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ART 233 A: Introduction To 3D4M: Glass

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Meeting Time: 
MW 2:30pm - 5:20pm
ART 125
Mark Zirpel
Mark Zirpel

Syllabus Description:


Winter 2016     Monday Wednesday 11:30-2:20

Ceramic Metal Arts Complex-4205 Mary Gates Memorial Drive NE

Faculty: Mark Zirpel

Office hours 5:30-6:30Monday Wednesday Ceramic Metal Arts (CMA)



Kiln forming is the general term used to describe the various methods employed to shape glass in a kiln using heat. This class will serve as an introduction to various processes involved in kilnforming glass. Students will be introduced to kilns, computerized kiln controllers, writing firing programs, annealing, mold making practices, lost wax casting, fusing and slumping processes, coldworking and relevant materials handling skills. Through a series of lectures, demonstrations and hands on learning we will examine historical, technical and contemporary practices in studio glass. This effort will be augmented with critiques and readings intended to cultivate a dialogue around contemporary issues informing one’s studio practice. Students will be strongly encouraged to direct their acquired skills towards their own ideas and towards exploring within and beyond traditional media boundaries.     The ultimate purpose of this class is to introduce students to the material of glass as a material from which to make art.



Techniques of Kiln formed Glass-Keith Cummins    

Glass Notes-Henry Halem

Bullseye Technical Notes- online at


Objectives and assessment

Primary objective of this class is to investigate the material of glass as it may be used in the creation of art. You are responsible for a demonstrated proficiency in all covered topics. You are responsible for utilizing your class time in a productive and purposeful manner. University of Washington School of Art policy dictates that for each studio class students are expected to dedicate 10 hours per week outside of class time towards fulfilling the requirements of the class. Class time will be filled with demonstrations and discussion. Participation in scheduled critiques is required. The objective is to foster a conversation focusing on your studio activity. Through this conversation we hope to clarify and guide your efforts, encourage risk, and foster development of a critical sensibility that will prepare one for independent artistic activity. This critical sensibility includes your selection and exploration of materials, verbal articulation of intention, contextual development, contemporary issues, research methodologies and criteria for assessment. I want to encourage a rigorous work ethic that is guided by a focus and sense of purpose, to provide an environment that encourages one to work beyond their skill set, to take risks, to challenge assumptions, to be curious and prolific. Participation in critiques is required. 50% of your final grade will be based on how effectively you use your class time and work outside of the studio. We will have three critiques, your attendance and participation in these critiques is mandatory. 50% of your final grade will be based on your presentation and participation in these critiques.


 5-10 minute presentation on an artist working with glass.

Note in/on a bottle. You are attempting communication with someone, anyone, and probably no-one. Bottle it up and send it out on the high tide. Introduction to the cold shop (belt sander, sand blaster, diamond saw)

 Robot control device. Make your cell phone. Post your last text. Photosandblasting methods, flexshaft, enameling

 Body in glass-group project.

 Laminated Glass-construct a laminated glass geometric form and coldwork it to an optical polish. Introduction to adhesives, diamond saw, flatwheel, glass lathe and polishing methodologies.

 Lost wax casting. Make an alginate impression of one of your fingers. Cast your finger in wax. Make at least several of these wax castings. Trade them with your friends for different shaped fingers. Connect them together. Invest them in plaster/silica and cast them in glass. Now use this method to cast something of your choice.


Suppliers-Art 233/333

Spectrum Glass Company HYPERLINK ""

Bullseye Glass HYPERLINK ""

Seattle Hot Glass Color/5th Ave Glass HYPERLINK ""

Olympic Color Rod HYPERLINK ""

Wale Apparatus HYPERLINK ""

Winship Designs HYPERLINK ""

Seattle Stained Glass HYPERLINK ""

Perkin’s Glass HYPERLINK ""

CMOG/ Corning Museum of Glass HYPERLINK ""




The highest possible performance in all aspects of the course with work exemplifying exceptional quality. Exhibits outstanding creative potential.


Exhibits creative potential with superior performance in most aspects of the course; high quality in the remainder. Well prepared for subsequent courses in the field.


High performance in most aspects of the course. Very good chance of success in subsequent courses in the field. Exhibits some creative potential.


Good performance in some of the course; satisfactory performance in the remainder. Exhibits some creative potential. Good chance of success in subsequent courses in the field


Demonstrates the minimum amount of research needed to complete the course with satisfactory performance.


Met basic requirements in most of the course, with the remainder being somewhat substandard.



  • Absences from class prevent participation and may negatively affect grades.
  • If you miss class due to illness or emergency immediately notify your instructor -- you are responsible for any missed work or lecture information. You must get this from another student - we will not re-teach the missed class a second time.


Disability Accommodation

  • If you would like to request academic accommodations due to a disability, please contact Disabled Student Services, 448 Schmitz, (206) 543-8924 (V/TTY) or
  • If you have a letter from Disabled Student Services indicating you have a disability that requires academic accommodation, please present the letter to me on the first day of class so we can discuss the accommodations you might need.

Participation Policy

  • Absences from class prevent participation and may negatively affect grades.
  • If you miss class due to illness or emergencies immediately notify your instructor and insure that all missed assignments and exams are completed.
  • Students are required to take exams (or critiques) as scheduled. Exceptions are granted in cases of documented emergencies and must be approved by instructor.


  • Plagiarism is defined as using in your own work the creations, ideas, words, inventions, or work of someone else without formally acknowledging them through the use of quotation marks, footnotes, bibliography, or other reference.
  • Please check with your instructor if you have questions about what constitutes plagiarism.
  • Instances of plagiarism will be referred to the Vice Provost/Special Asst to the President for Student Relations and may lead to disciplinary action.


Violence awareness and prevention remains an important issue. Please

include the following information in the announcement section of 2009 -

2010 course syllabi:


*UW SafeCampus*

Preventing violence is everyone's responsibility. If you're concerned,

tell someone.


*    Always call 911 if you or others may be in danger.

*    Call 206-685-SAFE (7233) to report non-urgent threats of violence

and for referrals to UW counseling and/or safety resources. TTY or VP

callers, please call through your preferred relay service.

*    Don't walk alone. Campus safety guards can walk with you on campus

after dark. Call Husky NightWalk 206-685-WALK (9255).

*    Stay connected in an emergency with UW Alert. Register your mobile

number to receive instant notification of campus emergencies via text

and voice messaging. Sign up online at


For more information visit the SafeCampus website at



Art 233 – Annotated Bibliography


This is a list of books checked out from Seattle, King County, or UW Libraries that I think are interesting and worth the time to read or browse.

Wilma Boyd, Summer Quarter 2012


Glass – A World History, Alan Macfarlane and Gerry Martin, University of Chicago Press, 2002

This book discusses the impact of glass on societies that have it and compares/contrasts with societies where glass has been limited in availability or absent. Includes appendices: Types of Glass, The Role of Glass in Twenty Experiments that Changed the World, and an extensive Further Reading list.


contrasts – a glass primer, Vicki Halper, Museum of Glass, Tacoma, in association with University of Washington Press, 2007

This book compares and contrasts various types of glass: natural/fabricated, hot/warm/cold worked, rigid/fluid, heavy/light, thick/thin, etc. Extensive pictures to illustrate the contrasts.


Looking at Glass – A Guide to Terms, Styles, and Techniques, Catherine Hess and Karol Wight, J. Paul Getty Museum, 2005

This book is a detailed glossary of terms from Abrasion to Zwischengoldglas, with many interesting pictures and a further reading list.


Glass – Materials for Inspirational Design, Chris Lefteri, RotoVision SA, 2002

This book describes a range of glass materials, applications, and processes. Much is on laymen’s terms, some is very technical. Sections on types of glass, technical specifications, sources of glass, and web sites are included.


Glass A to Z, David J. Shotwell, Krause Publications, 2002

Short alphabetical descriptions of kinds of glass; tools, materials, processes related to glass manufacture and embellishment; brief histories of numerous glass manufacturing facilities; biographies of glass designers, decorators and artisans. Includes a section with Manufacturer’s Marks. Mostly B/W – only a few color pictures.


500 Glass Objects, A Celebration of Functional & Sculptural Glass, Susan Mowery Kieffer, Editor; Lark Books, a Division of Sterling Publishing Co., Inc., 2006

Stunning color photographs of 500 glass pieces – functional, sculptural, artistic. Juried selections by Maurine Littleton, director of Maurine Littleton Gallery in Washington, DC since 1984. Index by artist.


A Short History of Glass, Chloe Zerwick, Harry N. Abrams, Inc., Publishers, in association with The Corning Museum of Glass, 2nd Edition, 1990

Text and pictures showing glass in pre-Roman times, Roman Empire glass, glass in the Far East, Islamic glass, European glass, American glass, 19th century European glass, and 100 years of modern glass. Includes a bibliography (more extensive one available from Corning Museum of Glass).


Artists in Glass – Late Twentieth Century Masters in Glass, Mitchell Beazley (may be the publisher), author is Dan Klein, Octopus Publishing Group 2001

Text and pictures showing the work of 80+ recent and current artists. Includes a list of galleries and museums where works are displayed, glossary, and bibliography.

Glass, An Artist’s Medium, Lucartha Kohler, Krause Publications, 1998

Comprised of 8 sections:

History: The First 5,000 Years; a brief history of glass as it was used to create objects of art

Properties of Glass; how glass is made, important characteristics of glass and why there are such rigid technical procedures

Glassforming with a Furnace; Descriptions of several hot casting methods

Lampworking; how its use for scientific apparatus led to a material for art, information on using a torch for beads

Glassforming with a Kiln; explanation of casting, fusing and slumping

Surface Decoration; fired enamels, metallic coatings, electroplating, mirroring, gold leaf, engraving, sandblasting, printing, silk screen, photo silk screen process

Cold Working; description of equipment and techniques, glues for glass

A Material in the Service of Art; why some artists have used glass for their work

Contains practical advice, pictures of art works, procedures (boxes, step by step); appendices include Molds, Kilns, Annealing (including an article “Annealing Cast Glass” by Dr. Frank Woolley), Health Hazards, Supply Sources, bibliography and glossary.


Contemporary International Glass – 60 Artists in the V&A (Victoria & Albert Museum, London), Jennifer Hawkins Opie, V&A Publications, 2004

Beautiful pictures of glass art works, accompanied by Critical Comment and/or Artist’s Statement, details of the work pictured, and a summary of the artist’s training, teaching, international awards, and a list of other works by the artist in the V&A.


Studio Glassmaking, Ray Flavell & Claude Smale, Van Nostrand Reinhold Company Inc., 1974

This book largely covers glass blowing, but has some lampworking content and useful coverage of tools and setting up a workshop.  The final comment in the Craftsmen and Design Considerations chapter: “As for our novice, he might suppose that the achievement of excellence lies in a mysterious amalgam of indeterminate craft skills, years of experience and intuitive sensibilities. But perhaps he can begin to consider himself an artist in glass when he first begins to despair at his own inadequacies.” (p. 103)


An Illustrated Dictionary of Glass, Harold Newman, Thames and Hudson, Ltd, 1977

The subtitle and cover of this book define it nicely: 2,442 definitions of wares, materials, processes, forms, and decorative styles; entries on principal glass-makers, decorators and designers; with an introductory survey of the history of glass-making by Robert J. Charleston. Includes 625 illustrations, 17 in color.




School of Art + Art History + Design Policies

Catalog Description: 
This introductory studio course investigates the material glass and its applications in the fine arts. Examines historical, technical, and contemporary practices. Prepares students for further exploration with the material at the intermediate and advanced levels.
GE Requirements: 
Visual, Literary, and Performing Arts (VLPA)
Last updated: 
October 5, 2016 - 9:20pm