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Articles 1 - 11 of 11

Full-Text Articles in Art and Design

Ralph Fasanella: Worker, Activist, Artist, Nick Salvatore Jun 2012

Ralph Fasanella: Worker, Activist, Artist, Nick Salvatore

Nick Salvatore

[Excerpt] In his art, as in his life, Ralph Fasanella reminds us all of the complexity of our society and of the need for each generation to dedicate itself anew to the commitment of justice for all. That his work, accomplished without the benefit of formal training, is as arresting and as pleasing as it is, is but a reflection of Ralph Fasanella's basic message.


Line Relationships: More To Lines Than Meets The Eye, Robert N. Oddy Mar 2011

Line Relationships: More To Lines Than Meets The Eye, Robert N. Oddy

Robert Oddy

Lines in stained glass artwork are important design features. With copper foil and lead came techniques, they are often prominent and black with the light source behind them. Carefully designed and implemented lines can enhance the sense of depth in a picture and have a rather paradoxical nature in our work. I find that I have a rather complicated relationship with my lines.


The Lead Line Effect: Shape Without The Came, Robert Oddy Dec 2010

The Lead Line Effect: Shape Without The Came, Robert Oddy

Robert Oddy

In a previous article, I have mentioned my view that stained glass work is akin to impressionism. We use the features of the glass to suggest detail in our subject matter. However, I often find that for some details, this approach is not adequate. For an example, see the scales in Koi, figure 1. It is also not always practical to implement this fine detail by joining large numbers of very small pieces of glass. In this article, I will talk about methods that produce effects compatible with the ‘lead’ lines of traditional stained glass, namely the use of copper ...


Plating In Stained Glass: Experience The Beauty, Robert Oddy Dec 2010

Plating In Stained Glass: Experience The Beauty, Robert Oddy

Robert Oddy

“Plating” is a piece of stained glass jargon. It refers to the practice of using more than one layer of glass in the construction of a panel. The layers are not fused together. They are simply stacked up, one on top of another and joined by soldering foil or came. I would like to spend a little time on the reasons for using this plating technique. In a future article I may say more about the techniques themselves, but the why’s are more important than the how’s.


The Illusion Of Depth In Stained Glass: Techniques, Robert N. Oddy Dec 2010

The Illusion Of Depth In Stained Glass: Techniques, Robert N. Oddy

Robert Oddy

No abstract provided.


The Illusion Of Depth In Stained Glass: Exposed To The Light, Robert N. Oddy Dec 2010

The Illusion Of Depth In Stained Glass: Exposed To The Light, Robert N. Oddy

Robert Oddy

Stained glass artwork often looks flat. Of course, most stained glass panels are flat. What I mean is that the objects depicted look flat. In my own work, I have given a lot of attention to creating the illusion of depth. What is depth? It refers to the spacial dimension that recedes directly away from our eyes into the distance. If a picture has depth, we see some of its elements as solid objects; some appear closer than others; we are aware of foreground, middle distance and background.


Choosing Glass: Color And Impressions, Robert N. Oddy Dec 2010

Choosing Glass: Color And Impressions, Robert N. Oddy

Robert Oddy

In the last issue of Glass Craftsman, I said that, for me, the choice of glass is probably the most important factor contributing to artistry in stained glass. Tiffany’s company made glass for specific purposes, and raised the medium to a new level of expressive power. Now, we have a huge selection of stained glass available for our creative purposes. We just have to make the effort to familiarize ourselves to what is out there.


Spontaneity In Stained Glass Work, Robert N. Oddy Dec 2010

Spontaneity In Stained Glass Work, Robert N. Oddy

Robert Oddy

Stained glass does not lend itself to spontaneity. We design, thinking always about how the glass will be cut and what glass will be available to us. Then, the fabrication is a very slow and meticulous process, requiring accuracy of cutting so that the pieces fit together closely – glass doesn’t bend, stretch or squash. We have to do too much careful planning, and too much engineering! How can we make our subjects come alive, with movement and energy, when we cannot use our bodies to express these things while we are doing the art?


The Fall And Rise Of "Owl", Robert N. Oddy Dec 2006

The Fall And Rise Of "Owl", Robert N. Oddy

Robert Oddy

This article is an account of the work of restoring Owl back to good health. Although the task was initially daunting–and I put it off for a while favoring new creations—it turned out to be interesting. I was able to relive the experience of building one of my early windows, going back to an early stage in my career as a stained glass artist. I hope you will find this account good reading. One of the features that makes the Owl repair interesting is that many parts of the window are plated. In other words, they are made ...


A Stained Glass Artist’S Adventure Into Sculpture: Adding A New Dimension To My Work, Robert Oddy Dec 2000

A Stained Glass Artist’S Adventure Into Sculpture: Adding A New Dimension To My Work, Robert Oddy

Robert Oddy

No abstract provided.


Thoughts Of An Artist In Stained Glass, Robert N. Oddy Dec 1998

Thoughts Of An Artist In Stained Glass, Robert N. Oddy

Robert Oddy

No abstract provided.