2D and 3D Printing in Glass Casting

arts

Article Graphic Swim: 2D and 3D Printing in Glass Casting

Jeffrey Sarmiento

National Glass Centre, University of Sunderland, Unit 4 Liberty Way, Sunderland SR6 0GL, UK; [email protected]

Received: 15 December 2018; Accepted: 6 February 2019; Published: 4 March 2019

Abstract: This document is a report on developing processes to encourage ﬂow of the graphic image in kilnformed glass. It is also a description and reﬂection on a body of artworks in glass in which new visual qualities were exposed through a mishap and turned into an aesthetic choice. The research links 2D print approaches to 3D printing and their integration in cast glass. It updates the author’s practice-based PhD research, a study that utilizes glass printing, cutting and fusing processes to combine the printed image within the glass object. The outcomes of the study can be organized under two approaches that have been developed, one appropriate to practical workshop teaching, and the other for the conceptualization and fabrication of new personal artworks.

Keywords: glass art; kilnforming; screenprinting; lost PLA casting; glass casting; 3D printing

1. Introduction This research is an exploration of a combination of 2D and 3D approaches to print with the visual effects of movement through melting produced in kilnformed glass. First mentioned in a handbook on glass and print (Petrie 2006, p. 64), the possibility of ‘graphic swim’ has not been explored explicitly in creative glass research. This author’s PhD study speculated on a working approach: ‘The dynamic movement of the graphic image within the glass form might be achieved through methods that encourage the loosening of control over the printed image’ (Sarmiento 2011, p. 169). The opportunity to do such research came in an artist residency and the creation of a new workshop at Bullseye Glass Company, a glass manufacturer which is also inﬂuential in exhibition, research, and education. It is embodied in new artworks by the author, whose research is from the perspective of an artist working in glass.

1.1. Background First developed in 2007, Encyclopaedia (Figure1) is an on-going body of artwork made through printing and kilnforming processes. It consists of book-shaped rectangular solid forms in glass arranged in multiple units, a visual nod to the volumes traditionally found on library shelves. Within each form, the pages have been replaced by sheets of printed glass, upon which images, text and patterns are layered, remixed, and fused together. This dense collection of visual information is intended as an expression of the artist/researcher’s collected experience of life as a perpetual foreigner. Encyclopaedia uses transparency in glass to express the idea of seeing all the layers of information at once. Glass has historically been used as a surface for the painted, etched, and photographic image. In the modern practice of kilnforming glass, one working approach is to work with the permanent image on, or in, a piece of glass.

Arts 2019, 8, 29; doi:10.3390/arts8010029 www.mdpi.com/journal/arts Arts 2019, 8 FOR PEER REVIEW 2

imagery. As each image is separated by the thickness of glass, a floating effect is achieved. Variations on this theme have included a series of small Volumes, consisting of eight screenprinted images embedded in a book-sized object; Chapters, a wall-based version of the works in which the imagery is both layered and laid out; and Encyclopaedia, in which 100 images are embedded within a 70 kg Arts 2019, 8, 29 2 of 11 solid block of fused and polished glass.

Figure 1. Jeffrey Sarmiento, Encyclopaedia (Volumes), 2012. Screenprinted, fused and polished glass. Figure 1. Jeffrey Sarmiento, Encyclopaedia (Volumes), 2012. Screenprinted, fused and polished glass. Photo: David Williams. Photo: David Williams. The images in this work are made by screenprinting a variety of ceramic on-glaze enamels and glass1.2. A powders Big Mistake onto sheets of glass, sintering the image permanently in a kiln. In this particular body of work,This the body embedding of work has of multiple been improved layers of in printed each iteration glass is achievedthrough refining through the fusing process. a stack Examples of glass sheetsinclude held thein addition place by of kiln a bricks.vibrant Thetransparent fusing results color inpalette a homogenous in screenprinted rectangular glass block powders of glass, in whichcombination is then with polished the detailed, to reveal but multiple opaque, surfaces prints cr andeated angles using through onglaze which enamels. to view It is thepossible embedded to use imagery.exclusively As eachanalog image techniques is separated in the by making the thickness of printed of glass, and a floatingfused glass. effect However, is achieved. digital Variations making on thisprocesses theme such have as included scanning, a series image of smalland vectorVolumes applications, consisting play of eight an essential screenprinted role in images the compilation, embedded increation, a book-sized and manipulation object; Chapters, of thea wall-based printed image; version sc ofreenprint the works positives in which are the output imagery on istoner both or layered inkjet andprinters laid out;as opposed and Encyclopaedia, to drawingin on which film. 100Process images CMYK are embeddedhalftones and within complex a 70 kg multi-colored solid block of images fused andand polishedpatterns glass.have been applied to the glass using registration printing. Quality control is also a motivation in developing the making approach. For example, techniques have been improved in the 1.2. A Big Mistake alignment and screenprinting of glass sheets, which differ to paper in thickness, transparency, surface texture,This and body absorbance. of work has To beenprevent improved the formation in each of iteration large bubbles through which refining ruin the the process. work, a Examplestwo-stage includefusing process the addition was introduced of a vibrant to casting transparent of the large color Encyclopaedia palette in screenprinted. An additional glass casting powders process in is combinationintroduced, laying with the several detailed, fused but units opaque, (similar prints in created scale usingto the onglaze Volumes enamels.) into a Itrefractory is possible mold to use to exclusivelycontain the analogglass as techniquesit melts at a in process the making temperature of printed into andits final fused form. glass. These However, blocks sit digital on their making long processesedge in the such mold as for scanning, two purposes. image andFirst, vector the orient applicationsation should play allow an essential air between role in the the units compilation, to escape creation,during the and firing manipulation process. Second, of the printedas the thickness image; screenprintof the glass positivesis a factor are in the output annealing on toner and or cooling inkjet printersof the work, as opposed this layout to drawing provides on film.the least Process vert CMYKical height halftones and andthe lowest complex temperature multi-colored difference images andbetween patterns top and have bottom been appliedin the kiln. to theThis glass strategy using makes registration for the most printing. efficient Quality cooling control cycle is and also the a motivationmost stable infinal developing work in cast the makingglass. approach. For example, techniques have been improved in the alignmentThis insistence and screenprinting on control of may glass improve sheets, which quality, differ but toalso paper serve in thickness,as a barrier transparency, to experimentation surface texture,and progress. and absorbance. As curator ToTina prevent Oldkno thew formationexplains in of an large analysis bubbles of technique which ruin and the creativity work, a in two-stage the field fusingof Studio process Glass, was ‘Glass introduced is a technically to casting demanding of the large material,Encyclopaedia and because. An additional of this, there casting is always process the is introduced,threat of artists laying (and, several equally fused important, units (similar their in view scaleers) to thebecomingVolumes arrested) into a refractory at a level moldthat focuses to contain on themastery glass of as skill’ it melts (Oldknow at a process 2008, temperature p. 29). into its final form. These blocks sit on their long edge in the moldWhat for brought two purposes. this body First, of work the orientation its greatest should leap forward allow air (both between creatively the units and totechnically) escape during was thein fact firing a big process. mistake; Second, in this as case the thicknessit might also of the be glass considered is a factor a moment in the annealing of serendipity. and cooling A mold of was the work,constructed this layout from provides refractory the boards least vertical and bricks height to and accommodate the lowest temperature a large Encyclopaedia difference, betweenmade using top andfused bottom ‘volumes’ in the as kiln.described This strategyabove. This makes approach for the was most being efficient used coolingas the intended cycle and form the was most straight stable final work in cast glass.

This insistence on control may improve quality, but also serve as a barrier to experimentation and progress. As curator Tina Oldknow explains in an analysis of technique and creativity in the field of Studio Glass, ‘Glass is a technically demanding material, and because of this, there is always the threat Arts 2019, 8, 29 3 of 11 of artists (and, equally important, their viewers) becoming arrested at a level that focuses on mastery of skill’ (Oldknow 2008, p. 29). What brought this body of work its greatest leap forward (both creatively and technically) was in fact a big mistake; in this case it might also be considered a moment of serendipity. A mold was constructed from refractory boards and bricks to accommodate a large Encyclopaedia, made using ArtsArts 2019 2019, ,8 8 FOR FOR PEER PEER REVIEW REVIEW 33 fused ‘volumes’ as described above. This approach was being used as the intended form was straight sided,sided, andand unlikeunlike anan investmentinvestment moldmold thethe componentscomponents areare reusablereusable andandand adjustable.adjustable.adjustable. AA generalgeneral rulerule waswas followedfollowed forfor suchsuch aa setup:setup: the the weight weight of of the the gla glassglassss in in the the mold mold was was supported supported by by at at least least an an equal equal weightweight outside outside the the mold. mold. However, However, due due to to anan error error in in the the distribution distribution of of su supportingsupportingpporting weight, weight, the the mold mold failedfailed during during this this firing firingfiring and and gave gave way way to to the the pressu pressurepressurere ofof the the liquefied liquefiedliquefied glass glass (Figure (Figure2 2). ).2). TheThe The resultresult result waswas was aa lossloss ofof glassglass fromfrom thethe intendedintended thicknessthickness having having run run off off thethe longlong ends,ends, whichwhich wouldwould later later have have to to bebe removedremoved asas waste.waste.waste. However,However, thisthis kilnkiln ‘disaster’‘disaster’‘disaster’ gavegave anan unintendedunintended effect:effect: imageryimagery withinwithin thethe pre-fusedpre-fused elements elements shifted shifted dramatically dramatically from from the the centercent centerer of of the the work work out out towardtoward the the openopen edgesedges of of the the mold.mold. When When the thethe glass glassglass was waswas removed removedremoved from fromfrom the thethe kiln, kiln,kiln, it itit was waswas found foundfound to toto be bebe intact intactintact and andand viable viableviable for forfor finishing. finishing.finishing. WithWith itsits its facesfaces faces polished,polished, polished, aa a graphicgraphic graphic ‘swim’‘swim’ ‘swim’ waswas was revealedrevealed revealed asas as thethe the resultresult result ofof of thethe the kilnkiln kiln mishapmishap mishap (Figure(Figure (Figure3 ).3). 3).

FigureFigure 2. 2. Kiln Kiln setup setup for for failed failed fusing fusing of of Encyclopaedia.Encyclopaedia Encyclopaedia.. Photo:Photo: TheThe Author.Author.

FigureFigure 3. 3. JeffreyJeffrey Jeffrey Sarmiento, Sarmiento, Encyclopaedia Encyclopaedia (Swim( (SwimSwim),), 2018. 2018. Screenprinted, Screenprinted,Screenprinted, cast castcast andand polishedpolished glass.glass. Photo: Photo:Photo: DavidDavid Williams.Williams.

2.2. Methods Methods and and Approaches Approaches AsAs the the bungled bungled firing firing provided provided such such surprising surprising re results,sults, a a change change in in direction direction of of the the work work led led to to thethe currentcurrent research;research; aa newnew aimaim waswas developeddeveloped toto encourage,encourage, ratherrather thanthan eliminate,eliminate, flowflow andand movementmovement of of imagery imagery within within the the glass. glass. It It combines combines approaches approaches relevant relevant to to the the layered layered fused fused imagery imagery inin Encyclopaedia Encyclopaedia with with the the natural natural movement movement of of the the glass glass that that is is common common to to Studio Studio Glass. Glass. Gravity Gravity and and inflationinflation are are used used to to change change the the shape shape of of glass, glass, and and this this transformation transformation is is recorded recorded on on and and within within the the resultingresulting objects.objects. ContemporaryContemporary examplesexamples includeinclude thethe ‘weaving’‘weaving’ ofof decorativedecorative canecane patternspatterns ofof

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2. Methods and Approaches As the bungled ﬁring provided such surprising results, a change in direction of the work led to the current research; a new aim was developed to encourage, rather than eliminate, ﬂow and movement of imagery within the glass. It combines approaches relevant to the layered fused imagery in Encyclopaedia with the natural movement of the glass that is common to Studio Glass. Gravity and

Artsinﬂation 2019, 8 areFOR usedPEER REVIEW to change the shape of glass, and this transformation is recorded on and within4 the resulting objects. Contemporary examples include the ‘weaving’ of decorative cane patterns of Italian-inspiredItalian-inspired blown blown glass glass by by Tobias Tobias Møhl, and the veiling between individual elements melting togethertogether in castings by British glass artist Colin Reid.

2.1. In In Search Search of Graphic Swim To begin testing, the initial failed firing firing was restaged at a smaller scale, with the intent of understanding the the flow flow of of the the printed printed image image and and controlling controlling the the results. results. The The approach approach to tofiring firing is informedis informed by by a process a process originally originally developed developed by by Bullseye Bullseye Glass Glass Co. Co. It is It manifest is manifest in their in their fabrication fabrication of theof the large-scale large-scale glass glass works works by by Jun Jun Kaneko Kaneko (Kanek (Kanekoo 2007), 2007), and and explained explained in in web-based web-based educational educational videos on ‘Harnessing Flow’ (Bullseye (Bullseye Glass Co. 2018).2018). Building Building on on their their research, research, flow flow is applied to printed imageryimagery inin glass. glass. In In initial initial testing testing (Figure (Figure4), a4), basic a basic grid wasgrid printedwas printed to the to glass, the whichglass, clearlywhich clearlydemonstrates demonstrates and visualizes and visualiz the movementes the movement of layered of layered imagery imagery within within a fused a glassfused block. glass block. These Theseglass sheetsglass sheets were thenwere cut then down cut down and fused and togetherfused together in several in several sections, sections, which which would would then be then set onbe setedge on inside edge ainside mold fora mold a second for fusinga second cycle. fusing A mold cycle. of cutA mold and kiln-washed of cut and refractorykiln-washed furniture refractory was furnituremade to accommodatewas made to accommodate the target dimensions the target for dime thensions final fused for the object, final fuse andd the object, amount and ofthe glass amount was ofmeasured glass was by measured weight to achieveby weight the correctto achieve volume. the correct The displacement volume. The in displacement the melting process in the shifts melting the processimagery, shifts and thethe movementimagery, and is controlledthe movement by varying is controlled the layout by varying and dimensions the layout of and the dimensions glass sections of thewithin glass the sections mold. within the mold.

(a) (b)

Figure 4. ProcessProcess for for ‘graphic ‘graphic swim’ swim’ test blocks. Glass Glass screenprinted screenprinted with a grid pattern ( aa)) is is stacked stacked and fused into sections ( b),), which which are are then set on edge ( c) for a second fusing cycle. Resulting Resulting fusing fusing exposes movement of imagery ( d). Photos: Photos: The The Author Author and and Bullseye Bullseye Glass Co.

This process was then utilized as the center of a 5-day workshop at Bullseye Glass under the title Graphic Swim. The focus of the workshop was the transformation of layered imagery through the processes of screenprinting and kilnforming. Students were instructed and coached through the process described above, using a combination of imagery pre-selected for the class as well as their own graphic work. This provided an opportunity to see the effect of movement on different choices of graphic text, image, and pattern. Results of the workshop revealed several possibilities that encourage the direction of flow and the intensity of the shift of imagery (Figure 5). The direction of flow (outward, inward, or sideways) could be controlled through the placement of pre-fused sections. The intensity could be varied through varying the height of these sections, giving some imagery further to flow than others as the glass melts into a homogenous rectangular solid. Students were encouraged to consider their adaptations of the prescribed process, and in so doing they developed alternative layouts of sections to

Arts 2019, 8, 29 5 of 11

This process was then utilized as the center of a 5-day workshop at Bullseye Glass under the title Graphic Swim. The focus of the workshop was the transformation of layered imagery through the processes of screenprinting and kilnforming. Students were instructed and coached through the process described above, using a combination of imagery pre-selected for the class as well as their own graphic work. This provided an opportunity to see the effect of movement on different choices of graphic text, image, and pattern. Results of the workshop revealed several possibilities that encourage the direction of flow and the intensity of the shift of imagery (Figure5). The direction of flow (outward, inward, or sideways) could be controlled through the placement of pre-fused sections. The intensity could be varied through varying the height of these sections, giving some imagery further to flow than others as the glass melts into a homogenous rectangular solid. Students were encouraged to consider theirArts 2019 adaptations, 8 FOR PEER of REVIEW the prescribed process, and in so doing they developed alternative layouts of5 sections to encourage assymetrical flow as well as combinations of still and shifted imagery. Their outcomesencourage provided assymetrical useful flow information as well as that combinatio advancedns an of understandingstill and shifted of imagery. graphic swim.Their outcomes provided useful information that advanced an understanding of graphic swim.

FigureFigure 5. 5.Student Student work work from from Graphic Graphic Swim Swim workshop. workshop. Variations Variations are createdare created through through choices choices in image, in color,image, and color, layout. and Photo:layout. The Photo: Author. The Author. 2.2. A Fusion of 2D and 3D Printing Approaches 2.2. A Fusion of 2D and 3D Printing Approaches Seeking possibilities beyond the glass block, the next phase of the project explored how printed Seeking possibilities beyond the glass block, the next phase of the project explored how printed imagery could be embedded into objects in the round. The mold structure for the Encyclopaedia imagery could be embedded into objects in the round. The mold structure for the Encyclopaedia artworks artworks and the Graphic Swim workshops is simple. Four weight-supported walls hold melting glass and the Graphic Swim workshops is simple. Four weight-supported walls hold melting glass in place in place produce a rectangular solid in which displacement is easy to predict. Replacing this with produce a rectangular solid in which displacement is easy to predict. Replacing this with an investment an investment mold of a three-dimensional form would encourage a dynamic ﬂow of the glass and mold of a three-dimensional form would encourage a dynamic flow of the glass and embedded images. embeddedAgain, it is images.possible Again,to use exclusively it is possible analogue to use exclusivelytechniques in analogue the making techniques of this work. in the However, making ofin the this work.same However,way that software in the same provides way precision that software and comple providesxity precision in the 2D andprinted complexity image, a insimilar the 2D approach printed image,was taken a similar to incorporate approach emerging was taken 3D to printing incorporate techniques emerging into 3D the printing process. techniques into the process. Explored in depth by Thwaites (2018), a 3D print from a digital model is used as a single-use positive form in PLA plastic, which is then ‘lost’ through a melt-out of a refractory investment before being cast in glass or other materials. For the artist and craftsperson, the key advantages to this process are an expansion of possible forms through digital scanning and modelling; and the ability to bypass silicone and wax, two materials traditionally to create positives for lost-wax casting. In the early weeks of the artist residency, a silicone mold and waxes were made in the interest of time, for the sake of moving the kilnforming tests forward while the 3D printing process was being established. It was however quickly discovered to be untidy, costly, and time-consuming. The main disadvantage of analogue lost-wax is a lack of flexibility; resources must be committed to multiples or variations of specific forms, when in fact the goal in this project was to create a variety of forms to cast. A maker working with a 3D printer can alter the scale and correct forms as well as produce multiples, thereby engaging a workflow that allows for continuous development of the digital model and print. Its relative accessibility allows the author to take approaches to collection, variation, and collage used to cultivate uniqueness in his screenprinted glass work.

Arts 2019, 8, 29 6 of 11

Explored in depth by Thwaites(2018), a 3D print from a digital model is used as a single-use positive form in PLA plastic, which is then ‘lost’ through a melt-out of a refractory investment before being cast in glass or other materials. For the artist and craftsperson, the key advantages to this process are an expansion of possible forms through digital scanning and modelling; and the ability to bypass silicone and wax, two materials traditionally to create positives for lost-wax casting. In the early weeks of the artist residency, a silicone mold and waxes were made in the interest of time, for the sake of moving the kilnforming tests forward while the 3D printing process was being established. It was however quickly discovered to be untidy, costly, and time-consuming. The main disadvantage of analogue lost-wax is a lack of flexibility; resources must be committed to multiples or variations of specific forms, when in fact the goal in this project was to create a variety of forms to cast. A maker working with a 3D printer can alter the scale and correct forms as well as produce multiples, thereby engaging a workflow that allows for continuous development of the digital model and print. Its relative accessibility allows the author to take approaches to collection, variation, and collage used to cultivate uniqueness in his screenprinted glass work.

2.3. Building a Vocabulary of Things The Encyclopaedia series involves the compilation and creation of hundreds of images, which could be considered a vocabulary of texts, shapes, diagrams, photographs. Considering the transformation in three dimensions of the image through graphic swim, it was also conceived that there could be a transformation not only of the image but also of the object. Is it possible to compile and build a vocabulary of ‘things’ to correspond to the imagery? The body of artworks created in the research and residency sought to work out these possibilities. Much of the author’s artwork including Encyclopaedia could be considered a form of self-portrait in that it records experience over time. In her interpretation of this body of work, Vigna(2007) writes, ‘The richness of all of this information reminds us that personal identity is complex—something that goes well beyond (but does include) the tangible elements of a human being’ (p. 20). An appropriate form to begin this experimentation was a literal self-portrait, albeit this one in three dimensions. A 3D scanner was utilized to capture a model of the artist’s head. Portrait scanning is a trope in digital craft as photogrammetry is often utilized to create a 3D ‘selfie’ (Warnier et al. 2015, p. 34). It is also an obvious form to test detail in the outcome as an accurate likeness can be easily recognized. Furthermore, the choice was also practical in that considering the movement of glass, the imagery would need to melt into the form and would be distorted by any constrictions in the mold, and with few undercuts the form of a head is a relatively simple shape to cast. From the resulting 3D printed heads, investment molds for glass casting were created. These are normally filled using a flowerpot with an enlarged hole as a crucible to contain the glass to be cast. As this method would force the screenprinted glass through a small aperture during firing, the imagery would become distorted to the point of complete illegibility. Therefore alternative approaches to filling the mold with glass were developed. Several tests were generated using these forms, exploring strategies for controlling the movement of the printed images. This would vary the distance the printed glass would have to travel as it melted as well as the amount of the void the melted glass would have to fill through the casting process. The first setup (Figure6) uses a simple block-shaped feed into which pre-fused elements are laid on edge. Using an indicative printed grid, the flow of the imagery could be seen clearly in the finished object. What became visible, however, is that during the melt, the glass becomes fluid. Imagery in the center of the fused sections would drop more quickly than imagery on the edges as the mold filled. Therefore, heavy distortion would lead to illegible graphics other than bold patterns. Arts 2019, 8 FOR PEER REVIEW 6

2.3. Building a Vocabulary of Things The Encyclopaedia series involves the compilation and creation of hundreds of images, which could be considered a vocabulary of texts, shapes, diagrams, photographs. Considering the transformation in three dimensions of the image through graphic swim, it was also conceived that there could be a transformation not only of the image but also of the object. Is it possible to compile and build a vocabulary of ‘things’ to correspond to the imagery? The body of artworks created in the research and residency sought to work out these possibilities. Much of the author’s artwork including Encyclopaedia could be considered a form of self-portrait in that it records experience over time. In her interpretation of this body of work, Vigna (2007) writes, ‘The richness of all of this information reminds us that personal identity is complex—something that goes well beyond (but does include) the tangible elements of a human being’ (p. 20). An appropriate form to begin this experimentation was a literal self-portrait, albeit this one in three dimensions. A 3D scanner was utilized to capture a model of the artist’s head. Portrait scanning is a trope in digital craft as photogrammetry is often utilized to create a 3D ‘selfie’ (Warnier et al. 2015, p. 34). It is also an obvious form to test detail in the outcome as an accurate likeness can be easily recognized. Furthermore, the choice was also practical in that considering the movement of glass, the imagery would need to melt into the form and would be distorted by any constrictions in the mold, and with few undercuts the form of a head is a relatively simple shape to cast. From the resulting 3D printed heads, investment molds for glass casting were created. These are normally filled using a flowerpot with an enlarged hole as a crucible to contain the glass to be cast. As this method would force the screenprinted glass through a small aperture during firing, the imagery would become distorted to the point of complete illegibility. Therefore alternative approaches to filling the mold with glass were developed. Several tests were generated using these forms, exploring strategies for controlling the movement of the printed images. This would vary the distance the printed glass would have to travel as it melted as well as the amount of the void the melted glass would have to fill through the casting process. The first setup (Figure 6) uses a simple block-shaped feed into which pre-fused elements are laid on edge. Using an indicative printed grid, the flow of the imagery could be seen clearly in the finished object. What became visible, however, is that during the melt, the glass becomes fluid. Imagery in the centerArts 2019 of, 8 ,the 29 fused sections would drop more quickly than imagery on the edges as the mold filled.7 of 11 Therefore, heavy distortion would lead to illegible graphics other than bold patterns.

(a) (b)

Figure 6. ProcessProcess for for loading loading kilnformed kilnformed sections sections into into lost-PLA lost-PLA investment. investment. (a) ( aIn) Inthe the first first setup, setup, a rectangulara rectangular feed feed filled filled with with prin printedted glass glass sits sits atop atop the the mold. mold. (b (b) )Image Image distortion distortion is is seen seen in in the the final final result.result. Photos: Photos: ( (aa)) The The Author Author and and ( (bb)) Bullseye Bullseye Glass Glass Co. Co.

Partial filling filling of the mold mold with with printed printed glass glass sections sections offered offered the possibility possibility of reducing reducing this kind kind of distortiondistortion andand would would preserve preserve some some of theof legibilitythe legibility of the of images the images by preventing by preventing them from them moving. from moving.The second The setup second utilized setup a utilized single shape a single of ashape long cylinderof a long consisting cylinder consisting of stacked of glass stacked discs glass (matching discs (matchingthe volume the required volume to required fill the mold)to fill the laid mold) into laid the bottominto the ofbottom the mold of the and mold held and by held a ceramic by a ceramic pot as pota feeder. as a feeder. The result The ofresult this of test this (Figure test (Figure7) was an7) was increased an increased legibility legibility of the imageryof the imagery directly directly inside Arts 2019, 8 FOR PEER REVIEW 7 insideof the mold.of the Themold. flow The into flow the into form the was form still was possible still possible as the disc as the was disc only was as largeonly as thelarge smallest as the opening and the printed images spread throughout the casting as it filled the cavity inside the mold. smallest opening and the printed images spread throughout the casting as it filled the cavity inside Inthe the mold. third In versionthe third of version the setup of the (Figure setup8), (Figure contours 8), fromcontours the 3Dfrom model the 3D of themodel head of werethe head taken were to approximatetaken to approximate the shapes the that shapes would that fit would more tightly,fit more and tightly, glass and was glass cut and was fused cut and tofit fused into to the fit mold into cavity.the mold This cavity. test produced This test produced the least movement the least movement of all. of all.

Figure 7.7. JeffreyJeffrey Sarmiento, Sarmiento,Encyclopaedia EncyclopaediaObject Object 1, 20181, 2018 Screenprinted Screenprinted and and lost PLAlost castPLAglass. cast glass. A result A ofresult the of second the second version version of the of setup,the setup, the the mold mold was was partially partially ﬁlled filled with with a a cylinder cylinder of of stackedstacked and screenprinted glass disks. Photo: Bullseye Glass Co.

(a) (b)

Figure 8. Process for loading kilnformed sections into lost-PLA investment mold. In the third approach, contours of the glass sheets are cut and fused together (a) to create a close approximation of the form of the target form (b). These pieces of glass are then loaded into the mould (c) to fill the void as tightly as possible. Resulting form reveals less distortion of the printed images (d).

Arts 2019, 8 FOR PEER REVIEW 7 smallest opening and the printed images spread throughout the casting as it filled the cavity inside the mold. In the third version of the setup (Figure 8), contours from the 3D model of the head were taken to approximate the shapes that would fit more tightly, and glass was cut and fused to fit into the mold cavity. This test produced the least movement of all.

Figure 7. Jeffrey Sarmiento, Encyclopaedia Object 1, 2018 Screenprinted and lost PLA cast glass. A Arts 2019result, 8, 29of the second version of the setup, the mold was partially filled with a cylinder of stacked and8 of 11 screenprinted glass disks. Photo: Bullseye Glass Co.

(a) (b)

Figure 8.8.Process Process for for loading loading kilnformed kilnformed sections sections into lost-PLAinto lost-PLA investment investment mold. In mold. the third In approach,the third contoursapproach, of contours the glass of sheets the glass are cut sh andeets fusedare cut together and fused (a) totogether create a ( closea) to create approximation a close approximation of the form of theof the target form form of the (b). target These form pieces (b of). These glass are pieces then of loaded glass intoare then the mould loaded ( cinto) to ﬁllthe the mould void ( asc) tightlyto fill the as possible.void as tightly Resulting as possible. form reveals Resulting less distortionform reveals of the less printed distortion images of the (d ).printed images (d).

3. Discussion Following through on a failed ﬁring with persistence, this research has yielded some new artwork as well as techniques for achieving visual effects in glass. It has responded to unanswered questions that remained after the completion of this author’s PhD research. It explores possibilities for graphic swim in kilnformed glass, using a practical testing approach used to develop a workshop, and an experimental development of sculptural glass artworks. The following reﬂection is based on the artworks, student outcomes and consideration of the processes.

3.1. Outcomes There has been positive response to the process as well as the new artworks. One artwork (Figure9) was recently accepted through juried submission into Toyama International Glass Exhibition 2018, held in a new museum in Japan. Development of the body of work is ongoing. The success of the workshop could be measured by the way in which it provided visible evidence to improve an understanding of graphic swim. The workshop was also over-subscribed, and as evidence of interest there has been sufﬁcient demand to repeat it three times in the coming year. Arts 2019, 8 FOR PEER REVIEW 8

3. Discussion Following through on a failed firing with persistence, this research has yielded some new artwork as well as techniques for achieving visual effects in glass. It has responded to unanswered questions that remained after the completion of this author’s PhD research. It explores possibilities for graphic swim in kilnformed glass, using a practical testing approach used to develop a workshop, and an experimental development of sculptural glass artworks. The following reflection is based on the artworks, student outcomes and consideration of the processes.

3.1. Outcomes There has been positive response to the process as well as the new artworks. One artwork (Figure 9) was recently accepted through juried submission into Toyama International Glass Exhibition 2018, held in a new museum in Japan. Development of the body of work is ongoing. The success of the workshop could be measured by the way in which it provided visible evidence to improve an Artsunderstanding2019, 8, 29 of graphic swim. The workshop was also over-subscribed, and as evidence of interest9 of 11 there has been sufficient demand to repeat it three times in the coming year.

FigureFigure 9. 9.Jeffrey Jeffrey Sarmiento, Sarmiento,Encyclopaedia Encyclopaedia(Warp (Warp), 2018.), 2018. Screenprinted, Screenprinted, fused andfused polished and polished glass. Photo: glass. DavidPhoto: Williams. David Williams.

TheThe key key accomplishment accomplishment in in this this research research is is the the articulation articulation of of one one approach approach to to the the 2D 2D image image in in 3D3D space, space, bringing bringing together together knowledge knowledge of of screenprinting screenprinting with with glassmaking glassmaking techniques. techniques. While While there there areare other other ways ways to to produce produce a a layered layered effect effect in in sculptural sculptural glass glass through through the the use use of of multiple multiple sheets sheets of of glassglass either either mounted mounted to to a framea frame or or glued glued together, together, the the techniques techniques to produceto produce graphic graphic swim swim activate activate in threein three dimensions dimensions the otherwisethe otherwise flat depositsflat deposits of printed of printed image image cased cased within within glass. glass. It takes It takes advantage advantage of theof naturalthe natural response response of glassof glass to heatto heat and and gravity. gravity. Graphics Graphics are are warped warped through through the the melting melting process, process, swimmingswimming within within the the glass. glass. However, However, it it should should be be acknowledged acknowledged that that the the aspect aspect of of flow flow has has been been evidentevident throughout throughout the the history history of of blown blown and and cast cast glass, glass, clearly clearly indicated indicated through through decorative decorative pattern pattern andand veiling. veiling. This This history, history, along along with with the the author’s author’s practical practical experience experience with with glassblowing glassblowing and and casting, casting, informsinforms the the investigation investigation of of the the movement movement of of glass glass in in kilnforming. kilnforming. OnOn the the subject subject of of craft-based craft-based artists artists incorporating incorporating new new and and traditional traditional technologies technologies into into their their work,work, curator curator Emily Emily Zilber Zilber finds finds that that ‘re-tooling ‘re-tooling can can be be a a rich rich source source of of inspiration inspiration for for a a work’s work’s very very conceptconcept and and content’ content’ ( Zilber(Zilber 2015 2015,, p. p. 17). 17). It It is is possible possible to to draw draw similar similar observations observations from from this this project. project. ProcessesProcesses and and concepts concepts of digitalof digital craft havecraft informedhave info thisrmed work, this having work, a having clear effect a clear on the effect fabrication on the choicesfabrication as well choices as potentials as well as for potentials interpretation. for interpre Thetation. use of The 3D printsuse of as3D a prints starting as a point starting offer point an expandedoffer an vocabularyexpanded vocabulary of forms that of could forms be that explored could with be explored graphic swim. with Thisgraphic is more swim. significant This is thanmore removingsignificant the than limitations removing of timethe limitations and consumables of time foundand consumables when using found an analogue when using silicone an andanalogue wax makingsilicone process. and wax Forms making for castingprocess. in Forms glass can for be casting generated in glass entirely can throughbe generated 3D modelling, entirely through or capture 3D physicalmodelling, objects or capture through physical scanning. objects They canthrough be further scanning. transformed They can through be furt theher incorporation, transformed collage,through andthe modificationincorporation, of collage, existing and resources modification on the of Internet. existing In resources this research, on the this Internet. approach In this to form research, finding this and making relates closely to the strategies for working with self-made and found graphics in the screenprinting process. In the same way as narrative can be constructed through compositions of layered imagery, a relationship can be built between the objects that comprise a ‘vocabulary of things’ and the visual content held within. In the resulting artworks, traces of the layered 3D print have been left as texture to show a level of detail that can be achieved through the ‘lost PLA’ method of glass casting. Exposing the marks of its manufacture, it was intended to draw a visual relationship between the layers of printed imagery within the glass and the strata of print on the surface. While graphic swim was an explicit aim for the artworks, the impressions of the developing work by others were somewhat surprising. In casual discussion, one reaction to the movement of the images within the object, a distortion of what had been clearly legible in previous works, led to an interpretation of the work as a commentary on the contemporary media environment. In another, it was mentioned that the flowing of the graphic image within the form also had a quality one might interpret as the movement of information or data. This may relate to Glenn Adamson’s assessment of contemporary craft processes when he states, ‘ ... the digital has changed the way that analogue makers approach their work ... the characteristic features Arts 2019, 8, 29 10 of 11 of digital form—stretched distortion, filtered color and backlighting—migrate into analogue design as if unconsciously’ (Adamson 2015, p. 288). One of the drawbacks of the engagement with this process is that it has not (yet) helped to develop a more efficient practice. In exchange for new visual effects, complexity and autonomy, it draws heavily on material and energy resources. The glassmaking techniques of print, swim and casts from 3D printed positives are individually straightforward, but using them in combination results in a significant increase in production time. The possibility for improvements in this aspect may come through further practice in both 3D modelling and printing as well as the kilnforming techniques related to the process.

3.2. Mistakes Turned into Processes A signiﬁcant difference in the working approach in comparison to previous research by this author is the way in which the project has been led by an initial mistake that uncovered an effect that proved desirable. This was not only a welcome change from the focus on tight control on a technically demanding process; this research has revitalized a body of work which has been in production for more than a decade. The use of mistakes as a learning process is a positive response to an adverse situation, but the approach to the research overall does not deliberately engage elements of chance. Rather, the author’s creative studio process allows for variation within a range of possibilities. This is already a part of the working process, in that the graphic imagery is often printed to the glass in a wide variety of colors so that choices can be made when creating a layered composition.

3.3. Opportunities for Further Work Possible routes for development have been identified as a result of the research, and these will continue to be explored through both teaching and artwork development. Two potentials for control of imagery within the cast form involve the development of 3D modelling and digital fabrication. For example, using CNC or waterjet cutting to increase precision of the contours cut to fit inside molds would result in the least amount of movement of graphics within the cast form, but might allow for a more precise relationship between the printed interior imagery and the exterior form. Similarly, 3D modelling might be used to produce positives with part lines from which multi-part molds could be constructed. This would increase the number of mold elements to produce, but result in a tighter fit for imagery. Further possibilities in the development of workshop teaching might include making 3D printing more accessible to the glass artist or craftsperson. Because 3D prints are relatively slow to produce and still require some specialist skills and facility access, the development of printing and casting techniques using flexible (and potentially reusable) 3D printed positives using alternative FDM printing materials might increase the viability of the processes by saving what is currently a single-use print positive. In terms of drawing a closer relationship between the 2D images and the 3D form that surrounds it, the focus could return to how a photographic printed image can be integrated into a low relief 3D print to provide an illusion of depth and a low relief sculptural surface. Finally, it might be useful to further explore the opportunities afforded through calculated risk and a release of the tight control characterizing the approach to 2D printing in glass and the implications of 3D printing on traditional glass processes. By returning to earlier notions of materiality and action, and a consideration of the most appropriate process (analogue or digital) to obtain a result, the precision and gesture might be found to work well together.

Funding: This research received no external funding. Acknowledgments: The author would like to acknowledge the support of Bullseye Glass Company for their support of an artist residency at the Bullseye Factory in Portland, USA. Copyright Status: All artworks copyright the author. Images of artworks copyright David Williams, used with permission. Images of process created by author and copyright Bullseye Glass Co., used with permission. Arts 2019, 8, 29 11 of 11

Conﬂicts of Interest: The author declares no conﬂict of interest.

References

Adamson, Glenn. 2015. Craft in the Digital Age. In Jonathan Openshaw. In Post-Digital Artisans: Craftsmanship with a New Aesthetic in Fashion, Art, Design and Architecture. Amsterdam: Frame, pp. 286–88. Bullseye Glass Co. 2018. Harnessing Flow in Kiln-Glass. Available online: https://www.bullseyeglass.com/ education/lessons/harnessing-ﬂow-in-kiln-glass-179.html (accessed on 14 December 2018). Kaneko, Jun. 2007. Bullseye: The Kaneko Project. Portland: Bullseye Glass Co. Oldknow, Tina. 2008. Contemporary Glass Sculptures and Panels: Selections from the Corning Museum of Glass. Corning: Corning Museum of Glass in Association with Hudson Hills Press. Petrie, Kevin. 2006. Print and Glass. London: A&C Black. Sarmiento, Jeffrey. 2011. Graphic Glass: Development of Creative Approaches to Expressions of Ethnicity. Ph.D. Thesis, University of Sunderland, Sunderland, UK. Thwaites, Angela. 2018. Towards Making the Unmakeable: How 3D Printing Can Inform Kiln Formed Glass Practice in the 21st Century. Ph.D. Thesis, University of Sunderland, Sunderland, UK. Vigna, Lena. 2007. The Familiar and the Exotic: Glass, Identity, and Jeffrey Sarmiento. In Encyclopaedia (Exhibition Catalogue). Sunderland: University of Sunderland. Warnier, Claier, Dries Verbruggen, Sven Ehmann, and Robert Klanten. 2015. Body Topology. In Printing Things: Visions and Essentials for 3D Printing. Berlin: Gestalten, pp. 34–37. Zilber, Emily. 2015. Crafted: Objects in Flux. Boston: MFA Publications.

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