Glass Shards • Page 2

Total Page:16

File Type:pdf, Size:1020Kb

Glass Shards • Page 2 GlassNEWSLETTER OF THE NATIONAL Shards AMERICAN GLASS CLUB www.glassclub.org Founded 1933 A Non-Profit Organization Summer 2016 News Highlights from the 2016 Seminar in Norfolk There were many wonderful experi- Museum. After her lecture, we were historic glassblowing techniques, blew ences that the attendees of the 2016 divided into two small groups and re- one of his favorite styles, a pillar- Seminar shared during the three-day ceived the rare opportunity of visiting molded pitcher. Although we have all gathering but a few events were high- the Ceramic and Glass Vault. Attend- seen glassblowing demonstrations lights of the Seminar. After visiting ees sat around tables and objects from countless times, Art, who was assisted the incredible home of Carolyn and the collection were discussed, passed by a Studio staff member, had the Richard Barry, filled with the amazing around, and handled. group captivated by working and art and spectacular contemporary glass, Another highlight was the glass- discussing each step in the process. the attendees traveled to the DeWitt blowing demonstration by NAGC Amazingly, Art had not blown a piece Wallace Museum of Decorative Arts Second Vice President Art Reed. The of glass for four years since concen- at Colonial Williamsburg. Chrysler Museum of Art acquired an trating on his wooden glassblowing Suzanne Hood, Curator of Ceramics old bank across the street from the block and mold business. and Glass at the Colonial Williamsburg museum and renovated the building Both the visit to Colonial Williams- Foundation (CWF) gave us an informa- into a glass studio. The Studio has be- burg’s DeWitt Wallace Museum of tive lecture about the glass collection come one of the most popular venues Decorative Arts and the glassblowing and why the CWF acquired the pieces. in Norfolk. The Studio and Museum demonstration by Art Reed were mem- Ms. Hood is an enthusiastic speaker staff graciously gave permission for orable parts of the 2016 Seminar not who is obviously passionate about the one of our members to demonstrate to be forgotten. collections at the DeWitt Wallace at their facility. Art, who mastered Suzanne Hood, Curator of Ceramics and Glass at Colonial Williamsburg Art Reed demonstrating at the Chrysler Museum Foundation and member Mary Mills discuss glass with attendees in the of Art Glass Studio. Photo courtesy Joe Heyman. Ceramics and Glass Vault at the DeWitt Wallace Museum of Decorative Arts. Glass Shards • Page 2 President’s Letter Dear Members, Baker from the years he was curator Museum of American Glass. Save the at Chrysler were thrilled that he spoke date of May 11–13, 2017. Those of us who attended the 2016 to us about the cameo glass collection It is with deep regret that I report Annual Seminar had a wonderful at the museum. Saturday at the hotel, the death of longtime member and time. On the first day, we visited the we had our annual meeting, and infor- past President of NAGC, Kenneth incredible residence of contemporary mative lectures by Cynthia Williams, Lyon. Ken was an avid collector and glass collectors Carolyn and Richard our two scholarship recipients Carrie authority on 18th-century glass. As Barry. Then we drove to the DeWitt Greif and Greg Bingham, and Kirk President of NAGC, he organized our Wallace Museum of Decorative Arts Nelson. At the banquet Saturday night, first operations manual to better define where we heard a lecture by Suzanne we had an enjoyable and profitable si- the workings of our organization. He Hood, Curator of Glass and Ceramics, lent auction. The highest prices real- was a generous and caring gentleman and we were given the rare opportuni- ized in the silent auction were three who will be sorely missed. ty to handle glass from the Colonial stunning pieces made and donated by As I have mentioned in previous Williamsburg Foundation collection. Art Reed. Thanks goes to Art for his President’s letters, we are actively Friday began with a fabulous demon- generous contribution to the club. working on a new NAGC Web site. If stration by NAGC Board member Art Plans have begun by Loreen Ryan you have Web site experience and Reed in the Chrysler Museum of Art and Karen Petraglia for our 2017 An- would like to be involved with this Glass Studio. We heard a lecture by nual Seminar in Charleston, West Vir- ongoing project, please contact me. Diane Wright on the history of the ginia. We will be visiting the Blenko Have a wonderful summer. Chrysler Museum’s founding and ex- Glass Company, the Huntington Mu- — Gay LeCleire Taylor pansions. Many of us who know Gary seum of Art and the West Virginia President Kenneth William Lyon (1922–2016) Kenneth William Lyon, 93, of Ken put his mapping skills to work American Glass Club (now NAGC), Fishers Hill, Virginia, passed away and created a life-long business as a and also coordinated the renowned April 15, 2016, at Greenfield Senior realtor specializing in undeveloped Dorflinger Chapter glass show in Living in Strasburg. land in the Washington suburban area. Maryland for over a decade. He was Ken served as a cartographer for He was highly regarded for his in- honored by being selected as a Fellow the U.S. Coast and Geodetic Survey tegrity and for his ability to identify of The Corning Museum of Glass and and studied special aerial mapping parcels with unique potential. later as a Trustee of the Fellows. techniques at Massachusetts Institute Developing an avid interest in 18th- Along with his interest in antique of Technology (MIT) while serving century American glass, Ken became glass, Ken enjoyed a love of all things in the U.S. Army Air Forces during a nationally respected collector and historical, the natural environments of World War II. He was assigned to the supporter of glass museums. the Shenandoah Valley and Maine, 24th Combat Mapping Squadron and Along with writing articles for and he enjoyed birdwatching, with a “flew the hump” many times in the antique glass publications, he served special love for the Eastern Bluebird. India-Burma Theater. as President of the National Early 29th Annual Cape Cod Glass Show and Sale Westchester Club The Cape Cod Glass Club is a September 17–18, 2016, and at a new Donates $200 to NAGC group of glass collectors who gather location. This year the show, which is to become educated in identifying and now sponsored by the Cape Cod Glass The Westchester Glass Club recent- learning about all types of glass. The Club, will be located on the campus ly donated a total of $200 to the Na- club was established in 2001 as a of Cape Cod Community College in tional American Glass Club’s Memo- chapter of the National American Barnstable, MA. rial Fund. One hundred dollars each Glass Club and its 33 members meet Visit the Web site and learn about was given in honor of Westchester monthly to discuss and attend presen- the Club and more about this event. Club members Shirley Reed and Ted tations of glass and glassmaking by Anthony. top artisans and experts. Cape Cod Glass Club The 29th Annual Cape Cod Glass (301) 924-2293 Show and Sale will be held on www.capecodglassclub.org Glass Shards • Page 3 Glass Fireworks Light Up Children’s Museum Visitors to the Fireworks of Glass You can relax on a revolving plat- Children’s Museum Indianapolis won’t be able to take their eyes off form and gaze up at the magnificent 3000 North Meridian St. this beauty! The colossal blown 43- glass ceiling. Children can learn to Indianapolis, IN 46208-4716 foot glass tower is one of the largest identify the different shapes and forms (317) 334-4000 permanent sculptures by renowned used by Chihuly. They can create their www.childrensmuseum.org artist Dale Chihuly. Featuring over own colorful sculpture from plastic 3,200 stunning pieces of brilliant shapes that mirror the originals and blown glass, the tower rises above a blow glass virtually or explore glass- glass ceiling and can be viewed from blowing on the computers. all sides. A view of “Fireworks of Glass” at the Children’s Museum in Indianapolis. Detail of glass sculpture by Dale Chihuly. Liberty Museum to Hold Glass Auction and Gala On September 24, 2016, the Nation- people to find their own place in the al Liberty Museum will hold the 17th story of liberty. Visitors to the muse- annual Glass Auction and Gala, an un- um enjoy an inspiring and entertain- forgettable evening of stunning glass ing experience, as they interact with art and merriment in the Grand Ball- incredible stories of heroes and a col- room of the Marriott Downtown Phil- lection of contemporary art. Our core adelphia. There will be a Champagne themes for young people and adults cocktail reception, dinner, a live auc- include leadership and good character; tion, and silent auctions all evening. diversity and inclusion; peaceful con- Join them as they honor Dr. Arlene flict resolution; and civic engagement. Silvers, their 2016 Hero of Liberty, Our primary art form is glass art, as it in recognition of Dr. Silvers’ lifetime makes the point that freedom is as of contributions to the contemporary fragile as glass. glass art movement and passionate Dale Chihuly’s Cobalt Blue Basket will be support of the National Liberty Muse- National Liberty Museum raffled off at the Liberty Museum’s Annual Glass Auction and Gala. um’s work with youth. 321 Chestnut St. Located in the heart of historic Phil- Philadelphia, PA 19106 adelphia, the National Liberty Museum (215) 925-2800 is dedicated to preserving America’s www.libertymuseum.org heritage of freedom by encouraging Glass Shards • Page 4 David Huchthausen: A Retrospective Selection Museum of Glass will present the has inspired and motivated many of “Most people are completely mes- West Coast premiere of “David Huch- the young artists working in glass to- merized by Huchthausen’s work,” thausen: A Retrospective Selection” day.” notes Bonnie Wright, Curator of Edu- from July 23, 2016, to January 8, 2017.
Recommended publications
  • Edward M. Eyring
    The Chemistry Department 1946-2000 Written by: Edward M. Eyring Assisted by: April K. Heiselt & Kelly Erickson Henry Eyring and the Birth of a Graduate Program In January 1946, Dr. A. Ray Olpin, a physicist, took command of the University of Utah. He recruited a number of senior people to his administration who also became faculty members in various academic departments. Two of these administrators were chemists: Henry Eyring, a professor at Princeton University, and Carl J. Christensen, a research scientist at Bell Laboratories. In the year 2000, the Chemistry Department attempts to hire a distinguished senior faculty member by inviting him or her to teach a short course for several weeks as a visiting professor. The distinguished visitor gets the opportunity to become acquainted with the department and some of the aspects of Utah (skiing, national parks, geodes, etc.) and the faculty discover whether the visitor is someone they can live with. The hiring of Henry Eyring did not fit this mold because he was sought first and foremost to beef up the graduate program for the entire University rather than just to be a faculty member in the Chemistry Department. Had the Chemistry Department refused to accept Henry Eyring as a full professor, he probably would have been accepted by the Metallurgy Department, where he had a courtesy faculty appointment for many years. Sometime in early 1946, President Olpin visited Princeton, NJ, and offered Henry a position as the Dean of the Graduate School at the University of Utah. Henry was in his scientific heyday having published two influential textbooks (Samuel Glasstone, Keith J.
    [Show full text]
  • Glassblowers of Venice Kept Their Art So Secret That It Almost Died out by Associated Press, Adapted by Newsela Staff on 02.11.16 Word Count 620
    Glassblowers of Venice kept their art so secret that it almost died out By Associated Press, adapted by Newsela staff on 02.11.16 Word Count 620 Glassblower William Gudenrath puts enamel on a bowl with techniques used by Renaissance Venetians at the Corning Museum of Glass in Corning, New York, Jan. 22, 2016. Gudenrath spent decades researching how Renaissance glassmakers produced objects that are now considered works of art. Photo: AP/Mike Groll ALBANY, N.Y. — A modern-day glassblower believes he has unraveled the mysteries of Venetian glassmaking that was crafted during the Renaissance. The Renaissance was a cultural movement in Europe that lasted from the 1300s to the 1600s. During that period, glassmakers' secrets were closely guarded by the Venetian government. Anyone who spoke of them could be killed. Specially Skilled Craftsmen Today's glassblowers work with gas-fired furnaces and electric-powered ovens called kilns. Their studios are well lit and have proper air ventilation. The craftsmen of Murano, an island near Venice, Italy, did not have such technology. Yet they turned out pieces of art popular in museums today. The techniques, or the methods they used to make the objects, remained sought after for centuries. William Gudenrath spent years studying Venetian glass collections at American and European museums. He compared them with newer glasswork from Venice. He experimented on his own and traveled to Italy many times. Gudenrath combined all of his knowledge to produce an online guide. Guiding Modern Artists The guide is called "The Techniques of Renaissance Venetian Glassworking." It was recently posted on the website of the Corning Museum of Glass in New York.
    [Show full text]
  • Calendar of Events
    SEPTEMBER – OCTOBER, 2015 NEWSLETTER CALENDAR OF EVENTS CONFLUENCE Hired IRIS, PEONY AND UNIQUE The Master Plan Committee along with other interested stakeholders came together PLANT SALE over a four-month period and selected CONFLUENCE to provide master September 12 &13 plan services for the Arboretum. The committee reviewed fourteen proposals and interviewed three companies before selecting CONFLUENCE. Saturday & Sunday 9 a.m. – 4 p.m. CONFLUENCE was founded in Des Moines in 1998 and has since expanded throughout the Midwest, with additional offices in Cedar Find the best and brightest “stars” Rapids, Sioux Falls, Kansas City and Minneapolis. The company is for your garden. comprised of landscape architects and planners focused on bringing together people and ideas to create meaningful and memorable places within specific environments. PUMPKIN CARVING Thursday, October 15 Master planning is a collaborative process that consist of the evaluation 5 p.m. – 8:30 p.m. of current facilities, programs and services along with the long-term needs for facilities, programs and services. The finished product pulls Carve a pumpkin for displaying at together all of the elements desired for the Arboretum into a comprehensive the Arboretum’s Halloween events. plan. CONFLUENCE will also provide graphics to illustrate future Arboretum improvements. The master plan will be utilized to excite The Arboretum will provide dinner. and energize people about the Arboretum and be used as the road map for future development. AR “BOO” WEEN Committee Members: Dean Bowden, Don Draper, Donald Lewis, Saturday, October 17 Linda Grieve, Doug Gustafson, Wayne Koos, Kathy Law, Joe McNally, 1 p.m.
    [Show full text]
  • Schedule of Events 2019 Pecan Grove Stages Crown Meadow Stages Holly Field Stages
    Schedule of Events 2019 Pecan Grove Stages Crown Meadow Stages Holly Field Stages Idlewyld Revelers Joust Lady Hawke Falconry Glassblowing King's Roundabout Mountebank Gypsy Stage Whimsey Stage Taylor Lane Ivanhoe Stage Sea Hag Stage Crown Stage Fortune Stage Village Green Stage Stage Arena Stage Stage Booth # 111 Pavilion Stage Stage Prose & Poetry Middle School Art & Heraldry 9:30 Interpretation Drama Competition Displays Competition Competition Middle School Prose & Poetry High School Middle School High School Middle School High School Cirque du The London Rambling Zilch the Tory Art & Heraldry 10:00 Choir Interpretation Drama Improv Improv Drama Choir Sewer Broil Show Sailors Steller Competition Displays Competition Competition Competition Competition Competition Competition Competition Stewart & Middle School Prose & Poetry High School Middle School High School Middle School High School Glassblowing Pride of Arnold Knife Art & Heraldry 10:30 Wolgemut Joust Choir Interpretation Drama Improv Improv Drama Choir Demo Ireland Throwing Competition Displays Competition Competition Competition Competition Competition Competition Competition Show The Middle School Prose & Poetry High School Middle School High School Middle School High School Kamikaze Iron Hill Art & Heraldry 11:00 Gwendolyn Choir Interpretation Drama Improv Improv Drama Randal Piper Choir Fireflies Vagabonds Competition Displays Show Competition Competition Competition Competition Competition Competition Competition Middle School Prose & Poetry High School Middle School High
    [Show full text]
  • Capturing, Preserving, and Sharing the Sounds of Glassmaking
    arts Article Makers Marks: Capturing, Preserving, and Sharing the Sounds of Glassmaking Lisa Naas 1,* and David Faleris 2 1 School of Design, Edinburgh College of Art, University of Edinburgh, Edinburgh EH3 9DF, UK 2 Independent Composer, Glasgow G12 9SW, UK; [email protected] * Correspondence: [email protected] or [email protected] Received: 30 November 2018; Accepted: 24 January 2019; Published: 30 January 2019 Abstract: The Makers Marks Collaborative, an international team of glass artists, visual designers, composers, and engineers, embarked on a project together from 2015–2016 to use the glassmaking studio as a staging ground for interdisciplinary, collaborative making. The team aimed to capture and preserve the sounds of traditional studio glassmaking, and then to share them outside the workshop domain through digital technologies and glass art objects. The goal was also to fulfill a public engagement grant from the Royal Academy of Engineering to highlight the engineering through the art and the engineers’ vision within the art making. The team recorded and isolated the unique sounds of the glassblowing process and its studio environment, and then used the resulting digital sound collection as the foundation for developing artistic outputs: a virtual instrument library, a glass object-instrument of performance, a series of glass objects translating selected virtual instruments, and a music composition. They questioned the nature and materiality of glass through dialogue between media and conversation among team members, while exploring the practice-based research question: “How can we embed our recorded sounds of the glassmaking process back into the glass itself?” This paper focuses on the collaborative, interdisciplinary making process of the team, the project outputs, and the metaphorical language that was a key process facilitation tool.
    [Show full text]
  • Dale Chihuly | Chronology 1941 Born September 20 in Tacoma, Washington, to George Chihuly and Viola Magnuson Chihuly
    Dale Chihuly | Chronology 1941 Born September 20 in Tacoma, Washington, to George Chihuly and Viola Magnuson Chihuly. 1957 Older brother and only sibling, George, dies in a navy flight-training accident in Pensacola, Florida. 1958 His father suffers a fatal heart attack at age fifty-one, and his mother has to go to work. 1959 Graduates from high school in Tacoma. Enrolls at College of Puget Sound (now University of Puget Sound) in his hometown. 1960 Transfers to University of Washington in Seattle, where he studies interior design and architecture. 1961 Joins Delta Kappa Epsilon fraternity and becomes rush chairman. Learns to melt and fuse glass. 1962 Interrupts his studies and travels to Florence to focus on art. Frustrated by his inability to speak Italian, he moves on to the Middle East. 1963 Works on a kibbutz in Negev desert, Israel. Reinspired, returns to University of Washington and studies interior design under Hope Foote and Warren Hill. In a weaving class with Doris Brockway, incorporates glass shards into woven tapestries. 1964 Returns to Europe, visiting Leningrad and making the first of many trips to Ireland. 1965 Receives BA in interior design from University of Washington. In his basement studio, blows his first glass bubble by melting stained glass and using a metal pipe. 1966 Earns money for graduate school as a commercial fisherman in Alaska. Enters University of Wisconsin at Madison on a full scholarship, to study glassblowing in the first glass program in the United States, taught by Harvey Littleton. 1967 After receiving MS in sculpture from University of Wisconsin, enrolls at Rhode Island School of Design (RISD) in Providence, where he begins exploration of environmental works using neon, argon, and blown glass.
    [Show full text]
  • The Corning Museum of Glass Annual Report, 2006
    The Corning Museum of Glass Annual Report 2006 Cover: Officers The Fellows of The Corning The Fellows of The Corning Museum of Glass Museum of Glass are among Peacock vase, blown; E. Marie McKee the world’s leading glass col- silver-gilt mount. U.S., President Carole Allaire lectors, scholars, dealers, and Corona, NY, Tiffany Gary E. Baker glassmakers. The objectives Amory Houghton Jr. Studios, 1898–1899. Renée E. Belfer of this organization are (1) Vice President H. 14.1 cm (2006.4.161). Robert A. Belfer to disseminate knowledge James R. Houghton Mike Belkin about the history and art of Vice President William W. Boeschenstein* glassmaking and (2) to sup- port the acquisitions program Alan L. Cameros Denise A. Hauselt of the Museum’s Rakow Secretary Lt. Gen. Christian Clausen, retired Research Library. Admission Thomas P. Dimitroff to the fellowship is intended James B. Flaws Jay R. Doros to recognize accomplishment, Treasurer David Dowler and is by invitation. Robert J. Grassi Max Erlacher Assistant Treasurer Christopher T. G. Fish Barbara U. Giesicke David B. Whitehouse William Gudenrath Executive Director Jirˇí Harcuba+ Douglas Heller Trustees A. C. Hubbard Jr. Roger G. Ackerman* Kenneth L. Jobe + Peter S. Aldridge Dorothy-Lee Jones Thomas S. Buechner Leo Kaplan Van C. Campbell* Helena Koenigsmarková + Dale Chihuly Michael Kovacek Patricia T. Dann Dwight P. Lanmon + Robert Duke Harvey K. Littleton James B. Flaws Louise Luther John P. Fox Jr. Kenneth W. Lyon Polly W. Guth Josef Marcolin Ben W. Heineman* John H. Martin + Amory Houghton Jr.* Gregory A. Merkel Arthur A. Houghton III Barbara H.
    [Show full text]
  • People Summer 2011
    FYI: People Summer 2011 and services. They are the mainstay of our businesses. If our customers are in trouble, we are in trouble. Do we have a responsibility to assist them for our sake? De we have a responsibility to help them for the continuity of religion as the world has known it? Many of the older studios would not have been established if it were not for the huge church building boom at the turn of the 1900s, after World War II, and the large growth of synagogue building during 1950-1970. I have read the words written by Charles R. Lamb, the second generation owner of the J. & R. Lamb studios, who spoke of “art for the Lord’s sake.” He and his family attended religious services and obvious- ly had a deep understanding of the pur- pose of his work. This image, which appeared in the last issue of The Stained Glass Quarterly, was People reading this letter may have sim- misattributed. This piece is a suspended glass sculpture installation at Strong ilar recollections of their own or previ- Memorial Hospital, University of Rochester Eye Institute, Rochester, New York, and ous owners’ thoughts of religious is by Pike Studios of Rochester, New York. beliefs, which were the underpinnings of their studios. Letter to the Editor recession’s effect in losses of jobs to con- Do we believe we should assist organ- Should or does the future of stained gregants, and congregations’ lower ized religion as it is known today for glass depend upon the future of reli- returns on their investments, and it is just religious reasons or for just simple busi- gion? unpopular to spend money, even if it is ness reasons? Should we assist religions For more than a thousand years, stained there.
    [Show full text]
  • Caf Ar 419 Glassblowing
    Calle Renier, Dorsoduro 3655 – 30125 Venezia tel. 041.296 0599 CAF AR 419 GLASSBLOWING INSTRUCTOR: Davide Penso [email protected] CLASS: every Tuesday from 3.00 pm to 7.00 pm (56 hours) SITE: Murano Isle COURSE DESCRIPTION The CFA AR 419 Glassblowing is a course that takes place on the Murano Isle, and it is an introduction to the real professional way to approach the torch and how to melt glass. During this course students learn about tools used for creating glass beads. Each student learns how to create his/her own bead and right out of his/her first jewelry, through the assistance and monitoring of the instructor. Each student is assigned a workstation equipped with its own workspace and torch. Each workspace has all the tools she/he needs, including: steel spindles or needles, safety glasses, pan pot of graphite, flat pliers to shape the glass, vermiculite to cool beads, etc. In addition, many glass rods of many different colors. The number of students per class is limited to 8. This allows the instructor a personalized evaluation, constant feedback and instructions. During the course, students will learn about tools for beads design and creation, most of glass fusion techniques, from the project to the professional production of the beads, designing jewelry, and strategy of sales. On the 3rd of December, students will visit the Glass Museum in Murano. In addition, the optional visit to the furnace where students can see Giancarlo Signoretto’s glass sculptures, on the 3rd or on the 10th of December. REQUIREMENTS For this course no requirements are asked.
    [Show full text]
  • Recording the Learning Curve During the Mastery of Glassblowing Katie L
    University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2014 Recording the Learning Curve during the Mastery of Glassblowing Katie L. Corticelli University of Rhode Island, [email protected] Creative Commons License This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 License. Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the Cognitive Psychology Commons, and the Fine Arts Commons Recommended Citation Corticelli, Katie L., "Recording the Learning Curve during the Mastery of Glassblowing" (2014). Senior Honors Projects. Paper 381. http://digitalcommons.uri.edu/srhonorsprog/381http://digitalcommons.uri.edu/srhonorsprog/381 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Recording the learning curve during the mastery of glassblowing Katie Corticelli Introduction Results Discussion Shaping molten glass into three dimensional visual art is a Techniques are pre-specified steps or methods to master a task With this project I sought to document the learning curve in skill that many individuals are eager to acquire. Unfortunately, that requires practice. Learning techniques involves progress an effort to illuminate the process for would be glass artists. aspirations are often not met due to the unclear rate of skill from slow and effortful at the start to smooth and automatic Over the course of 14 weeks the number of mastered acquisition in glass artistry.
    [Show full text]
  • High Temperature Micro-Glassblowing Process Demonstrated on Fused Quartz And
    G Model SNA-8109; No. of Pages 7 ARTICLE IN PRESS Sensors and Actuators A xxx (2013) xxx–xxx Contents lists available at SciVerse ScienceDirect Sensors and Actuators A: Physical jo urnal homepage: www.elsevier.com/locate/sna High temperature micro-glassblowing process demonstrated on fused quartz and ULE TSG ∗ D. Senkal, M.J. Ahamed, A.A. Trusov , A.M. Shkel MicroSystems Laboratory, 4200 Engineering Gateway Building, Department of Mechanical and Aerospace Engineering, University of California, Irvine, CA 92697, United States a r t i c l e i n f o a b s t r a c t Article history: We report, for the first time, a MEMS fabrication process for building atomically smooth, symmetric 3- Received 17 August 2012 D wineglass and spherical shell structures, using low internal loss materials, namely fused quartz and Received in revised form ultra low expansion titania silicate glass (ULE TSG). The approach consists of three major steps: (1) a 27 November 2012 deep fused quartz cavity etch, (2) plasma activated bonding of fused quartz to fused quartz or TSG and Accepted 28 November 2012 ◦ (3) a high temperature (up to 1700 C) micro-glassblowing process. An in-house process capability of Available online xxx ◦ ◦ 1800 C glassblowing with a rapid cooling rate of 500 C/min was developed. Feasibility of the process has been demonstrated by fabrication of fused quartz and TSG micro-glassblown structures. Spheri- Keywords: Micro-glassblowing cal and inverted-wineglass shells with self-aligned stem structures were fabricated using this process. The approach may enable new classes of TSG and fused quartz MEMS devices with extremely low sur- 3-D MEMS Fused quartz face roughness (0.23 nm surface average), intrinsically low thermoelastic dissipation (QTED > 5E+10), and Ultra low expansion titania silicate glass highly symmetric structures (radial error < 500 ppm).
    [Show full text]
  • Development of the Art of Glassblowing in Ghana: Prospects and Challenges of Selected Glassblowing Units
    DEVELOPMENT OF THE ART OF GLASSBLOWING IN GHANA: PROSPECTS AND CHALLENGES OF SELECTED GLASSBLOWING UNITS BY HOLMAN KWEKU MENSAH (B.A) INDUSTRIAL ART, CERAMICS A thesis submitted to the school of graduate studies, KNUST in partial fulfillment of the requirements for the award of the degree of Master of Philosophy in African Art and Culture Faculty of Fine Art, College of Art and Social Sciences. September, 2009 © 2009 Department of General Art Studies DECLARATION I hereby declare that this thesis is my own work towards the MPhil degree and that, to the best of my knowledge, it contains no material previously published by another person or material which has been accepted for the award of any other degree of the University, except where due acknowledgement has been made in the text. HOLMAN KWEKU MENSAH (20065064)................................. ............................ Student Name & ID Signature Date Certified by: DR. E.C. NYARKOH ........................................... ................................... Supervisor’s Name Signature Date Certified by: DR. JOE ADU-AGYEM ....................................... ......................................... Heads of Department (Name) Signature Date ii ABSTRACT The objectives of this study are to identify the existing operational glassblowing units in the country; to investigate and document their tools, materials, equipment and methods which are used by these glassblowing units; assess their strengths, weaknesses, opportunities and threats of the glassblowing units. The multiple case study
    [Show full text]