Abstract
This article discusses both the complexity and technical benefits of developing an inlaid colouring technique for the hot glass-making process. This technique was inspired by the ancient Korean ceramic decorative technique known as Sanggam, and has allowed me to delineate geometric patterns and counterfeit letters onto glass artworks, before encapsulating them between layers of transparent glass. By developing a typography design that deliberately chooses the wrong consonant and vowel letters, and combines Korean characters, the resulting designs do not fit into either South Korean or British visual culture. A number of optical properties (in particular refraction, reflection, and distortion) provoke a sense of ambiguity in the viewer’s visual experience of, as well as their response to, a series of glass artworks created for experimental purposes. The technique offers an innovative creative tool for artists working in the field of glass art, enabling them to depict expressive drawings and images through a line drawing style, using diverse colours, and in a more controlled manner than the hot glass-making process of the ‘Graal’ technique. The technical possibilities and limitations of the inlaid glass colouring technique are addressed at each step of the development process, while examples of the technical palette serve as a useful reference for artists working in the field of glass art.
Highlights
I first identified the potential for developing a colour decorative technique for glassblowing in response to research concerning the encapsulation of voids within the body of glass artefacts undertaken by Flavell (2001), a British glass artist, researcher, and former lecturer at the EdinburghCollege of Art
The technique offers an innovative creative tool for artists working in the field of glass art, enabling them to depict expressive drawings and images through a line drawing style, using diverse colours, and in a more controlled manner than the hot glass-making process of the ‘Graal’ technique
The success of the inlaid colouring technique requires an interruption in the standard hot glass making process
Summary
I first identified the potential for developing a colour decorative technique for glassblowing in response to research concerning the encapsulation of voids within the body of glass artefacts undertaken by Flavell (2001), a British glass artist, researcher, and former lecturer at the Edinburgh. Cultural authority is unheimlich, for to be distinctive, significatory, influential and identifiable, it has to be translated, disseminated, differentiated, interdisciplinary, inter-textual, international, inter-racial Inbetween these two plays the time of a colonial paradox in those contradictory statements of subordinate power”. Myglass-making aim is for this theoretical andispractical expressive and images glass during the hot process My aim for this knowledge to benefit cross-cultural studies in the field of contemporary glass art. It is hoped that this theoretical and practical knowledge to benefit cross-cultural studies in the field of contemporary glass paper will inspire others to look further into my doctoral findings and apply my techniques to their art. It is hoped that this paper will inspire others to look further into my doctoral findings and apply own practice. to their own practice
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