Art and Design Commons^™

Choosing Glass: Color And Impressions, Robert N. Oddy

School of Information Studies - Faculty Scholarship

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.

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

School of Information Studies - Faculty Scholarship

No abstract provided.

Book Repair Basics For Libraries, Peter D. Verheyen, Marianne Hanley

Libraries' and Librarians' Publications

This presentation familiarizes viewers with different aspects of circulating collections book repair for school, public, and academic library staff. It shows basic descriptions of techniques using images, and video. This presentation should not be construed as a how-to, hands-on workshop. Likewise, it is not aimed at the treatment of special collections items. Selected resources for training, both hands-on and online are provided at the end.

Book Repair Basics For Libraries : Webinar, Peter D. Verheyen, Marianne Hanley

Libraries' and Librarians' Publications

This presentation familiarizes viewers with different aspects of circulating collections book repair for school, public, and academic library staff. It shows basic descriptions of techniques using images, and video. This presentation should not be construed as a how-to, hands-on workshop. Likewise, it is not aimed at the treatment of special collections items. Selected resources for training, both hands-on and online are provided at the end. This webinar was presented to ALA/Association for Library Collections & Technical Services (ALCTS). Online. Sep. 14, 2011. Download below or view online at http://www.youtube.com/watch?v=8qWWnIHoRig.

Spontaneity In Stained Glass Work, Robert N. Oddy

School of Information Studies - Faculty Scholarship

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

School of Information Studies - Faculty Scholarship

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.

Salt, A Web-Based Ipad Magazine, Caitlin Dewey

Honors Capstone Projects - All

Abstract not included.

Darken The Beauty Spots, Jillian Ellis

Honors Capstone Projects - All

Darken the Beauty Spots uses images gathered from sources such as Vogue, Good Housekeeping, and action movies to discuss whether images of truly empowered women exist in the media. The project examines six different and specific patterns of imagery found in the media that could potentially be seen as either empowering or repressive. Each pattern occupies its own 35” x 40” canvas that contains between four and eight found images taken out of their original contexts, cropped into fragments, and strategically placed on the canvas in order to create relationships between the images. The work is meant to remain …

What The Health Magazine Redesign, Sarah Glaser

Honors Capstone Projects - All

I was art director for the Fall 2009 and Spring 2010 issues of What the Health magazine, a student-run publication on campus at Syracuse University. To put together the issues I oversaw an entire design department consisting of photographers and graphic artists. Photography assignments often came in late leaving little time for design work, and I did not feel satisfied with the ultimate layout design of the magazine. For my capstone project I took on the challenge creating a final book combining the strongest pieces from both original issues in a redesigned layout. I wanted to overcome the inconsistency that …

Fox Fire, Emily Watanabe

Honors Capstone Projects - All

“Fox Fire” is an independent animated short. Its plot is centered on a young boy, a mysterious girl, and their adventures at a Japanese summer festival. The purpose of this project was to create a short and fun animation to stir the imagination of its viewers while incorporating elements of Japanese culture and experimenting with unique aesthetic choices.

During the initial brainstorming stages of this capstone, I decided that I wanted to somehow incorporate pieces of Japanese culture and mythology into the project. Not only is the folklore fascinating, I often enjoy expressing my Japanese heritage through artwork. The choice …

Cycling Without Spandex: A Transdisciplinary Approach To Design, Jess Garnitz

Architecture Thesis Prep

"Engaging with other disciplines is important to designers today as the nature of problems and issues are becoming more complex."

"The problem of integrating bicycles into our city streets is inherently a problem that requires transdisciplinary work. This is because of the complexity of the problem and the numerous areas affected through the integration. The problem is like an interconnected web of relations. There are issues relating to wayfinding and understanding how to get from destination to destination, which relate to issues of speed and non-verbal communication."

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

School of Information Studies - Faculty Scholarship

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 …

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

School of Information Studies - Faculty Scholarship

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.

Polyester Encapsulation Using An Edge Welder, Donia J. Conn, Peter D. Verheyen, Department Of Preservation And Conservation

Libraries' and Librarians' Publications

Step-by-step instructions for encapsulating documents and other flat paper-based items in polyester film (mylar) using an edge welder.

Windowed Drop Spine Box, Donia J. Conn, Department Of Preservation And Conservation

Libraries' and Librarians' Publications

Step-by-step instructions for measuring and assembling a drop-spine box for the housing or rare books and other materials. This variant of box features a clear spine area allowing the contents to be seen when the box is closed.

Drop Spine Box, Donia J. Conn, Peter D. Verheyen, Department Of Preservation And Conservation

Libraries' and Librarians' Publications

Step-by-step instructions for measuring and assembling a drop-spine box for the housing or rare books and other materials.

"Molded" Paper Spine Binding, Donia J. Conn, Department Of Preservation And Conservation

Libraries' and Librarians' Publications

The molded paper spine is a rebacking/recasing structure intended for leather-bound books for which the covers have deteriorated too much to be salvageable. The new molded paper spine looks very much like leather and is very strong.

Corrugated Drop Spine Box, David J. Stokoe, Department Of Preservation And Conservation

Libraries' and Librarians' Publications

Step-by-step instructions for measuring and assembling a drop-spine box made from a single sheet of corrugated board for the housing or rare books and other materials.

Phase Box, Donia J. Conn, Peter D. Verheyen, Department Of Preservation And Conservation

Libraries' and Librarians' Publications

The "phase box" is a simple, low-cost, enclosure made from 20pt acid-free folder stock. It is designed to protect brittle, deteriorated, "low priority" items.

Preservation At Syracuse University Library, Peter D. Verheyen, David Stokoe, Marianne Swanberry Hanley, Robert J. Hodge

Libraries' and Librarians' Publications

Prepared for IST600 (Preservation), this presentation gives an overview of the activities of the Department of Preservation and Conservation including environment, disaster preparedness and salvage, circulating collections repair, rare book conservation, rehousing, audio preservation, and digitization. For more about department see http://library.syr.edu/about/departments/preservation and our resource guide at http://researchguides.library.syr.edu/preservation.

Plating In Stained Glass: Experience The Beauty, Robert N. Oddy

School of Information Studies - Faculty Scholarship

“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.

Conservation Re-Casing (Binding), Donia Conn, Peter D. Verheyen, Department Of Preservation And Conservation

Libraries' and Librarians' Publications

Conservation recasing is a way to preserve our 19th and 20th century materials in which the bindings have failed and, in many cases, been lost over time. It is not intended to be used on valuable bindings or volumes printed before 1800. The structure used is based on the German (Bradel) case binding.

Paper Spine For Thin Volumes, Donia J. Conn, Department Of Preservation And Conservation

Libraries' and Librarians' Publications

Similar in concept to the Molded Paper Spine, this treatment is intended for materials in the collection printed before 1800 in which the text block is less than 1cm thick. The technique comes from Frank Mowery at the Folger Shakespeare Library.

Mylar Phase Box, Donia J. Conn, Department Of Preservation And Conservation

Libraries' and Librarians' Publications

The Mylar phased box is a simple, low-cost, enclosure made from 20pt acid-free folder stock and heavy weight Mylar to create a see through wrapper for higher end items. This box comes from the Folger Shakespeare Library and was designed by Linda Blaser.

Exhibition Cradles For Books, Donia J. Conn, Department Of Preservation And Conservation

Libraries' and Librarians' Publications

Instructions for making cradles to properly support books while on exhibit. Materials used include Vivak (a bendable plastic) and mat board.