder’ of organic shapes within the rigid geometry presents a spiritual polarity, a dualistic tension. Organic elements ‘Amorphs’ have preoccupied Clarke’s work and have become increasingly dominant, subvert the formality of the grid but he has integrated these diverse elements and his responses to a space are governed by aesthetic and functional need of the building.

Design 1: Reflection and Invention MADE101

We have received the first brief of the MA which focusses on experimentation.

“During this module, the main focus of your practice-based work will be experimentation. By questioning your own assumptions about craft and glass practice in particular, and placing conceptual development at the centre of your practice, you will challenge preconceptions about materials, their role in design and their status as bearers of meaning. You will begin to map the markets that might be appropriate for your work and to imagine your project at different levels of scale, as you examine what artisanal production means with the advent of the 4th industrial revolution. You will undertake inductions into equipment and processes in the 3D Design Crafts workshops in order to be able to use a range of technical procedures. You will be encouraged to try out research methods that allow you to think about what you do in new ways, risking failure so that you can understand better the potential of your project. Finally, you will be required to document and evaluate this experimentation, providing a clear record of how it has helped you to develop your thinking about your project.”

I made a few notes on this brief:

“Craft in this century is a recent invention”
Social awareness
Respect for tradition
Craft is a contemporary pursuit
Re-invented artisanal production


Respond to these issues. Explore and refine glass research project.

Experimentation
Question my assumptions about craft and glass
Conceptual development
Challenge preconceptions about materials, their role in design and their status as bearers of meaning
Map markets
Imagine project at different levels of scale
Examine what artisanal production means with the advent of the 4th industrial revolution
Try new research methods
Document/evaluate

Record thoughts and responses
Refine research project
Establish clear aims
Regularly evaluate progress

Demonstrate a systematic, organised enquiry into materials and processes.
Provide evidence of risk of failure and familiarise with ideas, approaches to my discipline in an intellectual context.

Body of Work

Experimental successes and failures to be included in evaluation:
Material tests
Samples
models/maquettes
Technical journal
Contextual research
Sketchbooks
Prototypes

Evaluation 2,000 Words

Analysis of body of work include successes and failures and next steps.
Record of reading to identify theoretical context of the work.
Intellectual property considerations relating to the work.
Update research proposal to include aims for this experimental module.

Illustrated Journal (Blog)

Must be regularly updated
Record thought process
Contextual research
Response to talks and readings
Change of direction
Problems and solutions
Combine images, evidence and commentary
Ideally a blog or digital journal

Evidence of networking

Short contextual report explaining:
Trajectory of work
Cite relevant artists and research networks
Document efforts to contact
Talks/conferences

To do list

Set up blog
Keep maintain a technical journal
Research reading contextual research

MA Project Proposal

This is my project proposal for MA Glass at Plymouth College of Art. This is the basis of my research and will in due course be updated as I form research questions.

MA Project Proposal

I would like to focus on architectural glass and site-specific installations. During the 2nd year of my degree I had the opportunity to work on proposals for public arts briefs. These projects were inspired by the work of Bernhard Hubert and Alexander Beleschenko. Unfortunately I did not get to develop this fully during the course and I feel that this is unfinished business.

inspirationdevelopment

final design

Presentation boards for Unity Hall public arts commission, 2013

 

I am particularly interested in socially engaged practices and my BA dissertation discussed the community engagement of football ultras and their motives. I have attended seminars and spoken to architectural glass artist Kirsty Brooks about this and I feel that I need to focus on what my work can offer the community. I have been running taster sessions in stained glass but I feel there is a lot more I can offer.

SAM_2346

 

Architecture has been a common theme with the cast-glass work that I have been doing. I am drawn to abstraction and geometry that is found in modernist architecture as well as an interest in typography, photography and printing processes.

5703474-9c0c42c3c2e24cea670792b771dfdba3

I need to research more on community-led public art. Talks by visiting artist during my degree were a source of inspiration, particularly Keith Harrison and Michael Petry. I plan to investigate digital and traditional techniques including:
· 3D printing for texture and geometric patterns
· Graphics and surface design
· Photography
· Lamination and decals
· Printing on glass
· Painting and leaded glass

The final body of work would probably consist of project proposals, models and samples for presentations.”

I have already come to a bit of a dead-end with regards to the notion of socially engaged practices. I predict that this section of my proposal will change. Community engagement, like most site-specific artistic interventions, are not predetermined but are considered during the proposal stage of a commission. I have been researching artists who engage in architectural glass commissions and this aspect of the commission process does not seem to be apparent, particularly with private commissions.

Social Enterprise Gold Mark

For the past couple of months I have been working on a commission to create 10 glass award plaques for Social Enterprise Gold Mark. They wanted A4 panels with removable brass engraving plates and use their logo as the main feature of the plaques. I created a presentation using Google Sketchup and I decided to use ground glass (frit) for the main logo.

SE Gold Mark SE Gold Mark2

The main logo would be a separate piece of fusing glass which would be laminated onto a base of float glass. The removable brass plate would be held in place using strips of brass “U” section, glued on its side top and bottom, so that the brass plate can slide out for engraving. The small logo in the bottom-left would be printed onto self-adheasive clear vinyl.

The main logo was made using circular fusing glass and the logo was heavily sand-blasted into the glass. I needed to create a recess for the fusing glue/gel so that the frit would fit accurately within the sand-blasted logo.

IMG_0167

These were then put in the kiln to fuse.

IMG_0203

There seemed to be a problem with the kiln. The pieces that were in the middle of the kiln came out okay but most of the pieces did not fire properly and needed to be fired again.

IMG_0206 IMG_0207

The bases of each plaque was cut and the edges ground and polished and the brass “rails” for the engraving plate were glued with epoxy resin. A mask covered the base so that we could sand-blast where the main logo would be laminated with Araldite 20/20.

IMG_0208

After the lamination had set, the mask was removed and the plaques cleaned up with the vinyl logos cut out and stuck into position.

IMG_0209

I managed to source some cardboard boxes for each plaque.

IMG_0210

Here is one of the finished pieces and despite the technical issues I am pleased with the result.

 SAM_2441SAM_2440SAM_2430

The client was happy as well and even gave me another one-off commission!

Make Festive Stained Glass Lanterns

SAM_2424

10th December 10-4:30 at Ocean Studios, Plymouth

A one-day stained glass taster session making a festive Christmas lantern. This session is ideal for people who have had some glass cutting and copper foil soldering experience. However they are fairly simple to make so beginners are also welcome. The cost is £65 which covers the cost of all materials and equipment, as well as teas, coffees and biscuits, and you will have a lantern to take home with you!

If you are interested and wish to book places, or just to make enquiries, then email me at adele@adeleretterglass.co.uk