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This site contains information for the Fall 2009 semester's class participants. Other pages (the links in the blue banner at the top) contain information about past semesters, our studio, and links to other glass resources.
This class will include of survey of glass working techniques and history as well as develop the skills required to plan, articulate, and execute designs. We will explore the changing dialogues that exist between traditional craft mediums and contemporary art through the practice of manipulating glass, drawing, and writing. You will be expected to keep a sketchbook/journal that reflects your experiences in and out of the class in regard to your creative pursuits.
class schedule
class schedule
Wednesday August 26
First class. Equipment operation/ studio procedures and protocol/ Safety/ Open forum
Monday August 31
Review of all safety procedures and hazardous materials. Introduction to studio protocol, etiquette, equipment operation. Scheduling of blow slots.
Wednesday Sept 2 - "getting into it"
We will engage the process of pulling glass out of the furnace (gathering). Perhaps the most important, yet often overlooked part of the process. Everyone will participate in gathering exercises. Class will end with a few short demonstrations of proper tool usage and punties.
Wednesday Sept 9 - your first 5 moves
How you begin the process of working with glass has much to do with the result you get. We’ll discuss planning out your work focusing on the first few steps of the process beyond the gather. We will discuss the basic shapes from which most forms are made and how to achieve them efficiently.
Monday Sept 14 - slide presentation [new date]
Will include images of contemporary uses of glass across disciplines from architecture, and design, to conceptual art. We will cover the utilitarian designs from antiquity, the traditions of Venice, the American Studio Glass Movement, and Contemporary Artists. First long term project assigned.
Wednesday Sept 16 - teamwork
The class will break down into teams to make the basic forms previously demonstrated on Monday. We will begin to discuss the process of adding “bits” and color to these forms.
Monday Sept 21 - garage
This class will focus on combining techniques and equipment available to us in order to execute more complex works. We will discuss how to navigate the “garage” to combine parts.
Wednesday Sept 23 - sculptural forms
The class will collaborate on several sculptural forms from to design to execution. We will focus on proper bit bringing, heating, teamwork, and process organization.
Monday Sept 28 - garage
This class will focus on combining techniques and equipment available to us in order to execute more complex works. We will discuss how to navigate the "garage" to combine parts.
Wednesday Sept 30 - sculpture
The class will collaborate on several sculptural forms from to design to execution. We will focus on proper bit bringing, heating, teamwork, and process organization.
Monday Oct 5 - sculpture
We will begin by reviewing all the work executed outside of class, and begin to problem solve some of the issues related to the assignment.
Assignment #1: The id, the ego, and the super-ego.
Due date: Nov 30.
Id, ego, and super-ego are the three parts of the psychic apparatus defined in Sigmund Freud's structural model of the psyche. According to this model, the uncoordinated instinctual trends are the "id", the organized realistic part of the psyche is the "ego," and the critical and moralizing function the "super-ego."This theory proposed by Freud seems appropriate when considering the locus for most all modes of art production. One might consider Polluck the id, Richard Avedon the ego, and Louise Bourgeois the super ego. Another argument can be made that the works of each of these artists involves all aspects of this model proposed to offer definition to the way in which we interact simultaneously with the external world and internal forces.I would like each of you to develop a composition that addresses some aspect of Freud’s theoretical model in relation to yourself and your process. There are few constraints within this assignment, but I will expect you to be clear about how your work fits into the fore mentioned theory and how you position yourself within that framework. This may mean that you will have to look more closely at the theory itself or at yourself. Take the time to think about what you’re doing. Please address any questions or concerns sooner than later.Along with the presentation of your composition at the critique you will hand me a 200 word essay defining your thoughts and process in regard to the project.Wednesday October 7 - adding heat
We'll talk about when and when not to use some of the torches available to us in teh studio. Proper use and safety will be covered.
Monday Oct 12 - pulling cane
Making cane.
Wednesday Oct 14 - cane vessel
Using the cane we made in the last class to make vessels and sculptures.
Monday Oct 19 - more cane
Fusing and pick-ups.
Tuesday+Wednesday Oct 20+21 - on-campus glass sale
Proceeds ~= $700.
Wednesday Oct 21
Cup-making workshop with Sadie or a plate-glass demo?
Sketchbooks are due for review.
Wednesday Oct 28 - museum buyer
Visit by Kpoene' Kofi-Bruce, the museum-store manager and buyer for the Museum of Craft and Folk Art. The class will be doing a Thanksgiving show there, with 50% of the sale price going to the store, and 25% each to the class and the artist.
Monday Nov 2 - museum store production (advanced)
Production days in support of the show at the Museum of Craft and Folk Art. We'll split into two groups - the 'advanced' people and the 'beginning' people. You are welcome to come to both sessions.
Wednesday Nov 4 - museum store production (beginning)
More production.
Monday Nov 9 - visiting artist
TBD.
Monday Nov 16 - museum store production (advanced)
More production.
Wednesday Nov 18 - museum store production (beginning)
More production.
Monday Nov 16 - museum store production (advanced)
More production.
Wednesday Nov 18 - museum store production (beginning)
More production.
Monday Nov 30 - goblet parts
Wednesday Dec 2 - bowls
Monday Dec 7 - TBD.
Wednesday Dev 9 - photograph work. Bring a piece or two for a professional-quality photograph.
Monday Dec 14 - last class. Studio clean-up and pack up for the winter break.
class policies
class policies
Materials fee: There is a $262 materials/ lab fee payable to the bursar's office and confirmed by the stamped form by 22 Sept 2009. failure to do so may result in forfeiture of blow slots.
Attendance: You get 2 unexcused absences during the semester. If you let me know what's going on I can excuse the absence and you won't get your third unexcused absence that will result in lowering your grade. Your main responsibility is to your blow slot and to your partner: failure to show up to and notify your partner of your absence will result in a loss of studio privileges. You should always give as much notice as possible if you can't make your blow slot.
Grade: Your grade will be determined by:
- 2 project critiques 40%
- sketchbook/journal 20%
- contribution to the class 35%
- attendance 5%
Glass Blowing (ART 547)
Glass Blowing (ART 547)
A class from San Francisco State University College of Extended Learning.
Instructor: Nate Watson
This course is for all levels. Emphasis is on the creation of sculptural artwork through explorations in molten glass. Technique and aesthetics will be taught.
Class dates: Aug 26 - Dec 14, 2009. 6:30-9:30pm Mon+Wed
No classes: Sep 7 (holiday), Oct 26 (furlough), Nov 11 (Veteran's day), Nov 24, 25 (Thanksgiving)
Studio closed: Sep 4 and 8 (furlough days), Fri Oct 23 (furlough day), Mon Oct 26 (furlough day), Nov 11 (Veteran's day), Nov 23-27 (Thanksgiving)
Glass sales: Oct 20+21
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