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2004-08-07 Rev. 2007-09-05
Training & Apprenticeships |
Internships |
Classes & Short Courses |
Schools & Degrees |
Courses |
Ranking Glassblowers |
This page combines what were several different pages all on the topic of learning about glassblowing. As it now stands, there is information on the rare apprenticeships, the short classes most commonly available, the schools that offer degrees and examples of courses offered at some of these colleges. Then there is a discussion of what it means to be an intermediate glassblower, often mentioned in class descriptions.
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Beg. 2002-09-25 Rev. 2009-07-04
I am asked what is involved in a glass apprenticeship. I don't know of any modern standard. This example (from 2002) I consider good because it makes clear exactly what is offered and expected. Any apprenticeship relationship should be specific and in writing. One thing missing here is an adjudicator - that is someone who will agree to listen to both sides and attempt to resolve problems without breaking the agreement. I would prefer for this role a working glassblower known to both parties. Looking up apprentice programs, as in Florida, [http://www.fldoe.org/workforce/apprenticeship/benefits.asp] makes it clear that they are industrially sponsored to fill the need for future workers, thus scientific glass blowing is included, art work is not.
From CraftWEB,
"Pass it on"
A note from Leo Ward
'Our search for a glass blower;
I'm looking for someone who has had enough experience that he or she can be a
help rather than a hindrance with Gary's (our gaffer) work, and of course I'm
looking for someone who knows that she or he is committed to a career in glass.
I would want a commitment of no less than one year as an apprentice. Whether or
not a regular position would be available after the apprenticeship would depend
on our sales. The present top wage for the glass workers here is about $14.00 an
hour. What I have to offer is an efficiency apartment suitable for two persons,
but not large enough for anyone with children. All utilities are free, and there
is a stipend of $125 a week. I would require 35 hours a week of training and
work with Gary. Beyond that, there is unlimited open studio time for personal
work. Any suitable pieces that the apprentice does on his/her own time can be
placed in our showroom. The proceeds would be split 60% for Terra and 40% for
the apprentice. If they take their pieces out to craft fairs or galleries, Terra
would get 50% on the sales and the apprentice 50%. I would, of course, require
that any applicant that seems suitable after telephone or email interview would
have to come to Terra and spend two or three days of getting acquainted and
demonstrating their skill level. I would prefer but wouldn't require that she or
he have a degree, but not necessarily in glass. Please visit the web site & see
who we are before getting in touch (www.terrastudios.com).
That's about it. I will appreciate any contacts.'
Internships are unpaid, therefore various regulatory agencies, including the IRS, look closely to see if income value is being generated. The following are federal guidelines.
http://www.pacific.edu/esb/career/employer/fairstandardsact.html
"Pursuant to this law, the U.S. Department of Labor (DOL) has developed six
criteria for differentiating between an employee entitled to minimum wage or
above and a learner/trainee who may be unpaid. The criteria for learner/trainee
are:
1. The training, even though it includes actual operations of the facilities of
the employers, is similar to that which would be given in a vocational school.
2.
The training is for the benefit of the student.
3.
The student does not displace a regular employee, but works under the close
observation of a regular employee or supervisor.
4.
The employer provides the training and derives no immediate advantage from the
activities of the student; and on occasion, the operations may actually be
impeded by the training.
5.
The student is not necessarily entitled to a job at the conclusion of the
training period.
6.
The employer and the student understand that the student is not entitled to
wages for the time spent training."
"THINK INTERNS MEAN FREE LABOR? THINK AGAIN.
BY JANE EASTER BAHLS
Your employees are overworked, but you don't want to pay for extra help. How
about bringing in a couple of unpaid interns?
Resist that temptation. The Fair Labor Standards Act distinguishes between
interns and employees. Unless your internship program is essentially
educational, your interns will look suspiciously like employees—and you can get
into legal trouble for not paying them at least minimum wage.
When these cases land in court, judges tend to look at the spirit of the
internship program. If it's mainly away for your business to get free labor,
pony up minimum wage. If it's basically an educational endeavor with side
benefits for the business, call your local college about a genuine internship.
JANE EASTER BAHLS is a writer in Rock Island, Illinois, specializing in
business and legal topics.
p.90 • ENTREPRENEUR SEPTEMBER 2007 2007-09-05
Rev. 2000-3-13, 6-18, 10-05, 2003-10-28
The purpose of this page is to provide links to and some basic information about colleges and universities that offer semester long training and credit programs in furnace glassblowing. Most will include the training in a 3-D Art or Sculpture focus. Short classes - weekend and 1, 2, or 3 week long courses have their own table of contents. This page is very much under construction, so these links are just leftovers although some schools are included in the links.
Among the schools with a strong reputation in furnace hot glass that we hope to link to and provide some summary information about are:
RISD
(Rhode Island School of Design) Kent State University, OH; Bowling Green State University, OH; Tulane University, LA; Southern Illinois University. |
Most colleges that offer glass will include it in a 3D or sculpture major and expect that a full array of art courses around it will lead to a degree. My experience with the college programs I have looked at is that there is only one glass instructor per college, therefore it is vital that you like what that instructor does and understand how broad his (they almost all are) program is. Does he even allow work outside his specialty and is that work any good. Going to Tulane if you don't want to do a lot of casting is not a good idea. I have not looked closely enough at the people at each of the colleges I know of to define the "specialty" of the person in charge, so ask the instructor and students. Look at the instructor's work and look at what the students produce. Here in Texas it is possible to spot the work of students of the late Bill Bagley at Texas Tech because of the way he used color and what his students found attractive and put in their work. 2002-04-05 |
Until we make our links, you may wish to do a web search for information. Two sources are the link attached to SIU just above and Steinert Industries the glass tool maker has a page of class and school links.
2000-10-05 I have added a page of courses taught at various schools, which includes a link into the college site at or near the glass area.
An advantage of short session programs is that you get a variety of instructors and can pick and choose. If you show skill, once you have attended a few sessions, it is likely that you can apply to be an assistant getting classes at lower rates or getting paid and getting a different view of the classes.
Rev. 2002-09-25, 29-Oct-2003
Classes (as opposed to schools) are sessions held that are not part of planned degree program. Most of these are held in the summer for 1, 2, or 3 weeks although some go all year round and some are held evenings for several weeks in a row.
This page gives some basic information about the most widely known programs and will include any classes that come to my attention. Tell me if you know some. Where available, links are provided to the class web site, although some links on this page go first to a page on my site with more detailed glass information then a link is provided to their web site. You may wish to do a web search for information. One source is Steinert Industries; the glass tool maker has a page of class and school links.
Classes & Studios by Region |
There are several levels of classes. I consider the first two to be just demonstrations, but many people have taken the second level and worked their way up by having access to practice sessions. More description below
1> A one day or half day "Make a paperweight" or
"Try glassblowing" class.
If nothing else is available, this at least gives exposure to the
craft. My problem is not with the class style, which is fine for
people who want to try things just for the heck of it (balloon
rides, etc.) but, unless nothing else is available, the money
that goes into it should be spent at the next level by someone
who is fairly sure they are serious. The problem is that these
"classes" (experiences) are usually fairly short on
information. There are usually too many people and the time spent
with equipment handling the glass is fairly short with the "instructors"
being ready to step in so that each participant takes something
home, therefore feeling successful. Many glassblowing studios and
most of the more serious schools offer sessions like this,
usually aimed at their contributing supporters rather than future
students.
2> A weekend 10-20 hour class in glassblowing at a studio
This is probably the most common exposure to furnace glassblowing.
It can range from poor to good. Ideally it has only a few
students (2-3) with space for all to work (2-3 benches) and
enough time is provided for the class. When a class runs from 9-4
(7 hours) and takes a break for lunch, little working time can be left. A
class that runs two days (Sat.-Sun. or Sat. & Sat), scheduled
from 8-5 is a better choice. Most of these weekend classes cost $250-300.
Ask how many benches and how many times the classes have been
taught. The class, if serious, should include some practice time
and should include some plan that allows rental of time on the
blowing floor at a reduced rate for a reasonable period after the
class.
3> A one night a week, for several weeks, (20-40 hour) at an
organized class site.
This is a good way to learn glassblowing, but is only available
in a few limited areas and is obviously only useful to people
within a reasonable travel distance. The advantage of the
arrangement is that there is time to think over what is learned
and work out awkward discoveries about lack of strength or health.
I know of two places that do it, UrbanGlass in Brooklyn NY and
Pratt in Seattle WA (see below) and would expect others to be in
larger cities. Glass Axis (Columbus OH) and other coop's will
offer something like it. Expect to pay $300-500.
4> A week to two week long (40-80 hour) class in
glassblowing at an organized class site
This is perhaps the most common class in glassblowing that people
encounter that is not part of a college credit program. The most
prominent of these are discussed below. The one I took was a
summer program provided [at the time] as grad school credit in
continuing education for art teachers in Texas offered by Texas
Tech. Others may exist around the country. A big disadvantage is
that it is a huge commitment of energy into a small period of
time; an accident, illness, or simply fatigue from doing a lot of
a new kind of work in a short time can take away much of the
value of the class. I burned my hand picking up a punty from near
the wrong end on the middle Saturday of a two week class and
basically lost 3 days of practice out of ten available.
MAJOR SUMMER SITES - For Furnace Glassblowing workers there are currently five sites that stand above all other locations for classes, because of their history, quality of instructors, and reputation. All but UrbanGlass offer some kind of residential arrangement and long hours of available access to the studios while in session. Most of these places offer some form of beginning instruction, but I would be reluctant to take one of these classes for first exposure to furnace work because the cost is so high against the risk of not being able to handle the heat, etc. I would certainly find a weekend class, costing $250-300, a very good investment, before spending over two grand (with transportation) for a week or two of classes.
PENLAND -Penland School of Crafts is the oldest and offers a mixed set of summer classes in a number of crafts including lamp working and furnace working with very good instructors. New glass studios were opened in 1995. It is located in western North Carolina north of Asheville at the edge of the mountains and a number of artists have built glass studios in the area to stay around. Penland's deadline for application for summer classes is about February 15. Classes range from beginner to beyond advanced (i.e. a few people with Lino admitted based on slides submitted.) Others have stated that Penland does a good job with the beginner classes.
PILCHUCK - Pilchuck Glass School is pure glass, most of it hot. It is north of Seattle Washington in dramatic country and is considered the top place in learning advanced hot glass. The very best glass workers teach at the site and the Seattle area abounds with hot glass activity. The school was co-founded by Dale Chihuly. Pilchuck's deadline for application for summer classes is about March 15. Others have stated that going before developing a skill and a vision with glass is a setup for frustration.
HAYSTACK - Haystack Mountain School of Crafts is located on the rugged coast of Maine east of Bangor and offers classes in several crafts. The attraction of their single furnace glass class in each session (except the first and last) is the caliber of the instructors, starting with Lino Tagliapietra, the premier glassblower of our time, and including other nationally known artists with good training credentials. Haystack's deadline for application for summer classes is April 15 with people wanting scholarship help needing to be in by March 15th.
STUDIO - The Studio at The Corning Museum of Glass is the newest major school that arrived with a blast a couple of years ago and instantly entered the top category. It is also the only place that offers the same kinds of classes throughout the year (as opposed to Concentrations or no classes at all at other sites.) Its arrival at the top was based on the quality of the instructors, the kind and quality of the classes and, of course, the association with Steuben glass and the most comprehensive glass museum around. Corning, New York, is in the western part of the state, just above Pennsylvania and southeast of Buffalo. Living quarters during classes are in a motel with board at local restaurants. Corning has several deadlines through the year; ? for summer classes. I attended a class in early September 1999 and am developing a page on the experience.
URBANGLASS - UrbanGlass has the most
differences from the others of the top five. It is in Brooklyn,
east of Manhattan (downtown New York City), "We do, in fact, offer weekend workshops and week-long
intensives in addition to our weekly classes. Plus, we have made
changes to the curriculum, and have added a number of new
classes, including juried courses and advanced courses in neon,
mosaic and stained glass.
As for places to stay, we have arrangements for special rates at
nearby Bed & Breakfasts and Hotels. We also have an
arrangement with Long Island University, located one block from
UrbanGlass, for very affordable air conditioned dormitory housing
in the summer.
UrbanGlass celebrates its 25th Anniversary in 2002, so
there is a lot going on, including this summers major
renovations to the cold shop and mold shop, as well as other
improvements throughout the studio.
Further up-to-date course information is available on our website:
www.urbanglass.org (it recently changed from .com). Please feel free
to contact me or Steven Durow, Education Manager (education@urbanglass.org), if we can answer any questions."
Rev. 2000-10-05, 2002-10-31
The purpose of this page is to sample some of the courses specifically in glass that are offered at colleges and universities. [And now course descriptions from specialty schools] Please note that care has not been taken to keep up with course descriptions and a person should always check the source for availability and requirements.
University of Texas at Arlington
Rhode Island School of Design
Bowling Green State University, Ohio
Southern Illinois University
Centre College, Danville, Kentucky
The Studio at the Corning Museum of Glass
University of Texas at Arlington 2000-10-05
3342. GLASS. (2-4) 3 hours credit. The manipulation, formulation, construction and experimentation with glass as a sculptural medium. Emphasis will be on glassblowing. Other techniques may include furnace casting and kiln working. May be repeated for credit. Prerequisite: ART 1306 or permission of the instructor. $100 course fee.
4342. ADVANCED GLASS. (2-4) 3 hours credit. Continued development of ART 3342 with emphasis on advanced technique, manipulation and form development. Course assignments will emphasize personal creativity and exploration. May be repeated for credit. Prerequisite: ART 3342 or permission of instructor. $150 course fee.
RISD - Rhode Island School of Design
To view glass courses offered during a particular semester,
choose from the list at the bottom of the page. Courses and
instructors are subject to change. For information about a
specific course, check with the department or the RISD
Registrar's Office.
RISD Course Listings - Glass
GLASS*4300
Rachel Berwick
GLASS IA
This beginning glass major studio combines studio practice,
critical discourse and contemporary issues through
assignments, reports, and scheduled critiques. The course intends
to develop awareness of 3D issues concerning material, concept,
and light and to establish criteria for artistic striving.
Students are required to develop the sketchbook as an essential
creative tool.
Corequisite: GLASS 4312
Course Level: Sophomore requirement for majors; Permission of
instructor required
Estimated Cost of Materials: $200.00
Lab Fee: $200.00
Credits:3.0
Semester: Fall
GLASS*4301
tba
GLASS IIA
Glass IIA is an intermediate studio course in which students will
continue their ongoing investigation of material processes.
Emphasis will be on developing emerging personal concepts and
imagery and visual research skills through investigations of
regularly assigned topics. Students will develop a substantial
idea sketchbook and participate in scheduled class
activities and group critique.
Prerequisites: GLASS 4310 Corequisite: GLASS 4316
Course Level: Junior requirement for majors; Permission of
instructor required
Estimated Cost of Materials: $200.00
Lab Fee: $200.00
Credits:3.0
Semester: Fall
GLASS*4302
tba
GLASS III
Glass III is an advanced major studio that requires intermediate
glassworking skills and familiarity with the material. This
course stresses the continuing development of personal imagery,
viewpoint, visual source research and the refinement
of material processes in terms of individual artistic
requirements. As preparation leading to the senior thesis
project, independent studio work and individual consultation are
emphasized. During this semester, each student is expected to
seek out at least one professional artist outside the Glass
Department and develop an artistic association with this outside
advisor for the duration of the senior year.
Prerequisites: GLASS 4311; Corequisite: GLASS 4320
Course Level: Senior requirement for majors; Permission of
instructor required
Estimated Cost of Materials: $300.00
Lab Fee: $200.00
Credits:6.0
Semester: Fall
GLASS*4305
tba
BEGINNING GLASSBLOWING
This beginning course introduces basic glassblowing and molten
glassworking processes. It includes offhand
glassblowing and solidworking and glassblowing with
molds. Students will apply new technical skills to self-generated
projects. Students must maintain detailed technical notes and a
project sketchbook.
Course Level: Sophomore requirement for majors; Permission of
instructor required
Estimated Cost of Materials: $400.00
Lab Fee: $150.00 for non-majors
Credits:3.0
Semester: Fall
GLASS*4309
tba
GLASS CASTING & MOLD MAKING
This beginning course introduces the materials and processes
necessary for basic glass casting of solid objects and includes
various mold-making methods. Molten glass casting, glass
fuse casting, pate de verre, optical slump casting;
the techniques for making refractory molds, sand molds, metal or
graphite molds; and the proper use of annealing ovens will be
introduced. Students will apply new technical skills to self-generated
projects. Students must maintain detailed technical notes and a
project sketchbook.
Course Level: Sophomore requirement for majors; Permission of
instructor required.
Estimated Cost of Materials: $300.00
Credits:3.0
Semester: Spring
GLASS*4310
Bruce Chao
GLASS IB
This course is the second half of an intensive, two-semester
introduction to studio practice. Objectives introduced in the
preceding semester are refined and furthered through assignments,
reports, and scheduled critique. Students are
required to develop the sketchbook as an essential creative tool.
Prerequisites: GLASS 4300, Corequisite: GLASS 4314
Course Level: Sophomore requirement for majors; Permission of
instructor required
Estimated Cost of Materials: $300.00
Lab Fee: $200.00
Credits:3.0
Semester: Spring
GLASS*4311
Bruce Chao
GLASS IIB
Glass IIB is the second half of a two-semester intermediate
studio course in which students will continue their ongoing
investigation of material processes. Emphasis will be on
developing emerging personal concepts and imagery and visual
research skills through investigations of regularly assigned
topics. Students will develop a substantial idea
sketchbook and participate in scheduled class activities and
group critique.
Prerequisites: GLASS 4301, Corequisite: GLASS 4318
Course Level: Junior requirement for majors; Permission of
Instructor is Required
Estimated Cost of Materials: $200.00
Lab Fee: $200.00
Credits:3.0
Semester: Spring
GLASS*4315
tba
GLASS FLAMEWORKING
This entry-level art studio course introduces the basic tools and
techniques for forming glass objects using an oxygen-gas bench
torch and pre-made glass rods and tubes. (Also known as lampworking,
this process is commonly used to produce complex glass devises
used in science laboratories.) As investigation of an art medium,
class activity will involve technical demonstrations, slide
lecture, assignments, and critique. Students must maintain a
technical notebook and develop an idea sketchbook.
Permission of Instructor is Required
Estimated Cost of Materials: $200.00
Lab Fee: $200.00
Credits:3.0
Semester: Spring
GLASS*4315
tba
GLASS FLAMEWORKING
This entry-level art studio course introduces the basic tools and
techniques for forming glass objects using an oxygen-gas bench
torch and pre-made glass rods and tubes. (Also known as lampworking,
this process is commonly used to produce complex glass devises
used in science laboratories.) As investigation of an art medium,
class activity will involve technical demonstrations, slide
lecture, assignments, and critique. Students must maintain a
technical notebook and develop an idea sketchbook.
Permission of Instructor is Required
Estimated Cost of Materials: $200.00
Lab Fee: $200.00
Credits:3.0
Semester: Fall
GLASS*4319
tba
INTERMEDIATE
GLASSBLOWING
This primarily technical course builds on basic, traditional
glassblowing skills. Demonstrations and supervised practice will
introduce alternative methods, refinement and new techniques.
Student innovation with traditional process will also be
encouraged. Students will develop individual and team skills,
maintain a technical notebook and will develop and idea
sketchbook.
Prerequisite: GLASS*4305
Course Level: Sophomore requirement for majors; Permission of
instructor required
Estimated Cost of Materials: $300.00
Lab Fee: $150.00 for Non-Members
Credits:3.0
Semester: Spring
GLASS*431G
Rachel Berwick
GRADUATE GLASS I
This first semester of graduate study will emphasize varied
experimentation, extensive visual source research,
maximum productivity and conceptual growth. Students are expected
to develop professional associations with artists outside the
glass department in addition to the program's faculty and its
scheduled roster of Visiting Artists and critics.
Corequisite: GLASS 435G
Course Level: Graduate, Required; Permission of instructor
required
Estimated Cost of Materials: $500.00
Lab Fee: $200.00
Credits:6.0
Semester: Fall
GLASS*4321
tba
GLASS COLDWORKING
This beginning course will provide comprehensive technical
instruction on basic glass coldworking processes
including glass polishing, sandblasting, etching, cutting,
engraving, gluing, laminating, glass drilling. Students will
apply new technical skills to self-generated projects. Students
must maintain detailed technical notes and a project sketchbook.
Course Level: Sophomore requirement for majors; Permission of
instructor required
Estimated Cost of Materials: $200.00
Credits:3.0
Semester: Fall
GLASS*432G
Rachel Berwick
GRADUATE GLASS II
Graduate Glass II continues with the objectives of the preceding
semester. It is expected that students continue artistic
experimentation and individual growth at an increasingly
professional level.
Prerequisites: GLASS 431G, Corequisite: GLASS 436G
Course Level: Graduate, Required; Permission of instructor
required
Estimated Cost of Materials: $500.00
Lab Fee: $200.00
Credits:6.0
Semester: Spring
GLASS*433G
Rachel Berwick
GRADUATE GLASS III
The student is expected to begin refining a personal viewpoint
that incorporates glass in preparation for the graduate degree
project. Studio work will continue to include consultation and
group critique with department faculty, its visiting artists,
critics, and the student's own outside advisors.
Prerequisites: GLASS 432G, Corequisite: GLASS 437G
Course Level: Graduate, Required; Permission of instructor
required
Estimated Cost of Materials: $500.00
Lab Fee: $200.00
Credits:6.0
Semester: Fall
GLASS*434G
Rachel Berwick
GRADUATE DEGREE PROJECT
With assistance from department and outside faculty, the graduate
student will define and organize an evolved artistic viewpoint
which will be presented in both a comprehensive written thesis
and a thesis exhibition. At the beginning of this semester,
students are also required to present a slide source
presentation to a department assembly that is a compilation of
the previous three semesters' visual research. A professional
portfolio is to be presented to the program at the completion of
the student's graduate study.
Prerequisites: GLASS 433G, Corequisite: GLASS 438G
Course Level: Graduate, Required; Permission of instructor
required
Estimated Cost of Materials: $500.00
Lab Fee: $200.00
Credits:9.0
Semester: Spring
GLASS*4398
Rachel Berwick
GLASS III - DEGREE PROJECT
This semester is directed towards defining and organizing an
evolved artistic viewpoint that incorporates glass in a visual
imagery. At the beginning of this semester, students are required
to present a slide source presentation to a
department assembly that is a compilation of the previous three
semesters' visual research. Each student is also expected to
further develop his/her artistic association with a designated
outside advisor(s) and involve this professional
artist in critique and consultation. Artistic premise and
intention are to be comprehensively presented in a senior thesis
exhibition. A complete portfolio is to be presented to the
program at the completion of this semester.
Prerequisites: GLASS 4302, Corequisite: GLASS 4322
Course Level: Senior requirement for majors; Permission of
instructor required
Estimated Cost of Materials: $500.00
Lab Fee: $200.00
Credits:6.0
Semester: Spring
GLASS*43xG
Rachel Berwick
GLASS DEGREE PROGRAM WORKSHOP
All Glass degree program students meet together to engage both
practical and theoretical issues of a glass career through: field
trips, technical demonstrations, visitor presentations, and
direct exchange with visiting professionals from relevant
disciplines through student/professional collaborations, artist
residencies, individual consultations, critique, and organized
group discussion. Class will require reading, written papers such
as visiting artist reviews, and prepared student presentations.
Course Level: Required for majors and graduate students each term
of registration. The student must register for the appropriate
course number each semester.
Credits:3.0
Semester: Spring
GLASS*43xG
Rachel Berwick
GLASS DEGREE PROGRAM WORKSHOP
All Glass degree program students meet together to engage both
practical and theoretical issues of a glass career through: field
trips, technical demonstrations, visitor presentations, and
direct exchange with visiting professionals from relevant
disciplines through student/professional collaborations, artist
residencies, individual consultations, critique, and organized
group discussion. Class will require reading, written papers such
as visiting artist reviews, and prepared student presentations.
Course Level: Required for majors and graduate students each term
of registration. The student must register for the appropriate
course number each semester.
Credits:3.0
Semester: Fall
GLASS*43xx
Rachel Berwick
GLASS DEGREE PROGRAM WORKSHOP
All Glass degree program students meet together to engage both
practical and theoretical issues of a glass career through: field
trips, technical demonstrations, visitor presentations, and
direct exchange with visiting professionals from relevant
disciplines through student/professional collaborations, artist
residencies, individual consultations, critique, and organized
group discussion. Class will require reading, written papers such
as visiting artist reviews, and prepared student presentations.
Course Level: Required for majors and graduate students each term
of registration. The student must register for the appropriate
course number each semester.
Credits:3.0
Semester: Spring
GLASS*43xx
Rachel Berwick
GLASS DEGREE PROGRAM WORKSHOP
All Glass degree program students meet together to engage both
practical and theoretical issues of a glass career through: field
trips, technical demonstrations, visitor presentations, and
direct exchange with visiting professionals from relevant
disciplines through student/professional collaborations, artist
residencies, individual consultations, critique, and organized
group discussion. Class will require reading, written papers such
as visiting artist reviews, and prepared student presentations.
Course Level: Required for majors and graduate students each term
of registration. The student must register for the appropriate
course number each semester.
Credits:3.0
Semester: Fall
Bowling Green State University, Ohio
Listing below from 2002
ARTS 261 (formerly ART 256) Glass I (3). Fall,
Spring. Freehand-blown glass formation. Beginning techniques of hot glass manipulation and cold working processes. Introduction to the practice and history of studio glass art. Five studio hours. Lab fee. Prerequisite :ART 102, 112. Lab fee. ARTS 362
(formerly ART 356) Glass II (3). Fall, Spring. ARTS 463 (formerly ART
456) Glass III (3). Fall, Spring. ARTS 365 (formerly ART
246) Stained Glass I (3). Fall, Spring. ARTS 464 (formerly ART
467) Glass IV (3). Fall, Spring. ARTS 468 (new) Senior
Studio in Glass (3).Fall, Spring. ART 267 (eliminated) Stained Glass
Compositions (3). |
The first undergraduate semester in glass, AD214, (for
students without prior glass experience), focuses the student's
attention on the processes associated with the design and
fabrication of leaded glass window panels. In addition to gaining
a thorough understanding of the role that art and design
fundamentals play in the formal language of creative expression,
the class:
1.places an emphasis upon developing a serious professional work
ethic,
2.helps to establish a working vocabulary of glass terminology
useful in subsequent glass program offerings, and
3.creates a dynamic studio environment that encourages each
student to demonstrate their personal artistic talent and
professional potential.
Outstanding first semester students are encouraged to pursue
further study in glass, at the Junior and Senior levels.
The second undergraduate semester in glass, AD314 A & B,
explores the techniques and processes essential to producing
"kiln-formed" glass. In this class the student
discovers how the controlled application of heat in an enclosed
environment can be used to create two and three dimensional forms
using fuse-compatible glasses of various hues and textures.
The third undergraduate semester in glass, AD414 A, covers basic,
introductory, techniques associated with "off-hand"
glass blowing. Students gain valuable experience working one-on-one
with the hot shop instructor learning proper methods of
gathering, marvering, blocking, etc. A specified number of simple
shapes are assigned and beginning hot shop students are
encouraged to produce a body of work by semester's end that
demonstrates the best of their new gained technical skills.
Subsequent undergraduate semesters in AD414 B are considered the
intermediate and advanced level and cover: practical concepts
concerning studio design, maintenance, and operation;
understanding the nature of refractory and insulation materials
and their application; the designing and hands-on building of
studio related equipment when required; and the continued and
expanded development of a personal form statement in the medium.
Outstanding performance at the advanced level can lead to
independent study on research proposals in glass under
instructional supervision.
The graduate program in glass, AD514, emphasizes a diversity in
student interests, backgrounds, professional goals, and aesthetic
attitudes. This diversity leads to a wide range of work, both
sculptural and functional, contemporary or traditional, all with
emphasis on personal expression. Career goals that are addressed
in the graduate program range from the training for an academic
career to those who wish to be self-sustaining independent
artists.
Program Highlights: The glass program at Southern Illinois
University of Carbondale utilizes
three well equipped facilities:
1.A large Flat Glass & Kiln-formed Glass Studio/classroom,
with 4 x 8 foot fabrication tables, appropriate hand tools,
vertical shaft diamond grinders, zinc came saw, and most
recently, four new Paragon kilns with electronic controllers,
located on the second level of the Industrial Education wing of
Pulliam Hall and near the blowing studio.
2.The Hot Shop featuring: two 450 pound crystal melt furnaces, a
four-crucible pot furnace, two fiber-lined stainless steel glory
holes, two marvers, four front-loading annealers (three short-cycle,
one long cycle), three large slumping/casting kilns, pick-up box,
garage over pipe warmer, electric kiln and annealer control via
two GB4 digital controllers.
3.The Graduate Glass House located in a two-story frame house on
the edge of campus, providing four private studio spaces as well
as a communal kitchen, bathroom, office with 486 computer,
monitor, and laser printer, and a living room/seminar/exhibition/critique
area with VCR and 19" monitor.
The basement of the Graduate Glass House provides an up-to-date
cold-working facility featuring:
four reciprolaps, one 20" and three 24" diameter
machines
two floor model vertical belt sanders
horizontal shaft diamond grinder with flat and radius diamond
wheels, plus cones
three worm-driven diamond cutoff machines, 12", 18",
and 20"
14" dia. Felker diamond "chop" saw with rolling
bed
24" diameter vertical felt buffing wheel
10" radius buffing wheel
two flat grinders, 20" and 24"
30" diameter temperature controlled slumping kiln
copper electroplating facility
heated glue booth for laminating
bell jar with stage and vacuum pump
wax melting station, with steam generator wax recovery system and
ventilation
hood
drill press with diamond core-drill attachment
separate mold-making room with dehumidifier
micro-sandblaster; compressed air routed to several stations
two hand-lapping stations
air driven die grinder with diamond tools on shanks
lamp-working station with "minor burner"
hot-cold water sink
work benches, tables, storage, etc.
Master of Fine Arts Graduates have been highly successful in
their chosen fields. Recent graduates have established their own
private glass studios, others have applied their talents to
teaching positions in higher education. Promising Undergraduate
Students have completed MFA degrees in other institutions and are
actively pursuing their art in various locations nation-wide. In
addition, outstanding undergraduate seniors have the opportunity
of competing for the Rickert-Ziebold Trust Award, an annual award
of $20,000 divided equally between our most promising young
artists. This is a cash award intended to further the educational
or professional goals of the best of our undergraduate students.
Five undergraduate glass students have received recognition for
outstanding creative work and have rightfully earned a share of
this prestigious award.
Centre College, Danville, Kentucky home base of Steven Rolfe Powell
ART 26E Hot Glass: Blowing and Casting
From traditional vessels to sculptural forms, students learn the
fundamental techniques of glass blowing and casting. Attention is
given to the history of glass and to the formulation of a
personal expression through the creation of glass objects.
ART 30 Applied Art
Study and practice in various art media: A) Printmaking-II, B)
Painting-II, C) Sculpture-II, D) Ceramics-II, E) Glass-II.
Prerequisite: the corresponding first-level course.
ART 41 Media Studies: Hot Glass: Blowing and Casting
(See ART 26E.) Prerequisite: two 26-level studio courses and
permission of the instructor.
ART 46 Glass-III
An advanced study of glass. Students focus on one long-term
project that culminates in a series of highly resolved works.
Prerequisite: ART 30E.
The Studio at the Corning Museum of Glass Winter 2002 Sessions
AN IN-DEPTH INTRODUCTION TO VENETIAN TECHNIQUES
WILLIAM GUDENRATH
Glassblowing
This class will provide a firm foundation in the basic movements
of Venetian-style glassblowing. This will include the making
of well-formed and thinly blown vessel bodies, excellent
necks, delicate mereses, and blown feet and stems. After
mastering these techniques, students will continue with cane-making
and cane-working processes. Objects from The Corning Museum of
Glass will be closely studied, initially to frustrate, and
then to inspire students. This course requires at least one year
of glassblowing experience.
INTRODUCTION TO GLASSBLOWING
ROBIN CASS
Glassblowing
This course is for beginning glassblowers. Participants will
begin with an individual exploration of molten glass through
both blowing and solid working. There will be demonstrations,
slide presentations, and plenty of hands-on practice. Basic
skills and teamwork will be emphasized. A wide range of
techniques for adding color, surface texture, and solid elements
will be introduced. No prior experience is necessary for
this class.
NEXT STEPS IN GLASSBLOWING
WILLIAM GUDENRATH
Glassblowing
This class is intended for students who have had some experience
with glassblowing. It is not intended for an absolute beginner.
Those with limited skills will benefit from exercises designed to
build their glassblowing repertoire. A structured approach,
lots of hands-on practice, demonstrations, and thorough explanations
of processes are the basis for this course. Students must have
had several months of glassblowing experience. No absolute
beginners please.
COLD CONSTRUCTION
MARTIN ROSOL
Coldworking
Using solid blocks of glass, Martin Rosol will instruct students
in all the aspects of coldworking: grinding, polishing, using
horizontal mill wheels and vertical lathes, and stone and diamond
cutting to create constructions from glass. Students will also
learn the Hxtal glue process to join glass elements. No
previous glassworking experience is necessary for this class.
MELTING POT
JOHN MILLER
Glassblowing
This class will focus on form and texture and the concepts behind
making hot sculpture and vessels using traditional and non-traditional
glassblowing techniques. Many different facets of glass working
will be covered, including color application, cane and
murinni, the incalmo process, cold working, and adhesives. We
will discuss how to properly use your body when working. Students
will work from drawings and will meet periodically with the
instructor and teaching assistant to discuss concepts and
technical approaches. Teamwork and proper shop etiquette will
also be a part of this course. You must hay, at least one year of
glassblowing experience for this class.
ADVANCED VENETIAN GOBLET MAKING
ELIO QUARISA
Glassblowing
Maestro Elio Quarisa will teach intricate techniques for
creating the most exquisite Venetian goblets. Students will work
with murrini, cane, and gold leaf. Mr. Quarisa will teach a
variety of traditional goblet stems and decorative
techniques. Students must have at least two years of Venetian-style
glassblowing experience for this course.
BEGINNING GLASSBLOWING: BUILDING A GLASSBLOWING FOUNDATION
HARRY SEAMAN
Glassblowing
This course is for anyone who wishes to learn glassblowing at the
furnace or for any student who wishes to return to the basics.
The focus of the week will be to master the fundamentals of
glassblowing. First, we will build a solid foundation by learning
proper gathering, marvering, and tool usage. Then, after
ample practice, and through basic exercises, we will learn to
complete simple blown forms. No prior glassworking experience is
necessary for this class.
2004-07-10 Rev.
I hope you indulge me in some thoughts following the postings
about Intermediate ranking of glassblowers.
The thoughts have to do with ranking or rating glassblowers as to experience or
skills.
I first thought of using grade levels, like school, but that visualized as small
children for too much of the time.
Then I thought of words - we have two sets: Beginner, Intermediate, Advanced and
Apprentice, Journeyman, Master. Apprentice is a problem for me as it means
something very specific - a legal relationship - that depends, these days,
entirely on the contract there being no guild of glassworkers, etc.
So I merged the two thoughts into a list which is in the table below.
Five sections, each with potentially 4 subdivisions. At the lowest level,
start with Beginner and have 8 steps, switching to Intermediate somewhere in the
middle. (1st grade through 8th grade). Then Journeyman, with 4 steps
(high school). Then Master, with 4 steps (roughly college, it breaks down
a bit here) Then Grand Master to go beyond Master.
Immediately that I write this down, I see two problems - while there are Grand
Masters in bridge, not in the crafts world that I am aware of. And while
we have Masters, putting the numbers the way I have doesn't match well with a
Masters degree in college. Perhaps Gaffer, then Master. But what of
the super Stars - Lino, etc.
But how to mark off the divisions? I have a vase blown by Terry Maxwell (the bottom is visible in the image here) that is just over 3.25 pounds (1.5 kg), 13" tall, thick walled vase inside color with round cookie foot.
So at what level do we place someone who can handle 1 pound of glass, 3 pounds, 5 pounds, 8 pounds, 12 pounds or as Stephen Rolfe Powell does, 25-30 pounds Stephen Rolfe Powell - Blown Glass Process
By another measure, where do we place a person who manipulates a bowl 8, 12, 16, 20, or 24" in diameter
Or by another, handles a vase 8, 10, 12, 14, 16, 20, 24, 30" tall
Or shall we look at the time it takes to do a task, 6 minutes for an ornament, 20 for a vase
Or shall we look at color inside, cased color, rolled color, threading, optic work, twisted optic work.
At what point do we put incalmo, Venetian goblet work, small or large solid sculpture?
Traditionally, it would be said that a Journeyman knows all the skills well enough that when shown what to do, can repeat them accurately enough to reproduce the work. It is the Master that designs the moves to make the piece, either by designing the piece or interpreting the design to a set of workable moves.
So - using the five levels I have proposed, would you please suggest tasks that you would, if you saw a person easily doing them, assign the person a certain level of skill - name the task and the skill level.
1 | Beginner | ||
2 | |||
3 | |||
4 | |||
5 | Intermediate | ||
6 | |||
7 | |||
8 | |||
1 | Journeyman | ||
2 | |||
3 | |||
4 | |||
1 | Master (Gaffer) | ||
2 | |||
3 | |||
4 | |||
1 | (Grand) Master | ||
2 | |||
3 | |||
4 |
Laura Doerger-Roberts
Member
Registered: Apr 2004
Location: Cincinnati, OH
Posts: 103
I am in a class, not at Pilchuck, but at a glass school at the moment. (I'm
sitting out, due to a nasty burn)
An intermediate glass student ( from the perspective here) should be able to:
Make a tumbler from 1-2 gathers of glass in less than 15 minutes. It should have
straight sidewalls and hold at least 12 oz. of liquid.
Know how to make several types of punties.
Be able to tweeze and trim the lip of a piece proficiently.
Not need assistance (pipe turning) for putting in necklines, using blocks, etc.
This means an intermediate student should be able to coordinate both hands at
the same time.
Know how to properly set up to make a cylinder, bowl, cone, wedge.
Know how to bring lip wraps and color overlay drops.
There were certainly some "non-beginners" in the class, both very young (17-20)
with little regard for the label intermediate-advanced students. Fortunately,
they got paired together and none of us really had to deal with them too much!
Hope this helps!
I would add to the intermediate qualifications - flexibility from experience in
handling several different kinds of glass and confident in ability to assist
including taking direction in making and placing bits and color.
frame1 htm 679 03/08/04 9:34p Learning Glass
fr-learn htm 451 09/27/03 7:51p Learning About Glass and Glassblowing
narlearn htm 5255 04/21/03 9:55p Narrative - Learning Furnace Glassblow
classes htm 11569 02/08/04 10:38a Table of Contents - Classes in Furnace
classes htm 50250 06/26/04 4:13a Classes by Region
training htm 3283 02/08/04 10:38a Training & Apprenticeship
tocschol htm 4304 10/28/03 10:05p Table of Contents-Schools
clas2001 htm 15260 02/08/04 10:37a Summer 2001 Classes
clas2002 htm 19781 02/08/04 10:37a Summer 2002 Classes
clas2003 htm 1341 02/08/04 10:37a Classes 2003
And to add another factors - what is meant by 2 years experience. A full time worker will have 2000 hours (40 hours a week for 50 weeks). A weekend glassblower might have 200 hours (4 hours a weekend, 50 weekends).
Mike, I think that once you meet intermediate, there are so many different
paths to take in glassblowing that it would be hard to quantify levels above.
It's not a matter of how much glass is handled. I find it much harder to work
thin stemware than big heavy stuff.
I'm a big strapping girl and can easily handle heating pickups on the pastorale
and work 4-5 gather pieces. However, I recently worked with someone who could
not physically lift more than 3 gathers and was too weak to heat the pastorale.
However, it was no indication of our skill levels.
I would imagine that a Journeyman and above would be capable of excellent
assistance, including punties for all occasions, avolios, a variety of wraps,
how to present garaged pieces, encalmo components, blown feet, dropped feet,
pickups, knowledge of how to read heat properly based on the size of the piece,
etc.
As for gaffer skills, all of the above, the ability to turn the pipe in perfect
harmony, not letting anything you do with your tools keep you from turning the
pipe smoothly (somone else actually indicated that was an advacnced skill) how
to direct someone to do all the above without losing focus on the piece, the
ability to build and troubleshoot equipment, work big, work small, work thick
work thin and be able to competently DRAW and DESIGN with unique style and
balance.
Just thoughts.