Londonhua WIKI - User contributions [en]

File:Christopher Wren.jpg

2017-06-22T13:33:35Z

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This image is from wikimedia commons and is public domain. https://commons.wikimedia.org/wiki/File:Sir_Christopher_Wren._Line_engraving_by_C._Pye_after_Sir_G._Wellcome_V0006656ER.jpg

Christopher Wren

2017-06-22T13:23:42Z

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=Christopher Wren=
{{Infobox
|title = Christopher Wren
|bodystyle = width:25em
|image = [[File:Christopher_Wren.jpg]]
|caption = Christopher Wren
|label5 = '''Position'''
|data5 = Designer of St. Paul's Cathedral

}}

=Overview=
This page details the life of Christopher Wren .
 
__TOC__
 

=Background=
Christopher Wren is perhaps most famous as the designer of [[St. Paul's Cathedral]] after the fire of 1666 destroyed the old St. Paul's Cathedral.
 

=Education=
He graduated from Wadham College in Oxford, England studying Latin and the works of Aristotle. He also studied astronomy and mathematics at Oxford, eventually receiving his Masters in 1653. He served as a Professor of Astronomy at Gresham College, where he would later form the Royal Society.
 

=St. Paul's Cathedral=
Wren was started to design the new version of [[St. Paul's Cathedral]] in 1666, which was approved for construction later that year. He spent the next 36 years of his life building the cathedral to it's completion in 1711. The cathedral had gone through multiple redesigns, Wren fought with both the clergy and his critics about the design; the clergy found it to similar to Roman Catholic cathedral designs and therefore it went against the political and religious views of England. Wren modified his designs to appease the clergy but left some of the areas subject to change, getting his way with a more baroque style cathedral as the end result.<ref>BBC - History - Sir Christopher Wren. (2017). Bbc.co.uk. Retrieved 22 June 2017, from http://www.bbc.co.uk/history/historic_figures/wren_christopher.shtml</ref>
 

=Buildings Designed=
#[[St. Paul's Cathedral]]
#[[Westminster Abbey]]
#[[Monument to the Great Fire of London]]
#[[Old St. Paul's Cathedral]]
#[[Kensington Palace]]
#[[Temple Church]]
#[[Royal Observatory]]
#[[Wren Library]]
 
=References=
[[Category:History]]

Christopher Wren

2017-06-22T13:23:23Z

Nbloniarz:

Horniman Museum

2017-06-22T13:20:30Z

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=Horniman Museum and Gardens=

{{Infobox
|title = Horniman Museum and Gardens

|image = [[File:horniman.jpg|x450px|alt=Article Image]]
|caption = Horniman Museum and Garden
|label2 = '''Director'''
|data2 = Janet Vitmayer
|label3 = '''Opened'''
|data3 =1901
|label5 = '''Location'''
|data5 =Forest Hill London, SE23 United Kingdom
}}

=Overview=
The Horniman Museum and Garden was founded by John Horniman. He opened this museum to show off his collection of objects and bring the world to Forest Hill. This museum has an acclaimed aquarium, anthropology, musical instruments and natural history collection. There are many parts of the museum that can be correlated to the Garden.
 
__TOC__
 

=Background=
 
John Horniman was a successful tea trader and philanthropist. He used the wealth to begin collecting objects, artifacts, and specimens that "illustrated natural history and the arts and hand crafts from people around the world" in 1860. He did this to "bring the world to Forest Hill"and educate his community. He went to places such as Egypt, Sri Lanka, Burma, China, Japan, Canada, and the United States. His interests became well known and soon people began approaching Horniman with specimens and curiosities. In the late 19th century, his collection had grown too large for his house. The Horniman family moved next door and turned their old house into a museum. Over the years the musuem has expanded its footprint several times. The 1911 expansion by Charles Harrison Townsend uses similar design features to complement the original building. The 1996 Eco Building was designed by Achitype and uses sustainable wood while utilizing an early grass roof. The 2002 extension designed by Allies & Morrison also follows the original buildings style, ass well as being sourced from the same quarry as the 1911 extension.
 
==Natural History Exhibit==
 
The Natural History exhibit at the Horniman Museum aims to show how human lives are linked to the nature of Earth. It also attempts to display the diverse wildlife of the world. The creators of the gallery hoped that through the exhibit people would become inspired by nature. The gallery has been open since the early 20th century and has remained almost unchanged since then. To learn more about the exhibit click [[Natural History at the Horniman Museum|here]]
 
===Taxidermy===
The art of taxidermy was developed to preserve animals of all sorts including birds, mammals and to fish. By stuffing the animal, it can remain as life like as possible even after many years. It wasn't until the middle of the 19th century that people started to mount the taxidermy in their house through fashionable cases. The more exotic species the more desirable they were. During the Victorian and Edward time periods, it became popular to stuff what you hunted. The taxidermy animals were trophies which you could show off and prove your accomplishments.
 
===The Horniman Walrus===
 
The Horniman Walrus, which has become a mascot of the museum, has been on display for over one hundred years. The walrus first appeared in an 1886 exhibition on ''Canada'' as part of a group of animals assembled by James Henry Hubbard, a Canadian hunter and explorer. The exhibition was highly praised by Queen Victoria, and, when the exhibition closed, the walrus and several other animals were bought by Frederick Horniman for display.
 
Walruses (Latin name ''Odobenus rosmarus'') are one of the largest species of seal, living in the waters of the Arctic. To deal with the cold, walruses have thick skin and blubber. The diet of a walrus consists mainly of clams and shellfish. Walruses detect their prey with sensitive whiskers on their faces and use their snouts of jets of water to uncover prey from the seabed.
 
===Edward Hart===
Edward Hart is a taxidermist who lived from 1847-1928. He started in the Fathers business, William Hart & Son, Preservers of Birds and Beasts before starting his own. He later turned his into a museum. He then tried to sell he collection to the Bournemouth Society but was unable to. He was later able to sell it to John Hall of Stafford. After Hall's death the collection sent to Stowe School in Buckinghamshire. Leicester Museums stared to take care of his collection in 1923 and it was bought by Leicester Museum Service, Hampshire County Council Museums Service and the Horniman Museum in 1980. a lot of his collection is displayed in the Natural History exhibit.
 

===Evolution - Domestication 2===
 
Evidence of evolution: There are many cases where man has domesticated wild animals as companions or food. Because humans involvement by breeding their domesticated animals, these species are unlike their wild form and look dissimilar to other of their own genus. Breeders select individual animals that closely resembles what type of species they want to create and the result is then bred again to continue the breed. The museum displays the two closest examples of domestication, pigeons and dogs. The human involvement of creating breeds produces artificial examples of evolution but demonstrate that in the wild a natural evolutionary process can occur. 
===Defensive Protection===
 
This exhibit shows the devices that animals use to protect themselves from predators as well as other animals of their own kind. Internal mechanisms, such as those that fight bacteria, have not been included in this exhibit. Many of the devices used defensively, are more often times than not used offensively in capturing prey. Some animals have more than one method so therefore could be classified under more than one heading in this exhibit.
 
====Surface Protection====
 
Surface protection can be divided into 7 sections, sheets, spines, exoskeletons, limy skeletons, scales and armor. the purpose of this protection is to prevent a predator from biting the animal, which will kill it. While skin is a protection against bacteria and viruses it was not included in this exhibit but it is more or less universal in multicellular animals. Many of the protections are modifications of skin or secreted by it.

==Figure Clock==
The Horniman Museum features an ornate clock above the Natural History exhibit. The clock depicts scenes of Jesus and his apostles. It was made in the 1800's and has been in the museum since it opened in 1901. It chimes every quarter hour and has moving biblical scenes including the passion and nativity. The clock was manufactured in Germany and plays German hymns.
 

==Music Exhibit==
The music exhibit at the Horniman Museum is incredible. It covers one fourth of the lower level of the museum. There are many different examples of music throughout the years and how instruments have evolved. To learn more about the exhibit, click [[Music Exhibit at the Horniman Musuem| here]].
 
 

==The Robot Zoo==
The Robot Zoo is a temporary exhibit that goes from February 2017 till October 2017. This exhibit features animals that are recreated as robots which helps people learn about the inside of the animals. Animals featured in robotic form includes a giraffe, beetle, grasshopper, and many more. Also featured are interactive places where you can create and design your own robotic creatures
<gallery mode = "packed" heights = 300px>
3734924942 4e360c4907 b.jpg|Grasshopper '''Attributed to''' [https://www.flickr.com/photos/21218849@N03/ Samuel Mann] via flickr - [https://www.flickr.com/photos/21218849@N03/3734924942/in/photostream/ Link]
</gallery>
 
===The Body Shop===
<gallery mode="packed">
Robotic Body Shop.jpeg
</gallery>
"Robot Body Shop" are series of four stations that show how various parts of animals and insects work. These stations recreate live body functions in machine forms that mimic how an actual animal or insect body part would operate in real life. The first station demonstrates how a muscle works. The second station demonstrates how a heart and lungs function. The third station demonstrates how joints work and finally, the last station demonstrates how energy is stored and released.
 
 
[[File: Horniman Gardens 10 2.jpg|x350px|right|thumb|frame|]] 

==Exploting Nature==
Inevitably, discovery of faraway places and their wildlife resulted in exploitation for profit. Scientific collecting led to hunting for trophies and shooting and trapping on an industrial scale. By the late 19 century millions of birds and mammal skins were being materials for all sorts of businesses. Taxidermy thrived, Nature's bounty was thought to be endless, but many species suffered catastrophic declines as a result, Today wildlife conservation organisations attempt to control the worst excesses of exploitation.
===Decoration===
Decoration The art of taxidermy developed to preserve birds, mammals and fish to look as life-like as possible. Quality taxidermy mounts became fashionable items for home decoration from the middle of the 19th century. Cases containing rarities and exotic species were particularly desirable. Willams and Sons taxidermy ohop, Dublin 1900 image courteoy of Martin Dunne, British Historical Taxidermy Society.

===Fashion===
Fashion The use of fur and feathers for women's clothing and accessories reached extraordinary heights in the late Victorian and early Edwardian It of dress especially hats. fashionable incorporate plumes, wings, even whole birds onto supply the millinery was extensive. in paradise, gulls to species suffered severe declines or faced extinction as Maria Christina de (1806-78) Queen of doll on wearing incorporating Leneer Bardot OErich Lessing
===Trophies===
Trophlas Hunting, shooting and fishing were popular pursuits in the Victorian and Edwardian periods, Trophies were a physical record of the catch and embellished the reputation of the eatcher Taxidermists were in demand for preserving record fish, unusual varieties and all kinds of game from the Lmpire,

=The Gardens=
 
In 1901 Frederick Horniman donated his museum and 9 acres of land to the London City Council. Horniman wanted to create a place that would give people the space to relax, learn and play. After the donation of the property the museum and garden, the 9 acres grew by extending into the surrounding area. Today the gardens extend over an area of 16.5 acres with sundials hidden throughout the area, sheep, and a musical playground.
 
==Sundials==
Hidden throughout the gardens and museum are a trail of several different sundials. This path was established with the help of the British Sundial Society, which is a society that was established in 1989 that currently has about 400 members. The sundials range from being located on the ceiling, to a brick wall, to even one that uses a person's shadow to tell the time. There are a total of 12 sundials to explore on the property.
 

===Scaphe Sundial===
Angela Hodgson designed this sundial as a juxtaposition of the smooth surface of the spherical inner bowl with the disorganized outer surface and stem. This is meant to symbolize the conflict between perfect human ideals and the death and decay time passing brings. The dial's plant-like stem was influenced by the Chinese Magnolia flower. The tip of the shadow created by the gnomon indicates solar time.
 

===Stained Glass Sundial===
Designed by Roselyn Loftin, the dial is a feature of the Conservatory. The design is meant to symbolize elements of the museum, each blue panel represents a collection and the green panels represent the gardens. The shadow from the sundial is situated so it can be seen inside the building, despite the actual structure being outside. Time is indicated by the gnomon's shadow on the glass inside the Conservatory. The layout shows morning hours on the right and evening hours on the left. There is a plaque underneath the dial explaining the "Equation of Time".
 

===Butterfly Sundial===
The butterfly sundial was originally designed for the Sunday Express Garden at the Chelsea Flower Show in 1987. It was meant to demonstrate a mixture of science and art. The sundial commemorates Noel Ta'Bois's 20th wedding anniversary. The Horniman received the sundial after his death in 1988. To read the dial, you use the edge of the shadow of the butterfly's wing to indicate Solar Time.
 

===Tea-time Sundial===
 

===Double Polar Horniman Logo Sundial===
 

===Spot-on Sundial===
 

===Armillary Octahedron Sundial===
The Armillary Octahedron Sundial was designed by David Young and John Moir in 2007. The design was inspired by Borromean rings. Borromean rings are three interlocking rings that are no longer interlocking if one ring is removed. Instead of ring, the design uses diamonds. The inscriptions on the diamonds represent strength and unity. To tell time, the vertical diamond casts shadows on the markings of the other two diamonds. Depending on the time of day is which diamond should be referenced. <ref>Sundial trail. Retrieved from http://www.horniman.ac.uk/collections/stories/sundial-trail/story-chapter/armillary-octahedron</ref>
<gallery mode="packed" heights=250p>
File:Armillary Octahedron Sundial- sm- JR.jpg|thumb|Armillary Octahedron Sundial
</gallery>
 

===Equatorial Sundial===
The Equatorial Sundial was created by Silas Higgon in 1994. It consists of two half circles and a rod. As the sun passes through the sky, the shadow cast by the rod on the curved strip of metal behind it tells the time. On the base of the sundial there is an inscription of a graph of the Equation of Time. <ref>Sundial trail. Retrieved from http://www.horniman.ac.uk/collections/stories/sundial-trail/story-chapter/armillary-octahedron</ref>
<gallery mode="packed" heights=250p>
File:Equatorial Sundial- sm- JR.jpg|Equatorial Sundial
</gallery>
 

===Roman Sundial===
This version of a Roman Sundial was constructed in 2004 by David Brown. The sundial has 12 hours, to represent the time between sunrise and sunset, changing the length of the hours with the changing of the seasons. This dial has been modified from the original roman style to read as having equal length hours in the day, but retains the Roman appearance. Roman sundials also have marks to indicate solstices and equinoxes: the central green line denotes an equinox, the red line denotes the Summer Solstice, and the blue line the Winter Solstice.<ref>Stories - Collections - Horniman Museum and Gardens. (2017). Horniman.ac.uk. Retrieved 22 June 2017, from http://www.horniman.ac.uk/collections/stories/sundial-trail/story-chapter/roman-sundial</ref>
 

===Horniman Sundial===
 

===Analemmatic Sundial===
 

===CUE Building Ceiling Sundial===
 

==Display Gardens==
All botanical displays have been carefully created by the museum's gardeners and curators to unite the indoor and outdoor collections. They reflect themes of the exhibits displayed in the museum and can be seen inside and outside of it.
 
==Conservatory==
This Victorian Conservatory was originally built at the Horniman family house at Coombe Cliffe, Croydon, in 1894. By 1982, it had fallen into disrepair. The structure was dismantled and moved to its current site where it was beautifully restored with the help of English Heritage. It re-opened in 1989 and is used for performances, workshops, and as a function room.
 
==Brandstand==
From the grandstand, visitors are able to enjoy a breathtaking vista of London. It was built in 1903 from a design by Charles Harrison Townsend and it is a focal point for a lot of the museum's outdoor summer events programme such as concerts or film screenings, while surrounding terrace provides a large picnic area with stunning views.
 
==Nature Trail==
The Horniman Nature Trail is the oldest in London. It is roughly half a mile long on the site of the original Crystal Palace and South London Junction Railway. The railway was closed in 1954 and the area was left unmanaged until 1972. This resulted in it becoming a wild woodland area. Today, the trail is managed carefully to encourage a wide variety of plants, birds, insects and other animals which depend on each other for survival. Pond and meadow habitats have been introduced to attract new species, and a log pile area is home to dozens of different mini beasts, including the endangered stag beetle. The trail is a sensitive area and much time goes into managing it for your enjoyment. The main entrance to the Nature Trail is located on the cycle path that runs parallel with the Museum and Gardens and can be accessed from London Road. <ref>The Horniman Museum and Gardens. (n.d.). Gardens - Displays. Retrieved May 22, 2017, from http://www.horniman.ac.uk/visit/displays/gardens#image-4</ref>
<gallery>
Horniman Gardens 3 2.jpg
Horniman Gardens 4 2.jpg
Horniman Gardens 5 2.jpg
Horniman Gardens 6 2.jpg
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Horniman Gardens 12 2.jpg
</gallery>
 
 

=References=
<references/>
#History of the Museum. (n.d.). Retrieved May 22, 2017, from http://horniman.ac.uk/about/museum-history
 

=External Links=
If appropriate, add an external links section
 
=Image Gallery=
If appropriate, add an image gallery
 

[[Category:History]]

The Gardens at Hampton Court Palace

2017-06-22T13:18:58Z

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{{Infobox
|title = The Wilderness Garden
|header1 = The Wilderness Garden at Hampton Court Palace
|bodystyle = width:25em
|image = [[File:IMG_0881.JPG|x450px|alt=Article Image]]
|label2 = Attributed to
|data2 = [[User:Dmpayette]]
}}

 

=Overview=
Surrounding the palace on every side except for the front is the gardens. The gardens were used to grow vegetables for the kitchen and a retreat for the royals who needed some fresh air. The gardens were turned into a huge tourist attraction for visitors who visit the palace now.
 

__TOC__
 

=The Different Gardens at Hampton Court Palace=
 
==The 20th Century Garden==
 
==The Banqueting House==
 
==The Great Fountain Garden==
 
==The Great Vine==
[[File:The Great Vine - geograph.org.uk - 396688.jpg|thumb|The Great Vine '''Attributed to''' Margaret Sutton [CC BY-SA 2.0 (http://creativecommons.org/licenses/by-sa/2.0)], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AThe_Great_Vine_-_geograph.org.uk_-_396688.jpg Link]]]
This Great Grape Vine is know as the worlds largest vine. Planted in 1768 by Lancelot Brown by, according to the [[Hampton Court Palace]] website, cuttings from another vine at Valentines Mansion located in Essex.<ref name = "vine"> Palaces, H. R. (n.d.). The Great Vine. Retrieved May 25, 2017, from http://www.hrp.org.uk/hampton-court-palace/visit-us/top-things-to-see-and-do/the-great-vine/#gs.4zyrnrA </ref> The vine is now 4 meters around the base and the longest rod is 36.5 meters.<ref name = "vine"/> The average crop yields 272 kg of grapes each year.<ref name = "vine"/> The grapes are sold during the first 3 weeks of September. 

==Home Park==
 
==The Magic Garden==
The magic garden is the more family friendly garden which is located next to the Tiltyard and the Kitchen Gardens. This garden is a unique, interactive, play garden that was inspired by the history and the stories of the Hampton Court palace and was built on King Henry VIII's tiltyard. This garden is for children ages 5 to 13 and the young at heart who want to explore the tiltyards towers and aerial walkways to the lair of of a mystical fire breathing dragon who protects a jeweled crown and an underground grotto. Bonus there are mystical beasts roaming the grounds!
 

==The Kitchen Garden==
This was the home of the food factory for the palace's fruit and vegetables. Currently the garden has been restored to an approximation of its 18th century appearance, the garden was created in the 17th century for William and Mary. Queen Victoria moved the palace gardens to Windsor Castle upon her ascension to the throne, causing the gardens to be leased as market gardens and eventually becoming a pleasure garden in the 1930's. The garden also currently is planted with historically accurate crops, that can be purchases during the summer from the garden stall.<ref>Kitchen Garden. (2017). Historic Royal Palaces. Retrieved 22 June 2017, from https://www.hrp.org.uk/hampton-court-palace/explore/kitchen-garden/</ref>
 

==The Knot Garden==
 
==The Lower Orangery Garden and Terrace==
The lower Orangery Garden used to be the home of the Exotick Plant collection or Queen Mary II, however today the the garden has returned to its former glory. Today the garden houses secret pond garden, which was the original place for the royal courts freshwater fish.
 .

==The Pond Garden==
 

==The Privy Garden==
 
The first Privy (Private) Garden at Hampton Court Palace was constructed between 1530 and 158 for King Henry VIII. Its original design was split into two areas, one containing an array of brass sundials and statues, and the other dominated by a bowling alley, a banqueting house and the Water Gallery, which provided a landing stage from the Thames. By 1599, under Elizabeth I, the Privy Garden had acquired an assortment of topiary. Between 1599 and 1659 the Garden's layout changed again to focus on statutory situated on four grass plats. The Garden went through several more redesigns between 1689 and the 19th century, but by the mid-1850s it underwent one of its most extreme changes. The Privy Garden was shaded by large trees and provided a resting point for visitors. By this time the Privy Garden was no longer private, welcoming individuals other than the King and his closest guests<ref name = "pivy">King William III's Privy Garden at Hampton Court Palace. (n.d.). Retrieved May 24, 2017, from https://hrpprodsa.blob.core.windows.net/hrp-prod-container/11049/hampton-court-palace-privy-garden.pdf</ref>.
 
The original 1702 layout of the Privy garden was rediscovered during the 1995 restoration effort of the Palace. The Garden was restored to its original state, including the cultivation of the same flowers and shrubs that were first grown here. The Privy Garden was reopened to the public in 1995<ref name = "pivy"/>
 

==The Rose Garden==
The Rose Garden takes visitors through a relaxing stroll through different roses. Many different colors of roses, like red, pink, and yellow to name a few, line the walls and center of the garden. There are three stone statues that are the centerpiece of the rose garden. The garden was created in 1924 and was planted informally with old English varieties of roses. Visitors first were allowed into the garden when they realized that visitors to the palace were growing in the years after World War I. In 1937, many different gardeners created the formal layout of the mixes of roses that are in the garden today. The kitchen garden was shortened to allow room for the rose garden to be put into place. It used to be part of the Tiltyard Gardens, but was divided up for the kitchen and magic gardens. The Tilityard was where competitors trained for jousting tournaments and other entertainment for King Henry VIII.
<gallery>
IMG_0893.JPG|The Rose Garden
IMG_0895.JPG|Statue in The Rose Garden
IMG_0896.JPG|Statue in The Rose Garden
IMG_0898.JPG|Yellow Roses
IMG_0900.JPG|Purple Roses
IMG_0904.JPG|Pink Roses
</gallery>
 

==The Royal Tennis Courts==
 
==The Wilderness Garden==
In a large part of the gardens off to the west is the wilderness garden. The wilderness garden technically isn't wild at all, but there is no pattern or formal part to the garden. All the garden is is just strolls through woods on dirt paths. The garden was enjoyed by William III and Mary II. They used the garden to get away from the royal palace and immerse themselves into what the actual woods was. Birds and squirrels roamed the trees freely in the wilderness garden and wild flowers grew. Many different types of trees were planted in the garden to give it a variety. The springtime is the best time to visit the wilderness garden since that is when everything in the garden awakes from a deep winter sleep. The birds come chirping back and the wild flowers grow to amazing heights.
<gallery>
IMG_0873.JPG|Wild Flowers in The Wilderness Garden
IMG_0874.JPG|Modern Walking Path
IMG_0877.JPG|Wall Dividing Gardens
IMG_0881.JPG|Hanging Wild Flowers
</gallery>
 

===The Maze===
Inside the wilderness garden is a small maze. The maze was part of the original wilderness forest, but became very popular during Queen Victoria's time when visitors tried to find their own way through the maze. The maze offered high secluded bushes for members of the royal family to walk with lots of privacy from the outside world. Today, the maze has shrunk from its original size, but still holds the prize in the center. In the center of the maze, At the center of the maze (if one is lucky enough to find their way to the center), they will be greeted by a quiet space to talk and sit on benches that Queen Victoria once sat on.
 
 
=References=
 
<references/>
[[Category:History]]

File:Monet Lilies1.jpg

2017-06-22T13:15:11Z

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2017-06-22T13:13:46Z

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2017-06-22T13:12:50Z

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Tate Britain

2017-06-22T13:08:34Z

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=Tate Britain=

{{Infobox
|title = Tate Britain
|bodystyle = width:25em
|image = [[File:tateb.jpeg|x450px|alt=Article Image]]
|caption = photo by: Sofia Reyes
|label2 = '''Director'''
|data2 = Alex Farquharson
|label3 = '''Established'''
|data3 = 1897
|label4 = '''Location'''
|data4 = Millbank, London SW1, UK

}}
[[Category:Art]]
=Overview=
Tate Britain is one of the four Tate Galleries. It was founded by Sir Henry Tate. It is the second best place to observed British Art, the first being the [[The National Gallery]].
 
__TOC__
 

=Background=
 
Tate Britain contains British art produced from 1500 to the present. It was known as the National Gallery of British Art from 1897 to 1932, and the Tate Gallery from 1932 to 2000. The building is situated on the banks of the Thames, on the site of a former Millbank Penitentiary, which was demolished in 1890. The gallery first opened in 1897, and more than doubled in size during its first fifteen years. The gallery became fully independent of the National gallery in 1955 and has since expanded into several adjacent buildings. Tate Britain was the first of the Tate Galleries, which also include Tate Liverpool, Tate St. Ives, and Tate Modern<ref>History of Tate. (n.d.). Retrieved May 17, 2017, from http://www.tate.org.uk/about/who-we-are/history-of-tate</ref>.
 
==Displays==
 
The main display spaces show the permanent collection of historic British art, as well as contemporary work. However, they also host different exhibits.
==Summer 2017 Exhibits==
===Queer British Art 1861–1967===
Featuring works from 1861–1967 relating to lesbian, gay, bisexual, trans and queer (LGBTQ) identities, the show marks the 50th anniversary of the partial decriminalisation of male homosexuality in England. Queer British Art explores how artists expressed themselves in a time when established assumptions about gender and sexuality were being questioned and transformed.

Deeply personal and intimate works are presented alongside pieces aimed at a wider public, which helped to forge a sense of community when modern terminology of ‘lesbian’, ‘gay’, ‘bisexual’ and ‘trans’ were unrecognised. Together, they reveal a remarkable range of identities and stories, from the playful to the political and from the erotic to the domestic.

With paintings, drawings, personal photographs and film from artists such as John Singer Sargent, Dora Carrington, Duncan Grant and David Hockney the diversity of queer British art is celebrated as never before.
Organize each section of this article so that it has a logical flow. If you intend to discuss one aspect of the origin of a person, place, thing, or idea, identify the appropriate existing section of the article, or create that section if it doesn't exist. Then, make a clear subheading. If you notice that some other information is not organized clearly, rearrange the information, but do so cautiously and responsibly! The goal here is clarity for the reader.
 
===David Hockney===
"One of the most popular and influential British artists of the twentieth century returns to Tate Britain for his most comprehensive exhibition yet"<ref>T. (n.d.). David Hockney - Exhibition at Tate Britain. Retrieved May 16, 2017, from http://www.tate.org.uk/whats-on/tate-britain/exhibition/david-hockney</ref> Mr. Hockney is a renown artist that in the last sixty years has had various accomplishments in painting, drawing, print, photography and video. With almost eighty years old, he brings to Tate Britain an exposition that, according to him, he had never shown to the public before. What makes his work so outstanding from other contemporary artists is his flexibility and ability to adapt to the use of new technologies and applications to create his art. He changes his style and ways of working to appeal to the different audiences and he expresses it freely "I live in the now", he says. "Time is elastic, and I play with that idea" he also said in a promotional video for this exposition in Tate Britain.
 
In this exposition, available until May 2017, he shows his portraits and images of Los Angeles swimming pools, through to his drawings and photography, Yorkshire landscapes and most recent paintings. This exhibition shows how the roots of each new direction lay in the work that came before. It is describe by Tate as a "once-in-a-lifetime chance to see these unforgettable works together".
<gallery>
Image:Da.jpg|''Garden With Blue Terrace 2015''
Image:Dav.jpg|''Going Up Garrowby Hill 2000''
Image:Davi.jpg|''A Lawn Being Sprinkled 1967''
Image:David.jpg|''Peter Getting Out of Nick's Pool 1966''
Image:Davidh.jpg|''Garden 2015''
Image:davidho.jpg|''Model with Unfinished Self-Portrait 1997''
</gallery>

=== Cerith Wyn Evans ===
{{Infobox
|title = Cerith
|bodystyle = width:20em
|image = [[File Wyn.jpg|150px]]
|caption = Gary Hume 
Cerith 1998 
© Gary Hume 
}}
The artist Cerith Wyn Evans is a Welsh painter born in 1958. His is noted for his unique and diverse range of artwork that ranged from sculpture, to film and art. He focused on the communication of ideas, which have been exemplified through most of his artwork. The fact that he designs in many different mediums allows his creativity to not be bounded by paint or video or sculpture. He is often known to do collaborations with well-known artists such as Yoko Ono. Wyn Evans has also been known to do many commissions such as the one currently at the Tate called [[Tate Britain #Forms in Space…by Light (in Time)| Forms in Space…by Light (in Time)]].
 
====Forms in Space…by Light (in Time) ====
[[File:FormsInSpace.jpg|300px|right|frameless]]
 
Forms in Space…by Light (in Time) was created by Cerith Wyn Evans in 2017, in order to exemplify how energy can flow through empty space.The first thing you see when you enter the gallery, this exhibit takes up a large space in the center of the building. The project was created by suspending almost 2 km of custom designed neon lights from the ceiling to create abstract shapes in layers. As you move through the hall, the original view becomes deconstructed into individual hanging groups of lights. It provides viewers the feeling of suspension and movement. The idea was originally inspired by the movements of the Japanese Noh Theater and demonstrates the skill and art of creating light structures on levels that are considered challenging and almost impossible.
 

===Do Words Have Voices===
This is a spotlight exhibit by Martin Boyce on display in Tate Britain. Martin Boyce is an artist from Glasgow and likes to show the physical and psychological experience that happens in an environment. His installations have to do with modern urban landscape, specifically 20th century modernist design. He then shows the connection between this and what are utopian ways of living. In this display are six works, there are three "trees" with a canopy of metal leaves that were designed in 1925 by Joel and Jan Martel. There is a table that was based on a library desk which was done by designer Jean Prouve. There are also paper leaves that are scattered across the floor that are supposed to give the image as if they were blown through the modernist style ventilation grills. The lights in the room are slightly dimmed to give the same atmosphere as if you were in a park at desk. There is a feeling when you walk into the room that something just went on here. Boyce said he looks at, "the things we pass through every day and then occasionally catch a glimpse of and maybe see something that has meaningful resonance. The work is to amplify those moments."

<gallery mode="packed'>
File:EWdwhv1.jpg
File:EWdwhv3.jpg
File:EWdwhv4.jpg
</gallery>

==Permanent Exhibits==
==1780s==

{{Infobox
|title = The Death of Major Peirson
|bodystyle = width:25em
|image = [[File:Deathofmajorpeirson.jpg|400px]]
|label2 = by
|data2 = John Singleton Copley
}}
===John Singleton Copley===
This piece was painted by John Singleton Copley. It shows the Battle of Jersey, where, in 1781, a French force invaded the island in an attempt to take it from the British. After the fall of the island’s capital, the governor was captured and agreed to a surrender to the French. However, the young Major Peirson fought off the French, and as the British were winning, he was shot by a French sniper. As shown in the painting, Peirson’s black servant avenged his master by killing the sniper. This painting shows Peirson dying in the battle, but in reality he died before the battle. This battle turned Peirson into a British hero, and therefore the painting was extremely popular when it was released.

==1800s==

{{Infobox
|title = Joseph Mallord William Turner Self Portrait
|bodystyle = width:20em
|image = [[File:Turner_selfportrait.jpg|300px]]
|label2 = by
|data2 = Joseph Mallord William Turner
}}
===Turner Collection===
Joseph Mallord William Turner (1775–1851), according to the Tate website, was a master of painting history, landscape and marine painting.<ref name = "tut">T. (n.d.). Turner Collection at Tate Britain. Retrieved May 16, 2017, from http://www.tate.org.uk/visit/tate-britain/display/turner-collection </ref>His largest collection of art can be found at Tate Britain. He is know as the father of modern art since he was unlike artists at his time.<ref name = "tut"/> According to the Tate Britain website, he is is the most celebrated painter in England. <ref name = "tut"/> Pictured are some of his works that are displayed in Tate Britain.
<gallery>
File:shipwreak.jpeg|thumb|The Shipwreck exhibited 1805 '''Attributed to''' J. M. W. Turner [Public domain], via Wikimedia Commons '''Link''' https://commons.wikimedia.org/wiki/File%3AJoseph_Mallord_William_Turner_-_The_Shipwreck_-_Google_Art_Project.jpg
File:Joseph_Mallord_William_Turner_-_Norham_Castle,_Sunrise_-_WGA23182.jpg|thumb|Norham Castle, Sunrise c.1845 '''Attributed to''' J. M. W. Turner [Public domain], via Wikimedia Commons '''Link''' https://commons.wikimedia.org/wiki/File%3AJoseph_Mallord_William_Turner_-_Norham_Castle%2C_Sunrise_-_WGA23182.jpg
File:JMW_Turner_-_Modern_Rome_-_Campo_Vacino.jpg|thumb|Modern Rome - Campo Vaccino exhibited 1839 '''Attributed to''' J. M. W. Turner [Public domain], via Wikimedia Commons '''Link''' https://commons.wikimedia.org/wiki/File%3AJMW_Turner_-_Modern_Rome_-_Campo_Vacino.jpg
</gallery>

===Inspired by Literature===
Many scenes painted we often the result of a certain artist inspired by a piece of literature that they had either heard or read. One example of this is "Claudio and Isabella" created by William Holman Hunt, this painting represents a scene from Shakespeare's Measure for Measure of complex moral dilemma for Claudio and Isabella after Claudio has been sentenced to death. Another painting, Psyche, done by George Fredric Watts is a representation of the myths of Venus, Cupid, and Jupiter and their trials of love and jealousy. There is another painting created in 1889 by John Singer Sargent that was made after he had seen the show, Macbeth, he was inspired by Ellen Terry's appearance and persuaded her to pose for a portrait. The final painting to be mentioned here is called The Lady of Shalott and was painted by John William Waterhouse in 1888. This scene concludes the famous poem of the same name, by having the heroine set sail for Camelot and possibly death.
<gallery>
File: Claudio and Isabella.jpg|thumb|Claudio and Isabella 1850 - Hunt
File: Psyche.jpg|thumb|Psyche 1880 - Watts
File: Ellen Terry as Lady Macbeth.jpg|thumb|Ellen Terry as Lady Macbeth 1889 - Sargent
File: The Lady of Shalott.jpg|thumb|The Lady of Shalott 1888 - Waterhouse
</gallery>

==1850's==
===William Holman Hunt===
William Holman Hunt was the founder of the Pre-Raphaelite Brotherhood, a group dedicated to creating quality ans sympathetic art, the expression of genuine ideas, and the study of nature, Hunt created his art following these principles. Currently on display in the 1850's room are four of his pieces ''Our English Coasts, 1852 ('Strayed Sheep')'', ''Cornfield at Ewell'', ''The Awakening Conscience'', and ''Claudio and Isabella''. The first two pieces are landscapes of the English countryside following one of the Brotherhood's main principles about painting and studying nature. The later two pieces are portraits that have two differing messages, but similar themes. In ''The Awakening Conscience,'' a man is portrayed with his mistress and evokes symbolism of innocence lost and plight of women. In his other portrait, ''Claudio and Isabella,'' Isabella stands in white as a symbol of purity where as Claudio stands in the dark as a foil to Isabella.
<gallery>
Image:ClaudioandIsabella.jpg|"Claudio and Isabella"
Image:CornfieldatEwell.jpg|"Cornfield at Ewell"
Image:OurEnglishCoasts.jpg|"Our English Coasts, 1852 ('Strayed Sheep')"
Image:AwakeningConscience.jpg|"The Awakening Conscience"
</gallery>
 
===William Blake===
William Blake was an English poet, artist and print maker who was born and lived in London, England. Blake focuses most of his art on the creation and discovery which is exhibited in his eight works that are currently being displayed in the William Blake room on the upper level of the museum. The ''Oberon, Titania and Puck with Fairies Dancing'' focus on the last scene of William Shakespeare's ''A Midsummer Night's Dream'' where Titania is instructing her fairy train. ''Newton'' displays the scientist only looking at the scientific knowledge instead of the colourful rocks. representing creativity behind him. There is also ''The Ghost of a Flea'', ''Elohim Creating Adam'', ''The Good and Evil Angels'', ''Pity'', ''Nebuchadnezzar'', and ''Epitome of James Hervey's 'Meditstions among the Tombs'''.
<gallery mode="packed">
Image: Dance.jpg|''Oberon, Titania and Puck with Fairies Dancing''
Image: Newton.jpg|''Newton''
Image: Flea.jpg|''The Ghost of a Flea''
Image: Adam.jpg|''Elohim Creating Adam''
Image: Angels.jpg|''The Good and Evil Angels''
Image: Pity.jpg|''Pity''
Image: Neb.jpg| ''Nebuchadnezzar''
Image: Epitome.jpg|''Epitome of James Hervey's 'Meditstions among the Tombs'''
</gallery>
 

==1850-1900==

===Paule Vézelay===
Paule Vézelay was born as Marjorie Watson-Williams in Bristol in 1892. She began studying at the London School of Art in 1912 under George Belcher. She moves to Paris and change her name to Paule Vézelay in 1926. While in Paris She joined a network of leading avant-garde artists and joined an association of of non- figurative artists called Abstraction-Création in 1934. She returned to England at the start of World War II. She stared doing textile design to help support herself because her modern style was unpopular. She continued to work as a artist until her death in 1984.

==1920s==
===Sir Osbert Sitwell, Bt===
The sculpture was made out of bronze by Frank Dobson in 1923. Frank Dobson was a scultptor and painter associated with the post-impressionist movement. He met Sir Osbert Sitwell in 1921 who sat for the sculpture for three months. During one of those sitting he met TE Lawrence who bought the sculpture and later gave it to the Tate.
<gallery mode="packed">
Image: bust.JPG
</gallery>
 

==1930==
The 1930's brought a wide range of artistic styles to Britain. They ranged from abstract to realist. The once optimistic artistic style of earlier works is now gone due to the beginning of World War Two; the horrors of conflict and the Holocaust. Also visible in the art is the modern artists' response to the rise of fascism in Europe. Abstract artists, surrealists, and social realists all uniquely expressed the political crisis. The art tells the stories of one last major event that happened during this time period: The Great Depression. Each artist found a way to incorporate aspects of the event into their art. Some were more obvious than others. The layout of this room I find to be unique. Instead of arranging the pieces by artistic style, they are arranged by year. This allows you to view the different kinds of art that was being created during the same time period and how the styles varied. It also allows the viewer to not be bombarded by one particular style.
<gallery mode="packed">
1718.jpg|Fulcrum (Top) and Surgical Ward (Bottom)
1720.jpg|Related Forms
1721.jpg|Sun God
1722.jpg|Johanaan
1723.jpg|Skipping
1725.jpg|St. Francis and the Birds
1726.jpg|Portrait of Margaret, Duchess of Argyll
1727.jpg|The Potteries (Top) and Church at Trèboul (Bottom)
</gallery>
 

==1940s==
===Pelagos===
This sculpture was created by Barbara Hepworth in 1946. It's base is carved out of oak wood. This sculpture was inspired by the view at the bay at St Ives in Cornwall. The rolling oak wood is supposed to resemble a wave with the taut strings to show the tension between her and the sea.
<gallery mode="packed">
Image: strings.JPG
</gallery>

==1950s==
As the world came out of World War II, art began to rise up again. The years of depression were over, and artists began coming back, painting and sculpting more art. One of the first images in the 1950s gallery is by Fred Williams, and its title is ''Coal Delivery'', which was painted in 1955. This is a relatively rare example of his early work which was made towards the end of his studies in London. It reflects the tradition of urban realism in British art. ''Coal Delivery'' replaces the monumentality of contemporary social realism with dynamism. Even though his stay in Britain was short, he would soon return to his homeland, Australia, where he became one of the leading artists of his time. 
The second image still reflects upon the urban realism of central London. The common man was coming back from war are picking up the jobs they once had, and Prunella Clough represented that perfectly with this next painting. In 1951, she painted ''Man Housing Metal Fish Boxes''. Clough's work hones in on this one man's task, which highlights the gritty realism of life of the working man in central London after the second great war. 
Focusing now on more a more interesting piece of artwork, Lynn Chadwick's ''Dragonfly''. ''Dragonfly'' is a kinetic sculpture that is hanging from the ceiling in the gallery room. It was created by a network of welded iron rods, It is held up by its side by only a few clear wires, indicating that it's off balance. It was carefully designed, however, so that the tail of the dragonfly would be a counterweight, making it so that the dragonfly is balanced on just a few strings.
 
<gallery>
File:IMG_0735.JPG|''Coal Delivery''
File:IMG_0737.JPG|''Man Housing Metal Fish Boxes''
File:IMG_0741.JPG|''Dragonfly''
</gallery>

 
 

==1960s==
The 1960s exhibit at Tate Britain captures the essence of Britain's art in the 60s. Figurative artists are featured along with their new and changing subjects, there was also new viewpoints on abstractionism beginning in the 1960s. New types of art, like pop art, had emerged in the 1950s and were being spread during the 60s. Another new type of art was conceptual art, where artist started using video and and performances to capture their art. The exhibit also features a range of artists, including older ones who adapted to the changing styles of 1960s art. A few of the pieces in the gallery are described below.
===''Portrait of David Hockney in a Hollywood Spanish Interior''===
This portrait done by Peter Blake was painted in 1950, well after David Hockney had become a famous British artist. The part of the painting of Hockney himself was taken from a photograph taken by Michael Cooper. The young man in the background of the photo was probably put there to hint at Hockney's sexuality. Blake is well known for his influence in Pop art but he also was known as a commercial artist. He often painted celebrity portraits like this one. Putting together pieces of this painting gives it a feel that it is a collage, which is very typical of Peter Blake's work.
===''Relief Construction''===
This work was completed between 1960-1962 and was done by an artist named Anthony Hill. Hill took part in the revival of idealist abstract art along with many other young artists in the 50s. This relief was created using mathematical formulas, making it very precise in unit proportions. The materials used, plastic and aluminum for the angle sections, were newly mass-produced materials further added to the precision of the design. This type of art is also known as British Constructivism.
<gallery>
relief 1.jpg|''Relief Construction in Black, White, and Maroon''
David Hockney.jpg|''Portrait of David Hockney in a Hollywood Spanish Interior''
Relief 2.jpg|''Relief Construction''
mirror.jpg|''Mirror''
kit man.jpg|''The Identi-Kit Man''
no woman.jpg|''No Woman, No Cry''
</gallery>

==Video Art==
Tate Britain offers three video art displays available to the public. "Together" by Lucy Beech and Edward Thomasson was designed to be therapeutic. The goal is to experience unspoken emotions and conflict in a safe environment. To do so, performers act out violent scenes in a dance to instrumental Katy Perry music. This creates an interesting contrast where the performers are smiling while pretending to beat each other up to cheery music. "Blue" by Derek Jarman is a blue screen accompanied by music and spoken words. It was inspired by artist Yves Klein whose blue paintings Jarman saw at Tate Gallery. For Jarman the blue represents "the admirable austerity of the void". "Dream English Kid" by Mark Leckey is a series of impressions. The video will focus on key familiar sounds and sights, often zooming in on them. Leckey was inspired by a YouTube video that made him realize how most of our memories can be found online. The video captures common sights and sounds from everyday life and dramatizes them. It seeks to connect viewers through common sensory experiences.
 
==Auto Creative Art==
 
===Cloud Canyons No. 3: An Ensemble of Bubble Machines===
 
[[File:Bubble (2).jpg|thumb]]This is a ever changing sculpture where a central bubble machine creates a large morphing foam mass. It was created by David Medalla who drew inspiration from different foam formations from around the globe. He wanted a sculpture that would illustrate the tangible effect of invisible forces

 

=References=
 
<references/>
 

=External Links=
If appropriate, add an external links section
 
=Image Gallery=
If appropriate, add an image gallery

Tate Britain

2017-06-22T13:05:53Z

Nbloniarz:

=Tate Britain=

{{Infobox
|title = Tate Britain
|bodystyle = width:25em
|image = [[File:tateb.jpeg|x450px|alt=Article Image]]
|caption = photo by: Sofia Reyes
|label2 = '''Director'''
|data2 = Alex Farquharson
|label3 = '''Established'''
|data3 = 1897
|label4 = '''Location'''
|data4 = Millbank, London SW1, UK

}}
[[Category:Art]]
=Overview=
Tate Britain is one of the four Tate Galleries. It was founded by Sir Henry Tate. It is the second best place to observed British Art, the first being the [[The National Gallery]].
 
__TOC__
 

=Background=
 
Tate Britain contains British art produced from 1500 to the present. It was known as the National Gallery of British Art from 1897 to 1932, and the Tate Gallery from 1932 to 2000. The building is situated on the banks of the Thames, on the site of a former Millbank Penitentiary, which was demolished in 1890. The gallery first opened in 1897, and more than doubled in size during its first fifteen years. The gallery became fully independent of the National gallery in 1955 and has since expanded into several adjacent buildings. Tate Britain was the first of the Tate Galleries, which also include Tate Liverpool, Tate St. Ives, and Tate Modern<ref>History of Tate. (n.d.). Retrieved May 17, 2017, from http://www.tate.org.uk/about/who-we-are/history-of-tate</ref>.
 
==Displays==
 
The main display spaces show the permanent collection of historic British art, as well as contemporary work. However, they also host different exhibits.
==Summer 2017 Exhibits==
===Queer British Art 1861–1967===
Featuring works from 1861–1967 relating to lesbian, gay, bisexual, trans and queer (LGBTQ) identities, the show marks the 50th anniversary of the partial decriminalisation of male homosexuality in England. Queer British Art explores how artists expressed themselves in a time when established assumptions about gender and sexuality were being questioned and transformed.

Deeply personal and intimate works are presented alongside pieces aimed at a wider public, which helped to forge a sense of community when modern terminology of ‘lesbian’, ‘gay’, ‘bisexual’ and ‘trans’ were unrecognised. Together, they reveal a remarkable range of identities and stories, from the playful to the political and from the erotic to the domestic.

With paintings, drawings, personal photographs and film from artists such as John Singer Sargent, Dora Carrington, Duncan Grant and David Hockney the diversity of queer British art is celebrated as never before.
Organize each section of this article so that it has a logical flow. If you intend to discuss one aspect of the origin of a person, place, thing, or idea, identify the appropriate existing section of the article, or create that section if it doesn't exist. Then, make a clear subheading. If you notice that some other information is not organized clearly, rearrange the information, but do so cautiously and responsibly! The goal here is clarity for the reader.
 
===David Hockney===
"One of the most popular and influential British artists of the twentieth century returns to Tate Britain for his most comprehensive exhibition yet"<ref>T. (n.d.). David Hockney - Exhibition at Tate Britain. Retrieved May 16, 2017, from http://www.tate.org.uk/whats-on/tate-britain/exhibition/david-hockney</ref> Mr. Hockney is a renown artist that in the last sixty years has had various accomplishments in painting, drawing, print, photography and video. With almost eighty years old, he brings to Tate Britain an exposition that, according to him, he had never shown to the public before. What makes his work so outstanding from other contemporary artists is his flexibility and ability to adapt to the use of new technologies and applications to create his art. He changes his style and ways of working to appeal to the different audiences and he expresses it freely "I live in the now", he says. "Time is elastic, and I play with that idea" he also said in a promotional video for this exposition in Tate Britain.
 
In this exposition, available until May 2017, he shows his portraits and images of Los Angeles swimming pools, through to his drawings and photography, Yorkshire landscapes and most recent paintings. This exhibition shows how the roots of each new direction lay in the work that came before. It is describe by Tate as a "once-in-a-lifetime chance to see these unforgettable works together".
<gallery>
Image:Da.jpg|''Garden With Blue Terrace 2015''
Image:Dav.jpg|''Going Up Garrowby Hill 2000''
Image:Davi.jpg|''A Lawn Being Sprinkled 1967''
Image:David.jpg|''Peter Getting Out of Nick's Pool 1966''
Image:Davidh.jpg|''Garden 2015''
Image:davidho.jpg|''Model with Unfinished Self-Portrait 1997''
</gallery>

=== Cerith Wyn Evans ===
{{Infobox
|title = Cerith
|bodystyle = width:20em
|image = [[File Wyn.jpg|150px]]
|caption = Gary Hume 
Cerith 1998 
© Gary Hume 
}}
The artist Cerith Wyn Evans is a Welsh painter born in 1958. His is noted for his unique and diverse range of artwork that ranged from sculpture, to film and art. He focused on the communication of ideas, which have been exemplified through most of his artwork. The fact that he designs in many different mediums allows his creativity to not be bounded by paint or video or sculpture. He is often known to do collaborations with well-known artists such as Yoko Ono. Wyn Evans has also been known to do many commissions such as the one currently at the Tate called [[Tate Britain #Forms in Space…by Light (in Time)| Forms in Space…by Light (in Time)]].
 
====Forms in Space…by Light (in Time) ====
[[File:FormsInSpace.jpg|300px|right|frameless]]
 
Forms in Space…by Light (in Time) was created by Cerith Wyn Evans in 2017, in order to exemplify how energy can flow through empty space.The first thing you see when you enter the gallery, this exhibit takes up a large space in the center of the building. The project was created by suspending almost 2 km of custom designed neon lights from the ceiling to create abstract shapes in layers. As you move through the hall, the original view becomes deconstructed into individual hanging groups of lights. It provides viewers the feeling of suspension and movement. The idea was originally inspired by the movements of the Japanese Noh Theater and demonstrates the skill and art of creating light structures on levels that are considered challenging and almost impossible.
 

===Do Words Have Voices===
This is a spotlight exhibit by Martin Boyce on display in Tate Britain. Martin Boyce is an artist from Glasgow and likes to show the physical and psychological experience that happens in an environment. His installations have to do with modern urban landscape, specifically 20th century modernist design. He then shows the connection between this and what are utopian ways of living. In this display are six works, there are three "trees" with a canopy of metal leaves that were designed in 1925 by Joel and Jan Martel. There is a table that was based on a library desk which was done by designer Jean Prouve. There are also paper leaves that are scattered across the floor that are supposed to give the image as if they were blown through the modernist style ventilation grills. The lights in the room are slightly dimmed to give the same atmosphere as if you were in a park at desk. There is a feeling when you walk into the room that something just went on here. Boyce said he looks at, "the things we pass through every day and then occasionally catch a glimpse of and maybe see something that has meaningful resonance. The work is to amplify those moments."

<gallery mode="packed'>
File:EWdwhv1.jpg
File:EWdwhv3.jpg
File:EWdwhv4.jpg
</gallery>

==Permanent Exhibits==
==1780s==

{{Infobox
|title = The Death of Major Peirson
|bodystyle = width:25em
|image = [[File:Deathofmajorpeirson.jpg|400px]]
|label2 = by
|data2 = John Singleton Copley
}}
===John Singleton Copley===
This piece was painted by John Singleton Copley. It shows the Battle of Jersey, where, in 1781, a French force invaded the island in an attempt to take it from the British. After the fall of the island’s capital, the governor was captured and agreed to a surrender to the French. However, the young Major Peirson fought off the French, and as the British were winning, he was shot by a French sniper. As shown in the painting, Peirson’s black servant avenged his master by killing the sniper. This painting shows Peirson dying in the battle, but in reality he died before the battle. This battle turned Peirson into a British hero, and therefore the painting was extremely popular when it was released.

==1800s==

{{Infobox
|title = Joseph Mallord William Turner Self Portrait
|bodystyle = width:20em
|image = [[File:Turner_selfportrait.jpg|300px]]
|label2 = by
|data2 = Joseph Mallord William Turner
}}
===Turner Collection===
Joseph Mallord William Turner (1775–1851), according to the Tate website, was a master of painting history, landscape and marine painting.<ref name = "tut">T. (n.d.). Turner Collection at Tate Britain. Retrieved May 16, 2017, from http://www.tate.org.uk/visit/tate-britain/display/turner-collection </ref>His largest collection of art can be found at Tate Britain. He is know as the father of modern art since he was unlike artists at his time.<ref name = "tut"/> According to the Tate Britain website, he is is the most celebrated painter in England. <ref name = "tut"/> Pictured are some of his works that are displayed in Tate Britain.
<gallery>
File:shipwreak.jpeg|thumb|The Shipwreck exhibited 1805 '''Attributed to''' J. M. W. Turner [Public domain], via Wikimedia Commons '''Link''' https://commons.wikimedia.org/wiki/File%3AJoseph_Mallord_William_Turner_-_The_Shipwreck_-_Google_Art_Project.jpg
File:Joseph_Mallord_William_Turner_-_Norham_Castle,_Sunrise_-_WGA23182.jpg|thumb|Norham Castle, Sunrise c.1845 '''Attributed to''' J. M. W. Turner [Public domain], via Wikimedia Commons '''Link''' https://commons.wikimedia.org/wiki/File%3AJoseph_Mallord_William_Turner_-_Norham_Castle%2C_Sunrise_-_WGA23182.jpg
File:JMW_Turner_-_Modern_Rome_-_Campo_Vacino.jpg|thumb|Modern Rome - Campo Vaccino exhibited 1839 '''Attributed to''' J. M. W. Turner [Public domain], via Wikimedia Commons '''Link''' https://commons.wikimedia.org/wiki/File%3AJMW_Turner_-_Modern_Rome_-_Campo_Vacino.jpg
</gallery>

===Inspired by Literature===
Many scenes painted we often the result of a certain artist inspired by a piece of literature that they had either heard or read. One example of this is "Claudio and Isabella" created by William Holman Hunt, this painting represents a scene from Shakespeare's Measure for Measure of complex moral dilemma for Claudio and Isabella after Claudio has been sentenced to death. Another painting, Psyche, done by George Fredric Watts is a representation of the myths of Venus, Cupid, and Jupiter and their trials of love and jealousy. There is another painting created in 1889 by John Singer Sargent that was made after he had seen the show, Macbeth, he was inspired by Ellen Terry's appearance and persuaded her to pose for a portrait. The final painting to be mentioned here is called The Lady of Shalott and was painted by John William Waterhouse in 1888. This scene concludes the famous poem of the same name, by having the heroine set sail for Camelot and possibly death.
<gallery>
File: Claudio and Isabella.jpg|thumb|Claudio and Isabella 1850 - Hunt
File: Psyche.jpg|thumb|Psyche 1880 - Watts
File: Ellen Terry as Lady Macbeth.jpg|thumb|Ellen Terry as Lady Macbeth 1889 - Sargent
File: The Lady of Shalott.jpg|thumb|The Lady of Shalott 1888 - Waterhouse
</gallery>

==1850's==
===William Holman Hunt===
William Holman Hunt was the founder of the Pre-Raphaelite Brotherhood, a group dedicated to creating quality ans sympathetic art, the expression of genuine ideas, and the study of nature, Hunt created his art following these principles. Currently on display in the 1850's room are four of his pieces ''Our English Coasts, 1852 ('Strayed Sheep')'', ''Cornfield at Ewell'', ''The Awakening Conscience'', and ''Claudio and Isabella''. The first two pieces are landscapes of the English countryside following one of the Brotherhood's main principles about painting and studying nature. The later two pieces are portraits that have two differing messages, but similar themes. In ''The Awakening Conscience,'' a man is portrayed with his mistress and evokes symbolism of innocence lost and plight of women. In his other portrait, ''Claudio and Isabella,'' Isabella stands in white as a symbol of purity where as Claudio stands in the dark as a foil to Isabella.
<gallery>
Image:ClaudioandIsabella.jpg|"Claudio and Isabella"
Image:CornfieldatEwell.jpg|"Cornfield at Ewell"
Image:AwakeningConscience.jpg|"The Awakening Conscience"
</gallery>
 

===William Blake===
William Blake was an English poet, artist and print maker who was born and lived in London, England. Blake focuses most of his art on the creation and discovery which is exhibited in his eight works that are currently being displayed in the William Blake room on the upper level of the museum. The ''Oberon, Titania and Puck with Fairies Dancing'' focus on the last scene of William Shakespeare's ''A Midsummer Night's Dream'' where Titania is instructing her fairy train. ''Newton'' displays the scientist only looking at the scientific knowledge instead of the colourful rocks. representing creativity behind him. There is also ''The Ghost of a Flea'', ''Elohim Creating Adam'', ''The Good and Evil Angels'', ''Pity'', ''Nebuchadnezzar'', and ''Epitome of James Hervey's 'Meditstions among the Tombs'''.
<gallery mode="packed">
Image: Dance.jpg|''Oberon, Titania and Puck with Fairies Dancing''
Image: Newton.jpg|''Newton''
Image: Flea.jpg|''The Ghost of a Flea''
Image: Adam.jpg|''Elohim Creating Adam''
Image: Angels.jpg|''The Good and Evil Angels''
Image: Pity.jpg|''Pity''
Image: Neb.jpg| ''Nebuchadnezzar''
Image: Epitome.jpg|''Epitome of James Hervey's 'Meditstions among the Tombs'''
</gallery>
 

==1850-1900==

===Paule Vézelay===
Paule Vézelay was born as Marjorie Watson-Williams in Bristol in 1892. She began studying at the London School of Art in 1912 under George Belcher. She moves to Paris and change her name to Paule Vézelay in 1926. While in Paris She joined a network of leading avant-garde artists and joined an association of of non- figurative artists called Abstraction-Création in 1934. She returned to England at the start of World War II. She stared doing textile design to help support herself because her modern style was unpopular. She continued to work as a artist until her death in 1984.

==1920s==
===Sir Osbert Sitwell, Bt===
The sculpture was made out of bronze by Frank Dobson in 1923. Frank Dobson was a scultptor and painter associated with the post-impressionist movement. He met Sir Osbert Sitwell in 1921 who sat for the sculpture for three months. During one of those sitting he met TE Lawrence who bought the sculpture and later gave it to the Tate.
<gallery mode="packed">
Image: bust.JPG
</gallery>
 

==1930==
The 1930's brought a wide range of artistic styles to Britain. They ranged from abstract to realist. The once optimistic artistic style of earlier works is now gone due to the beginning of World War Two; the horrors of conflict and the Holocaust. Also visible in the art is the modern artists' response to the rise of fascism in Europe. Abstract artists, surrealists, and social realists all uniquely expressed the political crisis. The art tells the stories of one last major event that happened during this time period: The Great Depression. Each artist found a way to incorporate aspects of the event into their art. Some were more obvious than others. The layout of this room I find to be unique. Instead of arranging the pieces by artistic style, they are arranged by year. This allows you to view the different kinds of art that was being created during the same time period and how the styles varied. It also allows the viewer to not be bombarded by one particular style.
<gallery mode="packed">
1718.jpg|Fulcrum (Top) and Surgical Ward (Bottom)
1720.jpg|Related Forms
1721.jpg|Sun God
1722.jpg|Johanaan
1723.jpg|Skipping
1725.jpg|St. Francis and the Birds
1726.jpg|Portrait of Margaret, Duchess of Argyll
1727.jpg|The Potteries (Top) and Church at Trèboul (Bottom)
</gallery>
 

==1940s==
===Pelagos===
This sculpture was created by Barbara Hepworth in 1946. It's base is carved out of oak wood. This sculpture was inspired by the view at the bay at St Ives in Cornwall. The rolling oak wood is supposed to resemble a wave with the taut strings to show the tension between her and the sea.
<gallery mode="packed">
Image: strings.JPG
</gallery>

==1950s==
As the world came out of World War II, art began to rise up again. The years of depression were over, and artists began coming back, painting and sculpting more art. One of the first images in the 1950s gallery is by Fred Williams, and its title is ''Coal Delivery'', which was painted in 1955. This is a relatively rare example of his early work which was made towards the end of his studies in London. It reflects the tradition of urban realism in British art. ''Coal Delivery'' replaces the monumentality of contemporary social realism with dynamism. Even though his stay in Britain was short, he would soon return to his homeland, Australia, where he became one of the leading artists of his time. 
The second image still reflects upon the urban realism of central London. The common man was coming back from war are picking up the jobs they once had, and Prunella Clough represented that perfectly with this next painting. In 1951, she painted ''Man Housing Metal Fish Boxes''. Clough's work hones in on this one man's task, which highlights the gritty realism of life of the working man in central London after the second great war. 
Focusing now on more a more interesting piece of artwork, Lynn Chadwick's ''Dragonfly''. ''Dragonfly'' is a kinetic sculpture that is hanging from the ceiling in the gallery room. It was created by a network of welded iron rods, It is held up by its side by only a few clear wires, indicating that it's off balance. It was carefully designed, however, so that the tail of the dragonfly would be a counterweight, making it so that the dragonfly is balanced on just a few strings.
 
<gallery>
File:IMG_0735.JPG|''Coal Delivery''
File:IMG_0737.JPG|''Man Housing Metal Fish Boxes''
File:IMG_0741.JPG|''Dragonfly''
</gallery>

 
 

==1960s==
The 1960s exhibit at Tate Britain captures the essence of Britain's art in the 60s. Figurative artists are featured along with their new and changing subjects, there was also new viewpoints on abstractionism beginning in the 1960s. New types of art, like pop art, had emerged in the 1950s and were being spread during the 60s. Another new type of art was conceptual art, where artist started using video and and performances to capture their art. The exhibit also features a range of artists, including older ones who adapted to the changing styles of 1960s art. A few of the pieces in the gallery are described below.
===''Portrait of David Hockney in a Hollywood Spanish Interior''===
This portrait done by Peter Blake was painted in 1950, well after David Hockney had become a famous British artist. The part of the painting of Hockney himself was taken from a photograph taken by Michael Cooper. The young man in the background of the photo was probably put there to hint at Hockney's sexuality. Blake is well known for his influence in Pop art but he also was known as a commercial artist. He often painted celebrity portraits like this one. Putting together pieces of this painting gives it a feel that it is a collage, which is very typical of Peter Blake's work.
===''Relief Construction''===
This work was completed between 1960-1962 and was done by an artist named Anthony Hill. Hill took part in the revival of idealist abstract art along with many other young artists in the 50s. This relief was created using mathematical formulas, making it very precise in unit proportions. The materials used, plastic and aluminum for the angle sections, were newly mass-produced materials further added to the precision of the design. This type of art is also known as British Constructivism.
<gallery>
relief 1.jpg|''Relief Construction in Black, White, and Maroon''
David Hockney.jpg|''Portrait of David Hockney in a Hollywood Spanish Interior''
Relief 2.jpg|''Relief Construction''
mirror.jpg|''Mirror''
kit man.jpg|''The Identi-Kit Man''
no woman.jpg|''No Woman, No Cry''
</gallery>

==Video Art==
Tate Britain offers three video art displays available to the public. "Together" by Lucy Beech and Edward Thomasson was designed to be therapeutic. The goal is to experience unspoken emotions and conflict in a safe environment. To do so, performers act out violent scenes in a dance to instrumental Katy Perry music. This creates an interesting contrast where the performers are smiling while pretending to beat each other up to cheery music. "Blue" by Derek Jarman is a blue screen accompanied by music and spoken words. It was inspired by artist Yves Klein whose blue paintings Jarman saw at Tate Gallery. For Jarman the blue represents "the admirable austerity of the void". "Dream English Kid" by Mark Leckey is a series of impressions. The video will focus on key familiar sounds and sights, often zooming in on them. Leckey was inspired by a YouTube video that made him realize how most of our memories can be found online. The video captures common sights and sounds from everyday life and dramatizes them. It seeks to connect viewers through common sensory experiences.
 
==Auto Creative Art==
 
===Cloud Canyons No. 3: An Ensemble of Bubble Machines===
 
[[File:Bubble (2).jpg|thumb]]This is a ever changing sculpture where a central bubble machine creates a large morphing foam mass. It was created by David Medalla who drew inspiration from different foam formations from around the globe. He wanted a sculpture that would illustrate the tangible effect of invisible forces

 

=References=
 
<references/>
 

=External Links=
If appropriate, add an external links section
 
=Image Gallery=
If appropriate, add an image gallery

File:Christopher Wren.jpg

2017-06-22T12:53:39Z

Nbloniarz: Nbloniarz uploaded a new version of File:Christopher Wren.jpg

British Museum

2017-06-22T12:51:29Z

Nbloniarz:

=British Museum=

{{Infobox
|title = British Museum
|bodystyle = width:25em
|image = [[File:OGBritish Museum.jpg|400px]]
|caption = Main Entrance
|label2 = '''Artist'''
|data2 = Attributed to [[Olivia Gibbs]]
}}

=Overview=
<ref>History of the British Museum. (n.d.). Retrieved May 11, 2017, from http://www.britishmuseum.org/about_us/the_museums_story/general_history.aspx </ref>
The British Museum is a free museum located in Bloomsbury, London that contains many artifacts that depict the human experience. It was created in 1753 to allow the general public access to history, art and culture that only the wealthy could afford. The museum contains the most complete and diverse collection of artifacts that totals to almost 8 million.
 
__TOC__
 

=Background or Origin of Article=
 
The British Museum was first created in 1753 by the collector Sir Hans Sloane in order to give free admission to those wishing to study the collection of artifacts. The museum was first started when Sloane gave his more than 71,000 objects to King George II, so that they could be used after his death. The museum was created by an Act of Parliament as acknowledgement of his gifts.
 
==Jewerly Through History==
 

===Ancient Egypt and Sudan===
 
Organize each section of this article so that it has a logical flow. If you intend to discuss one aspect of the origin of a person, place, thing, or idea, identify the appropriate existing section of the article, or create that section if it doesn't exist. Then, make a clear subheading. If you notice that some other information is not organized clearly, rearrange the information, but do so cautiously and responsibly! The goal here is clarity for the reader.
 
Add links to other articles, but '''do not link to personal student profile pages or milestone pages'''. Add media as needed in the appropriate sections.
 

==Middle East==
[[File: mesop.jpg|x350px|right|thumb|frame|Mesopotamia Gallery]] 
=== Mesopotamia ===
 
<<ref>History of the British Museum. (n.d.). Retrieved May 11, 2017, from http://www.britishmuseum.org/about_us/the_museums_story/general_history.aspx </ref>
Mesopotamia, also known as the land between two rivers, rose and fell from 6000-1500 BC. It was located between both the Tigris and Euphrates rivers and was one of the first civilizations to settle in small agricultural groups and grow into larger city states. There were many new inventions created, such as a form of writing, new technology, and artistry. The different groups that existed in this region included the Sumerians, Akkadians, and Babylonians and they all contained their own unique cultures and created a very diverse region.
 
==== Groups that lived there =====
 

 
====Geography====
 

 
==== Culture ====
 

 
==== Accomplishments ====
 

 

===Prehistory and Europe===
 
Organize each section of this article so that it has a logical flow. If you intend to discuss one aspect of the origin of a person, place, thing, or idea, identify the appropriate existing section of the article, or create that section if it doesn't exist. Then, make a clear subheading. If you notice that some other information is not organized clearly, rearrange the information, but do so cautiously and responsibly! The goal here is clarity for the reader.
 
Add links to other articles, but '''do not link to personal student profile pages or milestone pages'''. Add media as needed in the appropriate sections.
 
===Prehistory and Europe===
 
Organize each section of this article so that it has a logical flow. If you intend to discuss one aspect of the origin of a person, place, thing, or idea, identify the appropriate existing section of the article, or create that section if it doesn't exist. Then, make a clear subheading. If you notice that some other information is not organized clearly, rearrange the information, but do so cautiously and responsibly! The goal here is clarity for the reader.
 
Add links to other articles, but '''do not link to personal student profile pages or milestone pages'''. Add media as needed in the appropriate sections.

==Asia==
 
===Japan===
 
[[File: Samurai.jpg|x350px|right|thumb|frame|The samurai armor available to view in the museum]]
The Mitsubishi Corporation Japanese Galleries carries a collection of artifacts that explore how change has shaped Japan's past and present and it's relationship with the world. This exhibit transitions through three distinct time periods in Japan's history, ancient and medieval Japan, the Edo period and modern Japan each having it own dedicated room. In around 500 AD Buddist text and statues were brought to Japan from Korea and it was adopted as a major form of religion. The section on medieval Japan focuses on the role of Buddhism, native kami worship, and other religions during this time period. The room on the Edo period focuses on the samurais' role in the Japanese government. This part of the collection contains many pieces of a samurai's armor, artifacts that detail their influence in court and also many pieces dedicated to samurai wives. The final section of the exhibit is about modern Japan and is split into four sections: nation building and empire, city and country, freeing the self, and crafting beauty.
 

==Europe==
 
===Earthenware===
 
Earthenware is a special type of pottery made from clay that is fired below 1200 degrees C. In the British Museum you can find tons of earthenware, especially in the Europe 1800-1900 galleries. Below are a few tiles and a cup, all designed by A.W.N Pugin around the 1850's and printed by Minton & Co. The tiles were made from dust clay, which created the smooth surface for printing. However due to limitations some colors were hard to add by printing, so they were added by hand.Printed tiles from medieval times have been found with only two colors, buff, and red. However, the designer Pugin wanted more options so Minton developed more colors which included blue, green, brown, and white.
 
 
<gallery mode="packed">
[[File:EAWpottery1.jpg|400px]][[File:EAWpottery2.jpg|400px]][[File:EAWpottery3.jpg|400px]][[File:EAWpottery4.jpg|400px]]
Image:EAWpottery1.jpg|'' Earthenware tile Hand-painted with stylized lilies''
Image:EAWpottery2.jpg|''Earthenware Tazza Transfer-printed with Gothic motifs''
Image:EAWpottery3.jpg|''Set of four earthenware encaustic tiles''
Image:EAWpottery4.jpg|''Set of four earthenware encaustic tiles With six-color inlay''
</gallery>

===Chess===
 
The British Museum has on display a full chess game with each individual pawn during the Medieval Europe time period. Many are hand carved with details for powerful pawns. It was during this time, when chess was first created, to be played by knights to build strategy and skill. From playing they built up their tactic abilities which was seen as a positive achievement there for making chess one of seven knightly accomplishments. Clergy were not allowed to play because of the church's ruling on chess, but as time went on they soon loosened their ruling and they too could play. Men and women played chess which had become a way of flirty.
 
<gallery mode="packed">
[[File:OGCHESS.jpg|400px]] [[File:OGCHESS2.jpg|400px]]''Medieval Europe Chess Game Set ''
Image:OGCHESS.jpg|''Medieval Europe Chess Game Set '' 
Image:OGCHESS2.jpg|''Hand Carved Chess Pieces''
</gallery>

===Clocks & Watches===
 
The British Museum has over 900 clocks and 4,500 watches from various stages of their development. This exhibit showcases the development from mechanical clocks to modern radio controlled clocks. The exhibit features one of only two remaining spring-driven clocks from the 15th century. The source energy for early clocks came from weights and had purely mechanical designs. Later on, the idea of the pendulum was introduced. However, pendulums lost their accuracy due to temperature changes as the metal would expand or contract, changing the balance of the pendulum. This was countered with mercury which would behave inversely. A later technology to be introduced was the electromagnet. This allowed synchronization of clocks and correction of error. From there quartz clocks and clocks that can be synchronized via radio waves have developed and are used today. Clocks were more than just science though. They were also an art. Clock makers created elegant designs and owning such clocks was a symbol of wealth. Sir William Congreve designed a rolling ball clock which had a ball that rolls from one side of a table to another taking 30 seconds each way. While it was unreliable it displayed the designers creativity and skill.
<gallery mode=packed heights=225px>
File:Mechanical Clock- sm- JR.jpg|Mechanical Clock
File:Rolling Ball Clock- sm- JR.jpg|Rolling Ball Clock
</gallery>
 
===Samian Pottery===
 
Samian Ware or "Terra Sigillata" refers to a specific pottery type dating back to the Roman empire. This form of pottery was first classified by Hans Dragendorff, a German scholar, in 1890, though over time other specific classifications have been added. Samian pottery was very standardized in both size and shape, but individual workshops used specific motifs, so historians have now been able to identify which pieces were made by the different workshops. Undecorated and unstamped Samian pottery can also be identified just based on the color and texture of the clay. Pottery made with decorations on them were produced using fired clay moulds that were made using clay stamps. The decorations on the pottery were based mainly on mythology and were made by Gaulish potters, however in Britain they would have been generally called Roman. This pottery is a product of the romanization of Britain. The exhibit in the British Museum features a collection of some common shapes of Samian pottery which can be found on the Roman Britain exhibit.
 
===Enlightenment Gallery===
 
The Enlightenment Gallery is one of the longest galleries in the entire British Museum, and is dedicated to the Museum's early collections of artifacts from the eighteenth century. The Enlightenment is the period from 1680 to 1820 when a passion for reason, discovery, and learning was flourishing in Europe. Enlightened men and women believed that observing and studying the natural and man-made world could lead them to a greater understanding of the universe<ref>Enlightenment Gallery: Room 1. (n.d.). Retrieved May 12, 2017, from http://www.britishmuseum.org/about_us/services/film_and_radio/locations/enlightenment_gallery.aspx</ref>. Items featured in the gallery are organized into seven themes: Religion and ritual; Trade and discovery; The birth of archaeology; Art and civilization; Classifying the world; Ancient scripts; The natural world<ref>Enlightenment (Room 1). (n.d.). Retrieved May 12, 2017, from http://www.britishmuseum.org/visiting/galleries/themes/room_1_enlightenment.aspx</ref>.
 
The Enlightenment Gallery was originally called the [[The British Library|King's Library]]. It was built in 1827 to house the extensive collection of books created by King George III and donated to the nation after his death. After the books were moved to [[The British Library]], the gallery was restored and repurposed<ref>King's Library. (n.d.). Retrieved May 12, 2017, from http://www.britishmuseum.org/about_us/the_museums_story/architecture/kings_library.aspx</ref>.
 
<gallery mode="packed">
Image:Enlightenment Gallery.jpg|''View of Enlightenment Gallery''
Image:Enlightenment.jpg|''Orrery on display''
Image:Enlightenment Vases.jpg|''Case of Roman pottery''
</gallery>

==Africa==
 
===Ancient Egypt===
 
====Sculpture====
 
The British Museum holds one of the largest, and most extensive, collection of Egyptian artifacts, many of which are statues. A significant portion of this collection is located on the first floor and is comprised of statues. With most of them being made from stone, mainly granodiorite and quartzite. The statues depict important figures from Egyptian history, including Ramesses II, Amenhotep III, as well as Gods. The museum also contains sarcophagi made for various leaders. In the second floor gallery, mummies lying within their sarcophagus are on display; these sarcophagi are much more decorated, containing both paintings and carvings rather than just the carvings, then the stone ones below. One exhibit focuses on the [[Tomb-chapel of Nebamun]] which houses Nebamun, a wealthy accountant.
<gallery mode="packed">
Image:RamessesII.jpg|"Ramesses II"
Image:Mummies.jpg|"Some of the mummies"
<gallery>
</gallery>

 

====Mummy of Cleopatra====
 
Cleopatra was the daughter of Candace and a member of the family of Cornelius Pollius, Archon of Thebes in the time of the Emperor Trajan. Cleopatra died when she was 17 years, 1 month, and 25 days old according to the inscription on her coffin. This debunked writings that said she died when she was 11 years old. The body is wrapped in a criss cross of bandages decorated to honor Nut, Isis, Anubus and other deities. The body is believed to be in very good shape, however they cannot determine due to dense material under the bandages blocking x-rays. It was believed to have been buried around 100-120 AD.
<gallery>
1616.JPG|Mummy of Cleopatra
</gallery>
 
===Sudan===
 
==Greek and Roman==
 
===Roman Empire===
 
Following the fall of the Greek Empire, the Roman Empire stretched huge distances and was the largest empire the world had ever seen. It reached as far as northern Britain with Hadrian's Wall and to the Nile River in Egypt at its height. The Romans were a modern society for the time that had the ability to rule over great distances from a single central capital. In order to maintain such a large empire, the Roman's needed a strong and well organized army. Many Roman citizens devoted their lives to the Roman army so the empire could protect its borders and keep out unwanted visitors. They developed the city of Rome into a huge city with many architectural and technological advancements, like aqueducts and the great Roman Colosseum.
 
===Busts===
 
Carved from marble, Greek and Roman busts depict the upper body of the human figure. Each bust is supported by a single pedestal, known as a plinth, that vary in design and scale. The Roman empire drew large influence from Greek religion, culture, and art. This can be clear seen in Roman imitation sculptures and art inspired by Greek myths and figures. As such, sculptures produced by both Ancient Greece and the Roman Empire share similar styles and components including sculpting materials, realistic imitation of the human form, and depiction of myths and mythical characters.
<gallery mode="packed">
[[File:IMG 1806.jpg|400px]] [[File:IMG 1807.jpg|400px]]
Image:IMG 1807.jpg|''Roman bust imitation of the Greek hero Meleager''
 
Image:IMG 1806.jpg|''Greek bust of a supposed boxer''
</gallery>
===Nereid Monument===
 
[[File: nereidMonument2.JPG|right|thumb|Nereid Monument]]
The Nereid Monument was built for Arbinas, a Xanthian dynast, and his family. Although it was built in south-west Turkey, its design was heavily influenced by the Greek mainland as can be seen. The design and sculpture is Greek, but what is portrayed is Lykian.
 
===Parthenon===
 
Dedicated to the goddess Athena, the Parthenon was a formal temple located on the Athenian Acropolis in Greece. It was built in 447 BC when the Athenian Empire was at its most powerful and completed in 438 BC with decorations continuing until 432 BC. Although called a temple, it was not used in the modern sense of the word. A large shrine was excavated from the site of Athena. This shrine and the temple were most likely used as a way to get close to Athena and to worship her, yet the temple never hosted the cult of Athena. The massive statue inside of the temple was sculpted by Phidias and was not related to any sort of cult. The statue wasn't even known to carry any religious weight to it, but rather, only as a shrine dedicated to Athena. The Parthenon also had incredibly detailed sculptures around the entirety of the Doric inspired temple. There are three layers to these sculptures: the metopes, friezes, and the pediments. The metopes were 92 (14 on each of the west and east sides, and 32 on earth of the north and south sides) smaller sculptures carved into the stone of the Parthenon that resembled battles between the Gods and giants and between the Athenians and Amazons along with battles of mythical creatures. Above those on the east and west sides are the pediments. The east side represents the brith of Athena from the head of her father, Zeus, while the west side depicts the competition between Athena and Poseidon. This competition was to determine who would be the city's patron, and in the end, Athena was victorious.
 

===Greek Vases===
 
[[File:Greek Vase.jpg|frame|right|Greek Vase ]]
The British Museum houses a large collection of Greek vases from 500-300 BC. These examples of fine Greek art are painted pottery are used to illustrate daily life in Greece as well as much Greek mythology. The majority of the vases are originally from Athens and are decorated with a "red-figure technique". A number of white-ground and black glazed vases are also on display in the Greek vase exhibit. The collection also includes vases from other Greek cities, such as south Italian Greek colonies.
 
==Rosetta Stone==
 
[[File:RosettaStone.jpg|thumb|right|Rosetta Stone]]
Inscribed on the stone is the same decree in three languages: Hieroglyphic script, Demotic script, and Ancient Greek. The stone originated in a temple, before being used as building material when it was more recently discovered in Fort Julien near Rashid, Egypt by a French Soldier in 1799. When the British invaded Egypt at the beginning of the 1800s, they took the stone and it has been on display since then in the British Museum. The museum has a copy of the stone in the Kings Library that you can touch, while the actual stone in encased in room 4. Copies and models were made and given to scholars around the world in an attempt to decipher it, with Thomas Young and Jean-Francois Champollion contributing heavily to the understanding of the languages. Having the same decree in three languages aided in the deciphering of Egyptian Hieroglyphics
 
 
 
 

==Great Migrations==
===Franks===

 
===Visigoths===

 
===Lombards===
{{Infobox
|title = Lombardic jewelry
|bodystyle = width:25em
|image = [[File:lombardjewelry_beretich.jpg|320px|alt=image]]
|label2 = '''Description'''
|data2 = Found at a grave site, the finger ring contains a Germanic name, but was used for sealing documents in what is Roman tradition.
}}
The Lombards were a Germanic people, residing in southern Scandinavia, migrating further south until reaching Italy. They conquered the area, which was devastated after the Gothic War between the Ostrogoths and the Byzantine Empire. For two centuries they ruled a large part of Italy, save for territories the Byzantines were able to hold on to, like Rome and Ravenna. However, as time went on, they gradually began adopting Byzantine traditions, including practicing Christianity.
 
The resulting Lombardic Kingdom
 
 
 
 

===Cultural Effects on Migrants===
 
 

==America==
===Mexico===
In this gallery we can find it divided into sections that identify how it was geographically. Each region has a different culture that flourished in Mexico from about 2000 BC up to the arrival of the Spanish in the sixteenth century.
 
The beginnings of Mexican civilization started with the Olmecs. They performed ceremonial centers on the Gulf Coast. After them the Classic Veracruz and Huaxtec cultures. Th Mayas also rose during this time period. Maya city states, including Yaxchilan, developed writing, astronomy, and a sophisticated calendar. At the same time the Mexican Highlands, while neighboring Zapotec and Mixtec peoples ruled Oaxaca.
 
When the Spanish arrived the Aztec empire help sway over much of non-Maya Mesoamerica. Rhe Spanish conquest brought irrevocable change and destruction, but many aspects of indigenous culture survived in Mexico to this day.
 
====The Olmecs====
Olmec culture finds its highest expression in what is known as the Olmec heartland on the Gulf Coast of Mexico. In this lowland, riverine setting,well-planned political and ceremonial centres such as San Lorenzo, Tres Zapotes, Laguna de los Cerroes and La Venta emerged in the late second millenium BC...
 

====The Aztecs and Mixtecs====
The Term Aztec has been used since early colonial times to refer to the peoples settled around Lake Texcoco in the Valley of Mexico. Most poweful among these was the ethnic group known as the Mexica, from whom modern Mexico takes its name.

 

====The Mayans====
They began in what is now Mexico but expanded to Guatemala, Belize, and Honduras. By the early centuries populations, leading to the growth of Classic Maya city states ruled by competing dynasties.
 
===American Dream: pop to the present===
The American Dream: pop to the present gallery at the British Museum is a temporary exhibit which will be open until June 18th, 2017. The exhibit is focused on print making from the 1960s onward and attempts to show its importance in the artistic practices of America. The gallery begins with the expansion of pop art in the 1960s and continues on to focus on the rise of minimalism in the 1970s. It also brings up social issues, such as race conflicts, the rise of feminism and problems of AIDS up to present day. Some very important people featured in the gallery are Andy Warhol and Jasper Johns, among many others. The overall goal of the gallery is to showcase the impact of print making on art, and to show its widespread uses over time.
 

=References=
<references/>
 

=External Links=
If appropriate, add an external links section
 
=Image Gallery=
If appropriate, add an image gallery
 

[[Category:Art]]
[[Category:History]]

British Museum

2017-06-22T12:50:09Z

Nbloniarz:

=British Museum=

{{Infobox
|title = British Museum
|bodystyle = width:25em
|image = [[File:OGBritish Museum.jpg|400px]]
|caption = Main Entrance
|label2 = '''Artist'''
|data2 = Attributed to [[Olivia Gibbs]]
}}

=Overview=
<ref>History of the British Museum. (n.d.). Retrieved May 11, 2017, from http://www.britishmuseum.org/about_us/the_museums_story/general_history.aspx </ref>
The British Museum is a free museum located in Bloomsbury, London that contains many artifacts that depict the human experience. It was created in 1753 to allow the general public access to history, art and culture that only the wealthy could afford. The museum contains the most complete and diverse collection of artifacts that totals to almost 8 million.
 
__TOC__
 

=Background or Origin of Article=
 
The British Museum was first created in 1753 by the collector Sir Hans Sloane in order to give free admission to those wishing to study the collection of artifacts. The museum was first started when Sloane gave his more than 71,000 objects to King George II, so that they could be used after his death. The museum was created by an Act of Parliament as acknowledgement of his gifts.
 
==Jewerly Through History==
 

===Ancient Egypt and Sudan===
 
Organize each section of this article so that it has a logical flow. If you intend to discuss one aspect of the origin of a person, place, thing, or idea, identify the appropriate existing section of the article, or create that section if it doesn't exist. Then, make a clear subheading. If you notice that some other information is not organized clearly, rearrange the information, but do so cautiously and responsibly! The goal here is clarity for the reader.
 
Add links to other articles, but '''do not link to personal student profile pages or milestone pages'''. Add media as needed in the appropriate sections.
 

==Middle East==
[[File: mesop.jpg|x350px|right|thumb|frame|Mesopotamia Gallery]] 
=== Mesopotamia ===
 
<<ref>History of the British Museum. (n.d.). Retrieved May 11, 2017, from http://www.britishmuseum.org/about_us/the_museums_story/general_history.aspx </ref>
Mesopotamia, also known as the land between two rivers, rose and fell from 6000-1500 BC. It was located between both the Tigris and Euphrates rivers and was one of the first civilizations to settle in small agricultural groups and grow into larger city states. There were many new inventions created, such as a form of writing, new technology, and artistry. The different groups that existed in this region included the Sumerians, Akkadians, and Babylonians and they all contained their own unique cultures and created a very diverse region.
 
==== Groups that lived there =====
 

 
====Geography====
 

 
==== Culture ====
 

 
==== Accomplishments ====
 

 

===Prehistory and Europe===
 
Organize each section of this article so that it has a logical flow. If you intend to discuss one aspect of the origin of a person, place, thing, or idea, identify the appropriate existing section of the article, or create that section if it doesn't exist. Then, make a clear subheading. If you notice that some other information is not organized clearly, rearrange the information, but do so cautiously and responsibly! The goal here is clarity for the reader.
 
Add links to other articles, but '''do not link to personal student profile pages or milestone pages'''. Add media as needed in the appropriate sections.
 
===Prehistory and Europe===
 
Organize each section of this article so that it has a logical flow. If you intend to discuss one aspect of the origin of a person, place, thing, or idea, identify the appropriate existing section of the article, or create that section if it doesn't exist. Then, make a clear subheading. If you notice that some other information is not organized clearly, rearrange the information, but do so cautiously and responsibly! The goal here is clarity for the reader.
 
Add links to other articles, but '''do not link to personal student profile pages or milestone pages'''. Add media as needed in the appropriate sections.

==Asia==
 
===Japan===
 
[[File: Samurai.jpg|x350px|right|thumb|frame|The samurai armor available to view in the museum]]
The Mitsubishi Corporation Japanese Galleries carries a collection of artifacts that explore how change has shaped Japan's past and present and it's relationship with the world. This exhibit transitions through three distinct time periods in Japan's history, ancient and medieval Japan, the Edo period and modern Japan each having it own dedicated room. In around 500 AD Buddist text and statues were brought to Japan from Korea and it was adopted as a major form of religion. The section on medieval Japan focuses on the role of Buddhism, native kami worship, and other religions during this time period. The room on the Edo period focuses on the samurais' role in the Japanese government. This part of the collection contains many pieces of a samurai's armor, artifacts that detail their influence in court and also many pieces dedicated to samurai wives. The final section of the exhibit is about modern Japan and is split into four sections: nation building and empire, city and country, freeing the self, and crafting beauty.
 

==Europe==
 
===Earthenware===
 
Earthenware is a special type of pottery made from clay that is fired below 1200 degrees C. In the British Museum you can find tons of earthenware, especially in the Europe 1800-1900 galleries. Below are a few tiles and a cup, all designed by A.W.N Pugin around the 1850's and printed by Minton & Co. The tiles were made from dust clay, which created the smooth surface for printing. However due to limitations some colors were hard to add by printing, so they were added by hand.Printed tiles from medieval times have been found with only two colors, buff, and red. However, the designer Pugin wanted more options so Minton developed more colors which included blue, green, brown, and white.
 
 
<gallery mode="packed">
[[File:EAWpottery1.jpg|400px]][[File:EAWpottery2.jpg|400px]][[File:EAWpottery3.jpg|400px]][[File:EAWpottery4.jpg|400px]]
Image:EAWpottery1.jpg|'' Earthenware tile Hand-painted with stylized lilies''
Image:EAWpottery2.jpg|''Earthenware Tazza Transfer-printed with Gothic motifs''
Image:EAWpottery3.jpg|''Set of four earthenware encaustic tiles''
Image:EAWpottery4.jpg|''Set of four earthenware encaustic tiles With six-color inlay''
</gallery>

===Chess===
 
The British Museum has on display a full chess game with each individual pawn during the Medieval Europe time period. Many are hand carved with details for powerful pawns. It was during this time, when chess was first created, to be played by knights to build strategy and skill. From playing they built up their tactic abilities which was seen as a positive achievement there for making chess one of seven knightly accomplishments. Clergy were not allowed to play because of the church's ruling on chess, but as time went on they soon loosened their ruling and they too could play. Men and women played chess which had become a way of flirty.
 
<gallery mode="packed">
[[File:OGCHESS.jpg|400px]] [[File:OGCHESS2.jpg|400px]]''Medieval Europe Chess Game Set ''
Image:OGCHESS.jpg|''Medieval Europe Chess Game Set '' 
Image:OGCHESS2.jpg|''Hand Carved Chess Pieces''
</gallery>

===Clocks & Watches===
 
The British Museum has over 900 clocks and 4,500 watches from various stages of their development. This exhibit showcases the development from mechanical clocks to modern radio controlled clocks. The exhibit features one of only two remaining spring-driven clocks from the 15th century. The source energy for early clocks came from weights and had purely mechanical designs. Later on, the idea of the pendulum was introduced. However, pendulums lost their accuracy due to temperature changes as the metal would expand or contract, changing the balance of the pendulum. This was countered with mercury which would behave inversely. A later technology to be introduced was the electromagnet. This allowed synchronization of clocks and correction of error. From there quartz clocks and clocks that can be synchronized via radio waves have developed and are used today. Clocks were more than just science though. They were also an art. Clock makers created elegant designs and owning such clocks was a symbol of wealth. Sir William Congreve designed a rolling ball clock which had a ball that rolls from one side of a table to another taking 30 seconds each way. While it was unreliable it displayed the designers creativity and skill.
<gallery mode=packed heights=225px>
File:Mechanical Clock- sm- JR.jpg|Mechanical Clock
File:Rolling Ball Clock- sm- JR.jpg|Rolling Ball Clock
</gallery>
 
===Samian Pottery===
 
Samian Ware or "Terra Sigillata" refers to a specific pottery type dating back to the Roman empire. This form of pottery was first classified by Hans Dragendorff, a German scholar, in 1890, though over time other specific classifications have been added. Samian pottery was very standardized in both size and shape, but individual workshops used specific motifs, so historians have now been able to identify which pieces were made by the different workshops. Undecorated and unstamped Samian pottery can also be identified just based on the color and texture of the clay. Pottery made with decorations on them were produced using fired clay moulds that were made using clay stamps. The decorations on the pottery were based mainly on mythology and were made by Gaulish potters, however in Britain they would have been generally called Roman. This pottery is a product of the romanization of Britain. The exhibit in the British Museum features a collection of some common shapes of Samian pottery which can be found on the Roman Britain exhibit.
 
===Enlightenment Gallery===
 
The Enlightenment Gallery is one of the longest galleries in the entire British Museum, and is dedicated to the Museum's early collections of artifacts from the eighteenth century. The Enlightenment is the period from 1680 to 1820 when a passion for reason, discovery, and learning was flourishing in Europe. Enlightened men and women believed that observing and studying the natural and man-made world could lead them to a greater understanding of the universe<ref>Enlightenment Gallery: Room 1. (n.d.). Retrieved May 12, 2017, from http://www.britishmuseum.org/about_us/services/film_and_radio/locations/enlightenment_gallery.aspx</ref>. Items featured in the gallery are organized into seven themes: Religion and ritual; Trade and discovery; The birth of archaeology; Art and civilization; Classifying the world; Ancient scripts; The natural world<ref>Enlightenment (Room 1). (n.d.). Retrieved May 12, 2017, from http://www.britishmuseum.org/visiting/galleries/themes/room_1_enlightenment.aspx</ref>.
 
The Enlightenment Gallery was originally called the [[The British Library|King's Library]]. It was built in 1827 to house the extensive collection of books created by King George III and donated to the nation after his death. After the books were moved to [[The British Library]], the gallery was restored and repurposed<ref>King's Library. (n.d.). Retrieved May 12, 2017, from http://www.britishmuseum.org/about_us/the_museums_story/architecture/kings_library.aspx</ref>.
 
<gallery mode="packed">
Image:Enlightenment Gallery.jpg|''View of Enlightenment Gallery''
Image:Enlightenment.jpg|''Orrery on display''
Image:Enlightenment Vases.jpg|''Case of Roman pottery''
</gallery>

==Africa==
 
===Ancient Egypt===
 
====Sculpture====
 
The British Museum holds one of the largest, and most extensive, collection of Egyptian artifacts, many of which are statues. A significant portion of this collection is located on the first floor and is comprised of statues. With most of them being made from stone, mainly granodiorite and quartzite. The statues depict important figures from Egyptian history, including Ramesses II, Amenhotep III, as well as Gods. The museum also contains sarcophagi made for various leaders. In the second floor gallery, mummies lying within their sarcophagus are on display; these sarcophagi are much more decorated, containing both paintings and carvings rather than just the carvings, then the stone ones below. One exhibit focuses on the [[Tomb-chapel of Nebamun]] which houses Nebamun, a wealthy accountant.
<gallery mode="packed">
Image:Egyptian_Statue.jpg|"Amonhitep III"
Image:RamessesII.jpg|"Ramesses II"
Image:Mummies.jpg|"Some of the mummies"
<gallery>
</gallery>

 

====Mummy of Cleopatra====
 
Cleopatra was the daughter of Candace and a member of the family of Cornelius Pollius, Archon of Thebes in the time of the Emperor Trajan. Cleopatra died when she was 17 years, 1 month, and 25 days old according to the inscription on her coffin. This debunked writings that said she died when she was 11 years old. The body is wrapped in a criss cross of bandages decorated to honor Nut, Isis, Anubus and other deities. The body is believed to be in very good shape, however they cannot determine due to dense material under the bandages blocking x-rays. It was believed to have been buried around 100-120 AD.
<gallery>
1616.JPG|Mummy of Cleopatra
</gallery>
 
===Sudan===
 
==Greek and Roman==
 
===Roman Empire===
 
Following the fall of the Greek Empire, the Roman Empire stretched huge distances and was the largest empire the world had ever seen. It reached as far as northern Britain with Hadrian's Wall and to the Nile River in Egypt at its height. The Romans were a modern society for the time that had the ability to rule over great distances from a single central capital. In order to maintain such a large empire, the Roman's needed a strong and well organized army. Many Roman citizens devoted their lives to the Roman army so the empire could protect its borders and keep out unwanted visitors. They developed the city of Rome into a huge city with many architectural and technological advancements, like aqueducts and the great Roman Colosseum.
 
===Busts===
 
Carved from marble, Greek and Roman busts depict the upper body of the human figure. Each bust is supported by a single pedestal, known as a plinth, that vary in design and scale. The Roman empire drew large influence from Greek religion, culture, and art. This can be clear seen in Roman imitation sculptures and art inspired by Greek myths and figures. As such, sculptures produced by both Ancient Greece and the Roman Empire share similar styles and components including sculpting materials, realistic imitation of the human form, and depiction of myths and mythical characters.
<gallery mode="packed">
[[File:IMG 1806.jpg|400px]] [[File:IMG 1807.jpg|400px]]
Image:IMG 1807.jpg|''Roman bust imitation of the Greek hero Meleager''
 
Image:IMG 1806.jpg|''Greek bust of a supposed boxer''
</gallery>
===Nereid Monument===
 
[[File: nereidMonument2.JPG|right|thumb|Nereid Monument]]
The Nereid Monument was built for Arbinas, a Xanthian dynast, and his family. Although it was built in south-west Turkey, its design was heavily influenced by the Greek mainland as can be seen. The design and sculpture is Greek, but what is portrayed is Lykian.
 
===Parthenon===
 
Dedicated to the goddess Athena, the Parthenon was a formal temple located on the Athenian Acropolis in Greece. It was built in 447 BC when the Athenian Empire was at its most powerful and completed in 438 BC with decorations continuing until 432 BC. Although called a temple, it was not used in the modern sense of the word. A large shrine was excavated from the site of Athena. This shrine and the temple were most likely used as a way to get close to Athena and to worship her, yet the temple never hosted the cult of Athena. The massive statue inside of the temple was sculpted by Phidias and was not related to any sort of cult. The statue wasn't even known to carry any religious weight to it, but rather, only as a shrine dedicated to Athena. The Parthenon also had incredibly detailed sculptures around the entirety of the Doric inspired temple. There are three layers to these sculptures: the metopes, friezes, and the pediments. The metopes were 92 (14 on each of the west and east sides, and 32 on earth of the north and south sides) smaller sculptures carved into the stone of the Parthenon that resembled battles between the Gods and giants and between the Athenians and Amazons along with battles of mythical creatures. Above those on the east and west sides are the pediments. The east side represents the brith of Athena from the head of her father, Zeus, while the west side depicts the competition between Athena and Poseidon. This competition was to determine who would be the city's patron, and in the end, Athena was victorious.
 

===Greek Vases===
 
[[File:Greek Vase.jpg|frame|right|Greek Vase ]]
The British Museum houses a large collection of Greek vases from 500-300 BC. These examples of fine Greek art are painted pottery are used to illustrate daily life in Greece as well as much Greek mythology. The majority of the vases are originally from Athens and are decorated with a "red-figure technique". A number of white-ground and black glazed vases are also on display in the Greek vase exhibit. The collection also includes vases from other Greek cities, such as south Italian Greek colonies.
 
==Rosetta Stone==
 
[[File:RosettaStone.jpg|thumb|right|Rosetta Stone]]
Inscribed on the stone is the same decree in three languages: Hieroglyphic script, Demotic script, and Ancient Greek. The stone originated in a temple, before being used as building material when it was more recently discovered in Fort Julien near Rashid, Egypt by a French Soldier in 1799. When the British invaded Egypt at the beginning of the 1800s, they took the stone and it has been on display since then in the British Museum. The museum has a copy of the stone in the Kings Library that you can touch, while the actual stone in encased in room 4. Copies and models were made and given to scholars around the world in an attempt to decipher it, with Thomas Young and Jean-Francois Champollion contributing heavily to the understanding of the languages. Having the same decree in three languages aided in the deciphering of Egyptian Hieroglyphics
 
 
 
 

==Great Migrations==
===Franks===

 
===Visigoths===

 
===Lombards===
{{Infobox
|title = Lombardic jewelry
|bodystyle = width:25em
|image = [[File:lombardjewelry_beretich.jpg|320px|alt=image]]
|label2 = '''Description'''
|data2 = Found at a grave site, the finger ring contains a Germanic name, but was used for sealing documents in what is Roman tradition.
}}
The Lombards were a Germanic people, residing in southern Scandinavia, migrating further south until reaching Italy. They conquered the area, which was devastated after the Gothic War between the Ostrogoths and the Byzantine Empire. For two centuries they ruled a large part of Italy, save for territories the Byzantines were able to hold on to, like Rome and Ravenna. However, as time went on, they gradually began adopting Byzantine traditions, including practicing Christianity.
 
The resulting Lombardic Kingdom
 
 
 
 

===Cultural Effects on Migrants===
 
 

==America==
===Mexico===
In this gallery we can find it divided into sections that identify how it was geographically. Each region has a different culture that flourished in Mexico from about 2000 BC up to the arrival of the Spanish in the sixteenth century.
 
The beginnings of Mexican civilization started with the Olmecs. They performed ceremonial centers on the Gulf Coast. After them the Classic Veracruz and Huaxtec cultures. Th Mayas also rose during this time period. Maya city states, including Yaxchilan, developed writing, astronomy, and a sophisticated calendar. At the same time the Mexican Highlands, while neighboring Zapotec and Mixtec peoples ruled Oaxaca.
 
When the Spanish arrived the Aztec empire help sway over much of non-Maya Mesoamerica. Rhe Spanish conquest brought irrevocable change and destruction, but many aspects of indigenous culture survived in Mexico to this day.
 
====The Olmecs====
Olmec culture finds its highest expression in what is known as the Olmec heartland on the Gulf Coast of Mexico. In this lowland, riverine setting,well-planned political and ceremonial centres such as San Lorenzo, Tres Zapotes, Laguna de los Cerroes and La Venta emerged in the late second millenium BC...
 

====The Aztecs and Mixtecs====
The Term Aztec has been used since early colonial times to refer to the peoples settled around Lake Texcoco in the Valley of Mexico. Most poweful among these was the ethnic group known as the Mexica, from whom modern Mexico takes its name.

 

====The Mayans====
They began in what is now Mexico but expanded to Guatemala, Belize, and Honduras. By the early centuries populations, leading to the growth of Classic Maya city states ruled by competing dynasties.
 
===American Dream: pop to the present===
The American Dream: pop to the present gallery at the British Museum is a temporary exhibit which will be open until June 18th, 2017. The exhibit is focused on print making from the 1960s onward and attempts to show its importance in the artistic practices of America. The gallery begins with the expansion of pop art in the 1960s and continues on to focus on the rise of minimalism in the 1970s. It also brings up social issues, such as race conflicts, the rise of feminism and problems of AIDS up to present day. Some very important people featured in the gallery are Andy Warhol and Jasper Johns, among many others. The overall goal of the gallery is to showcase the impact of print making on art, and to show its widespread uses over time.
 

=References=
<references/>
 

=External Links=
If appropriate, add an external links section
 
=Image Gallery=
If appropriate, add an image gallery
 

[[Category:Art]]
[[Category:History]]

File:Mummies.jpg

2017-06-22T12:49:46Z

Nbloniarz:

This is a Creative Commons image from wikimedia commons with a Creative Commons Attribution-Share Alike 2.0 Generic license.

File:RamessesII.jpg

2017-06-22T12:47:14Z

Nbloniarz: Nbloniarz uploaded a new version of File:RamessesII.jpg

User:Nbloniarz

2017-06-22T10:41:08Z

Nbloniarz:

=Natalie Bloniarz=
{{Infobox
|title = Natalie Bloniarz
|header1 =
|bodystyle = width:25em
|image = [[File:NBPhoneBox.jpg|x450px|alt=Natalie Bloniarz]]
|caption =
|label2 =
|data2 =
}}
 
__TOC__

=Overview=
 
My goal for my London HUA experience was to explore art through different mediums. Specifically, I explored the history of architecture through photography, how to create a mosaic in both a physical and digital setting, and the history, purpose, and techniques of stained glass windows. Previous courses I have taken in the humanities and arts are: AR1101 Digital Imaging and Computer Art, MU 2637 String Ensemble, and I have experience from high school courses such as AP U.S. History, AP European History, AP Literature and Composition, and AP Language and Composition. From my time in London I have discovered a love for traditional art forms such as mosaics and stained glass, and that there is never a dull moment in London. I have developed a newfound appreciation for artists who work with difficult mediums, such as glass, and I hope to be able to keep working with glass in the future as a hobby.
 

=Milestone 1=
'''London Architecture ''' 
'''Objective:''' A descriptive timeline of the change in architecture throughout the city over time through photographs including comparing different churches, buildings, bridges, museums and even unsung architectures accomplishments such as parking garages (or car parks).
 
This is in collaboration with [[User:Eawilson|Emily Wilson]] and [[User:Osgibbs|Olivia Gibbs]]
 
Over the course of 2 weeks, we have traveled around London taking pictures and researching some of London's most stand out buildings. We have found the best source for finding architecture information which is the Royal Institute of British Architects (RIBA) Library, and some interesting facts about all of the buildings. Many buildings have been built multiple times due to the great fire of London, and more recent buildings were built in controversy. The buildings that we researched all have a rich history and interesting architectural design elements that add to the city. This has been a great experience and we have learned a lot about the buildings that make up the city of London.
 
[[London Architecture|Read More]]
 

=Milestone 2=
 
'''A Mosaic of Mosaics''' 
'''Objective:''' To develop an understand the techniques and materials needed to create a mosaic and apply that to a new digital medium.
 
Throughout this milestone I learned about mosaic, and the materials and tools needed to create one. I then applied this knowledge to a digital setting (Photoshop) and compared how it is different from the traditional methods. I can confidently say that the process of creating a digital mosaic is much more forgiving than a physical mosaic. I also began to learn that a digital mosaic has limits not unlike a physical mosaic; the main limit being the time the creator of the mosaic has to work on it and it is also limited by the processing ability of the computer being used, if the file becomes to big the computer cannot complete the desired action.
 
[[A Mosaic of Mosaics|Read More]]
 

=Milestone 3, Capstone=
 
'''Capstone: The History, Purpose, and Techniques of Stained Glass Windows''' 
'''Objective:''' To develop an understanding of the history of stained glass windows including their purpose, and to study the techniques needed to create a window; then applying those techniques to create my own stained glass window.
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It was an interesting experience to be able to go into creating the window with all of my research and actually have a physical representation of my efforts. I enjoyed being able to create this window as the capstone for my humanities and arts requirement, and I have a new found interest in the glass blowing classes at WPI to continue working with glass.
 
[[The History, Purpose, and Techniques of Stained Glass Windows|Read More]]
 

=Activity Journal=
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar.
 
===Week 1===
====Activity #1 [[Westminster Abbey|Westminster Abbey]] and the [[Tower of London|Tower of London]]====
Today's visit to [[Westminster Abbey|Westminster Abbey]] helped me to refine my first milestone from a broad history of architecture to a more focused analysis of Gothic architecture. It also provided a starting point for my research into Gothic architecture and some basic history of the Abbey. Though I really wanted to take photos inside to use for my milestone, I understand that that is not possible. I also started my quest to find the ugliest picture of Jesus as a baby, to keep with the tradition started by my brother on our vacation to Italy.
 
During the visit to the [[Tower of London|Tower of London]], I had discovered that medieval history is a period that I do not find that appealing to study. The queue leading up to catch a glimpse of the [[Crown Jewels|crown jewels]] felt like waiting for a roller coaster. The silliest part was that the exhibit was incredibly short, and to keep people moving they had a moving sidewalk along the row of crowns. I would have loved to spend more time looking at the ostentatious jewels, but it was incredibly crowded and my height made it hard to see around others in the exhibit.
 
I was so excited to have taken my first double-decker bus and getting to sit right in the front up on the upper level. It was interesting to see the crowds of other tourists get on and look confused from the Oxford Street stop I got on at, shift to bunches of more confident locals. The weirdest part of the journey was seeing one person getting on then immediately getting off one stop later, which would have been a two minute walk down the road.

 
 

====Activity #2 [[British Museum|The British Museum]]====
I really enjoyed today's visit to the [[British Museum|British Museum]]. After deciding last night to join the other two girls, [[User:Eawilson|Emily]] and [[User:Osgibbs|Olivia]], in the architecture group for their first milestone, this provided a great opportunity to start working with them. The museum courtyard provided some great photos for the milestone, and it was incredibly designed. The thought that people had built that intricate glass ceiling, creating the largest covered square in England, was fascinating. I especially enjoyed looking at all of the Egyptian artifacts, as that is my favorite time period throughout all of history. The sheer number of artifacts in the museum was incredible and it would take at least a week to be able to see and appreciate their extensive collection. I would love to go back at a later date to further explore the other wings of the museum. I knew that the British people had a large collection of Egyptian artifacts, but I never knew that the British Museum has the second largest collection outside of the Egyptian Museum in Cairo.
 
I also got the chance to do some more exploring in London on a quest to complete the scavenger hunt. At the end of our scavenger hunt quest we returned to [[Westminster Abbey]] to attend evensong. It was a pleasant experience and the choir sounded incredible, it was also a nice experience to attend the service to get a better idea of the protestant faith. It was cool to see that it is possible to sit right next the choir and among the members of the clergy. I wish I could have taken my own photos inside the Abbey for my milestone, but I understand they want to maintain the rights to images of the Abbey.
 
 

====Activity #3[[St. Paul's Cathedral| St. Paul's Cathedral]]====
Today's visit to [[St. Paul's Cathedral]] was incredibly interesting because it was a major architectural shift from [[Westminster Abbey]]. The two churches are similar in their abundance of statues and graves but are vastly different in appearance. The inside of the cathedral was stunning and bright. My two favorite aspects of the cathedral were the golden mosaics and the whispering gallery. The whispering gallery reminded me of the inside of Il Duomo in Florence, both with incredibly narrow staircases that have the tiniest of windows and their imposing artwork staring down at you. The cathedral is also a part of my first milestone and provided a good amount of the information I needed to research. I also learned today that the Dean's stairs were actually in Harry Potter like I thought. I find it fascinating to see that the movies took the time to find the most authentic English architecture to include in scenes, it helps ground the movies more towards reality.
 
Today was also a journey to capture more photos of buildings for my first milestone, taking me to the Gherkin, the Lloyd's Building, the Royal Exchange, and the Barbican Centre. I cannot wait to go back to the Barbican Centre because of its beautiful courtyard. I am also looking into taking a tour about the architecture of the building. The Gherkin was my favorite building to observe because of its unique shape. My least favorite building was the Barbican Centre only because of its brutalist style, which I find rather dreary and overtly industrial. The courtyard inside of the building made up for the drab architecture and is a place I hope to visit again.
 
 

====Activity #4 [[The National Gallery|The National Gallery]]====
I did not really enjoy the visit to [[The National Gallery]] today. The majority of the art I managed to see was early christian art that contains a myriad of paintings with the same four events in the life of Jesus and Mary: the Crucifixion, the Assumption, the arrival of the magi, and Mary with baby Jesus, The museum provided me the opportunity to increase my ugly baby Jesus tally to 12. The only paintings I truly enjoyed observing were the work of [[The National Gallery#Claude Monet|Claude Monet]]. I did manage to find one work of art relevant to my milestone as I exited the building; there was a large tile mosaic on the ground depicting the roman gods and I hope to go back to get a better look and study the large mosaic. Another reason I did not particularly like this museum was that even at opening, it was ultra crowded. I was hard to appreciate some of the art in such a loud place in some of the galleries. This museum almost felt like a repeat of previous museums that I had visited including the Metropolitan Museum of Art in New York City, and Gli Uffizi in Florence; that is not to say that I did not appreciate the art it just felt rather redundant.
 
 

====Activity #5 The [[Natural History Museum|Natural History Museum]]====
As a popular sight for children, the Natural History Museum was super crowded with school groups of little children in their bright safety vests. The museum had a subsection of the Minerals & The Vault exhibit which has contributed to my milestone all about [[Natural History Museum#Building Materials| building materials]]. The anamatronic T-Rex was really cool, and seeing the looks of wonder on some of the primary school children's faces was priceless. The large open cafe area provided great views of the stain glass windows of the original building as well as a chance to observe the mosaic floor. My favorite part of the museum was the Mineral & The Vault area because I have always had a fascination with rocks and gems since my childhood. The location of the museum was also convenient in that it was adjacent to the Victoria and Albert Museum which has an entire wing on architecture as well as a large amount of stained glass windows for my third milestone.
 
Today also marked my first official visit to [[The British Library]] on a research adventure for my first milestone. I had found three very helpful books that had information on the style and history of the buildings that I am researching as my portion of milestone one. The most helpful was "Reference Guides to National Architecture: Architecture of England, Scotland, and Wales" by Nigel R. Jones. Now that I have also stared to pan my other milestones more I am compiling a list of places to return to in an effort to earn more about either their mosaics or stained glass windows. I had a breakthrough in the idea for my second milestone in comparing two major types of mosaics: decorative and functional, which can be exemplified ny the difference between the mosaics of [[St. Paul's Cathedral]] and the floors of some of the museums including the Victoria and Albert Museum.
 
 

===Week 2===
====Activity #1 [[Tate Britain|Tate Britain]]====
The Tate Britain felt surprisingly small compared to its grandiose outside. I am starting to get a bit burned out going to museum after museum, where the content inside seems to stay the same. The most interesting piece of art was a modern installation by Cerith Wyn Evans called Forms in Space ...by Light (in Time). This piece was a huge mass of neon tubes hanging from the ceiling spanning the length of the museum. and if you stand at the entrance of the museum you can see the entire piece appearing as a flattened drawing in the air through a single neon ring.
 
I wish these museum visits were spread further apart to allow more time to dedicate to milestone one. Only having the afternoon to complete an article or contribution, a journal entry, and go read at the library is not enough time to put in all of the needed effort. It is also mildly frustrating to spend a majority of my day for two weeks going to places that aren't directly relevant to my milestones. I understand it is important to see all of these works of art and to be aware of other things besides my milestone but to spend three or four hours in a place to only stare at a single feature of art piece saps my will to continue working. The most helpful part of these activities so far has been seeing mosaics that I will come back and photograph and study in depth and looking at stained-glass windows in the churches we have visited.
 
 

====Activity #2 [[Victoria and Albert Museum|Victoria and Albert Museum]]====
As expected from how I enjoyed my previous visit, I loved the [[Victoria and Albert Museum]]. My only problem is that it is so easy to get lost inside of that museum and the online map is useless. My favorite exhibit I got to see today was the [[Victoria and Albert Museum#Stained Glass Exhibit|stained glass]] collection both in its own exhibit and among the period art. I wish that I had time to locate the section on mosaics to begin work on my second milestone, but I guess it will have to wait for another day. The stained glass section really helped me to understand the visuals of the history I read about yesterday and the transition from just stained glass to painted glass, and then back to the more traditional style was amazing to see up close and to get to study the details on the original windows in the book.
 
 

====Activity #3 [[Tate Modern|Tate Modern]]====
I have and will never understand modern art. There were a few things I enjoyed such as the pieces by Monet, Warhol, and three media elements, two auditory experiences: ''Wetin You Go Do?'' by Otobong Nkanga’ and ''Forty-Part Motet'' by Janet Cardiff, and a video ''How Not to Be Seen: A Fucking Didactic Educational .MOV File'' by Hito Steyerl. The video was just so ridiculous confirming some of my views on modern art, that sometimes modern art is just a practical joke that people haven't caught onto yet. The impending due date of the milestone is causing me stress that I don't have enough time to do everything, which in a sense is true because it is compressing seven weeks worth of work into two. I could argue against myself saying that it is the only thing I am focused on but that would be a lie. I have journal entries and articles to write, research to be done, and two other milestones to worry about. Being in a team has been the best choice I have made so far, but that is not quelling my anxiety. I want to visit all of these places but I am also worried that I do not have enough time to go and research. I don't want to buy books to only be focusing on them for two weeks and these books can get expensive, but I guess my tuition only covers so much. Maybe after this week I will feel less like I am drowning in work.
 
 

====Activity #4 [[Museum of London|Museum of London]]====
The coolest part of the museum today was the Olympic torch. I did manage to gather some relevant milestone information regarding columns and s mosaic, but in general I found it kinda boring. The history focusing on London was cool but all of the museums are blurring together and it is harder to tell each day apart. I am becoming a bit unsure about the focus of my second milestone; I want to study mosaics, but I don't know in what capacity. I believe it would be best for me to focus on religious imagery in mosaics, Catholic, Roman or otherwise, to help narrow down my background research. Being able to have enough photos of mosaics to create my own mosaic will be challenging because the most colorful ones are in places that I cannot photograph, meaning I will have to probably rip photos from the internet. My article entries are starting to show some of my disinterest in the topics I had chosen to write about, and I want to change that, but my motivation is severely lacking. I am excited for the weekend because it means a mental break, but I fear I might have to spend it in the library reading in preparation for my next milestone.
 
 

===Week 3===
====Activity #1 [[Museum of London Docklands|Museum of London Docklands]]====
I really enjoyed the museum today, much more than the other [[Museum of London]]. This one went much more in depth throughout the exhibits and was completely empty almost all morning. It was also cool to see the view of World War II and the slave trade through the eyes of the British, and how much they were impacted. Today's visit did relate to my first milestone, in that it had a small section on the modernization of London along the Thames that referenced City Hall and the London Eye. It was also cool to see the Sainsbury study area with the history of Sainsbury laid out in the entrance way. I am back to square one for my second milestone because I cannot seem to find any books about religious imagery in mosaics, and I might have to broaden the topic to the history and techniques of mosaics, to keep the topic of mosaics viable. I feel secure in my third milestone and I have found tons of useful books that I need to take the time to fully read and compile the information. I feel refreshed and ready for this next week of work, and I can't wait for the weekend to come to go exploring with my parents.
 
 

====Activity #2 [[Imperial War Museum|Imperial War Museum]]====
Today was not a happy day. After the events of last night, this museum was another punch in the gut. Humanity can be cruel. On a lighter note, the art for the World War I posters was cool and I enjoyed learning about the war from another perspective. Today was a super long reading day, though one of the books I really want to read, I can only find in Italian at the British Library and it is annoyingly expensive to buy. I might have to make use without it, but it would have been really useful. I also went through my photos and realized that I need more photos of mosaics, so I cannot wait to revisit some of the museums to get more photos to use for my mosaic. Maybe tomorrow will be better.
 
 

====Activity #3 [[Hampton Court Palace|Hampton Court Palace]]====
Where am I, I can't be in London, right? It was hot today, reaching a balmy 78°F. It was a great day to go to the palace and enjoy the gardens, the weather was perfect. I enjoyed the change of scenery from our standard London adventures, but Tudor England is not my ideal aesthetic. The palace was super enjoyable when it was empty, but once the school children came it got hard to hear the audio tour and move about the halls. My favorite part of today was exploring the gardens and looking at the hoard of deer they had on the property. I wish I had time to devote to reading for my second milestone today but sleep was calling and I couldn't ignore it. Hopefully tomorrow we don't spend as much time in the museum so I can devote all of my time to holing myself up in the library and reading boring books on mosaics. Mosaics: fascinating art, nightmare to read about.
 
 

====Activity #4 [[Horniman Museum|Horniman Museum]]====
This place was creepy. It was full of little children and dead animals, and that is super unnerving.The gardens were the highlight of the trip with the pleasant breeze and sound of wind chimes in the air. I really need to read for my milestone and take more pictures of mosaics, because I am severely lacking. I love mosaics, but books talking about their history are so dry, it feels like a 400 page trek through the Sahara. I can't wait to get this background done to work on my deliverable and make my mosaic.
 
 

===Week 4===
====Activity #1 [[The Wallace Collection|The Wallace Collection]]====
Baroque art is not my style. Something about the sheer excessive use of gold and other precious metals makes me feel that the art of the period was just created as an excuse to spend money. I have decided to expand the ugly baby Jesus count to include regular ugly babies as well, and the count now stands around 24. The one painting I was excited to see was [[The Wallace Collection#The Swing|The Swing]] because I have studied that painting in high school during AP European History. It was interesting to be able to learn more about the painting's origins and that the patron wanted to be painted admiring his mistress's legs from below. I am excited to start devoting my entire day to working on my milestones and having a mental break from most museums. On Sunday I went to see a classical concert, the Schumann Quartet, with my parents at Wigmore Hall.
 
 

====Activity #2 [[London Science Museum|London Science Museum]]====
This was my favorite of the non art museums to visit because I felt it was aimed to a slightly older audience then the [[Natural History Museum]]. The mathematics and communications exhibits were fascinating and I was excited to get to wander around without having to worry about mowing over all of the school children. I also got the chance to go the the [[Victoria and Albert Museum]] to take more photos of mosaics for my second milestone but I was disappointing that the mosaic collection was incredible limited but it gave me some more colorful options for my mosaic. I also did a bit of research into other books for my second milestone and create the basic outline for the design of my mosaic.
 
 

===Week 5===
====Activity #1 The [[British Museum]] & [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']]====
The [[British Museum]] today served as more inspiration for my second milestone in that I took more photos of mosaics and I got up close and personal with some Roman mosaics. I want to make another mosaic for milestone two in a Roman style that either depicts a figure or animal, maybe including some of the mythology; this would link the history I initially read about before I decided to scope down to just techniques and materials needed. [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']] was odd to say the least with creepy clown makeup, dub-step, and complete breaks of character as only some of the oddities. It was fun to see the show with such a modern interpretation, but I feel it went almost too far with the modernization in some aspects (clown makeup) and lacking in others (keeping the original Shakespearean dialog). I was glad I got to see the play, but it is not something I would go out of my way to see again.
 
 

====Activity #2 [[Stonehenge|Stonehenge]], [[Bath|Bath]], and Lacock====
I really enjoyed the tour of these three locations, as they were places I originally planned to visit when my parents were in London. I though [[Stonehenge]] would have been bigger, as many of the photos capture it that way, and I was disappointing that it was roped off. I find it funny that we know so little about what its purpose is so even the wildest speculations could be true (i.e. aliens). [[Bath]] was interesting in that the city's main attraction could almost be viewed as a hoax, with it recent construction date. I understand the history and why it isn't, but that reconstruction with the insides antiqued makes me laugh that people believe that it is actually a Roman building. Lacock was cool because it was a trip into the land of Hollywood without leaving England. I thought the church and buildings looked familiar, and it was nice to have someone confirm my suspicions. I feel horrible for the people who live in the house they filmed Harry Potter's parents dying, as the constant flow of tourists taking photos of your house and even encroaching onto the property must get old real fast.
 
 

===Week 6===
====Activity #1 [[Windsor Castle|Windsor Castle]]====
[[Windsor Castle]] was surprisingly small compared to how it looks. I understand that it is a working royal castle where the Queen actively spends her weekends, but it was painfully small compared to what I was expecting after [[Hampton Court Palace]]. I don't understand this country's obsession with audio tours, for once I just want a human over technology. The doll house and porcelain doll collection was nightmare fuel. I cannot grasp that people find those dolls cute, they are utterly terrifying. I feel bad for going into places and just cracking jokes about all of the paintings of rich white men in tights, but I know deep down that I do appreciate the art. It is also funny to me how expansive the castle is for just a few people. If Britain was so concerned about the homeless population they could house so many people in unused castles.
 
 

====Activity #2 Stained Glass Workshop====
This was my big day, a chance to see the theoretical knowledge from the past four weeks put into practice. Arriving at the studio was odd because the studio is located in the Bow Arts Trust building among many other studios, in addition to being inside another building the studio was three floors up from a tiny doorway in an alley. The entire day was surreal, in that for the first time in a while I felt completely comfortable trying something new. The window sadly ended up being much simpler than my original design, but I am proud of what I accomplished in approximately seven hours. The weirdest part of the day was that an Persian news network was filming the workshop for a segment on a daytime television show about crafts in London. I am happy to say that I escaped unscathed from my adventure with a large amount of lead and sharp glass, and I gave myself a pat on the back for that. The new challenge now is getting the window home without breaking the bank.
 
 

===My Complete Contributions===
====[[Special:Contributions/Nbloniarz|All of My Created Content and Edits]]====

[[Category:Profiles]]
[[Category:2017]]
[[Category:Advisor:Manzo]]

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2017-06-22T10:39:41Z

Nbloniarz:

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2017-06-22T10:34:51Z

Nbloniarz: Nbloniarz uploaded a new version of File:NBTile1.jpg

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2017-06-22T08:54:49Z

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A Mosaic of Mosaics

2017-06-22T08:51:26Z

Nbloniarz:

=A Mosaic of Mosaics=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| title = A Mosaic of Mosaics
| bodystyle = width:40em
| image=[[Image:NBMosaic_V1.png]]
| label1= '''Artist:'''
| data1= [[User:Nbloniarz|Natalie Bloniarz]]
}}

__TOC__

=Abstract=
The aim of this project was to develop an understand the techniques and materials needed to create a mosaic and apply that to a new digital medium. Using my skills from AR 1101, Digital Imaging and Computer Art, and my experience from high school using the Adobe Suite, I aimed to create a modern mosaic in a digital format. Throughout this milestone I learned that much of the origins of mosaics are unknown and that mosaics can be made of '''virtually''' any material. The experience of creating the mosaic was enlightening into how difficult creating a cohesive and well structured mosaic could be.
 

=Introduction=
 
A mosaic is, "something resembling such a picture or decoration in composition, especially in being made up of diverse elements."<ref>the definition of mosaic. (2017). Dictionary.com. Retrieved 14 June 2017, from http://www.dictionary.com/browse/mosaic</ref> From that definition, a mosaic is a decorative element or image made of just a few simple components: some form of tile made of any material, a base surface for the mosaic to rest on, and an adhesive to hold to mosaic to the base.
 
A Mosaic of Mosaics takes the traditional art of mosaics and then applies it to a digital setting. This involved looking into the elements needed to create a physical mosaic and what kind of properties make them effective materials. It also required a discussion of techniques needed to create a mosaic, and how they are used. Unlike a collage that just mashes photos together, the mosaic created is based on mosaics that I have observed across London to create "such a picture or decoration in composition".<ref>the definition of mosaic. (2017). Dictionary.com. Retrieved 14 June 2017, from http://www.dictionary.com/browse/mosaic</ref> As opposed to creating a traditional mosaic I chose to experiment with a digital medium to see how the process would differ and what challenges this new method could create. I chose to use Photoshop to create the mosaic because of prior experience and I knew it would lend itself well to the functions needed for this project: cloning, resizing, compressing, and reshaping. I used my previous knowledge of photography to capture the mosaics that would make up my mosaic, but I used my newfound knowledge of mosaic techniques to create the mosaic.
 

=Section 1: Background=
==Materials==
 
===Tiling===
 
This is the most important portion of the mosaic, as it is the most visible part of the mosaic. Tiling is the individual pieces of a chosen, or a variety of chosen materials, that are cut and then typically shaped into rough squares. These squares are then adhered to a base to create an image or design. The oldest known mosaics were created from smooth pebbles of varying sizes, but this limited the precision of the artist to the available stones; pebble mosaics were popular with the Greeks and many of their mosaics were made from pebbles.<ref>Dunbabin, K. (2012). Mosaics of the Greek and Roman world (1st ed., pp. 5-17). New York: Cambridge University Press.</ref> Eventually the Romans popularized ''tesserae'', the style of mosaic made of individual square cut pieces of stone and shell.<ref>Dunbabin, K. (2012). Mosaics of the Greek and Roman world (1st ed., pp. 18). New York: Cambridge University Press.</ref> Tesserae can be made of a variety of materials and have been as time has passed, and it is now how the majority of mosaic tile materials are sold. Stone was a popular choice of the Romans and is more durable than other materials and it can have natural variance within the tiles; though stone is durable, it is hard to create the tesserae.
 
<gallery mode=packed>
File:NBPebble.jpg|''An example of pebbles<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 32). London: Cassell Illustrated.</ref>''
File:NBPebbleExample.jpg|''A pebble mosaic<ref>Howarth, M. (1992). Compass & Winds.</ref>''
File:NBStone.jpg|''An example of stone<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 30). London: Cassell Illustrated.</ref>''
File:NBStoneExample.jpg|''A stone mosaic<ref>Bison, I. (2000). African Mask.</ref>''
</gallery>
The Byzantine Empire was known to use smalti, a type of enameled glass with pure opaque colors, a uneven texture, and it reflects light very well. Smalti is made by sandwiching two pieces of enameled glass together. A separate form of smalti is gold smalti, which consists of gold sandwiched between the two glass plates, it can also have many different textures, colors, and levels of reflective strength.
 
<gallery mode=packed>
File:NBSmalti1.jpg|''An example of smalti<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 29). London: Cassell Illustrated.</ref>''
File:NBSmaltiExample.jpg|''A smalti mosaic<ref>Cohen, C. (1976). La Marseillaise.</ref>''
File:NBGoldSmalti.jpg|''An example of gold smalti<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 32). London: Cassell Illustrated.</ref>''
File:NBGoldSmaltiExample.jpg|''A gold smalti mosaic<ref>Fishman, G. (2000). Tropical Bouquet.</ref>''
</gallery>
Another material is Venetian (Vitreous) glass, which has less intense colors than smalti and a constantly smooth surface on one side and groves on the other. Venetian glass is often used for more mundane works such as pools and bathrooms than the Byzantine smalti, and typically comes in a standard thickness. Ceramic tile is another type of tile that is great for outdoor use, for when it is glazed it is incredibly weather resistant, and the tile comes in a variety of colors and can be made with specialized designed within the tiles. There are four main types of ceramic tiles: unglazed, glazed, patterned, and decorative.<ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 12-13). London: Quarto Publishing plc.</ref>
 
<gallery mode=packed>
File:NBVenetian.jpg|''An example of Venetian glass<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 28). London: Cassell Illustrated.</ref>''
File:NBVenetianExample.jpg|''A Venetian glass mosaic<ref>Hunkin, T. (2000). Vegetables.</ref>''
File:NBCeramic.jpg|''An example of ceramic<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 28-29). London: Cassell Illustrated.</ref>''
File:NBCeramicExample.jpg|''A ceramic mosaic<ref>Bahouth, C. (2000). Mosaic Chair No. 2.</ref>''
</gallery>
A more modern mosaic tile choice would be broken china, "Pique Assiette" a French saying that means 'one who eats from others' plates'.<ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 23). London: Quarto Publishing plc.</ref> This style is unlike most tesserae because it is not often in a regular shape and size. Stained glass is another option that resembles the Byzantine smalti, though is typically transparent as opposed to opaque; this can lead to the surface of the background to show through and it is a relatively fragile material depending on the thickness. The glass can come in a variety of levels of opacity, thickness, and textures making it a versatile tiling option. Mirror is an interesting material for mosaics because of its unique pure reflective quality, but it can be subject to tarnishing/patina over time diminishing its main quality. Aside from these main tiling materials there are many alternative options that can be experimented with like shell and recycled materials like buttons.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 65-72). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 28-33). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 9-25). London: Quarto Publishing plc.</ref> A mosaic can be made out of any material the artist desires, it depends solely on the desired appearance of the final product.
<gallery mode=packed>
File:NBChina.jpg|''An example of broken china<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 33). London: Cassell Illustrated.</ref>''
File:NBChinaExample.jpg|''A china mosaic<ref>Zanelli, C. (2001). My Shower.</ref>''
File:NBStainedGlass.jpg|''An example of stained glass<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 31). London: Cassell Illustrated.</ref>''
File:NBStainedGlassExample.jpg|''A stained glass mosaic<ref>Cohen, J. Tigers.</ref>''
File:NBMirror.jpg|''An example of mirror<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 31). London: Cassell Illustrated.</ref>''
File:NBMirrorExample.jpg|''A mirror mosaic<ref>Taylor, A. Golden Retriever.</ref>''
</gallery>
 

===Base===
 
The tiling must sit on a surface for it to be stable and the different options for bases can have effects on the artist's choice of tiling and adhesive. For mosaics that would be indoors, plywood or Medium Density Fiberboard (MDF) would be a good choice because they are readily available. Furniture can also be used as a base for a mosaic, but the shape, material, and structural integrity must be taken into account to see if it can support the weight of the mosaic and if it is possible to adhere the tile to the furniture. Pottery, cement, and cement backer board are great for outdoor projects due to their durability. Metal can be used for both outdoor and indoor mosaics but warping can occur when placed outdoors due to temperature variation. The porosity of the base material will have an affect of the type of adhesives that can be used, and that must be kept in mind when choosing a base; porosity also has a strong affect on how waterproof/weatherproof the base material will be. These are just a few example base materials, but others such as glass or mesh, can be used to create a more custom work of art.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 72-73). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 38-39). London: Cassell Illustrated.</ref> Similar to choosing a specific tile type to use, the base choice depends on the desired appearance of the mosaic.
 
<gallery mode=packed caption="Some Possible Base Materials" heights=x100px>
Image:NBPlywood.JPG|Plywood
Image:NBMDF.jpg|MDF
Image:NBFurniture.png|Furniture
Image:NBPottery.jpg|Pottery
</gallery>

===Adhesive===
 
This is the material that will determine if the mosaic will last across the testament of time. Location is a major factor when determining the adhesive, because the strength of the adhesive must change dependent on what the mosaic will be exposed to: water, physical weathering, temperature changes, and other forms of weathering and erosion. A cement based adhesive is one of the most versatile options, as it has a variety of setting times based on composition and forms a waterproof bond. Silicone is a good adhesive choice for materials such as glass, mirror, and other non porous tiling options. It is especially good for mirror mosaics because silicone is clear and will not damage the silvering on the mirror tiles, protecting the mirror from patina. Tile mastic is another form of adhesive that can be used for vertical mosaics because of its strong bond that occurs rapidly after placement, though it can break under pressure and exposure to moisture. Craft glue, such as school glue or PVA, comes in two formulas. The water-soluble formulas of craft glue are good for mosaics made using the [[A Mosaic of Mosaics#The Indirect method|indirect method]], and the non-water-soluble formulas are good for interior mosaics only, as the bond between the tile and the base would disolve upon exposure to high humility or rain. Thin-set is a common adhesive option, and is mortar made of portland cement, silica, sand, and other moisture absorbing materials; it has adhesive properties similar to cement, needing only a thin layer to create a strong bond and that it is waterproof.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 73-75). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 40-41). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 102-103). London: Quarto Publishing plc.</ref>
 

===Tools===
 
The final items needed to construct a mosaic are the tools. Planning tools such as paper, pencils, t-squares, and compasses can be used both before the starting the assembly of the mosaic to illustrate a design, and during assembly to help create guides and notes on the base about placement and coloring. Tile nippers and cutters are vital for shaping and trimming the tesserae and contingent on the design, as the tesserae may need to be manipulated into different sizes and edge shapes. A scoring tool is another item that can be used to cut tiles. The method used to break tile using the scoring tool is done in two parts, the first part is creating a line for the tile to break across, then applying pressure to crack the weakened tile. Screwdrivers, tweezers, and potter's needles, can be used to maneuver singular tiles and not disturb the surrounding area. Aside from these basic tools, many other tools or household items can be used and it is up to the creator of the mosaic to determine what tools to use.<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 36-37). London: Cassell Illustrated.</ref><ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 75-79). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 42-45). London: Cassell Illustrated.</ref>
 
<gallery mode=packed caption=Tools>
Image:NBTileNippers.jpg|Tile Nippers
Image:NBScorer.jpg|Scoring Tool
</gallery>
 

==Techniques==
 
===Direct Method===
[[Image:NBDirect.jpg|x200px|right|thumb|''An example of the direct method<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 75). London: Cassell Illustrated.</ref>'']]
 
Now moving on from the materials needed to the assembly methods of the mosaic. The easier of the two main assembly techniques, the direct method, involves pressing and adhering the tesserae directly onto the base material. This is best for mosaics that require the face of the tesserae that will be facing away from the base to be visible to the artist such as mosaics that use intricate shading, as the level of precision needed is incredibly high. The texture of the mosaic can be easily manipulated using the direct method as the tile pieces do not need to be completely identical heights, textures, or sizes to ensure a secure application; this is because the tesserae are being adhered individually and any height or size adjustments needed can be made as the tile is placed. This method is also useful for three dimensional mosaics to allow the artist to compensate for the curves and lines of the base. The direct method also allows for immediate results to be visible, creating an easy way to measure progress.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 110-115). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 74-79). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 86-89). London: Quarto Publishing plc.</ref> A common practice is to complete the direct method onto mesh if the base is unavailable, so that the mosaic can then be adhered to the base via the mesh rather than the tile by tile. This can help to eliminate any difficulty that may arise from adhering the chosen base material and tiling material, such as the bond not solidifying.<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 78-79). London: Cassell Illustrated.</ref>
 
 

===Indirect Method===
[[Image:NBIndirect.jpg|x200px|right|thumb|''An example of the product of the indirect method<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 82). London: Cassell Illustrated.</ref>'']]
 
The indirect method takes a different approach to assembly than the direct method in that the final assembly is more like completing a puzzle, fitting all of the predetermined pieces together. This method is useful for larger designs, as the artist can create sections of the piece and just have to assemble the larger pieces at the end. The indirect method also allows for a controlled environment when creating a mosaic that will be displayed outdoors rather than being limited by factors such as temperature and humidity. It also allows for modification of sections of the mosaic before the finalized design is complete; this is possible because of the adhesive applied to each section of mosaic is removable, allowing for easy deconstruction of the miniature mosaic. The base for this assembly method is typically paper or mesh, the mesh option allowing for more flexibility in the design because it is easy to cut away any undesirable pieces. The mesh differs from other materials used for the indirect method in that the tiles are placed finished side up, allowing the artist to view the final design like the direct method. This can also be done with the face tape method that uses clear tape to hold the mosaic together, with the finished side visible until it needs to be adhered. The reverse method is the more complicated of the indirect method techniques as it involves working in reverse, therefore creating a mirror image of the design. The tesserae are placed onto a surface with the face that will be visible placed facing the surface and then adhered together from behind to a temporary base. The mosaic is then flipped and applied to the base, and then the temporary base is removed. <ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 116-123). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 80-83). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 90-101). London: Quarto Publishing plc.</ref>
 
 

=Section 2: Deliverable=
 
==About the Mosaic==
For my mosaic I decided to use a completely digital medium, akin to a collage. The tiles of my mosaic are photos of mosaics, one taken by me and the other three from the internet, that have been shrunken down to a relatively consistent size. I then took my digital tesserae and using Photoshop I created the image above. The digital medium I used allowed for more experimentation than would have been allowed by the traditional physical mosaic media, as I could move photos whenever I wanted and constantly undo my mistakes. I also had an unlimited supply of tile possibilities at my fingertips via the world wide web if I needed a new tile. I also used a combination of the two techniques as some of my designs such as the leaf design I created separately on a separate layer and placed them into the piece; I used the direct method for the outermost set of white tiles directly placing each tile in its position. A digital medium also provides the advantage of creating a clone of an image allowing me to speed up the creation of my mosaic, by only having to create half of it, or even a quarter, and then duplicating and mirroring the image. One other major advantage was the lack of precision needed to accurately shape the tiles; Photoshop can ensure that my tiles are even and shaped exactly to fit the shape of the hole it was being put into. I used a monochrome palate inspired by the mosaics on the floor of the [[Victoria and Albert Museum]] and around the city. This also inspired my heavy use of geometric patterns like the concentric circles and the repeated use of right angles.
 

==A Modern Mosaic==
[[Image:NBMosaic_V1.png]]
 

==A Comparison==
Unlike a physical medium, a digital medium has limitless possibilities. For this mosaic my tiling is made up of pictures of mosaics. The pictures used for this mosaic specifically are of monochromatic mosaics similar to a Roman stone mosaic. I chose these pictures because of their color schemes, especially the pure white and black images, to be able to create a sharp contrast.
[[Image:NBLeafZoom.png|right]]
[[Image:NBConcentricZoom.png|right|x210px]] The final image in the gallery of images I used to create this mosaic was my main inspiration for this mosaic, as it has a simple geometric pattern and a monochromatic color palette. I have seen mosaics similar to that final gallery image across London, from museum walls and floors to store entryways; because of the common appearance of this style of mosaic, I tried to replicate the elements I observed: a dark and thick border, repeating shapes, and large sections of a singular color. These were the specific elements I chose to focus on in my design. For this design, I chose the size of my tiles to be different in each major section to create movement and a stronger division of each section. The border is darker than the surrounding tiles, but not the darkest element of the mosaic; I kept the border at a medium darkness to have a wider range of shades of grey, rather than a pure black and white mosaic. In terms of repeating shapes I decided to create a leaf shape and concentric circles. The leaf pattern pays homage to the mosaics on the stairs of the [[Victoria and Albert Museum]] and I thought an irregular shape would add more complexity to a relatively simplistic design. The concentric circles are a reference to the first image in the gallery of images I used, as it has a clearly defined circle and then a circular element inside of that circle. I chose to create large sections of solid color blocks to achieve the same effect of the mosaics I observed, which were harsh visual contrast and subdivision of the areas in the mosaic.
 
To move onto the base, I chose to use a grey background for my tiles to rest upon. I chose this color to replicate the appearance of concrete, which is visible in some of the more worn mosaics I have seen. The base rectangle is only visible in a few places because I personally favor a tightly packed mosaic over one with a larger space and therefore more base visible between the tiles. Another reason for my choice of base was that for the sections with small gaps between the tiles it would mock the appearance of grout. The adhesive holding the mosaic together is the merging of each individual image layer in Photoshop; this is almost as permanent as a physical adhesive due to the, albeit large, limit to the number of times a user can undo an action. To shape my tiles I used the crop tool in Photoshop, not unlike using tile cutters to shape and resize tiles. All of the tools I deem necessary to create a digital mosaic can be found in Photoshop: crop, clone, and merge. Photoshop served as my entire studio when creating this mosaic in that it held all of my tools and materials, in a clean and organized manner.
 
In terms of techniques, the digital and physical methods of creating mosaics are very similar. For the border portion of the mosaic, I created it in a separate file and later placed that file into the main mosaic. This is a direct translation of the indirect method from physical to digital, as the physical method involves creating the mosaic offsite and then placing the pre-created piece into place. The remaining portion of the mosaic was created using the direct method, adding image by image into the file, placing them in the correct position, and then merging the layers to cement the mosaic together. I tried two techniques to create the concentric circles the first of the two was rotating the tiles to create the illusion of a curve. This option was inefficient and I did not have enough skill to achieve the desired effect, so I decided to maximize my digital advantage by creating a rectangular block and cutting the circle from that block. The latter attempt to create the circles allowed me to achieve a perfectly round edge to my tiles, a task that would be incredibly difficult by hand.
 
<gallery mode="packed" caption="Images used in the mosaic">
File:NBTile1.jpg
File:NBTile2.jpg
File:NBTile3.jpg
File:NBTile4.JPG
</gallery>
 
<gallery mode="packed" caption="Images used as inspiration for the mosaic">
File:NBMI1.jpg
File:NBMI2.jpg
File:NBMI3.jpg
File:NBMI4.jpg
File:NBMI5.jpg
File:NBMI6.jpg
File:NBMI7.jpg
</gallery>
 

=Conclusion=
 
Throughout this milestone I learned about mosaics, and the materials and tools needed to create one. I then applied this knowledge to a digital setting (Photoshop) and compared how it is different from the traditional methods. I can confidently say that the process of creating a digital mosaic is much more forgiving than a physical mosaic. I would have loved to use more of my own photos, but due to having to look up or down at most of the mosaics the distortion made the tiles appear lopsided and pure colors were impossible to find. It would be interesting to make a physical mosaic and be able to compare those experiences in a more than theoretical setting. It would also be interesting to see how digital enhancement of the images used to create the mosaic or a change in the color palate could change the mood of the piece.
 

=References=

[[Category: Art Projects]]
[[Category: 2017]]

A Mosaic of Mosaics

2017-06-22T08:50:13Z

Nbloniarz:

=A Mosaic of Mosaics=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| title = A Mosaic of Mosaics
| bodystyle = width:40em
| image=[[Image:NBMosaic_V1.png]]
| label1= '''Artist:'''
| data1= [[User:Nbloniarz|Natalie Bloniarz]]
}}

__TOC__

=Abstract=
The aim of this project was to develop an understand the techniques and materials needed to create a mosaic and apply that to a new digital medium. Using my skills from AR 1101, Digital Imaging and Computer Art, and my experience from high school using the Adobe Suite, I aimed to create a modern mosaic in a digital format. Throughout this milestone I learned that much of the origins of mosaics are unknown and that mosaics can be made of '''virtually''' any material. The experience of creating the mosaic was enlightening into how difficult creating a cohesive and well structured mosaic could be.
 

=Introduction=
 
A mosaic is, "something resembling such a picture or decoration in composition, especially in being made up of diverse elements."<ref>the definition of mosaic. (2017). Dictionary.com. Retrieved 14 June 2017, from http://www.dictionary.com/browse/mosaic</ref> From that definition, a mosaic is a decorative element or image made of just a few simple components: some form of tile made of any material, a base surface for the mosaic to rest on, and an adhesive to hold to mosaic to the base.
 
A Mosaic of Mosaics takes the traditional art of mosaics and then applies it to a digital setting. This involved looking into the elements needed to create a physical mosaic and what kind of properties make them effective materials. It also required a discussion of techniques needed to create a mosaic, and how they are used. Unlike a collage that just mashes photos together, the mosaic created is based on mosaics that I have observed across London to create "such a picture or decoration in composition".<ref>the definition of mosaic. (2017). Dictionary.com. Retrieved 14 June 2017, from http://www.dictionary.com/browse/mosaic</ref> As opposed to creating a traditional mosaic I chose to experiment with a digital medium to see how the process would differ and what challenges this new method could create. I chose to use Photoshop to create the mosaic because of prior experience and I knew it would lend itself well to the functions needed for this project: cloning, resizing, compressing, and reshaping. I used my previous knowledge of photography to capture the mosaics that would make up my mosaic, but I used my newfound knowledge of mosaic techniques to create the mosaic.
 

=Section 1: Background=
==Materials==
 
===Tiling===
 
This is the most important portion of the mosaic, as it is the most visible part of the mosaic. Tiling is the individual pieces of a chosen, or a variety of chosen materials, that are cut and then typically shaped into rough squares. These squares are then adhered to a base to create an image or design. The oldest known mosaics were created from smooth pebbles of varying sizes, but this limited the precision of the artist to the available stones; pebble mosaics were popular with the Greeks and many of their mosaics were made from pebbles.<ref>Dunbabin, K. (2012). Mosaics of the Greek and Roman world (1st ed., pp. 5-17). New York: Cambridge University Press.</ref> Eventually the Romans popularized ''tesserae'', the style of mosaic made of individual square cut pieces of stone and shell.<ref>Dunbabin, K. (2012). Mosaics of the Greek and Roman world (1st ed., pp. 18). New York: Cambridge University Press.</ref> Tesserae can be made of a variety of materials and have been as time has passed, and it is now how the majority of mosaic tile materials are sold. Stone was a popular choice of the Romans and is more durable than other materials and it can have natural variance within the tiles; though stone is durable, it is hard to create the tesserae.
 
<gallery mode=packed>
File:NBPebble.jpg|''An example of pebbles<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 32). London: Cassell Illustrated.</ref>''
File:NBPebbleExample.jpg|''A pebble mosaic<ref>Howarth, M. (1992). Compass & Winds.</ref>''
File:NBStone.jpg|''An example of stone<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 30). London: Cassell Illustrated.</ref>''
File:NBStoneExample.jpg|''A stone mosaic<ref>Bison, I. (2000). African Mask.</ref>''
</gallery>
The Byzantine Empire was known to use smalti, a type of enameled glass with pure opaque colors, a uneven texture, and it reflects light very well. Smalti is made by sandwiching two pieces of enameled glass together. A separate form of smalti is gold smalti, which consists of gold sandwiched between the two glass plates, it can also have many different textures, colors, and levels of reflective strength.
 
<gallery mode=packed>
File:NBSmalti1.jpg|''An example of smalti<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 29). London: Cassell Illustrated.</ref>''
File:NBSmaltiExample.jpg|''A smalti mosaic<ref>Cohen, C. (1976). La Marseillaise.</ref>''
File:NBGoldSmalti.jpg|''An example of gold smalti<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 32). London: Cassell Illustrated.</ref>''
File:NBGoldSmaltiExample.jpg|''A gold smalti mosaic<ref>Fishman, G. (2000). Tropical Bouquet.</ref>''
</gallery>
Another material is Venetian (Vitreous) glass, which has less intense colors than smalti and a constantly smooth surface on one side and groves on the other. Venetian glass is often used for more mundane works such as pools and bathrooms than the Byzantine smalti, and typically comes in a standard thickness. Ceramic tile is another type of tile that is great for outdoor use, for when it is glazed it is incredibly weather resistant, and the tile comes in a variety of colors and can be made with specialized designed within the tiles. There are four main types of ceramic tiles: unglazed, glazed, patterned, and decorative.<ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 12-13). London: Quarto Publishing plc.</ref>
 
<gallery mode=packed>
File:NBVenetian.jpg|''An example of Venetian glass<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 28). London: Cassell Illustrated.</ref>''
File:NBVenetianExample.jpg|''A Venetian glass mosaic<ref>Hunkin, T. (2000). Vegetables.</ref>''
File:NBCeramic.jpg|''An example of ceramic<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 28-29). London: Cassell Illustrated.</ref>''
File:NBCeramicExample.jpg|''A ceramic mosaic<ref>Bahouth, C. (2000). Mosaic Chair No. 2.</ref>''
</gallery>
A more modern mosaic tile choice would be broken china, "Pique Assiette" a French saying that means 'one who eats from others' plates'.<ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 23). London: Quarto Publishing plc.</ref> This style is unlike most tesserae because it is not often in a regular shape and size. Stained glass is another option that resembles the Byzantine smalti, though is typically transparent as opposed to opaque; this can lead to the surface of the background to show through and it is a relatively fragile material depending on the thickness. The glass can come in a variety of levels of opacity, thickness, and textures making it a versatile tiling option. Mirror is an interesting material for mosaics because of its unique pure reflective quality, but it can be subject to tarnishing/patina over time diminishing its main quality. Aside from these main tiling materials there are many alternative options that can be experimented with like shell and recycled materials like buttons.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 65-72). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 28-33). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 9-25). London: Quarto Publishing plc.</ref> A mosaic can be made out of any material the artist desires, it depends solely on the desired appearance of the final product.
<gallery mode=packed>
File:NBChina.jpg|''An example of broken china<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 33). London: Cassell Illustrated.</ref>''
File:NBChinaExample.jpg|''A china mosaic<ref>Zanelli, C. (2001). My Shower.</ref>''
File:NBStainedGlass.jpg|''An example of stained glass<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 31). London: Cassell Illustrated.</ref>''
File:NBStainedGlassExample.jpg|''A stained glass mosaic<ref>Cohen, J. Tigers.</ref>''
File:NBMirror.jpg|''An example of mirror<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 31). London: Cassell Illustrated.</ref>''
File:NBMirrorExample.jpg|''A mirror mosaic<ref>Taylor, A. Golden Retriever.</ref>''
</gallery>
 

===Base===
 
The tiling must sit on a surface for it to be stable and the different options for bases can have effects on the artist's choice of tiling and adhesive. For mosaics that would be indoors, plywood or Medium Density Fiberboard (MDF) would be a good choice because they are readily available. Furniture can also be used as a base for a mosaic, but the shape, material, and structural integrity must be taken into account to see if it can support the weight of the mosaic and if it is possible to adhere the tile to the furniture. Pottery, cement, and cement backer board are great for outdoor projects due to their durability. Metal can be used for both outdoor and indoor mosaics but warping can occur when placed outdoors due to temperature variation. The porosity of the base material will have an affect of the type of adhesives that can be used, and that must be kept in mind when choosing a base; porosity also has a strong affect on how waterproof/weatherproof the base material will be. These are just a few example base materials, but others such as glass or mesh, can be used to create a more custom work of art.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 72-73). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 38-39). London: Cassell Illustrated.</ref> Similar to choosing a specific tile type to use, the base choice depends on the desired appearance of the mosaic.
 
<gallery mode=packed caption="Some Possible Base Materials" heights=x100px>
Image:NBPlywood.JPG|Plywood
Image:NBMDF.jpg|MDF
Image:NBFurniture.png|Furniture
Image:NBPottery.jpg|Pottery
</gallery>

===Adhesive===
 
This is the material that will determine if the mosaic will last across the testament of time. Location is a major factor when determining the adhesive, because the strength of the adhesive must change dependent on what the mosaic will be exposed to: water, physical weathering, temperature changes, and other forms of weathering and erosion. A cement based adhesive is one of the most versatile options, as it has a variety of setting times based on composition and forms a waterproof bond. Silicone is a good adhesive choice for materials such as glass, mirror, and other non porous tiling options. It is especially good for mirror mosaics because silicone is clear and will not damage the silvering on the mirror tiles, protecting the mirror from patina. Tile mastic is another form of adhesive that can be used for vertical mosaics because of its strong bond that occurs rapidly after placement, though it can break under pressure and exposure to moisture. Craft glue, such as school glue or PVA, comes in two formulas. The water-soluble formulas of craft glue are good for mosaics made using the [[A Mosaic of Mosaics#The Indirect method|indirect method]], and the non-water-soluble formulas are good for interior mosaics only, as the bond between the tile and the base would disolve upon exposure to high humility or rain. Thin-set is a common adhesive option, and is mortar made of portland cement, silica, sand, and other moisture absorbing materials; it has adhesive properties similar to cement, needing only a thin layer to create a strong bond and that it is waterproof.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 73-75). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 40-41). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 102-103). London: Quarto Publishing plc.</ref>
 

===Tools===
 
The final items needed to construct a mosaic are the tools. Planning tools such as paper, pencils, t-squares, and compasses can be used both before the starting the assembly of the mosaic to illustrate a design, and during assembly to help create guides and notes on the base about placement and coloring. Tile nippers and cutters are vital for shaping and trimming the tesserae and contingent on the design, as the tesserae may need to be manipulated into different sizes and edge shapes. A scoring tool is another item that can be used to cut tiles. The method used to break tile using the scoring tool is done in two parts, the first part is creating a line for the tile to break across, then applying pressure to crack the weakened tile. Screwdrivers, tweezers, and potter's needles, can be used to maneuver singular tiles and not disturb the surrounding area. Aside from these basic tools, many other tools or household items can be used and it is up to the creator of the mosaic to determine what tools to use.<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 36-37). London: Cassell Illustrated.</ref><ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 75-79). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 42-45). London: Cassell Illustrated.</ref>
 
<gallery mode=packed caption=Tools>
Image:NBTileNippers.jpg|Tile Nippers
Image:NBScorer.jpg|Scoring Tool
</gallery>
 

==Techniques==
 
===Direct Method===
[[Image:NBDirect.jpg|x200px|right|thumb|''An example of the direct method<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 75). London: Cassell Illustrated.</ref>'']]
 
Now moving on from the materials needed to the assembly methods of the mosaic. The easier of the two main assembly techniques, the direct method, involves pressing and adhering the tesserae directly onto the base material. This is best for mosaics that require the face of the tesserae that will be facing away from the base to be visible to the artist such as mosaics that use intricate shading, as the level of precision needed is incredibly high. The texture of the mosaic can be easily manipulated using the direct method as the tile pieces do not need to be completely identical heights, textures, or sizes to ensure a secure application; this is because the tesserae are being adhered individually and any height or size adjustments needed can be made as the tile is placed. This method is also useful for three dimensional mosaics to allow the artist to compensate for the curves and lines of the base. The direct method also allows for immediate results to be visible, creating an easy way to measure progress.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 110-115). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 74-79). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 86-89). London: Quarto Publishing plc.</ref> A common practice is to complete the direct method onto mesh if the base is unavailable, so that the mosaic can then be adhered to the base via the mesh rather than the tile by tile. This can help to eliminate any difficulty that may arise from adhering the chosen base material and tiling material, such as the bond not solidifying.<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 78-79). London: Cassell Illustrated.</ref>
 
 

===Indirect Method===
[[Image:NBIndirect.jpg|x200px|right|thumb|''An example of the product of the indirect method<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 82). London: Cassell Illustrated.</ref>'']]
 
The indirect method takes a different approach to assembly than the direct method in that the final assembly is more like completing a puzzle, fitting all of the predetermined pieces together. This method is useful for larger designs, as the artist can create sections of the piece and just have to assemble the larger pieces at the end. The indirect method also allows for a controlled environment when creating a mosaic that will be displayed outdoors rather than being limited by factors such as temperature and humidity. It also allows for modification of sections of the mosaic before the finalized design is complete; this is possible because of the adhesive applied to each section of mosaic is removable, allowing for easy deconstruction of the miniature mosaic. The base for this assembly method is typically paper or mesh, the mesh option allowing for more flexibility in the design because it is easy to cut away any undesirable pieces. The mesh differs from other materials used for the indirect method in that the tiles are placed finished side up, allowing the artist to view the final design like the direct method. This can also be done with the face tape method that uses clear tape to hold the mosaic together, with the finished side visible until it needs to be adhered. The reverse method is the more complicated of the indirect method techniques as it involves working in reverse, therefore creating a mirror image of the design. The tesserae are placed onto a surface with the face that will be visible placed facing the surface and then adhered together from behind to a temporary base. The mosaic is then flipped and applied to the base, and then the temporary base is removed. <ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 116-123). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 80-83). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 90-101). London: Quarto Publishing plc.</ref>
 
 

=Section 2: Deliverable=
 
==About the Mosaic==
For my mosaic I decided to use a completely digital medium, akin to a collage. The tiles of my mosaic are photos of mosaics, one taken by me and the other three from the internet, that have been shrunken down to a relatively consistent size. I then took my digital tesserae and using Photoshop I created the image above. The digital medium I used allowed for more experimentation than would have been allowed by the traditional physical mosaic media, as I could move photos whenever I wanted and constantly undo my mistakes. I also had an unlimited supply of tile possibilities at my fingertips via the world wide web if I needed a new tile. I also used a combination of the two techniques as some of my designs such as the leaf design I created separately on a separate layer and placed them into the piece; I used the direct method for the outermost set of white tiles directly placing each tile in its position. A digital medium also provides the advantage of creating a clone of an image allowing me to speed up the creation of my mosaic, by only having to create half of it, or even a quarter, and then duplicating and mirroring the image. One other major advantage was the lack of precision needed to accurately shape the tiles; Photoshop can ensure that my tiles are even and shaped exactly to fit the shape of the hole it was being put into. I used a monochrome palate inspired by the mosaics on the floor of the [[Victoria and Albert Museum]] and around the city. This also inspired my heavy use of geometric patterns like the concentric circles and the repeated use of right angles.
 

==A Modern Mosaic==
[[Image:NBMosaic_V1.png]]
 

==A Comparison==
Unlike a physical medium, a digital medium has limitless possibilities. For this mosaic my tiling is made up of pictures of mosaics. The pictures used for this mosaic specifically are of monochromatic mosaics similar to a Roman stone mosaic. I chose these pictures because of their color schemes, especially the pure white and black images, to be able to create a sharp contrast.
[[Image:NBLeafZoom.png|right]]
[[Image:NBConcentricZoom.png|right|x210px]] The final image in the gallery of images I used to create this mosaic was my main inspiration for this mosaic, as it has a simple geometric pattern and a monochromatic color palette. I have seen mosaics similar to that final gallery image across London, from museum walls and floors to store entryways; because of the common appearance of this style of mosaic, I tried to replicate the elements I observed: a dark and thick border, repeating shapes, and large sections of a singular color. These were the specific elements I chose to focus on in my design. For this design, I chose the size of my tiles to be different in each major section to create movement and a stronger division of each section. The border is darker than the surrounding tiles, but not the darkest element of the mosaic; I kept the border at a medium darkness to have a wider range of shades of grey, rather than a pure black and white mosaic. In terms of repeating shapes I decided to create a leaf shape and concentric circles. The leaf pattern pays homage to the mosaics on the stairs of the [[Victoria and Albert Museum]] and I thought an irregular shape would add more complexity to a relatively simplistic design. The concentric circles are a reference to the first image in the gallery of images I used, as it has a clearly defined circle and then a circular element inside of that circle. I chose to create large sections of solid color blocks to achieve the same effect of the mosaics I observed, which were harsh visual contrast and subdivision of the areas in the mosaic.
 
To move onto the base, I chose to use a grey background for my tiles to rest upon. I chose this color to replicate the appearance of concrete, which is visible in some of the more worn mosaics I have seen. The base rectangle is only visible in a few places because I personally favor a tightly packed mosaic over one with a larger space and therefore more base visible between the tiles. Another reason for my choice of base was that for the sections with small gaps between the tiles it would mock the appearance of grout. The adhesive holding the mosaic together is the merging of each individual image layer in Photoshop; this is almost as permanent as a physical adhesive due to the, albeit large, limit to the number of times a user can undo an action. To shape my tiles I used the crop tool in Photoshop, not unlike using tile cutters to shape and resize tiles. All of the tools I deem necessary to create a digital mosaic can be found in Photoshop: crop, clone, and merge. Photoshop served as my entire studio when creating this mosaic in that it held all of my tools and materials, in a clean and organized manner.
 
In terms of techniques, the digital and physical methods of creating mosaics are very similar. For the border portion of the mosaic, I created it in a separate file and later placed that file into the main mosaic. This is a direct translation of the indirect method from physical to digital, as the physical method involves creating the mosaic offsite and then placing the pre-created piece into place. The remaining portion of the mosaic was created using the direct method, adding image by image into the file, placing them in the correct position, and then merging the layers to cement the mosaic together. I tried two techniques to create the concentric circles the first of the two was rotating the tiles to create the illusion of a curve. This option was inefficient and I did not have enough skill to achieve the desired effect, so I decided to maximize my digital advantage by creating a rectangular block and cutting the circle from that block. The latter attempt to create the circles allowed me to achieve a perfectly round edge to my tiles, a task that would be incredibly difficult by hand.
 
<gallery mode="packed" caption="Images used in the mosaic">
File:NBTile1.jpg
File:NBTile2.jpg
File:NBTile3.jpg
File:NBTile4.JPG
</gallery>
 
<gallery mode="packed" caption="Images used as inspiration for the mosaic">
File:NBMI1.jpg
File:NBMI2.jpg
File:NBMI3.jpg
File:NBMI4.jpg
File:NBMI5.jpg
File:NBMI6.jpg
File:NBMI7.jpg
</gallery>
 

=Conclusion=
 
Throughout this milestone I learned about mosaics, and the materials and tools needed to create one. I then applied this knowledge to a digital setting (Photoshop) and compared how it is different from the traditional methods. I can confidently say that the process of creating a digital mosaic is much more forgiving than a physical mosaic. I would have loved to use more of my own photos, but due to having to look up or down at most of the mosaics the distortion made the tiles appear lopsided. It would be interesting to make a physical mosaic and be able to compare those experiences in a more than theoretical setting. It would also be interesting to see how digital enhancement of the images used to create the mosaic or a change in the color palate could change the mood of the piece.
 

=References=

[[Category: Art Projects]]
[[Category: 2017]]

A Mosaic of Mosaics

2017-06-22T08:49:31Z

Nbloniarz:

=A Mosaic of Mosaics=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| title = A Mosaic of Mosaics
| bodystyle = width:40em
| image=[[Image:NBMosaic_V1.png]]
| label2=
| data2=
}}

__TOC__

=Abstract=
The aim of this project was to develop an understand the techniques and materials needed to create a mosaic and apply that to a new digital medium. Using my skills from AR 1101, Digital Imaging and Computer Art, and my experience from high school using the Adobe Suite, I aimed to create a modern mosaic in a digital format. Throughout this milestone I learned that much of the origins of mosaics are unknown and that mosaics can be made of '''virtually''' any material. The experience of creating the mosaic was enlightening into how difficult creating a cohesive and well structured mosaic could be.
 

=Introduction=
 
A mosaic is, "something resembling such a picture or decoration in composition, especially in being made up of diverse elements."<ref>the definition of mosaic. (2017). Dictionary.com. Retrieved 14 June 2017, from http://www.dictionary.com/browse/mosaic</ref> From that definition, a mosaic is a decorative element or image made of just a few simple components: some form of tile made of any material, a base surface for the mosaic to rest on, and an adhesive to hold to mosaic to the base.
 
A Mosaic of Mosaics takes the traditional art of mosaics and then applies it to a digital setting. This involved looking into the elements needed to create a physical mosaic and what kind of properties make them effective materials. It also required a discussion of techniques needed to create a mosaic, and how they are used. Unlike a collage that just mashes photos together, the mosaic created is based on mosaics that I have observed across London to create "such a picture or decoration in composition".<ref>the definition of mosaic. (2017). Dictionary.com. Retrieved 14 June 2017, from http://www.dictionary.com/browse/mosaic</ref> As opposed to creating a traditional mosaic I chose to experiment with a digital medium to see how the process would differ and what challenges this new method could create. I chose to use Photoshop to create the mosaic because of prior experience and I knew it would lend itself well to the functions needed for this project: cloning, resizing, compressing, and reshaping. I used my previous knowledge of photography to capture the mosaics that would make up my mosaic, but I used my newfound knowledge of mosaic techniques to create the mosaic.
 

=Section 1: Background=
==Materials==
 
===Tiling===
 
This is the most important portion of the mosaic, as it is the most visible part of the mosaic. Tiling is the individual pieces of a chosen, or a variety of chosen materials, that are cut and then typically shaped into rough squares. These squares are then adhered to a base to create an image or design. The oldest known mosaics were created from smooth pebbles of varying sizes, but this limited the precision of the artist to the available stones; pebble mosaics were popular with the Greeks and many of their mosaics were made from pebbles.<ref>Dunbabin, K. (2012). Mosaics of the Greek and Roman world (1st ed., pp. 5-17). New York: Cambridge University Press.</ref> Eventually the Romans popularized ''tesserae'', the style of mosaic made of individual square cut pieces of stone and shell.<ref>Dunbabin, K. (2012). Mosaics of the Greek and Roman world (1st ed., pp. 18). New York: Cambridge University Press.</ref> Tesserae can be made of a variety of materials and have been as time has passed, and it is now how the majority of mosaic tile materials are sold. Stone was a popular choice of the Romans and is more durable than other materials and it can have natural variance within the tiles; though stone is durable, it is hard to create the tesserae.
 
<gallery mode=packed>
File:NBPebble.jpg|''An example of pebbles<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 32). London: Cassell Illustrated.</ref>''
File:NBPebbleExample.jpg|''A pebble mosaic<ref>Howarth, M. (1992). Compass & Winds.</ref>''
File:NBStone.jpg|''An example of stone<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 30). London: Cassell Illustrated.</ref>''
File:NBStoneExample.jpg|''A stone mosaic<ref>Bison, I. (2000). African Mask.</ref>''
</gallery>
The Byzantine Empire was known to use smalti, a type of enameled glass with pure opaque colors, a uneven texture, and it reflects light very well. Smalti is made by sandwiching two pieces of enameled glass together. A separate form of smalti is gold smalti, which consists of gold sandwiched between the two glass plates, it can also have many different textures, colors, and levels of reflective strength.
 
<gallery mode=packed>
File:NBSmalti1.jpg|''An example of smalti<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 29). London: Cassell Illustrated.</ref>''
File:NBSmaltiExample.jpg|''A smalti mosaic<ref>Cohen, C. (1976). La Marseillaise.</ref>''
File:NBGoldSmalti.jpg|''An example of gold smalti<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 32). London: Cassell Illustrated.</ref>''
File:NBGoldSmaltiExample.jpg|''A gold smalti mosaic<ref>Fishman, G. (2000). Tropical Bouquet.</ref>''
</gallery>
Another material is Venetian (Vitreous) glass, which has less intense colors than smalti and a constantly smooth surface on one side and groves on the other. Venetian glass is often used for more mundane works such as pools and bathrooms than the Byzantine smalti, and typically comes in a standard thickness. Ceramic tile is another type of tile that is great for outdoor use, for when it is glazed it is incredibly weather resistant, and the tile comes in a variety of colors and can be made with specialized designed within the tiles. There are four main types of ceramic tiles: unglazed, glazed, patterned, and decorative.<ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 12-13). London: Quarto Publishing plc.</ref>
 
<gallery mode=packed>
File:NBVenetian.jpg|''An example of Venetian glass<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 28). London: Cassell Illustrated.</ref>''
File:NBVenetianExample.jpg|''A Venetian glass mosaic<ref>Hunkin, T. (2000). Vegetables.</ref>''
File:NBCeramic.jpg|''An example of ceramic<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 28-29). London: Cassell Illustrated.</ref>''
File:NBCeramicExample.jpg|''A ceramic mosaic<ref>Bahouth, C. (2000). Mosaic Chair No. 2.</ref>''
</gallery>
A more modern mosaic tile choice would be broken china, "Pique Assiette" a French saying that means 'one who eats from others' plates'.<ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 23). London: Quarto Publishing plc.</ref> This style is unlike most tesserae because it is not often in a regular shape and size. Stained glass is another option that resembles the Byzantine smalti, though is typically transparent as opposed to opaque; this can lead to the surface of the background to show through and it is a relatively fragile material depending on the thickness. The glass can come in a variety of levels of opacity, thickness, and textures making it a versatile tiling option. Mirror is an interesting material for mosaics because of its unique pure reflective quality, but it can be subject to tarnishing/patina over time diminishing its main quality. Aside from these main tiling materials there are many alternative options that can be experimented with like shell and recycled materials like buttons.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 65-72). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 28-33). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 9-25). London: Quarto Publishing plc.</ref> A mosaic can be made out of any material the artist desires, it depends solely on the desired appearance of the final product.
<gallery mode=packed>
File:NBChina.jpg|''An example of broken china<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 33). London: Cassell Illustrated.</ref>''
File:NBChinaExample.jpg|''A china mosaic<ref>Zanelli, C. (2001). My Shower.</ref>''
File:NBStainedGlass.jpg|''An example of stained glass<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 31). London: Cassell Illustrated.</ref>''
File:NBStainedGlassExample.jpg|''A stained glass mosaic<ref>Cohen, J. Tigers.</ref>''
File:NBMirror.jpg|''An example of mirror<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 31). London: Cassell Illustrated.</ref>''
File:NBMirrorExample.jpg|''A mirror mosaic<ref>Taylor, A. Golden Retriever.</ref>''
</gallery>
 

===Base===
 
The tiling must sit on a surface for it to be stable and the different options for bases can have effects on the artist's choice of tiling and adhesive. For mosaics that would be indoors, plywood or Medium Density Fiberboard (MDF) would be a good choice because they are readily available. Furniture can also be used as a base for a mosaic, but the shape, material, and structural integrity must be taken into account to see if it can support the weight of the mosaic and if it is possible to adhere the tile to the furniture. Pottery, cement, and cement backer board are great for outdoor projects due to their durability. Metal can be used for both outdoor and indoor mosaics but warping can occur when placed outdoors due to temperature variation. The porosity of the base material will have an affect of the type of adhesives that can be used, and that must be kept in mind when choosing a base; porosity also has a strong affect on how waterproof/weatherproof the base material will be. These are just a few example base materials, but others such as glass or mesh, can be used to create a more custom work of art.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 72-73). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 38-39). London: Cassell Illustrated.</ref> Similar to choosing a specific tile type to use, the base choice depends on the desired appearance of the mosaic.
 
<gallery mode=packed caption="Some Possible Base Materials" heights=x100px>
Image:NBPlywood.JPG|Plywood
Image:NBMDF.jpg|MDF
Image:NBFurniture.png|Furniture
Image:NBPottery.jpg|Pottery
</gallery>

===Adhesive===
 
This is the material that will determine if the mosaic will last across the testament of time. Location is a major factor when determining the adhesive, because the strength of the adhesive must change dependent on what the mosaic will be exposed to: water, physical weathering, temperature changes, and other forms of weathering and erosion. A cement based adhesive is one of the most versatile options, as it has a variety of setting times based on composition and forms a waterproof bond. Silicone is a good adhesive choice for materials such as glass, mirror, and other non porous tiling options. It is especially good for mirror mosaics because silicone is clear and will not damage the silvering on the mirror tiles, protecting the mirror from patina. Tile mastic is another form of adhesive that can be used for vertical mosaics because of its strong bond that occurs rapidly after placement, though it can break under pressure and exposure to moisture. Craft glue, such as school glue or PVA, comes in two formulas. The water-soluble formulas of craft glue are good for mosaics made using the [[A Mosaic of Mosaics#The Indirect method|indirect method]], and the non-water-soluble formulas are good for interior mosaics only, as the bond between the tile and the base would disolve upon exposure to high humility or rain. Thin-set is a common adhesive option, and is mortar made of portland cement, silica, sand, and other moisture absorbing materials; it has adhesive properties similar to cement, needing only a thin layer to create a strong bond and that it is waterproof.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 73-75). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 40-41). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 102-103). London: Quarto Publishing plc.</ref>
 

===Tools===
 
The final items needed to construct a mosaic are the tools. Planning tools such as paper, pencils, t-squares, and compasses can be used both before the starting the assembly of the mosaic to illustrate a design, and during assembly to help create guides and notes on the base about placement and coloring. Tile nippers and cutters are vital for shaping and trimming the tesserae and contingent on the design, as the tesserae may need to be manipulated into different sizes and edge shapes. A scoring tool is another item that can be used to cut tiles. The method used to break tile using the scoring tool is done in two parts, the first part is creating a line for the tile to break across, then applying pressure to crack the weakened tile. Screwdrivers, tweezers, and potter's needles, can be used to maneuver singular tiles and not disturb the surrounding area. Aside from these basic tools, many other tools or household items can be used and it is up to the creator of the mosaic to determine what tools to use.<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 36-37). London: Cassell Illustrated.</ref><ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 75-79). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 42-45). London: Cassell Illustrated.</ref>
 
<gallery mode=packed caption=Tools>
Image:NBTileNippers.jpg|Tile Nippers
Image:NBScorer.jpg|Scoring Tool
</gallery>
 

==Techniques==
 
===Direct Method===
[[Image:NBDirect.jpg|x200px|right|thumb|''An example of the direct method<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 75). London: Cassell Illustrated.</ref>'']]
 
Now moving on from the materials needed to the assembly methods of the mosaic. The easier of the two main assembly techniques, the direct method, involves pressing and adhering the tesserae directly onto the base material. This is best for mosaics that require the face of the tesserae that will be facing away from the base to be visible to the artist such as mosaics that use intricate shading, as the level of precision needed is incredibly high. The texture of the mosaic can be easily manipulated using the direct method as the tile pieces do not need to be completely identical heights, textures, or sizes to ensure a secure application; this is because the tesserae are being adhered individually and any height or size adjustments needed can be made as the tile is placed. This method is also useful for three dimensional mosaics to allow the artist to compensate for the curves and lines of the base. The direct method also allows for immediate results to be visible, creating an easy way to measure progress.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 110-115). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 74-79). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 86-89). London: Quarto Publishing plc.</ref> A common practice is to complete the direct method onto mesh if the base is unavailable, so that the mosaic can then be adhered to the base via the mesh rather than the tile by tile. This can help to eliminate any difficulty that may arise from adhering the chosen base material and tiling material, such as the bond not solidifying.<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 78-79). London: Cassell Illustrated.</ref>
 
 

===Indirect Method===
[[Image:NBIndirect.jpg|x200px|right|thumb|''An example of the product of the indirect method<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 82). London: Cassell Illustrated.</ref>'']]
 
The indirect method takes a different approach to assembly than the direct method in that the final assembly is more like completing a puzzle, fitting all of the predetermined pieces together. This method is useful for larger designs, as the artist can create sections of the piece and just have to assemble the larger pieces at the end. The indirect method also allows for a controlled environment when creating a mosaic that will be displayed outdoors rather than being limited by factors such as temperature and humidity. It also allows for modification of sections of the mosaic before the finalized design is complete; this is possible because of the adhesive applied to each section of mosaic is removable, allowing for easy deconstruction of the miniature mosaic. The base for this assembly method is typically paper or mesh, the mesh option allowing for more flexibility in the design because it is easy to cut away any undesirable pieces. The mesh differs from other materials used for the indirect method in that the tiles are placed finished side up, allowing the artist to view the final design like the direct method. This can also be done with the face tape method that uses clear tape to hold the mosaic together, with the finished side visible until it needs to be adhered. The reverse method is the more complicated of the indirect method techniques as it involves working in reverse, therefore creating a mirror image of the design. The tesserae are placed onto a surface with the face that will be visible placed facing the surface and then adhered together from behind to a temporary base. The mosaic is then flipped and applied to the base, and then the temporary base is removed. <ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 116-123). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 80-83). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 90-101). London: Quarto Publishing plc.</ref>
 
 

=Section 2: Deliverable=
 
==About the Mosaic==
For my mosaic I decided to use a completely digital medium, akin to a collage. The tiles of my mosaic are photos of mosaics, one taken by me and the other three from the internet, that have been shrunken down to a relatively consistent size. I then took my digital tesserae and using Photoshop I created the image above. The digital medium I used allowed for more experimentation than would have been allowed by the traditional physical mosaic media, as I could move photos whenever I wanted and constantly undo my mistakes. I also had an unlimited supply of tile possibilities at my fingertips via the world wide web if I needed a new tile. I also used a combination of the two techniques as some of my designs such as the leaf design I created separately on a separate layer and placed them into the piece; I used the direct method for the outermost set of white tiles directly placing each tile in its position. A digital medium also provides the advantage of creating a clone of an image allowing me to speed up the creation of my mosaic, by only having to create half of it, or even a quarter, and then duplicating and mirroring the image. One other major advantage was the lack of precision needed to accurately shape the tiles; Photoshop can ensure that my tiles are even and shaped exactly to fit the shape of the hole it was being put into. I used a monochrome palate inspired by the mosaics on the floor of the [[Victoria and Albert Museum]] and around the city. This also inspired my heavy use of geometric patterns like the concentric circles and the repeated use of right angles.
 

==A Modern Mosaic==
[[Image:NBMosaic_V1.png]]
 

==A Comparison==
Unlike a physical medium, a digital medium has limitless possibilities. For this mosaic my tiling is made up of pictures of mosaics. The pictures used for this mosaic specifically are of monochromatic mosaics similar to a Roman stone mosaic. I chose these pictures because of their color schemes, especially the pure white and black images, to be able to create a sharp contrast.
[[Image:NBLeafZoom.png|right]]
[[Image:NBConcentricZoom.png|right|x210px]] The final image in the gallery of images I used to create this mosaic was my main inspiration for this mosaic, as it has a simple geometric pattern and a monochromatic color palette. I have seen mosaics similar to that final gallery image across London, from museum walls and floors to store entryways; because of the common appearance of this style of mosaic, I tried to replicate the elements I observed: a dark and thick border, repeating shapes, and large sections of a singular color. These were the specific elements I chose to focus on in my design. For this design, I chose the size of my tiles to be different in each major section to create movement and a stronger division of each section. The border is darker than the surrounding tiles, but not the darkest element of the mosaic; I kept the border at a medium darkness to have a wider range of shades of grey, rather than a pure black and white mosaic. In terms of repeating shapes I decided to create a leaf shape and concentric circles. The leaf pattern pays homage to the mosaics on the stairs of the [[Victoria and Albert Museum]] and I thought an irregular shape would add more complexity to a relatively simplistic design. The concentric circles are a reference to the first image in the gallery of images I used, as it has a clearly defined circle and then a circular element inside of that circle. I chose to create large sections of solid color blocks to achieve the same effect of the mosaics I observed, which were harsh visual contrast and subdivision of the areas in the mosaic.
 
To move onto the base, I chose to use a grey background for my tiles to rest upon. I chose this color to replicate the appearance of concrete, which is visible in some of the more worn mosaics I have seen. The base rectangle is only visible in a few places because I personally favor a tightly packed mosaic over one with a larger space and therefore more base visible between the tiles. Another reason for my choice of base was that for the sections with small gaps between the tiles it would mock the appearance of grout. The adhesive holding the mosaic together is the merging of each individual image layer in Photoshop; this is almost as permanent as a physical adhesive due to the, albeit large, limit to the number of times a user can undo an action. To shape my tiles I used the crop tool in Photoshop, not unlike using tile cutters to shape and resize tiles. All of the tools I deem necessary to create a digital mosaic can be found in Photoshop: crop, clone, and merge. Photoshop served as my entire studio when creating this mosaic in that it held all of my tools and materials, in a clean and organized manner.
 
In terms of techniques, the digital and physical methods of creating mosaics are very similar. For the border portion of the mosaic, I created it in a separate file and later placed that file into the main mosaic. This is a direct translation of the indirect method from physical to digital, as the physical method involves creating the mosaic offsite and then placing the pre-created piece into place. The remaining portion of the mosaic was created using the direct method, adding image by image into the file, placing them in the correct position, and then merging the layers to cement the mosaic together. I tried two techniques to create the concentric circles the first of the two was rotating the tiles to create the illusion of a curve. This option was inefficient and I did not have enough skill to achieve the desired effect, so I decided to maximize my digital advantage by creating a rectangular block and cutting the circle from that block. The latter attempt to create the circles allowed me to achieve a perfectly round edge to my tiles, a task that would be incredibly difficult by hand.
 
<gallery mode="packed" caption="Images used in the mosaic">
File:NBTile1.jpg
File:NBTile2.jpg
File:NBTile3.jpg
File:NBTile4.JPG
</gallery>
 
<gallery mode="packed" caption="Images used as inspiration for the mosaic">
File:NBMI1.jpg
File:NBMI2.jpg
File:NBMI3.jpg
File:NBMI4.jpg
File:NBMI5.jpg
File:NBMI6.jpg
File:NBMI7.jpg
</gallery>
 

=Conclusion=
 
Throughout this milestone I learned about mosaics, and the materials and tools needed to create one. I then applied this knowledge to a digital setting (Photoshop) and compared how it is different from the traditional methods. I can confidently say that the process of creating a digital mosaic is much more forgiving than a physical mosaic. I would have loved to use more of my own photos, but due to having to look up or down at most of the mosaics the distortion made the tiles appear lopsided. It would be interesting to make a physical mosaic and be able to compare those experiences in a more than theoretical setting. It would also be interesting to see how digital enhancement of the images used to create the mosaic or a change in the color palate could change the mood of the piece.
 

=References=

[[Category: Art Projects]]
[[Category: 2017]]

User:Nbloniarz

2017-06-22T08:28:26Z

Nbloniarz:

=Natalie Bloniarz=
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|header1 =
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|image = [[File:Graduation_Photo.jpg|x450px|alt=Natalie Bloniarz]]
|caption =
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__TOC__

=Overview=
 
My goal for my London HUA experience was to explore art through different mediums. Specifically, I explored the history of architecture through photography, how to create a mosaic in both a physical and digital setting, and the history, purpose, and techniques of stained glass windows. Previous courses I have taken in the humanities and arts are: AR1101 Digital Imaging and Computer Art, MU 2637 String Ensemble, and I have experience from high school courses such as AP U.S. History, AP European History, AP Literature and Composition, and AP Language and Composition. From my time in London I have discovered a love for traditional art forms such as mosaics and stained glass, and that there is never a dull moment in London. I have developed a newfound appreciation for artists who work with difficult mediums, such as glass, and I hope to be able to keep working with glass in the future as a hobby.
 

=Milestone 1=
'''London Architecture ''' 
'''Objective:''' A descriptive timeline of the change in architecture throughout the city over time through photographs including comparing different churches, buildings, bridges, museums and even unsung architectures accomplishments such as parking garages (or car parks).
 
This is in collaboration with [[User:Eawilson|Emily Wilson]] and [[User:Osgibbs|Olivia Gibbs]]
 
Over the course of 2 weeks, we have traveled around London taking pictures and researching some of London's most stand out buildings. We have found the best source for finding architecture information which is the Royal Institute of British Architects (RIBA) Library, and some interesting facts about all of the buildings. Many buildings have been built multiple times due to the great fire of London, and more recent buildings were built in controversy. The buildings that we researched all have a rich history and interesting architectural design elements that add to the city. This has been a great experience and we have learned a lot about the buildings that make up the city of London.
 
[[London Architecture|Read More]]
 

=Milestone 2=
 
'''A Mosaic of Mosaics''' 
'''Objective:''' To develop an understand the techniques and materials needed to create a mosaic and apply that to a new digital medium.
 
Throughout this milestone I learned about mosaic, and the materials and tools needed to create one. I then applied this knowledge to a digital setting (Photoshop) and compared how it is different from the traditional methods. I can confidently say that the process of creating a digital mosaic is much more forgiving than a physical mosaic. I also began to learn that a digital mosaic has limits not unlike a physical mosaic; the main limit being the time the creator of the mosaic has to work on it and it is also limited by the processing ability of the computer being used, if the file becomes to big the computer cannot complete the desired action.
 
[[A Mosaic of Mosaics|Read More]]
 

=Milestone 3, Capstone=
 
'''Capstone: The History, Purpose, and Techniques of Stained Glass Windows''' 
'''Objective:''' To develop an understanding of the history of stained glass windows including their purpose, and to study the techniques needed to create a window; then applying those techniques to create my own stained glass window.
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It was an interesting experience to be able to go into creating the window with all of my research and actually have a physical representation of my efforts. I enjoyed being able to create this window as the capstone for my humanities and arts requirement, and I have a new found interest in the glass blowing classes at WPI to continue working with glass.
 
[[The History, Purpose, and Techniques of Stained Glass Windows|Read More]]
 

=Activity Journal=
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar.
 
===Week 1===
====Activity #1 [[Westminster Abbey|Westminster Abbey]] and the [[Tower of London|Tower of London]]====
Today's visit to [[Westminster Abbey|Westminster Abbey]] helped me to refine my first milestone from a broad history of architecture to a more focused analysis of Gothic architecture. It also provided a starting point for my research into Gothic architecture and some basic history of the Abbey. Though I really wanted to take photos inside to use for my milestone, I understand that that is not possible. I also started my quest to find the ugliest picture of Jesus as a baby, to keep with the tradition started by my brother on our vacation to Italy.
 
During the visit to the [[Tower of London|Tower of London]], I had discovered that medieval history is a period that I do not find that appealing to study. The queue leading up to catch a glimpse of the [[Crown Jewels|crown jewels]] felt like waiting for a roller coaster. The silliest part was that the exhibit was incredibly short, and to keep people moving they had a moving sidewalk along the row of crowns. I would have loved to spend more time looking at the ostentatious jewels, but it was incredibly crowded and my height made it hard to see around others in the exhibit.
 
I was so excited to have taken my first double-decker bus and getting to sit right in the front up on the upper level. It was interesting to see the crowds of other tourists get on and look confused from the Oxford Street stop I got on at, shift to bunches of more confident locals. The weirdest part of the journey was seeing one person getting on then immediately getting off one stop later, which would have been a two minute walk down the road.

 
 

====Activity #2 [[British Museum|The British Museum]]====
I really enjoyed today's visit to the [[British Museum|British Museum]]. After deciding last night to join the other two girls, [[User:Eawilson|Emily]] and [[User:Osgibbs|Olivia]], in the architecture group for their first milestone, this provided a great opportunity to start working with them. The museum courtyard provided some great photos for the milestone, and it was incredibly designed. The thought that people had built that intricate glass ceiling, creating the largest covered square in England, was fascinating. I especially enjoyed looking at all of the Egyptian artifacts, as that is my favorite time period throughout all of history. The sheer number of artifacts in the museum was incredible and it would take at least a week to be able to see and appreciate their extensive collection. I would love to go back at a later date to further explore the other wings of the museum. I knew that the British people had a large collection of Egyptian artifacts, but I never knew that the British Museum has the second largest collection outside of the Egyptian Museum in Cairo.
 
I also got the chance to do some more exploring in London on a quest to complete the scavenger hunt. At the end of our scavenger hunt quest we returned to [[Westminster Abbey]] to attend evensong. It was a pleasant experience and the choir sounded incredible, it was also a nice experience to attend the service to get a better idea of the protestant faith. It was cool to see that it is possible to sit right next the choir and among the members of the clergy. I wish I could have taken my own photos inside the Abbey for my milestone, but I understand they want to maintain the rights to images of the Abbey.
 
 

====Activity #3[[St. Paul's Cathedral| St. Paul's Cathedral]]====
Today's visit to [[St. Paul's Cathedral]] was incredibly interesting because it was a major architectural shift from [[Westminster Abbey]]. The two churches are similar in their abundance of statues and graves but are vastly different in appearance. The inside of the cathedral was stunning and bright. My two favorite aspects of the cathedral were the golden mosaics and the whispering gallery. The whispering gallery reminded me of the inside of Il Duomo in Florence, both with incredibly narrow staircases that have the tiniest of windows and their imposing artwork staring down at you. The cathedral is also a part of my first milestone and provided a good amount of the information I needed to research. I also learned today that the Dean's stairs were actually in Harry Potter like I thought. I find it fascinating to see that the movies took the time to find the most authentic English architecture to include in scenes, it helps ground the movies more towards reality.
 
Today was also a journey to capture more photos of buildings for my first milestone, taking me to the Gherkin, the Lloyd's Building, the Royal Exchange, and the Barbican Centre. I cannot wait to go back to the Barbican Centre because of its beautiful courtyard. I am also looking into taking a tour about the architecture of the building. The Gherkin was my favorite building to observe because of its unique shape. My least favorite building was the Barbican Centre only because of its brutalist style, which I find rather dreary and overtly industrial. The courtyard inside of the building made up for the drab architecture and is a place I hope to visit again.
 
 

====Activity #4 [[The National Gallery|The National Gallery]]====
I did not really enjoy the visit to [[The National Gallery]] today. The majority of the art I managed to see was early christian art that contains a myriad of paintings with the same four events in the life of Jesus and Mary: the Crucifixion, the Assumption, the arrival of the magi, and Mary with baby Jesus, The museum provided me the opportunity to increase my ugly baby Jesus tally to 12. The only paintings I truly enjoyed observing were the work of [[The National Gallery#Claude Monet|Claude Monet]]. I did manage to find one work of art relevant to my milestone as I exited the building; there was a large tile mosaic on the ground depicting the roman gods and I hope to go back to get a better look and study the large mosaic. Another reason I did not particularly like this museum was that even at opening, it was ultra crowded. I was hard to appreciate some of the art in such a loud place in some of the galleries. This museum almost felt like a repeat of previous museums that I had visited including the Metropolitan Museum of Art in New York City, and Gli Uffizi in Florence; that is not to say that I did not appreciate the art it just felt rather redundant.
 
 

====Activity #5 The [[Natural History Museum|Natural History Museum]]====
As a popular sight for children, the Natural History Museum was super crowded with school groups of little children in their bright safety vests. The museum had a subsection of the Minerals & The Vault exhibit which has contributed to my milestone all about [[Natural History Museum#Building Materials| building materials]]. The anamatronic T-Rex was really cool, and seeing the looks of wonder on some of the primary school children's faces was priceless. The large open cafe area provided great views of the stain glass windows of the original building as well as a chance to observe the mosaic floor. My favorite part of the museum was the Mineral & The Vault area because I have always had a fascination with rocks and gems since my childhood. The location of the museum was also convenient in that it was adjacent to the Victoria and Albert Museum which has an entire wing on architecture as well as a large amount of stained glass windows for my third milestone.
 
Today also marked my first official visit to [[The British Library]] on a research adventure for my first milestone. I had found three very helpful books that had information on the style and history of the buildings that I am researching as my portion of milestone one. The most helpful was "Reference Guides to National Architecture: Architecture of England, Scotland, and Wales" by Nigel R. Jones. Now that I have also stared to pan my other milestones more I am compiling a list of places to return to in an effort to earn more about either their mosaics or stained glass windows. I had a breakthrough in the idea for my second milestone in comparing two major types of mosaics: decorative and functional, which can be exemplified ny the difference between the mosaics of [[St. Paul's Cathedral]] and the floors of some of the museums including the Victoria and Albert Museum.
 
 

===Week 2===
====Activity #1 [[Tate Britain|Tate Britain]]====
The Tate Britain felt surprisingly small compared to its grandiose outside. I am starting to get a bit burned out going to museum after museum, where the content inside seems to stay the same. The most interesting piece of art was a modern installation by Cerith Wyn Evans called Forms in Space ...by Light (in Time). This piece was a huge mass of neon tubes hanging from the ceiling spanning the length of the museum. and if you stand at the entrance of the museum you can see the entire piece appearing as a flattened drawing in the air through a single neon ring.
 
I wish these museum visits were spread further apart to allow more time to dedicate to milestone one. Only having the afternoon to complete an article or contribution, a journal entry, and go read at the library is not enough time to put in all of the needed effort. It is also mildly frustrating to spend a majority of my day for two weeks going to places that aren't directly relevant to my milestones. I understand it is important to see all of these works of art and to be aware of other things besides my milestone but to spend three or four hours in a place to only stare at a single feature of art piece saps my will to continue working. The most helpful part of these activities so far has been seeing mosaics that I will come back and photograph and study in depth and looking at stained-glass windows in the churches we have visited.
 
 

====Activity #2 [[Victoria and Albert Museum|Victoria and Albert Museum]]====
As expected from how I enjoyed my previous visit, I loved the [[Victoria and Albert Museum]]. My only problem is that it is so easy to get lost inside of that museum and the online map is useless. My favorite exhibit I got to see today was the [[Victoria and Albert Museum#Stained Glass Exhibit|stained glass]] collection both in its own exhibit and among the period art. I wish that I had time to locate the section on mosaics to begin work on my second milestone, but I guess it will have to wait for another day. The stained glass section really helped me to understand the visuals of the history I read about yesterday and the transition from just stained glass to painted glass, and then back to the more traditional style was amazing to see up close and to get to study the details on the original windows in the book.
 
 

====Activity #3 [[Tate Modern|Tate Modern]]====
I have and will never understand modern art. There were a few things I enjoyed such as the pieces by Monet, Warhol, and three media elements, two auditory experiences: ''Wetin You Go Do?'' by Otobong Nkanga’ and ''Forty-Part Motet'' by Janet Cardiff, and a video ''How Not to Be Seen: A Fucking Didactic Educational .MOV File'' by Hito Steyerl. The video was just so ridiculous confirming some of my views on modern art, that sometimes modern art is just a practical joke that people haven't caught onto yet. The impending due date of the milestone is causing me stress that I don't have enough time to do everything, which in a sense is true because it is compressing seven weeks worth of work into two. I could argue against myself saying that it is the only thing I am focused on but that would be a lie. I have journal entries and articles to write, research to be done, and two other milestones to worry about. Being in a team has been the best choice I have made so far, but that is not quelling my anxiety. I want to visit all of these places but I am also worried that I do not have enough time to go and research. I don't want to buy books to only be focusing on them for two weeks and these books can get expensive, but I guess my tuition only covers so much. Maybe after this week I will feel less like I am drowning in work.
 
 

====Activity #4 [[Museum of London|Museum of London]]====
The coolest part of the museum today was the Olympic torch. I did manage to gather some relevant milestone information regarding columns and s mosaic, but in general I found it kinda boring. The history focusing on London was cool but all of the museums are blurring together and it is harder to tell each day apart. I am becoming a bit unsure about the focus of my second milestone; I want to study mosaics, but I don't know in what capacity. I believe it would be best for me to focus on religious imagery in mosaics, Catholic, Roman or otherwise, to help narrow down my background research. Being able to have enough photos of mosaics to create my own mosaic will be challenging because the most colorful ones are in places that I cannot photograph, meaning I will have to probably rip photos from the internet. My article entries are starting to show some of my disinterest in the topics I had chosen to write about, and I want to change that, but my motivation is severely lacking. I am excited for the weekend because it means a mental break, but I fear I might have to spend it in the library reading in preparation for my next milestone.
 
 

===Week 3===
====Activity #1 [[Museum of London Docklands|Museum of London Docklands]]====
I really enjoyed the museum today, much more than the other [[Museum of London]]. This one went much more in depth throughout the exhibits and was completely empty almost all morning. It was also cool to see the view of World War II and the slave trade through the eyes of the British, and how much they were impacted. Today's visit did relate to my first milestone, in that it had a small section on the modernization of London along the Thames that referenced City Hall and the London Eye. It was also cool to see the Sainsbury study area with the history of Sainsbury laid out in the entrance way. I am back to square one for my second milestone because I cannot seem to find any books about religious imagery in mosaics, and I might have to broaden the topic to the history and techniques of mosaics, to keep the topic of mosaics viable. I feel secure in my third milestone and I have found tons of useful books that I need to take the time to fully read and compile the information. I feel refreshed and ready for this next week of work, and I can't wait for the weekend to come to go exploring with my parents.
 
 

====Activity #2 [[Imperial War Museum|Imperial War Museum]]====
Today was not a happy day. After the events of last night, this museum was another punch in the gut. Humanity can be cruel. On a lighter note, the art for the World War I posters was cool and I enjoyed learning about the war from another perspective. Today was a super long reading day, though one of the books I really want to read, I can only find in Italian at the British Library and it is annoyingly expensive to buy. I might have to make use without it, but it would have been really useful. I also went through my photos and realized that I need more photos of mosaics, so I cannot wait to revisit some of the museums to get more photos to use for my mosaic. Maybe tomorrow will be better.
 
 

====Activity #3 [[Hampton Court Palace|Hampton Court Palace]]====
Where am I, I can't be in London, right? It was hot today, reaching a balmy 78°F. It was a great day to go to the palace and enjoy the gardens, the weather was perfect. I enjoyed the change of scenery from our standard London adventures, but Tudor England is not my ideal aesthetic. The palace was super enjoyable when it was empty, but once the school children came it got hard to hear the audio tour and move about the halls. My favorite part of today was exploring the gardens and looking at the hoard of deer they had on the property. I wish I had time to devote to reading for my second milestone today but sleep was calling and I couldn't ignore it. Hopefully tomorrow we don't spend as much time in the museum so I can devote all of my time to holing myself up in the library and reading boring books on mosaics. Mosaics: fascinating art, nightmare to read about.
 
 

====Activity #4 [[Horniman Museum|Horniman Museum]]====
This place was creepy. It was full of little children and dead animals, and that is super unnerving.The gardens were the highlight of the trip with the pleasant breeze and sound of wind chimes in the air. I really need to read for my milestone and take more pictures of mosaics, because I am severely lacking. I love mosaics, but books talking about their history are so dry, it feels like a 400 page trek through the Sahara. I can't wait to get this background done to work on my deliverable and make my mosaic.
 
 

===Week 4===
====Activity #1 [[The Wallace Collection|The Wallace Collection]]====
Baroque art is not my style. Something about the sheer excessive use of gold and other precious metals makes me feel that the art of the period was just created as an excuse to spend money. I have decided to expand the ugly baby Jesus count to include regular ugly babies as well, and the count now stands around 24. The one painting I was excited to see was [[The Wallace Collection#The Swing|The Swing]] because I have studied that painting in high school during AP European History. It was interesting to be able to learn more about the painting's origins and that the patron wanted to be painted admiring his mistress's legs from below. I am excited to start devoting my entire day to working on my milestones and having a mental break from most museums. On Sunday I went to see a classical concert, the Schumann Quartet, with my parents at Wigmore Hall.
 
 

====Activity #2 [[London Science Museum|London Science Museum]]====
This was my favorite of the non art museums to visit because I felt it was aimed to a slightly older audience then the [[Natural History Museum]]. The mathematics and communications exhibits were fascinating and I was excited to get to wander around without having to worry about mowing over all of the school children. I also got the chance to go the the [[Victoria and Albert Museum]] to take more photos of mosaics for my second milestone but I was disappointing that the mosaic collection was incredible limited but it gave me some more colorful options for my mosaic. I also did a bit of research into other books for my second milestone and create the basic outline for the design of my mosaic.
 
 

===Week 5===
====Activity #1 The [[British Museum]] & [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']]====
The [[British Museum]] today served as more inspiration for my second milestone in that I took more photos of mosaics and I got up close and personal with some Roman mosaics. I want to make another mosaic for milestone two in a Roman style that either depicts a figure or animal, maybe including some of the mythology; this would link the history I initially read about before I decided to scope down to just techniques and materials needed. [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']] was odd to say the least with creepy clown makeup, dub-step, and complete breaks of character as only some of the oddities. It was fun to see the show with such a modern interpretation, but I feel it went almost too far with the modernization in some aspects (clown makeup) and lacking in others (keeping the original Shakespearean dialog). I was glad I got to see the play, but it is not something I would go out of my way to see again.
 
 

====Activity #2 [[Stonehenge|Stonehenge]], [[Bath|Bath]], and Lacock====
I really enjoyed the tour of these three locations, as they were places I originally planned to visit when my parents were in London. I though [[Stonehenge]] would have been bigger, as many of the photos capture it that way, and I was disappointing that it was roped off. I find it funny that we know so little about what its purpose is so even the wildest speculations could be true (i.e. aliens). [[Bath]] was interesting in that the city's main attraction could almost be viewed as a hoax, with it recent construction date. I understand the history and why it isn't, but that reconstruction with the insides antiqued makes me laugh that people believe that it is actually a Roman building. Lacock was cool because it was a trip into the land of Hollywood without leaving England. I thought the church and buildings looked familiar, and it was nice to have someone confirm my suspicions. I feel horrible for the people who live in the house they filmed Harry Potter's parents dying, as the constant flow of tourists taking photos of your house and even encroaching onto the property must get old real fast.
 
 

===Week 6===
====Activity #1 [[Windsor Castle|Windsor Castle]]====
[[Windsor Castle]] was surprisingly small compared to how it looks. I understand that it is a working royal castle where the Queen actively spends her weekends, but it was painfully small compared to what I was expecting after [[Hampton Court Palace]]. I don't understand this country's obsession with audio tours, for once I just want a human over technology. The doll house and porcelain doll collection was nightmare fuel. I cannot grasp that people find those dolls cute, they are utterly terrifying. I feel bad for going into places and just cracking jokes about all of the paintings of rich white men in tights, but I know deep down that I do appreciate the art. It is also funny to me how expansive the castle is for just a few people. If Britain was so concerned about the homeless population they could house so many people in unused castles.
 
 

====Activity #2 Stained Glass Workshop====
This was my big day, a chance to see the theoretical knowledge from the past four weeks put into practice. Arriving at the studio was odd because the studio is located in the Bow Arts Trust building among many other studios, in addition to being inside another building the studio was three floors up from a tiny doorway in an alley. The entire day was surreal, in that for the first time in a while I felt completely comfortable trying something new. The window sadly ended up being much simpler than my original design, but I am proud of what I accomplished in approximately seven hours. The weirdest part of the day was that an Persian news network was filming the workshop for a segment on a daytime television show about crafts in London. I am happy to say that I escaped unscathed from my adventure with a large amount of lead and sharp glass, and I gave myself a pat on the back for that. The new challenge now is getting the window home without breaking the bank.
 
 

===My Complete Contributions===
====[[Special:Contributions/Nbloniarz|All of My Created Content and Edits]]====

[[Category:Profiles]]
[[Category:2017]]
[[Category:Advisor:Manzo]]

User:Nbloniarz

2017-06-22T08:22:34Z

Nbloniarz:

=Natalie Bloniarz=
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|image = [[File:Graduation_Photo.jpg|x450px|alt=Natalie Bloniarz]]
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__TOC__

=Overview=
The paragraph should give a three to five sentence abstract about your entire London HUA experience including 1) a summary of the aims of your project, 2) your prior experience with humanities and arts courses and disciplines, and 3) your major takeaways from the experience.
 

My goal for my London HUA experience is to explore art through history. Specifically, I will be exploring the history of architecture through art, the characteristics of religious art throughout history, and the history, purpose, style, and creation of stained glass windows. Previous courses I have taken in the humanities and arts are: AR1101 Digital Imaging and Computer Art, MU 2637 String Ensemble, and I have experience from high school courses such as AP U.S. History, AP European History, AP Literature and Composition, and AP Language and Composition. MAJOR TAKEAWAYS HERE.
 

=Milestone 1=
'''London Architecture ''' 
'''Objective:''' A descriptive timeline of the change in architecture throughout the city over time through photographs including comparing different churches, buildings, bridges, museums and even unsung architectures accomplishments such as parking garages (or car parks).
 
This is in collaboration with [[User:Eawilson|Emily Wilson]] and [[User:Osgibbs|Olivia Gibbs]]
 
Over the course of 2 weeks, we have traveled around London taking pictures and researching some of London's most stand out buildings. We have found the best source for finding architecture information which is the Royal Institute of British Architects (RIBA) Library, and some interesting facts about all of the buildings. Many buildings have been built multiple times due to the great fire of London, and more recent buildings were built in controversy. The buildings that we researched all have a rich history and interesting architectural design elements that add to the city. This has been a great experience and we have learned a lot about the buildings that make up the city of London.
 
[[London Architecture|Read More]]
 

=Milestone 2=
 
'''A Mosaic of Mosaics''' 
'''Objective:''' To develop an understand the techniques and materials needed to create a mosaic and apply that to a new digital medium.
 
Throughout this milestone I learned about mosaic, and the materials and tools needed to create one. I then applied this knowledge to a digital setting (Photoshop) and compared how it is different from the traditional methods. I can confidently say that the process of creating a digital mosaic is much more forgiving than a physical mosaic. I also began to learn that a digital mosaic has limits not unlike a physical mosaic; the main limit being the time the creator of the mosaic has to work on it and it is also limited by the processing ability of the computer being used, if the file becomes to big the computer cannot complete the desired action.
 
[[A Mosaic of Mosaics|Read More]]
 

=Milestone 3, Capstone=
 
'''Capstone: The History, Purpose, and Techniques of Stained Glass Windows''' 
'''Objective:''' To develop an understanding of the history of stained glass windows including their purpose, and to study the techniques needed to create a window; then applying those techniques to create my own stained glass window.
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It was an interesting experience to be able to go into creating the window with all of my research and actually have a physical representation of my efforts. I enjoyed being able to create this window as the capstone for my humanities and arts requirement, and I have a new found interest in the glass blowing classes at WPI to continue working with glass.
 
[[The History, Purpose, and Techniques of Stained Glass Windows|Read More]]
 

=Activity Journal=
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar.
 
===Week 1===
====Activity #1 [[Westminster Abbey|Westminster Abbey]] and the [[Tower of London|Tower of London]]====
Today's visit to [[Westminster Abbey|Westminster Abbey]] helped me to refine my first milestone from a broad history of architecture to a more focused analysis of Gothic architecture. It also provided a starting point for my research into Gothic architecture and some basic history of the Abbey. Though I really wanted to take photos inside to use for my milestone, I understand that that is not possible. I also started my quest to find the ugliest picture of Jesus as a baby, to keep with the tradition started by my brother on our vacation to Italy.
 
During the visit to the [[Tower of London|Tower of London]], I had discovered that medieval history is a period that I do not find that appealing to study. The queue leading up to catch a glimpse of the [[Crown Jewels|crown jewels]] felt like waiting for a roller coaster. The silliest part was that the exhibit was incredibly short, and to keep people moving they had a moving sidewalk along the row of crowns. I would have loved to spend more time looking at the ostentatious jewels, but it was incredibly crowded and my height made it hard to see around others in the exhibit.
 
I was so excited to have taken my first double-decker bus and getting to sit right in the front up on the upper level. It was interesting to see the crowds of other tourists get on and look confused from the Oxford Street stop I got on at, shift to bunches of more confident locals. The weirdest part of the journey was seeing one person getting on then immediately getting off one stop later, which would have been a two minute walk down the road.

 
 

====Activity #2 [[British Museum|The British Museum]]====
I really enjoyed today's visit to the [[British Museum|British Museum]]. After deciding last night to join the other two girls, [[User:Eawilson|Emily]] and [[User:Osgibbs|Olivia]], in the architecture group for their first milestone, this provided a great opportunity to start working with them. The museum courtyard provided some great photos for the milestone, and it was incredibly designed. The thought that people had built that intricate glass ceiling, creating the largest covered square in England, was fascinating. I especially enjoyed looking at all of the Egyptian artifacts, as that is my favorite time period throughout all of history. The sheer number of artifacts in the museum was incredible and it would take at least a week to be able to see and appreciate their extensive collection. I would love to go back at a later date to further explore the other wings of the museum. I knew that the British people had a large collection of Egyptian artifacts, but I never knew that the British Museum has the second largest collection outside of the Egyptian Museum in Cairo.
 
I also got the chance to do some more exploring in London on a quest to complete the scavenger hunt. At the end of our scavenger hunt quest we returned to [[Westminster Abbey]] to attend evensong. It was a pleasant experience and the choir sounded incredible, it was also a nice experience to attend the service to get a better idea of the protestant faith. It was cool to see that it is possible to sit right next the choir and among the members of the clergy. I wish I could have taken my own photos inside the Abbey for my milestone, but I understand they want to maintain the rights to images of the Abbey.
 
 

====Activity #3[[St. Paul's Cathedral| St. Paul's Cathedral]]====
Today's visit to [[St. Paul's Cathedral]] was incredibly interesting because it was a major architectural shift from [[Westminster Abbey]]. The two churches are similar in their abundance of statues and graves but are vastly different in appearance. The inside of the cathedral was stunning and bright. My two favorite aspects of the cathedral were the golden mosaics and the whispering gallery. The whispering gallery reminded me of the inside of Il Duomo in Florence, both with incredibly narrow staircases that have the tiniest of windows and their imposing artwork staring down at you. The cathedral is also a part of my first milestone and provided a good amount of the information I needed to research. I also learned today that the Dean's stairs were actually in Harry Potter like I thought. I find it fascinating to see that the movies took the time to find the most authentic English architecture to include in scenes, it helps ground the movies more towards reality.
 
Today was also a journey to capture more photos of buildings for my first milestone, taking me to the Gherkin, the Lloyd's Building, the Royal Exchange, and the Barbican Centre. I cannot wait to go back to the Barbican Centre because of its beautiful courtyard. I am also looking into taking a tour about the architecture of the building. The Gherkin was my favorite building to observe because of its unique shape. My least favorite building was the Barbican Centre only because of its brutalist style, which I find rather dreary and overtly industrial. The courtyard inside of the building made up for the drab architecture and is a place I hope to visit again.
 
 

====Activity #4 [[The National Gallery|The National Gallery]]====
I did not really enjoy the visit to [[The National Gallery]] today. The majority of the art I managed to see was early christian art that contains a myriad of paintings with the same four events in the life of Jesus and Mary: the Crucifixion, the Assumption, the arrival of the magi, and Mary with baby Jesus, The museum provided me the opportunity to increase my ugly baby Jesus tally to 12. The only paintings I truly enjoyed observing were the work of [[The National Gallery#Claude Monet|Claude Monet]]. I did manage to find one work of art relevant to my milestone as I exited the building; there was a large tile mosaic on the ground depicting the roman gods and I hope to go back to get a better look and study the large mosaic. Another reason I did not particularly like this museum was that even at opening, it was ultra crowded. I was hard to appreciate some of the art in such a loud place in some of the galleries. This museum almost felt like a repeat of previous museums that I had visited including the Metropolitan Museum of Art in New York City, and Gli Uffizi in Florence; that is not to say that I did not appreciate the art it just felt rather redundant.
 
 

====Activity #5 The [[Natural History Museum|Natural History Museum]]====
As a popular sight for children, the Natural History Museum was super crowded with school groups of little children in their bright safety vests. The museum had a subsection of the Minerals & The Vault exhibit which has contributed to my milestone all about [[Natural History Museum#Building Materials| building materials]]. The anamatronic T-Rex was really cool, and seeing the looks of wonder on some of the primary school children's faces was priceless. The large open cafe area provided great views of the stain glass windows of the original building as well as a chance to observe the mosaic floor. My favorite part of the museum was the Mineral & The Vault area because I have always had a fascination with rocks and gems since my childhood. The location of the museum was also convenient in that it was adjacent to the Victoria and Albert Museum which has an entire wing on architecture as well as a large amount of stained glass windows for my third milestone.
 
Today also marked my first official visit to [[The British Library]] on a research adventure for my first milestone. I had found three very helpful books that had information on the style and history of the buildings that I am researching as my portion of milestone one. The most helpful was "Reference Guides to National Architecture: Architecture of England, Scotland, and Wales" by Nigel R. Jones. Now that I have also stared to pan my other milestones more I am compiling a list of places to return to in an effort to earn more about either their mosaics or stained glass windows. I had a breakthrough in the idea for my second milestone in comparing two major types of mosaics: decorative and functional, which can be exemplified ny the difference between the mosaics of [[St. Paul's Cathedral]] and the floors of some of the museums including the Victoria and Albert Museum.
 
 

===Week 2===
====Activity #1 [[Tate Britain|Tate Britain]]====
The Tate Britain felt surprisingly small compared to its grandiose outside. I am starting to get a bit burned out going to museum after museum, where the content inside seems to stay the same. The most interesting piece of art was a modern installation by Cerith Wyn Evans called Forms in Space ...by Light (in Time). This piece was a huge mass of neon tubes hanging from the ceiling spanning the length of the museum. and if you stand at the entrance of the museum you can see the entire piece appearing as a flattened drawing in the air through a single neon ring.
 
I wish these museum visits were spread further apart to allow more time to dedicate to milestone one. Only having the afternoon to complete an article or contribution, a journal entry, and go read at the library is not enough time to put in all of the needed effort. It is also mildly frustrating to spend a majority of my day for two weeks going to places that aren't directly relevant to my milestones. I understand it is important to see all of these works of art and to be aware of other things besides my milestone but to spend three or four hours in a place to only stare at a single feature of art piece saps my will to continue working. The most helpful part of these activities so far has been seeing mosaics that I will come back and photograph and study in depth and looking at stained-glass windows in the churches we have visited.
 
 

====Activity #2 [[Victoria and Albert Museum|Victoria and Albert Museum]]====
As expected from how I enjoyed my previous visit, I loved the [[Victoria and Albert Museum]]. My only problem is that it is so easy to get lost inside of that museum and the online map is useless. My favorite exhibit I got to see today was the [[Victoria and Albert Museum#Stained Glass Exhibit|stained glass]] collection both in its own exhibit and among the period art. I wish that I had time to locate the section on mosaics to begin work on my second milestone, but I guess it will have to wait for another day. The stained glass section really helped me to understand the visuals of the history I read about yesterday and the transition from just stained glass to painted glass, and then back to the more traditional style was amazing to see up close and to get to study the details on the original windows in the book.
 
 

====Activity #3 [[Tate Modern|Tate Modern]]====
I have and will never understand modern art. There were a few things I enjoyed such as the pieces by Monet, Warhol, and three media elements, two auditory experiences: ''Wetin You Go Do?'' by Otobong Nkanga’ and ''Forty-Part Motet'' by Janet Cardiff, and a video ''How Not to Be Seen: A Fucking Didactic Educational .MOV File'' by Hito Steyerl. The video was just so ridiculous confirming some of my views on modern art, that sometimes modern art is just a practical joke that people haven't caught onto yet. The impending due date of the milestone is causing me stress that I don't have enough time to do everything, which in a sense is true because it is compressing seven weeks worth of work into two. I could argue against myself saying that it is the only thing I am focused on but that would be a lie. I have journal entries and articles to write, research to be done, and two other milestones to worry about. Being in a team has been the best choice I have made so far, but that is not quelling my anxiety. I want to visit all of these places but I am also worried that I do not have enough time to go and research. I don't want to buy books to only be focusing on them for two weeks and these books can get expensive, but I guess my tuition only covers so much. Maybe after this week I will feel less like I am drowning in work.
 
 

====Activity #4 [[Museum of London|Museum of London]]====
The coolest part of the museum today was the Olympic torch. I did manage to gather some relevant milestone information regarding columns and s mosaic, but in general I found it kinda boring. The history focusing on London was cool but all of the museums are blurring together and it is harder to tell each day apart. I am becoming a bit unsure about the focus of my second milestone; I want to study mosaics, but I don't know in what capacity. I believe it would be best for me to focus on religious imagery in mosaics, Catholic, Roman or otherwise, to help narrow down my background research. Being able to have enough photos of mosaics to create my own mosaic will be challenging because the most colorful ones are in places that I cannot photograph, meaning I will have to probably rip photos from the internet. My article entries are starting to show some of my disinterest in the topics I had chosen to write about, and I want to change that, but my motivation is severely lacking. I am excited for the weekend because it means a mental break, but I fear I might have to spend it in the library reading in preparation for my next milestone.
 
 

===Week 3===
====Activity #1 [[Museum of London Docklands|Museum of London Docklands]]====
I really enjoyed the museum today, much more than the other [[Museum of London]]. This one went much more in depth throughout the exhibits and was completely empty almost all morning. It was also cool to see the view of World War II and the slave trade through the eyes of the British, and how much they were impacted. Today's visit did relate to my first milestone, in that it had a small section on the modernization of London along the Thames that referenced City Hall and the London Eye. It was also cool to see the Sainsbury study area with the history of Sainsbury laid out in the entrance way. I am back to square one for my second milestone because I cannot seem to find any books about religious imagery in mosaics, and I might have to broaden the topic to the history and techniques of mosaics, to keep the topic of mosaics viable. I feel secure in my third milestone and I have found tons of useful books that I need to take the time to fully read and compile the information. I feel refreshed and ready for this next week of work, and I can't wait for the weekend to come to go exploring with my parents.
 
 

====Activity #2 [[Imperial War Museum|Imperial War Museum]]====
Today was not a happy day. After the events of last night, this museum was another punch in the gut. Humanity can be cruel. On a lighter note, the art for the World War I posters was cool and I enjoyed learning about the war from another perspective. Today was a super long reading day, though one of the books I really want to read, I can only find in Italian at the British Library and it is annoyingly expensive to buy. I might have to make use without it, but it would have been really useful. I also went through my photos and realized that I need more photos of mosaics, so I cannot wait to revisit some of the museums to get more photos to use for my mosaic. Maybe tomorrow will be better.
 
 

====Activity #3 [[Hampton Court Palace|Hampton Court Palace]]====
Where am I, I can't be in London, right? It was hot today, reaching a balmy 78°F. It was a great day to go to the palace and enjoy the gardens, the weather was perfect. I enjoyed the change of scenery from our standard London adventures, but Tudor England is not my ideal aesthetic. The palace was super enjoyable when it was empty, but once the school children came it got hard to hear the audio tour and move about the halls. My favorite part of today was exploring the gardens and looking at the hoard of deer they had on the property. I wish I had time to devote to reading for my second milestone today but sleep was calling and I couldn't ignore it. Hopefully tomorrow we don't spend as much time in the museum so I can devote all of my time to holing myself up in the library and reading boring books on mosaics. Mosaics: fascinating art, nightmare to read about.
 
 

====Activity #4 [[Horniman Museum|Horniman Museum]]====
This place was creepy. It was full of little children and dead animals, and that is super unnerving.The gardens were the highlight of the trip with the pleasant breeze and sound of wind chimes in the air. I really need to read for my milestone and take more pictures of mosaics, because I am severely lacking. I love mosaics, but books talking about their history are so dry, it feels like a 400 page trek through the Sahara. I can't wait to get this background done to work on my deliverable and make my mosaic.
 
 

===Week 4===
====Activity #1 [[The Wallace Collection|The Wallace Collection]]====
Baroque art is not my style. Something about the sheer excessive use of gold and other precious metals makes me feel that the art of the period was just created as an excuse to spend money. I have decided to expand the ugly baby Jesus count to include regular ugly babies as well, and the count now stands around 24. The one painting I was excited to see was [[The Wallace Collection#The Swing|The Swing]] because I have studied that painting in high school during AP European History. It was interesting to be able to learn more about the painting's origins and that the patron wanted to be painted admiring his mistress's legs from below. I am excited to start devoting my entire day to working on my milestones and having a mental break from most museums. On Sunday I went to see a classical concert, the Schumann Quartet, with my parents at Wigmore Hall.
 
 

====Activity #2 [[London Science Museum|London Science Museum]]====
This was my favorite of the non art museums to visit because I felt it was aimed to a slightly older audience then the [[Natural History Museum]]. The mathematics and communications exhibits were fascinating and I was excited to get to wander around without having to worry about mowing over all of the school children. I also got the chance to go the the [[Victoria and Albert Museum]] to take more photos of mosaics for my second milestone but I was disappointing that the mosaic collection was incredible limited but it gave me some more colorful options for my mosaic. I also did a bit of research into other books for my second milestone and create the basic outline for the design of my mosaic.
 
 

===Week 5===
====Activity #1 The [[British Museum]] & [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']]====
The [[British Museum]] today served as more inspiration for my second milestone in that I took more photos of mosaics and I got up close and personal with some Roman mosaics. I want to make another mosaic for milestone two in a Roman style that either depicts a figure or animal, maybe including some of the mythology; this would link the history I initially read about before I decided to scope down to just techniques and materials needed. [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']] was odd to say the least with creepy clown makeup, dub-step, and complete breaks of character as only some of the oddities. It was fun to see the show with such a modern interpretation, but I feel it went almost too far with the modernization in some aspects (clown makeup) and lacking in others (keeping the original Shakespearean dialog). I was glad I got to see the play, but it is not something I would go out of my way to see again.
 
 

====Activity #2 [[Stonehenge|Stonehenge]], [[Bath|Bath]], and Lacock====
I really enjoyed the tour of these three locations, as they were places I originally planned to visit when my parents were in London. I though [[Stonehenge]] would have been bigger, as many of the photos capture it that way, and I was disappointing that it was roped off. I find it funny that we know so little about what its purpose is so even the wildest speculations could be true (i.e. aliens). [[Bath]] was interesting in that the city's main attraction could almost be viewed as a hoax, with it recent construction date. I understand the history and why it isn't, but that reconstruction with the insides antiqued makes me laugh that people believe that it is actually a Roman building. Lacock was cool because it was a trip into the land of Hollywood without leaving England. I thought the church and buildings looked familiar, and it was nice to have someone confirm my suspicions. I feel horrible for the people who live in the house they filmed Harry Potter's parents dying, as the constant flow of tourists taking photos of your house and even encroaching onto the property must get old real fast.
 
 

===Week 6===
====Activity #1 [[Windsor Castle|Windsor Castle]]====
[[Windsor Castle]] was surprisingly small compared to how it looks. I understand that it is a working royal castle where the Queen actively spends her weekends, but it was painfully small compared to what I was expecting after [[Hampton Court Palace]]. I don't understand this country's obsession with audio tours, for once I just want a human over technology. The doll house and porcelain doll collection was nightmare fuel. I cannot grasp that people find those dolls cute, they are utterly terrifying. I feel bad for going into places and just cracking jokes about all of the paintings of rich white men in tights, but I know deep down that I do appreciate the art. It is also funny to me how expansive the castle is for just a few people. If Britain was so concerned about the homeless population they could house so many people in unused castles.
 
 

====Activity #2 Stained Glass Workshop====
This was my big day, a chance to see the theoretical knowledge from the past four weeks put into practice. Arriving at the studio was odd because the studio is located in the Bow Arts Trust building among many other studios, in addition to being inside another building the studio was three floors up from a tiny doorway in an alley. The entire day was surreal, in that for the first time in a while I felt completely comfortable trying something new. The window sadly ended up being much simpler than my original design, but I am proud of what I accomplished in approximately seven hours. The weirdest part of the day was that an Persian news network was filming the workshop for a segment on a daytime television show about crafts in London. I am happy to say that I escaped unscathed from my adventure with a large amount of lead and sharp glass, and I gave myself a pat on the back for that. The new challenge now is getting the window home without breaking the bank.
 
 

===My Complete Contributions===
====[[Special:Contributions/Nbloniarz|All of My Created Content and Edits]]====

[[Category:Profiles]]
[[Category:2017]]
[[Category:Advisor:Manzo]]

User:Nbloniarz

2017-06-22T08:22:09Z

Nbloniarz:

=Natalie Bloniarz=
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|header1 =
|bodystyle = width:25em
|image = [[File:Graduation_Photo.jpg|x450px|alt=Natalie Bloniarz]]
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__TOC__

=Overview=
The paragraph should give a three to five sentence abstract about your entire London HUA experience including 1) a summary of the aims of your project, 2) your prior experience with humanities and arts courses and disciplines, and 3) your major takeaways from the experience.
 

My goal for my London HUA experience is to explore art through history. Specifically, I will be exploring the history of architecture through art, the characteristics of religious art throughout history, and the history, purpose, style, and creation of stained glass windows. Previous courses I have taken in the humanities and arts are: AR1101 Digital Imaging and Computer Art, MU 2637 String Ensemble, and I have experience from high school courses such as AP U.S. History, AP European History, AP Literature and Composition, and AP Language and Composition. MAJOR TAKEAWAYS HERE.
 

=Milestone 1=
'''London Architecture ''' 
'''Objective:''' A descriptive timeline of the change in architecture throughout the city over time through photographs including comparing different churches, buildings, bridges, museums and even unsung architectures accomplishments such as parking garages (or car parks).
 
This is in collaboration with [[User:Eawilson|Emily Wilson]] and [[User:Osgibbs|Olivia Gibbs]]
 
Over the course of 2 weeks, we have traveled around London taking pictures and researching some of London's most stand out buildings. We have found the best source for finding architecture information which is the Royal Institute of British Architects (RIBA) Library, and some interesting facts about all of the buildings. Many buildings have been built multiple times due to the great fire of London, and more recent buildings were built in controversy. The buildings that we researched all have a rich history and interesting architectural design elements that add to the city. This has been a great experience and we have learned a lot about the buildings that make up the city of London.
 
[[London Architecture|Read More]]
 

=Milestone 2=
 
'''A Mosaic of Mosaics''' 
'''Objective:''' To develop an understand the techniques and materials needed to create a mosaic and apply that to a new digital medium.
 
Throughout this milestone I learned about mosaic, and the materials and tools needed to create one. I then applied this knowledge to a digital setting (Photoshop) and compared how it is different from the traditional methods. I can confidently say that the process of creating a digital mosaic is much more forgiving than a physical mosaic. I also began to learn that a digital mosaic has limits not unlike a physical mosaic; the main limit being the time the creator of the mosaic has to work on it and it is also limited by the processing ability of the computer being used, if the file becomes to big the computer cannot complete the desired action.
 
[[A Mosaic of Mosaics|Read More]]
 

=Milestone 3, Capstone=
 
'''Capstone: The History, Purpose, and Techniques of Stained Glass Windows''' 
'''Objective:''' To develop an understanding of the history of stained glass windows including their purpose, and to study the techniques needed to create a window; then applying those techniques to create my own stained glass window.
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It was an interesting experience to be able to go into creating the window with all of my research and actually have a physical representation of my efforts. I enjoyed being able to create this window as the capstone for my humanities and arts requirement, and I have a new found interest in the glass blowing classes at WPI to continue working with glass.
 
[[The History, Purpose, and Techniques of Stained Glass Windows|Read More]]
 

=Activity Journal=
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar.
 
===Week 1===
====Activity #1 [[Westminster Abbey|Westminster Abbey]] and the [[Tower of London|Tower of London]]====
Today's visit to [[Westminster Abbey|Westminster Abbey]] helped me to refine my first milestone from a broad history of architecture to a more focused analysis of Gothic architecture. It also provided a starting point for my research into Gothic architecture and some basic history of the Abbey. Though I really wanted to take photos inside to use for my milestone, I understand that that is not possible. I also started my quest to find the ugliest picture of Jesus as a baby, to keep with the tradition started by my brother on our vacation to Italy.
 
During the visit to the [[Tower of London|Tower of London]], I had discovered that medieval history is a period that I do not find that appealing to study. The queue leading up to catch a glimpse of the [[Crown Jewels|crown jewels]] felt like waiting for a roller coaster. The silliest part was that the exhibit was incredibly short, and to keep people moving they had a moving sidewalk along the row of crowns. I would have loved to spend more time looking at the ostentatious jewels, but it was incredibly crowded and my height made it hard to see around others in the exhibit.
 
I was so excited to have taken my first double-decker bus and getting to sit right in the front up on the upper level. It was interesting to see the crowds of other tourists get on and look confused from the Oxford Street stop I got on at, shift to bunches of more confident locals. The weirdest part of the journey was seeing one person getting on then immediately getting off one stop later, which would have been a two minute walk down the road.

 
 

====Activity #2 [[British Museum|The British Museum]]====
I really enjoyed today's visit to the [[British Museum|British Museum]]. After deciding last night to join the other two girls, [[User:Eawilson|Emily]] and [[User:Osgibbs|Olivia]], in the architecture group for their first milestone, this provided a great opportunity to start working with them. The museum courtyard provided some great photos for the milestone, and it was incredibly designed. The thought that people had built that intricate glass ceiling, creating the largest covered square in England, was fascinating. I especially enjoyed looking at all of the Egyptian artifacts, as that is my favorite time period throughout all of history. The sheer number of artifacts in the museum was incredible and it would take at least a week to be able to see and appreciate their extensive collection. I would love to go back at a later date to further explore the other wings of the museum. I knew that the British people had a large collection of Egyptian artifacts, but I never knew that the British Museum has the second largest collection outside of the Egyptian Museum in Cairo.
 
I also got the chance to do some more exploring in London on a quest to complete the scavenger hunt. At the end of our scavenger hunt quest we returned to [[Westminster Abbey]] to attend evensong. It was a pleasant experience and the choir sounded incredible, it was also a nice experience to attend the service to get a better idea of the protestant faith. It was cool to see that it is possible to sit right next the choir and among the members of the clergy. I wish I could have taken my own photos inside the Abbey for my milestone, but I understand they want to maintain the rights to images of the Abbey.
 
 

====Activity #3[[St. Paul's Cathedral| St. Paul's Cathedral]]====
Today's visit to [[St. Paul's Cathedral]] was incredibly interesting because it was a major architectural shift from [[Westminster Abbey]]. The two churches are similar in their abundance of statues and graves but are vastly different in appearance. The inside of the cathedral was stunning and bright. My two favorite aspects of the cathedral were the golden mosaics and the whispering gallery. The whispering gallery reminded me of the inside of Il Duomo in Florence, both with incredibly narrow staircases that have the tiniest of windows and their imposing artwork staring down at you. The cathedral is also a part of my first milestone and provided a good amount of the information I needed to research. I also learned today that the Dean's stairs were actually in Harry Potter like I thought. I find it fascinating to see that the movies took the time to find the most authentic English architecture to include in scenes, it helps ground the movies more towards reality.
 
Today was also a journey to capture more photos of buildings for my first milestone, taking me to the Gherkin, the Lloyd's Building, the Royal Exchange, and the Barbican Centre. I cannot wait to go back to the Barbican Centre because of its beautiful courtyard. I am also looking into taking a tour about the architecture of the building. The Gherkin was my favorite building to observe because of its unique shape. My least favorite building was the Barbican Centre only because of its brutalist style, which I find rather dreary and overtly industrial. The courtyard inside of the building made up for the drab architecture and is a place I hope to visit again.
 
 

====Activity #4 [[The National Gallery|The National Gallery]]====
I did not really enjoy the visit to [[The National Gallery]] today. The majority of the art I managed to see was early christian art that contains a myriad of paintings with the same four events in the life of Jesus and Mary: the Crucifixion, the Assumption, the arrival of the magi, and Mary with baby Jesus, The museum provided me the opportunity to increase my ugly baby Jesus tally to 12. The only paintings I truly enjoyed observing were the work of [[The National Gallery#Claude Monet|Claude Monet]]. I did manage to find one work of art relevant to my milestone as I exited the building; there was a large tile mosaic on the ground depicting the roman gods and I hope to go back to get a better look and study the large mosaic. Another reason I did not particularly like this museum was that even at opening, it was ultra crowded. I was hard to appreciate some of the art in such a loud place in some of the galleries. This museum almost felt like a repeat of previous museums that I had visited including the Metropolitan Museum of Art in New York City, and Gli Uffizi in Florence; that is not to say that I did not appreciate the art it just felt rather redundant.
 
 

====Activity #5 The [[Natural History Museum|Natural History Museum]]====
As a popular sight for children, the Natural History Museum was super crowded with school groups of little children in their bright safety vests. The museum had a subsection of the Minerals & The Vault exhibit which has contributed to my milestone all about [[Natural History Museum#Building Materials| building materials]]. The anamatronic T-Rex was really cool, and seeing the looks of wonder on some of the primary school children's faces was priceless. The large open cafe area provided great views of the stain glass windows of the original building as well as a chance to observe the mosaic floor. My favorite part of the museum was the Mineral & The Vault area because I have always had a fascination with rocks and gems since my childhood. The location of the museum was also convenient in that it was adjacent to the Victoria and Albert Museum which has an entire wing on architecture as well as a large amount of stained glass windows for my third milestone.
 
Today also marked my first official visit to [[The British Library]] on a research adventure for my first milestone. I had found three very helpful books that had information on the style and history of the buildings that I am researching as my portion of milestone one. The most helpful was "Reference Guides to National Architecture: Architecture of England, Scotland, and Wales" by Nigel R. Jones. Now that I have also stared to pan my other milestones more I am compiling a list of places to return to in an effort to earn more about either their mosaics or stained glass windows. I had a breakthrough in the idea for my second milestone in comparing two major types of mosaics: decorative and functional, which can be exemplified ny the difference between the mosaics of [[St. Paul's Cathedral]] and the floors of some of the museums including the Victoria and Albert Museum.
 
 

===Week 2===
====Activity #1 [[Tate Britain|Tate Britain]]====
The Tate Britain felt surprisingly small compared to its grandiose outside. I am starting to get a bit burned out going to museum after museum, where the content inside seems to stay the same. The most interesting piece of art was a modern installation by Cerith Wyn Evans called Forms in Space ...by Light (in Time). This piece was a huge mass of neon tubes hanging from the ceiling spanning the length of the museum. and if you stand at the entrance of the museum you can see the entire piece appearing as a flattened drawing in the air through a single neon ring.
 
I wish these museum visits were spread further apart to allow more time to dedicate to milestone one. Only having the afternoon to complete an article or contribution, a journal entry, and go read at the library is not enough time to put in all of the needed effort. It is also mildly frustrating to spend a majority of my day for two weeks going to places that aren't directly relevant to my milestones. I understand it is important to see all of these works of art and to be aware of other things besides my milestone but to spend three or four hours in a place to only stare at a single feature of art piece saps my will to continue working. The most helpful part of these activities so far has been seeing mosaics that I will come back and photograph and study in depth and looking at stained-glass windows in the churches we have visited.
 
 

====Activity #2 [[Victoria and Albert Museum|Victoria and Albert Museum]]====
As expected from how I enjoyed my previous visit, I loved the [[Victoria and Albert Museum]]. My only problem is that it is so easy to get lost inside of that museum and the online map is useless. My favorite exhibit I got to see today was the [[Victoria and Albert Museum#Stained Glass Exhibit|stained glass]] collection both in its own exhibit and among the period art. I wish that I had time to locate the section on mosaics to begin work on my second milestone, but I guess it will have to wait for another day. The stained glass section really helped me to understand the visuals of the history I read about yesterday and the transition from just stained glass to painted glass, and then back to the more traditional style was amazing to see up close and to get to study the details on the original windows in the book.
 
 

====Activity #3 [[Tate Modern|Tate Modern]]====
I have and will never understand modern art. There were a few things I enjoyed such as the pieces by Monet, Warhol, and three media elements, two auditory experiences: ''Wetin You Go Do?'' by Otobong Nkanga’ and ''Forty-Part Motet'' by Janet Cardiff, and a video ''How Not to Be Seen: A Fucking Didactic Educational .MOV File'' by Hito Steyerl. The video was just so ridiculous confirming some of my views on modern art, that sometimes modern art is just a practical joke that people haven't caught onto yet. The impending due date of the milestone is causing me stress that I don't have enough time to do everything, which in a sense is true because it is compressing seven weeks worth of work into two. I could argue against myself saying that it is the only thing I am focused on but that would be a lie. I have journal entries and articles to write, research to be done, and two other milestones to worry about. Being in a team has been the best choice I have made so far, but that is not quelling my anxiety. I want to visit all of these places but I am also worried that I do not have enough time to go and research. I don't want to buy books to only be focusing on them for two weeks and these books can get expensive, but I guess my tuition only covers so much. Maybe after this week I will feel less like I am drowning in work.
 
 

====Activity #4 [[Museum of London|Museum of London]]====
The coolest part of the museum today was the Olympic torch. I did manage to gather some relevant milestone information regarding columns and s mosaic, but in general I found it kinda boring. The history focusing on London was cool but all of the museums are blurring together and it is harder to tell each day apart. I am becoming a bit unsure about the focus of my second milestone; I want to study mosaics, but I don't know in what capacity. I believe it would be best for me to focus on religious imagery in mosaics, Catholic, Roman or otherwise, to help narrow down my background research. Being able to have enough photos of mosaics to create my own mosaic will be challenging because the most colorful ones are in places that I cannot photograph, meaning I will have to probably rip photos from the internet. My article entries are starting to show some of my disinterest in the topics I had chosen to write about, and I want to change that, but my motivation is severely lacking. I am excited for the weekend because it means a mental break, but I fear I might have to spend it in the library reading in preparation for my next milestone.
 
 

===Week 3===
====Activity #1 [[Museum of London Docklands|Museum of London Docklands]]====
I really enjoyed the museum today, much more than the other [[Museum of London]]. This one went much more in depth throughout the exhibits and was completely empty almost all morning. It was also cool to see the view of World War II and the slave trade through the eyes of the British, and how much they were impacted. Today's visit did relate to my first milestone, in that it had a small section on the modernization of London along the Thames that referenced City Hall and the London Eye. It was also cool to see the Sainsbury study area with the history of Sainsbury laid out in the entrance way. I am back to square one for my second milestone because I cannot seem to find any books about religious imagery in mosaics, and I might have to broaden the topic to the history and techniques of mosaics, to keep the topic of mosaics viable. I feel secure in my third milestone and I have found tons of useful books that I need to take the time to fully read and compile the information. I feel refreshed and ready for this next week of work, and I can't wait for the weekend to come to go exploring with my parents.
 
 

====Activity #2 [[Imperial War Museum|Imperial War Museum]]====
Today was not a happy day. After the events of last night, this museum was another punch in the gut. Humanity can be cruel. On a lighter note, the art for the World War I posters was cool and I enjoyed learning about the war from another perspective. Today was a super long reading day, though one of the books I really want to read, I can only find in Italian at the British Library and it is annoyingly expensive to buy. I might have to make use without it, but it would have been really useful. I also went through my photos and realized that I need more photos of mosaics, so I cannot wait to revisit some of the museums to get more photos to use for my mosaic. Maybe tomorrow will be better.
 
 

====Activity #3 [[Hampton Court Palace|Hampton Court Palace]]====
Where am I, I can't be in London, right? It was hot today, reaching a balmy 78°F. It was a great day to go to the palace and enjoy the gardens, the weather was perfect. I enjoyed the change of scenery from our standard London adventures, but Tudor England is not my ideal aesthetic. The palace was super enjoyable when it was empty, but once the school children came it got hard to hear the audio tour and move about the halls. My favorite part of today was exploring the gardens and looking at the hoard of deer they had on the property. I wish I had time to devote to reading for my second milestone today but sleep was calling and I couldn't ignore it. Hopefully tomorrow we don't spend as much time in the museum so I can devote all of my time to holing myself up in the library and reading boring books on mosaics. Mosaics: fascinating art, nightmare to read about.
 
 

====Activity #4 [[Horniman Museum|Horniman Museum]]====
This place was creepy. It was full of little children and dead animals, and that is super unnerving.The gardens were the highlight of the trip with the pleasant breeze and sound of wind chimes in the air. I really need to read for my milestone and take more pictures of mosaics, because I am severely lacking. I love mosaics, but books talking about their history are so dry, it feels like a 400 page trek through the Sahara. I can't wait to get this background done to work on my deliverable and make my mosaic.
 
 

===Week 4===
====Activity #1 [[The Wallace Collection|The Wallace Collection]]====
Baroque art is not my style. Something about the sheer excessive use of gold and other precious metals makes me feel that the art of the period was just created as an excuse to spend money. I have decided to expand the ugly baby Jesus count to include regular ugly babies as well, and the count now stands around 24. The one painting I was excited to see was [[The Wallace Collection#The Swing|The Swing]] because I have studied that painting in high school during AP European History. It was interesting to be able to learn more about the painting's origins and that the patron wanted to be painted admiring his mistress's legs from below. I am excited to start devoting my entire day to working on my milestones and having a mental break from most museums. On Sunday I went to see a classical concert, the Schumann Quartet, with my parents at Wigmore Hall.
 
 

====Activity #2 [[London Science Museum|London Science Museum]]====
This was my favorite of the non art museums to visit because I felt it was aimed to a slightly older audience then the [[Natural History Museum]]. The mathematics and communications exhibits were fascinating and I was excited to get to wander around without having to worry about mowing over all of the school children. I also got the chance to go the the [[Victoria and Albert Museum]] to take more photos of mosaics for my second milestone but I was disappointing that the mosaic collection was incredible limited but it gave me some more colorful options for my mosaic. I also did a bit of research into other books for my second milestone and create the basic outline for the design of my mosaic.
 
 

===Week 5===
====Activity #1 The [[British Museum]] & [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']]====
The [[British Museum]] today served as more inspiration for my second milestone in that I took more photos of mosaics and I got up close and personal with some Roman mosaics. I want to make another mosaic for milestone two in a Roman style that either depicts a figure or animal, maybe including some of the mythology; this would link the history I initially read about before I decided to scope down to just techniques and materials needed. [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']] was odd to say the least with creepy clown makeup, dub-step, and complete breaks of character as only some of the oddities. It was fun to see the show with such a modern interpretation, but I feel it went almost too far with the modernization in some aspects (clown makeup) and lacking in others (keeping the original Shakespearean dialog). I was glad I got to see the play, but it is not something I would go out of my way to see again.
 
 

====Activity #2 [[Stonehenge|Stonehenge]], [[Bath|Bath]], and Lacock====
I really enjoyed the tour of these three locations, as they were places I originally planned to visit when my parents were in London. I though [[Stonehenge]] would have been bigger, as many of the photos capture it that way, and I was disappointing that it was roped off. I find it funny that we know so little about what its purpose is so even the wildest speculations could be true (i.e. aliens). [[Bath]] was interesting in that the city's main attraction could almost be viewed as a hoax, with it recent construction date. I understand the history and why it isn't, but that reconstruction with the insides antiqued makes me laugh that people believe that it is actually a Roman building. Lacock was cool because it was a trip into the land of Hollywood without leaving England. I thought the church and buildings looked familiar, and it was nice to have someone confirm my suspicions. I feel horrible for the people who live in the house they filmed Harry Potter's parents dying, as the constant flow of tourists taking photos of your house and even encroaching onto the property must get old real fast.
 
 

===Week 6===
====Activity #1 [[Windsor Castle|Windsor Castle]]====
[[Windsor Castle]] was surprisingly small compared to how it looks. I understand that it is a working royal castle where the Queen actively spends her weekends, but it was painfully small compared to what I was expecting after [[Hampton Court Palace]]. I don't understand this country's obsession with audio tours, for once I just want a human over technology. The doll house and porcelain doll collection was nightmare fuel. I cannot grasp that people find those dolls cute, they are utterly terrifying. I feel bad for going into places and just cracking jokes about all of the paintings of rich white men in tights, but I know deep down that I do appreciate the art. It is also funny to me how expansive the castle is for just a few people. If Britain was so concerned about the homeless population they could house so many people in unused castles.
 
 

====Activity #2 Stained Glass Workshop====
This was my big day, a chance to see the theoretical knowledge from the past four weeks put into practice. Arriving at the studio was odd because the studio is located in the Bow Arts Trust building among many other studios, in addition to being inside another building the studio was three floors up from a tiny doorway in an alley. The entire day was surreal, in that for the first time in a while I felt completely comfortable trying something new. The window sadly ended up being much simpler than my original design, but I am proud of what I accomplished in approximately seven hours. The weirdest part of the day was that an Persian news network was filming the workshop for a segment on a daytime television show about crafts in London. I am happy to say that I escaped unscathed from my adventure with a large amount of lead and sharp glass, and I gave myself a pat on the back for that. The new challenge now is getting the window home without breaking the bank.
 
 

===Week 7===
 

===My Complete Contributions===
====[[Special:Contributions/Nbloniarz|All of My Created Content and Edits]]====

[[Category:Profiles]]
[[Category:2017]]
[[Category:Advisor:Manzo]]

User:Nbloniarz

2017-06-21T12:57:33Z

Nbloniarz:

=Natalie Bloniarz=
{{Infobox
|title = Natalie Bloniarz
|header1 =
|bodystyle = width:25em
|image = [[File:Graduation_Photo.jpg|x450px|alt=Natalie Bloniarz]]
|caption =
|label2 =
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}}
 
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=Overview=
The paragraph should give a three to five sentence abstract about your entire London HUA experience including 1) a summary of the aims of your project, 2) your prior experience with humanities and arts courses and disciplines, and 3) your major takeaways from the experience.
 

My goal for my London HUA experience is to explore art through history. Specifically, I will be exploring the history of architecture through art, the characteristics of religious art throughout history, and the history, purpose, style, and creation of stained glass windows. Previous courses I have taken in the humanities and arts are: AR1101 Digital Imaging and Computer Art, MU 2637 String Ensemble, and I have experience from high school courses such as AP U.S. History, AP European History, AP Literature and Composition, and AP Language and Composition. MAJOR TAKEAWAYS HERE.
 

=Milestone 1=
'''London Architecture ''' 
'''Objective:''' A descriptive timeline of the change in architecture throughout the city over time through photographs including comparing different churches, buildings, bridges, museums and even unsung architectures accomplishments such as parking garages (or car parks).
 
This is in collaboration with [[User:Eawilson|Emily Wilson]] and [[User:Osgibbs|Olivia Gibbs]]
 
Over the course of 2 weeks, we have traveled around London taking pictures and researching some of London's most stand out buildings. We have found the best source for finding architecture information which is the Royal Institute of British Architects (RIBA) Library, and some interesting facts about all of the buildings. Many buildings have been built multiple times due to the great fire of London, and more recent buildings were built in controversy. The buildings that we researched all have a rich history and interesting architectural design elements that add to the city. This has been a great experience and we have learned a lot about the buildings that make up the city of London.
 
[[London Architecture|Read More]]
 

=Milestone 2=
 
'''A Mosaic of Mosaics''' 
'''Objective:''' To develop an understand the techniques and materials needed to create a mosaic and apply that to a new digital medium.
 
Throughout this milestone I learned about mosaic, and the materials and tools needed to create one. I then applied this knowledge to a digital setting (Photoshop) and compared how it is different from the traditional methods. I can confidently say that the process of creating a digital mosaic is much more forgiving than a physical mosaic. I also began to learn that a digital mosaic has limits not unlike a physical mosaic; the main limit being the time the creator of the mosaic has to work on it and it is also limited by the processing ability of the computer being used, if the file becomes to big the computer cannot complete the desired action.
 
[[A Mosaic of Mosaics|Read More]]
 

=Milestone 3, Capstone=
 
'''Capstone: The History, Purpose, and Techniques of Stained Glass Windows''' 
'''Objective:''' To develop an understanding of the history of stained glass windows including their purpose, and to study the techniques needed to create a window; then applying those techniques to create my own stained glass window.
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It was an interesting experience to be able to go into creating the window with all of my research and actually have a physical representation of my efforts. I enjoyed being able to create this window as the capstone for my humanities and arts requirement, and I have a new found interest in the glass blowing classes at WPI to continue working with glass.
 
[[The History, Purpose, and Techniques of Stained Glass Windows|Read More]]
 

=Activity Journal=
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. I will be uploading photos soon.
 
===Week 1===
====Activity #1 [[Westminster Abbey|Westminster Abbey]] and the [[Tower of London|Tower of London]]====
Today's visit to [[Westminster Abbey|Westminster Abbey]] helped me to refine my first milestone from a broad history of architecture to a more focused analysis of Gothic architecture. It also provided a starting point for my research into Gothic architecture and some basic history of the Abbey. Though I really wanted to take photos inside to use for my milestone, I understand that that is not possible. I also started my quest to find the ugliest picture of Jesus as a baby, to keep with the tradition started by my brother on our vacation to Italy.
 
During the visit to the [[Tower of London|Tower of London]], I had discovered that medieval history is a period that I do not find that appealing to study. The queue leading up to catch a glimpse of the [[Crown Jewels|crown jewels]] felt like waiting for a roller coaster. The silliest part was that the exhibit was incredibly short, and to keep people moving they had a moving sidewalk along the row of crowns. I would have loved to spend more time looking at the ostentatious jewels, but it was incredibly crowded and my height made it hard to see around others in the exhibit.
 
I was so excited to have taken my first double-decker bus and getting to sit right in the front up on the upper level. It was interesting to see the crowds of other tourists get on and look confused from the Oxford Street stop I got on at, shift to bunches of more confident locals. The weirdest part of the journey was seeing one person getting on then immediately getting off one stop later, which would have been a two minute walk down the road.

 
 

====Activity #2 [[British Museum|The British Museum]]====
I really enjoyed today's visit to the [[British Museum|British Museum]]. After deciding last night to join the other two girls, [[User:Eawilson|Emily]] and [[User:Osgibbs|Olivia]], in the architecture group for their first milestone, this provided a great opportunity to start working with them. The museum courtyard provided some great photos for the milestone, and it was incredibly designed. The thought that people had built that intricate glass ceiling, creating the largest covered square in England, was fascinating. I especially enjoyed looking at all of the Egyptian artifacts, as that is my favorite time period throughout all of history. The sheer number of artifacts in the museum was incredible and it would take at least a week to be able to see and appreciate their extensive collection. I would love to go back at a later date to further explore the other wings of the museum. I knew that the British people had a large collection of Egyptian artifacts, but I never knew that the British Museum has the second largest collection outside of the Egyptian Museum in Cairo.
 
I also got the chance to do some more exploring in London on a quest to complete the scavenger hunt. At the end of our scavenger hunt quest we returned to [[Westminster Abbey]] to attend evensong. It was a pleasant experience and the choir sounded incredible, it was also a nice experience to attend the service to get a better idea of the protestant faith. It was cool to see that it is possible to sit right next the choir and among the members of the clergy. I wish I could have taken my own photos inside the Abbey for my milestone, but I understand they want to maintain the rights to images of the Abbey.
 
 

====Activity #3[[St. Paul's Cathedral| St. Paul's Cathedral]]====
Today's visit to [[St. Paul's Cathedral]] was incredibly interesting because it was a major architectural shift from [[Westminster Abbey]]. The two churches are similar in their abundance of statues and graves but are vastly different in appearance. The inside of the cathedral was stunning and bright. My two favorite aspects of the cathedral were the golden mosaics and the whispering gallery. The whispering gallery reminded me of the inside of Il Duomo in Florence, both with incredibly narrow staircases that have the tiniest of windows and their imposing artwork staring down at you. The cathedral is also a part of my first milestone and provided a good amount of the information I needed to research. I also learned today that the Dean's stairs were actually in Harry Potter like I thought. I find it fascinating to see that the movies took the time to find the most authentic English architecture to include in scenes, it helps ground the movies more towards reality.
 
Today was also a journey to capture more photos of buildings for my first milestone, taking me to the Gherkin, the Lloyd's Building, the Royal Exchange, and the Barbican Centre. I cannot wait to go back to the Barbican Centre because of its beautiful courtyard. I am also looking into taking a tour about the architecture of the building. The Gherkin was my favorite building to observe because of its unique shape. My least favorite building was the Barbican Centre only because of its brutalist style, which I find rather dreary and overtly industrial. The courtyard inside of the building made up for the drab architecture and is a place I hope to visit again.
 
 

====Activity #4 [[The National Gallery|The National Gallery]]====
I did not really enjoy the visit to [[The National Gallery]] today. The majority of the art I managed to see was early christian art that contains a myriad of paintings with the same four events in the life of Jesus and Mary: the Crucifixion, the Assumption, the arrival of the magi, and Mary with baby Jesus, The museum provided me the opportunity to increase my ugly baby Jesus tally to 12. The only paintings I truly enjoyed observing were the work of [[The National Gallery#Claude Monet|Claude Monet]]. I did manage to find one work of art relevant to my milestone as I exited the building; there was a large tile mosaic on the ground depicting the roman gods and I hope to go back to get a better look and study the large mosaic. Another reason I did not particularly like this museum was that even at opening, it was ultra crowded. I was hard to appreciate some of the art in such a loud place in some of the galleries. This museum almost felt like a repeat of previous museums that I had visited including the Metropolitan Museum of Art in New York City, and Gli Uffizi in Florence; that is not to say that I did not appreciate the art it just felt rather redundant.
 
 

====Activity #5 The [[Natural History Museum|Natural History Museum]]====
As a popular sight for children, the Natural History Museum was super crowded with school groups of little children in their bright safety vests. The museum had a subsection of the Minerals & The Vault exhibit which has contributed to my milestone all about [[Natural History Museum#Building Materials| building materials]]. The anamatronic T-Rex was really cool, and seeing the looks of wonder on some of the primary school children's faces was priceless. The large open cafe area provided great views of the stain glass windows of the original building as well as a chance to observe the mosaic floor. My favorite part of the museum was the Mineral & The Vault area because I have always had a fascination with rocks and gems since my childhood. The location of the museum was also convenient in that it was adjacent to the Victoria and Albert Museum which has an entire wing on architecture as well as a large amount of stained glass windows for my third milestone.
 
Today also marked my first official visit to [[The British Library]] on a research adventure for my first milestone. I had found three very helpful books that had information on the style and history of the buildings that I am researching as my portion of milestone one. The most helpful was "Reference Guides to National Architecture: Architecture of England, Scotland, and Wales" by Nigel R. Jones. Now that I have also stared to pan my other milestones more I am compiling a list of places to return to in an effort to earn more about either their mosaics or stained glass windows. I had a breakthrough in the idea for my second milestone in comparing two major types of mosaics: decorative and functional, which can be exemplified ny the difference between the mosaics of [[St. Paul's Cathedral]] and the floors of some of the museums including the Victoria and Albert Museum.
 
 

===Week 2===
====Activity #1 [[Tate Britain|Tate Britain]]====
The Tate Britain felt surprisingly small compared to its grandiose outside. I am starting to get a bit burned out going to museum after museum, where the content inside seems to stay the same. The most interesting piece of art was a modern installation by Cerith Wyn Evans called Forms in Space ...by Light (in Time). This piece was a huge mass of neon tubes hanging from the ceiling spanning the length of the museum. and if you stand at the entrance of the museum you can see the entire piece appearing as a flattened drawing in the air through a single neon ring.
 
I wish these museum visits were spread further apart to allow more time to dedicate to milestone one. Only having the afternoon to complete an article or contribution, a journal entry, and go read at the library is not enough time to put in all of the needed effort. It is also mildly frustrating to spend a majority of my day for two weeks going to places that aren't directly relevant to my milestones. I understand it is important to see all of these works of art and to be aware of other things besides my milestone but to spend three or four hours in a place to only stare at a single feature of art piece saps my will to continue working. The most helpful part of these activities so far has been seeing mosaics that I will come back and photograph and study in depth and looking at stained-glass windows in the churches we have visited.
 
 

====Activity #2 [[Victoria and Albert Museum|Victoria and Albert Museum]]====
As expected from how I enjoyed my previous visit, I loved the [[Victoria and Albert Museum]]. My only problem is that it is so easy to get lost inside of that museum and the online map is useless. My favorite exhibit I got to see today was the [[Victoria and Albert Museum#Stained Glass Exhibit|stained glass]] collection both in its own exhibit and among the period art. I wish that I had time to locate the section on mosaics to begin work on my second milestone, but I guess it will have to wait for another day. The stained glass section really helped me to understand the visuals of the history I read about yesterday and the transition from just stained glass to painted glass, and then back to the more traditional style was amazing to see up close and to get to study the details on the original windows in the book.
 
 

====Activity #3 [[Tate Modern|Tate Modern]]====
I have and will never understand modern art. There were a few things I enjoyed such as the pieces by Monet, Warhol, and three media elements, two auditory experiences: ''Wetin You Go Do?'' by Otobong Nkanga’ and ''Forty-Part Motet'' by Janet Cardiff, and a video ''How Not to Be Seen: A Fucking Didactic Educational .MOV File'' by Hito Steyerl. The video was just so ridiculous confirming some of my views on modern art, that sometimes modern art is just a practical joke that people haven't caught onto yet. The impending due date of the milestone is causing me stress that I don't have enough time to do everything, which in a sense is true because it is compressing seven weeks worth of work into two. I could argue against myself saying that it is the only thing I am focused on but that would be a lie. I have journal entries and articles to write, research to be done, and two other milestones to worry about. Being in a team has been the best choice I have made so far, but that is not quelling my anxiety. I want to visit all of these places but I am also worried that I do not have enough time to go and research. I don't want to buy books to only be focusing on them for two weeks and these books can get expensive, but I guess my tuition only covers so much. Maybe after this week I will feel less like I am drowning in work.
 
 

====Activity #4 [[Museum of London|Museum of London]]====
The coolest part of the museum today was the Olympic torch. I did manage to gather some relevant milestone information regarding columns and s mosaic, but in general I found it kinda boring. The history focusing on London was cool but all of the museums are blurring together and it is harder to tell each day apart. I am becoming a bit unsure about the focus of my second milestone; I want to study mosaics, but I don't know in what capacity. I believe it would be best for me to focus on religious imagery in mosaics, Catholic, Roman or otherwise, to help narrow down my background research. Being able to have enough photos of mosaics to create my own mosaic will be challenging because the most colorful ones are in places that I cannot photograph, meaning I will have to probably rip photos from the internet. My article entries are starting to show some of my disinterest in the topics I had chosen to write about, and I want to change that, but my motivation is severely lacking. I am excited for the weekend because it means a mental break, but I fear I might have to spend it in the library reading in preparation for my next milestone.
 
 

===Week 3===
====Activity #1 [[Museum of London Docklands|Museum of London Docklands]]====
I really enjoyed the museum today, much more than the other [[Museum of London]]. This one went much more in depth throughout the exhibits and was completely empty almost all morning. It was also cool to see the view of World War II and the slave trade through the eyes of the British, and how much they were impacted. Today's visit did relate to my first milestone, in that it had a small section on the modernization of London along the Thames that referenced City Hall and the London Eye. It was also cool to see the Sainsbury study area with the history of Sainsbury laid out in the entrance way. I am back to square one for my second milestone because I cannot seem to find any books about religious imagery in mosaics, and I might have to broaden the topic to the history and techniques of mosaics, to keep the topic of mosaics viable. I feel secure in my third milestone and I have found tons of useful books that I need to take the time to fully read and compile the information. I feel refreshed and ready for this next week of work, and I can't wait for the weekend to come to go exploring with my parents.
 
 

====Activity #2 [[Imperial War Museum|Imperial War Museum]]====
Today was not a happy day. After the events of last night, this museum was another punch in the gut. Humanity can be cruel. On a lighter note, the art for the World War I posters was cool and I enjoyed learning about the war from another perspective. Today was a super long reading day, though one of the books I really want to read, I can only find in Italian at the British Library and it is annoyingly expensive to buy. I might have to make use without it, but it would have been really useful. I also went through my photos and realized that I need more photos of mosaics, so I cannot wait to revisit some of the museums to get more photos to use for my mosaic. Maybe tomorrow will be better.
 
 

====Activity #3 [[Hampton Court Palace|Hampton Court Palace]]====
Where am I, I can't be in London, right? It was hot today, reaching a balmy 78°F. It was a great day to go to the palace and enjoy the gardens, the weather was perfect. I enjoyed the change of scenery from our standard London adventures, but Tudor England is not my ideal aesthetic. The palace was super enjoyable when it was empty, but once the school children came it got hard to hear the audio tour and move about the halls. My favorite part of today was exploring the gardens and looking at the hoard of deer they had on the property. I wish I had time to devote to reading for my second milestone today but sleep was calling and I couldn't ignore it. Hopefully tomorrow we don't spend as much time in the museum so I can devote all of my time to holing myself up in the library and reading boring books on mosaics. Mosaics: fascinating art, nightmare to read about.
 
 

====Activity #4 [[Horniman Museum|Horniman Museum]]====
This place was creepy. It was full of little children and dead animals, and that is super unnerving.The gardens were the highlight of the trip with the pleasant breeze and sound of wind chimes in the air. I really need to read for my milestone and take more pictures of mosaics, because I am severely lacking. I love mosaics, but books talking about their history are so dry, it feels like a 400 page trek through the Sahara. I can't wait to get this background done to work on my deliverable and make my mosaic.
 
 

===Week 4===
====Activity #1 [[The Wallace Collection|The Wallace Collection]]====
Baroque art is not my style. Something about the sheer excessive use of gold and other precious metals makes me feel that the art of the period was just created as an excuse to spend money. I have decided to expand the ugly baby Jesus count to include regular ugly babies as well, and the count now stands around 24. The one painting I was excited to see was [[The Wallace Collection#The Swing|The Swing]] because I have studied that painting in high school during AP European History. It was interesting to be able to learn more about the painting's origins and that the patron wanted to be painted admiring his mistress's legs from below. I am excited to start devoting my entire day to working on my milestones and having a mental break from most museums. On Sunday I went to see a classical concert, the Schumann Quartet, with my parents at Wigmore Hall.
 
 

====Activity #2 [[London Science Museum|London Science Museum]]====
This was my favorite of the non art museums to visit because I felt it was aimed to a slightly older audience then the [[Natural History Museum]]. The mathematics and communications exhibits were fascinating and I was excited to get to wander around without having to worry about mowing over all of the school children. I also got the chance to go the the [[Victoria and Albert Museum]] to take more photos of mosaics for my second milestone but I was disappointing that the mosaic collection was incredible limited but it gave me some more colorful options for my mosaic. I also did a bit of research into other books for my second milestone and create the basic outline for the design of my mosaic.
 
 

===Week 5===
====Activity #1 The [[British Museum]] & [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']]====
The [[British Museum]] today served as more inspiration for my second milestone in that I took more photos of mosaics and I got up close and personal with some Roman mosaics. I want to make another mosaic for milestone two in a Roman style that either depicts a figure or animal, maybe including some of the mythology; this would link the history I initially read about before I decided to scope down to just techniques and materials needed. [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']] was odd to say the least with creepy clown makeup, dub-step, and complete breaks of character as only some of the oddities. It was fun to see the show with such a modern interpretation, but I feel it went almost too far with the modernization in some aspects (clown makeup) and lacking in others (keeping the original Shakespearean dialog). I was glad I got to see the play, but it is not something I would go out of my way to see again.
 
 

====Activity #2 [[Stonehenge|Stonehenge]], [[Bath|Bath]], and Lacock====
I really enjoyed the tour of these three locations, as they were places I originally planned to visit when my parents were in London. I though [[Stonehenge]] would have been bigger, as many of the photos capture it that way, and I was disappointing that it was roped off. I find it funny that we know so little about what its purpose is so even the wildest speculations could be true (i.e. aliens). [[Bath]] was interesting in that the city's main attraction could almost be viewed as a hoax, with it recent construction date. I understand the history and why it isn't, but that reconstruction with the insides antiqued makes me laugh that people believe that it is actually a Roman building. Lacock was cool because it was a trip into the land of Hollywood without leaving England. I thought the church and buildings looked familiar, and it was nice to have someone confirm my suspicions. I feel horrible for the people who live in the house they filmed Harry Potter's parents dying, as the constant flow of tourists taking photos of your house and even encroaching onto the property must get old real fast.
 
 

===Week 6===
====Activity #1 [[Windsor Castle|Windsor Castle]]====
[[Windsor Castle]] was surprisingly small compared to how it looks. I understand that it is a working royal castle where the Queen actively spends her weekends, but it was painfully small compared to what I was expecting after [[Hampton Court Palace]]. I don't understand this country's obsession with audio tours, for once I just want a human over technology. The doll house and porcelain doll collection was nightmare fuel. I cannot grasp that people find those dolls cute, they are utterly terrifying. I feel bad for going into places and just cracking jokes about all of the paintings of rich white men in tights, but I know deep down that I do appreciate the art. It is also funny to me how expansive the castle is for just a few people. If Britain was so concerned about the homeless population they could house so many people in unused castles.
 
 

====Activity #2 Stained Glass Workshop====
This was my big day, a chance to see the theoretical knowledge from the past four weeks put into practice. Arriving at the studio was odd because the studio is located in the Bow Arts Trust building among many other studios, in addition to being inside another building the studio was three floors up from a tiny doorway in an alley. The entire day was surreal, in that for the first time in a while I felt completely comfortable trying something new. The window sadly ended up being much simpler than my original design, but I am proud of what I accomplished in approximately seven hours. The weirdest part of the day was that an Persian news network was filming the workshop for a segment on a daytime television show about crafts in London. I am happy to say that I escaped unscathed from my adventure with a large amount of lead and sharp glass, and I gave myself a pat on the back for that. The new challenge now is getting the window home without breaking the bank.
 
 

===Week 7===
 

===My Complete Contributions===
====[[Special:Contributions/Nbloniarz|All of My Created Content and Edits]]====

[[Category:Profiles]]
[[Category:2017]]
[[Category:Advisor:Manzo]]

User:Nbloniarz

2017-06-21T12:53:26Z

Nbloniarz:

=Natalie Bloniarz=
{{Infobox
|title = Natalie Bloniarz
|header1 =
|bodystyle = width:25em
|image = [[File:Graduation_Photo.jpg|x450px|alt=Natalie Bloniarz]]
|caption =
|label2 =
|data2 =
}}
 
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=Overview=
The paragraph should give a three to five sentence abstract about your entire London HUA experience including 1) a summary of the aims of your project, 2) your prior experience with humanities and arts courses and disciplines, and 3) your major takeaways from the experience.
 

My goal for my London HUA experience is to explore art through history. Specifically, I will be exploring the history of architecture through art, the characteristics of religious art throughout history, and the history, purpose, style, and creation of stained glass windows. Previous courses I have taken in the humanities and arts are: AR1101 Digital Imaging and Computer Art, MU 2637 String Ensemble, and I have experience from high school courses such as AP U.S. History, AP European History, AP Literature and Composition, and AP Language and Composition. MAJOR TAKEAWAYS HERE.
 

=Milestone 1=
'''London Architecture ''' 
'''Objective:''' A descriptive timeline of the change in architecture throughout the city over time through photographs including comparing different churches, buildings, bridges, museums and even unsung architectures accomplishments such as parking garages (or car parks).
 
This is in collaboration with [[User:Eawilson|Emily Wilson]] and [[User:Osgibbs|Olivia Gibbs]]
 
Over the course of 2 weeks, we have traveled around London taking pictures and researching some of London's most stand out buildings. We have found the best source for finding architecture information which is the Royal Institute of British Architects (RIBA) Library, and some interesting facts about all of the buildings. Many buildings have been built multiple times due to the great fire of London, and more recent buildings were built in controversy. The buildings that we researched all have a rich history and interesting architectural design elements that add to the city. This has been a great experience and we have learned a lot about the buildings that make up the city of London.
 
[[London Architecture|Read More]]
 

=Milestone 2=
 
'''A Mosaic of Mosaics''' 
'''Objective:''' To develop an understand the techniques and materials needed to create a mosaic and apply that to a new digital medium.
 
Throughout this milestone I learned about mosaic, and the materials and tools needed to create one. I then applied this knowledge to a digital setting (Photoshop) and compared how it is different from the traditional methods. I can confidently say that the process of creating a digital mosaic is much more forgiving than a physical mosaic. I also began to learn that a digital mosaic has limits not unlike a physical mosaic; the main limit being the time the creator of the mosaic has to work on it and it is also limited by the processing ability of the computer being used, if the file becomes to big the computer cannot complete the desired action.
 
[[A Mosaic of Mosaics|Read More]]
 

=Milestone 3, Capstone=
 
'''Capstone: The History, Purpose, and Techniques of Stained Glass Windows''' 
'''Objective:''' To develop an understanding of the history of stained glass windows including their purpose, and to study the techniques needed to create a window; then applying those techniques to create my own stained glass window.
 
Below the objective statement, Insert a one or two paragraph summary of your findings from having reached this milestone. If this milestone, for you, represents a humanities and arts capstone, please indicate so. Edit the link below to link to your milestone page.
 
'''BETTER SUMMARY HERE''' After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It would be interesting to see how the art form will continue to evolve over time and what the purpose of it will be.
 
[[The History, Purpose, and Techniques of Stained Glass Windows|Read More]]
 

=Activity Journal=
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. I will be uploading photos soon.
 
===Week 1===
====Activity #1 [[Westminster Abbey|Westminster Abbey]] and the [[Tower of London|Tower of London]]====
Today's visit to [[Westminster Abbey|Westminster Abbey]] helped me to refine my first milestone from a broad history of architecture to a more focused analysis of Gothic architecture. It also provided a starting point for my research into Gothic architecture and some basic history of the Abbey. Though I really wanted to take photos inside to use for my milestone, I understand that that is not possible. I also started my quest to find the ugliest picture of Jesus as a baby, to keep with the tradition started by my brother on our vacation to Italy.
 
During the visit to the [[Tower of London|Tower of London]], I had discovered that medieval history is a period that I do not find that appealing to study. The queue leading up to catch a glimpse of the [[Crown Jewels|crown jewels]] felt like waiting for a roller coaster. The silliest part was that the exhibit was incredibly short, and to keep people moving they had a moving sidewalk along the row of crowns. I would have loved to spend more time looking at the ostentatious jewels, but it was incredibly crowded and my height made it hard to see around others in the exhibit.
 
I was so excited to have taken my first double-decker bus and getting to sit right in the front up on the upper level. It was interesting to see the crowds of other tourists get on and look confused from the Oxford Street stop I got on at, shift to bunches of more confident locals. The weirdest part of the journey was seeing one person getting on then immediately getting off one stop later, which would have been a two minute walk down the road.

 
 

====Activity #2 [[British Museum|The British Museum]]====
I really enjoyed today's visit to the [[British Museum|British Museum]]. After deciding last night to join the other two girls, [[User:Eawilson|Emily]] and [[User:Osgibbs|Olivia]], in the architecture group for their first milestone, this provided a great opportunity to start working with them. The museum courtyard provided some great photos for the milestone, and it was incredibly designed. The thought that people had built that intricate glass ceiling, creating the largest covered square in England, was fascinating. I especially enjoyed looking at all of the Egyptian artifacts, as that is my favorite time period throughout all of history. The sheer number of artifacts in the museum was incredible and it would take at least a week to be able to see and appreciate their extensive collection. I would love to go back at a later date to further explore the other wings of the museum. I knew that the British people had a large collection of Egyptian artifacts, but I never knew that the British Museum has the second largest collection outside of the Egyptian Museum in Cairo.
 
I also got the chance to do some more exploring in London on a quest to complete the scavenger hunt. At the end of our scavenger hunt quest we returned to [[Westminster Abbey]] to attend evensong. It was a pleasant experience and the choir sounded incredible, it was also a nice experience to attend the service to get a better idea of the protestant faith. It was cool to see that it is possible to sit right next the choir and among the members of the clergy. I wish I could have taken my own photos inside the Abbey for my milestone, but I understand they want to maintain the rights to images of the Abbey.
 
 

====Activity #3[[St. Paul's Cathedral| St. Paul's Cathedral]]====
Today's visit to [[St. Paul's Cathedral]] was incredibly interesting because it was a major architectural shift from [[Westminster Abbey]]. The two churches are similar in their abundance of statues and graves but are vastly different in appearance. The inside of the cathedral was stunning and bright. My two favorite aspects of the cathedral were the golden mosaics and the whispering gallery. The whispering gallery reminded me of the inside of Il Duomo in Florence, both with incredibly narrow staircases that have the tiniest of windows and their imposing artwork staring down at you. The cathedral is also a part of my first milestone and provided a good amount of the information I needed to research. I also learned today that the Dean's stairs were actually in Harry Potter like I thought. I find it fascinating to see that the movies took the time to find the most authentic English architecture to include in scenes, it helps ground the movies more towards reality.
 
Today was also a journey to capture more photos of buildings for my first milestone, taking me to the Gherkin, the Lloyd's Building, the Royal Exchange, and the Barbican Centre. I cannot wait to go back to the Barbican Centre because of its beautiful courtyard. I am also looking into taking a tour about the architecture of the building. The Gherkin was my favorite building to observe because of its unique shape. My least favorite building was the Barbican Centre only because of its brutalist style, which I find rather dreary and overtly industrial. The courtyard inside of the building made up for the drab architecture and is a place I hope to visit again.
 
 

====Activity #4 [[The National Gallery|The National Gallery]]====
I did not really enjoy the visit to [[The National Gallery]] today. The majority of the art I managed to see was early christian art that contains a myriad of paintings with the same four events in the life of Jesus and Mary: the Crucifixion, the Assumption, the arrival of the magi, and Mary with baby Jesus, The museum provided me the opportunity to increase my ugly baby Jesus tally to 12. The only paintings I truly enjoyed observing were the work of [[The National Gallery#Claude Monet|Claude Monet]]. I did manage to find one work of art relevant to my milestone as I exited the building; there was a large tile mosaic on the ground depicting the roman gods and I hope to go back to get a better look and study the large mosaic. Another reason I did not particularly like this museum was that even at opening, it was ultra crowded. I was hard to appreciate some of the art in such a loud place in some of the galleries. This museum almost felt like a repeat of previous museums that I had visited including the Metropolitan Museum of Art in New York City, and Gli Uffizi in Florence; that is not to say that I did not appreciate the art it just felt rather redundant.
 
 

====Activity #5 The [[Natural History Museum|Natural History Museum]]====
As a popular sight for children, the Natural History Museum was super crowded with school groups of little children in their bright safety vests. The museum had a subsection of the Minerals & The Vault exhibit which has contributed to my milestone all about [[Natural History Museum#Building Materials| building materials]]. The anamatronic T-Rex was really cool, and seeing the looks of wonder on some of the primary school children's faces was priceless. The large open cafe area provided great views of the stain glass windows of the original building as well as a chance to observe the mosaic floor. My favorite part of the museum was the Mineral & The Vault area because I have always had a fascination with rocks and gems since my childhood. The location of the museum was also convenient in that it was adjacent to the Victoria and Albert Museum which has an entire wing on architecture as well as a large amount of stained glass windows for my third milestone.
 
Today also marked my first official visit to [[The British Library]] on a research adventure for my first milestone. I had found three very helpful books that had information on the style and history of the buildings that I am researching as my portion of milestone one. The most helpful was "Reference Guides to National Architecture: Architecture of England, Scotland, and Wales" by Nigel R. Jones. Now that I have also stared to pan my other milestones more I am compiling a list of places to return to in an effort to earn more about either their mosaics or stained glass windows. I had a breakthrough in the idea for my second milestone in comparing two major types of mosaics: decorative and functional, which can be exemplified ny the difference between the mosaics of [[St. Paul's Cathedral]] and the floors of some of the museums including the Victoria and Albert Museum.
 
 

===Week 2===
====Activity #1 [[Tate Britain|Tate Britain]]====
The Tate Britain felt surprisingly small compared to its grandiose outside. I am starting to get a bit burned out going to museum after museum, where the content inside seems to stay the same. The most interesting piece of art was a modern installation by Cerith Wyn Evans called Forms in Space ...by Light (in Time). This piece was a huge mass of neon tubes hanging from the ceiling spanning the length of the museum. and if you stand at the entrance of the museum you can see the entire piece appearing as a flattened drawing in the air through a single neon ring.
 
I wish these museum visits were spread further apart to allow more time to dedicate to milestone one. Only having the afternoon to complete an article or contribution, a journal entry, and go read at the library is not enough time to put in all of the needed effort. It is also mildly frustrating to spend a majority of my day for two weeks going to places that aren't directly relevant to my milestones. I understand it is important to see all of these works of art and to be aware of other things besides my milestone but to spend three or four hours in a place to only stare at a single feature of art piece saps my will to continue working. The most helpful part of these activities so far has been seeing mosaics that I will come back and photograph and study in depth and looking at stained-glass windows in the churches we have visited.
 
 

====Activity #2 [[Victoria and Albert Museum|Victoria and Albert Museum]]====
As expected from how I enjoyed my previous visit, I loved the [[Victoria and Albert Museum]]. My only problem is that it is so easy to get lost inside of that museum and the online map is useless. My favorite exhibit I got to see today was the [[Victoria and Albert Museum#Stained Glass Exhibit|stained glass]] collection both in its own exhibit and among the period art. I wish that I had time to locate the section on mosaics to begin work on my second milestone, but I guess it will have to wait for another day. The stained glass section really helped me to understand the visuals of the history I read about yesterday and the transition from just stained glass to painted glass, and then back to the more traditional style was amazing to see up close and to get to study the details on the original windows in the book.
 
 

====Activity #3 [[Tate Modern|Tate Modern]]====
I have and will never understand modern art. There were a few things I enjoyed such as the pieces by Monet, Warhol, and three media elements, two auditory experiences: ''Wetin You Go Do?'' by Otobong Nkanga’ and ''Forty-Part Motet'' by Janet Cardiff, and a video ''How Not to Be Seen: A Fucking Didactic Educational .MOV File'' by Hito Steyerl. The video was just so ridiculous confirming some of my views on modern art, that sometimes modern art is just a practical joke that people haven't caught onto yet. The impending due date of the milestone is causing me stress that I don't have enough time to do everything, which in a sense is true because it is compressing seven weeks worth of work into two. I could argue against myself saying that it is the only thing I am focused on but that would be a lie. I have journal entries and articles to write, research to be done, and two other milestones to worry about. Being in a team has been the best choice I have made so far, but that is not quelling my anxiety. I want to visit all of these places but I am also worried that I do not have enough time to go and research. I don't want to buy books to only be focusing on them for two weeks and these books can get expensive, but I guess my tuition only covers so much. Maybe after this week I will feel less like I am drowning in work.
 
 

====Activity #4 [[Museum of London|Museum of London]]====
The coolest part of the museum today was the Olympic torch. I did manage to gather some relevant milestone information regarding columns and s mosaic, but in general I found it kinda boring. The history focusing on London was cool but all of the museums are blurring together and it is harder to tell each day apart. I am becoming a bit unsure about the focus of my second milestone; I want to study mosaics, but I don't know in what capacity. I believe it would be best for me to focus on religious imagery in mosaics, Catholic, Roman or otherwise, to help narrow down my background research. Being able to have enough photos of mosaics to create my own mosaic will be challenging because the most colorful ones are in places that I cannot photograph, meaning I will have to probably rip photos from the internet. My article entries are starting to show some of my disinterest in the topics I had chosen to write about, and I want to change that, but my motivation is severely lacking. I am excited for the weekend because it means a mental break, but I fear I might have to spend it in the library reading in preparation for my next milestone.
 
 

===Week 3===
====Activity #1 [[Museum of London Docklands|Museum of London Docklands]]====
I really enjoyed the museum today, much more than the other [[Museum of London]]. This one went much more in depth throughout the exhibits and was completely empty almost all morning. It was also cool to see the view of World War II and the slave trade through the eyes of the British, and how much they were impacted. Today's visit did relate to my first milestone, in that it had a small section on the modernization of London along the Thames that referenced City Hall and the London Eye. It was also cool to see the Sainsbury study area with the history of Sainsbury laid out in the entrance way. I am back to square one for my second milestone because I cannot seem to find any books about religious imagery in mosaics, and I might have to broaden the topic to the history and techniques of mosaics, to keep the topic of mosaics viable. I feel secure in my third milestone and I have found tons of useful books that I need to take the time to fully read and compile the information. I feel refreshed and ready for this next week of work, and I can't wait for the weekend to come to go exploring with my parents.
 
 

====Activity #2 [[Imperial War Museum|Imperial War Museum]]====
Today was not a happy day. After the events of last night, this museum was another punch in the gut. Humanity can be cruel. On a lighter note, the art for the World War I posters was cool and I enjoyed learning about the war from another perspective. Today was a super long reading day, though one of the books I really want to read, I can only find in Italian at the British Library and it is annoyingly expensive to buy. I might have to make use without it, but it would have been really useful. I also went through my photos and realized that I need more photos of mosaics, so I cannot wait to revisit some of the museums to get more photos to use for my mosaic. Maybe tomorrow will be better.
 
 

====Activity #3 [[Hampton Court Palace|Hampton Court Palace]]====
Where am I, I can't be in London, right? It was hot today, reaching a balmy 78°F. It was a great day to go to the palace and enjoy the gardens, the weather was perfect. I enjoyed the change of scenery from our standard London adventures, but Tudor England is not my ideal aesthetic. The palace was super enjoyable when it was empty, but once the school children came it got hard to hear the audio tour and move about the halls. My favorite part of today was exploring the gardens and looking at the hoard of deer they had on the property. I wish I had time to devote to reading for my second milestone today but sleep was calling and I couldn't ignore it. Hopefully tomorrow we don't spend as much time in the museum so I can devote all of my time to holing myself up in the library and reading boring books on mosaics. Mosaics: fascinating art, nightmare to read about.
 
 

====Activity #4 [[Horniman Museum|Horniman Museum]]====
This place was creepy. It was full of little children and dead animals, and that is super unnerving.The gardens were the highlight of the trip with the pleasant breeze and sound of wind chimes in the air. I really need to read for my milestone and take more pictures of mosaics, because I am severely lacking. I love mosaics, but books talking about their history are so dry, it feels like a 400 page trek through the Sahara. I can't wait to get this background done to work on my deliverable and make my mosaic.
 
 

===Week 4===
====Activity #1 [[The Wallace Collection|The Wallace Collection]]====
Baroque art is not my style. Something about the sheer excessive use of gold and other precious metals makes me feel that the art of the period was just created as an excuse to spend money. I have decided to expand the ugly baby Jesus count to include regular ugly babies as well, and the count now stands around 24. The one painting I was excited to see was [[The Wallace Collection#The Swing|The Swing]] because I have studied that painting in high school during AP European History. It was interesting to be able to learn more about the painting's origins and that the patron wanted to be painted admiring his mistress's legs from below. I am excited to start devoting my entire day to working on my milestones and having a mental break from most museums. On Sunday I went to see a classical concert, the Schumann Quartet, with my parents at Wigmore Hall.
 
 

====Activity #2 [[London Science Museum|London Science Museum]]====
This was my favorite of the non art museums to visit because I felt it was aimed to a slightly older audience then the [[Natural History Museum]]. The mathematics and communications exhibits were fascinating and I was excited to get to wander around without having to worry about mowing over all of the school children. I also got the chance to go the the [[Victoria and Albert Museum]] to take more photos of mosaics for my second milestone but I was disappointing that the mosaic collection was incredible limited but it gave me some more colorful options for my mosaic. I also did a bit of research into other books for my second milestone and create the basic outline for the design of my mosaic.
 
 

===Week 5===
====Activity #1 The [[British Museum]] & [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']]====
The [[British Museum]] today served as more inspiration for my second milestone in that I took more photos of mosaics and I got up close and personal with some Roman mosaics. I want to make another mosaic for milestone two in a Roman style that either depicts a figure or animal, maybe including some of the mythology; this would link the history I initially read about before I decided to scope down to just techniques and materials needed. [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']] was odd to say the least with creepy clown makeup, dub-step, and complete breaks of character as only some of the oddities. It was fun to see the show with such a modern interpretation, but I feel it went almost too far with the modernization in some aspects (clown makeup) and lacking in others (keeping the original Shakespearean dialog). I was glad I got to see the play, but it is not something I would go out of my way to see again.
 
 

====Activity #2 [[Stonehenge|Stonehenge]], [[Bath|Bath]], and Lacock====
I really enjoyed the tour of these three locations, as they were places I originally planned to visit when my parents were in London. I though [[Stonehenge]] would have been bigger, as many of the photos capture it that way, and I was disappointing that it was roped off. I find it funny that we know so little about what its purpose is so even the wildest speculations could be true (i.e. aliens). [[Bath]] was interesting in that the city's main attraction could almost be viewed as a hoax, with it recent construction date. I understand the history and why it isn't, but that reconstruction with the insides antiqued makes me laugh that people believe that it is actually a Roman building. Lacock was cool because it was a trip into the land of Hollywood without leaving England. I thought the church and buildings looked familiar, and it was nice to have someone confirm my suspicions. I feel horrible for the people who live in the house they filmed Harry Potter's parents dying, as the constant flow of tourists taking photos of your house and even encroaching onto the property must get old real fast.
 
 

===Week 6===
====Activity #1 [[Windsor Castle|Windsor Castle]]====
[[Windsor Castle]] was surprisingly small compared to how it looks. I understand that it is a working royal castle where the Queen actively spends her weekends, but it was painfully small compared to what I was expecting after [[Hampton Court Palace]]. I don't understand this country's obsession with audio tours, for once I just want a human over technology. The doll house and porcelain doll collection was nightmare fuel. I cannot grasp that people find those dolls cute, they are utterly terrifying. I feel bad for going into places and just cracking jokes about all of the paintings of rich white men in tights, but I know deep down that I do appreciate the art. It is also funny to me how expansive the castle is for just a few people. If Britain was so concerned about the homeless population they could house so many people in unused castles.
 
 

====Activity #2 Stained Glass Workshop====
This was my big day, a chance to see the theoretical knowledge from the past four weeks put into practice. Arriving at the studio was odd because the studio is located in the Bow Arts Trust building among many other studios, in addition to being inside another building the studio was three floors up from a tiny doorway in an alley. The entire day was surreal, in that for the first time in a while I felt completely comfortable trying something new. The window sadly ended up being much simpler than my original design, but I am proud of what I accomplished in approximately seven hours. The weirdest part of the day was that an Persian news network was filming the workshop for a segment on a daytime television show about crafts in London. I am happy to say that I escaped unscathed from my adventure with a large amount of lead and sharp glass, and I gave myself a pat on the back for that. The new challenge now is getting the window home without breaking the bank.
 
 

===Week 7===
 

===My Complete Contributions===
====[[Special:Contributions/Nbloniarz|All of My Created Content and Edits]]====

[[Category:Profiles]]
[[Category:2017]]
[[Category:Advisor:Manzo]]

User:Nbloniarz

2017-06-21T12:53:09Z

Nbloniarz:

=Natalie Bloniarz=
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|image = [[File:Graduation_Photo.jpg|x450px|alt=Natalie Bloniarz]]
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__TOC__

=Overview=
The paragraph should give a three to five sentence abstract about your entire London HUA experience including 1) a summary of the aims of your project, 2) your prior experience with humanities and arts courses and disciplines, and 3) your major takeaways from the experience.
 

My goal for my London HUA experience is to explore art through history. Specifically, I will be exploring the history of architecture through art, the characteristics of religious art throughout history, and the history, purpose, style, and creation of stained glass windows. Previous courses I have taken in the humanities and arts are: AR1101 Digital Imaging and Computer Art, MU 2637 String Ensemble, and I have experience from high school courses such as AP U.S. History, AP European History, AP Literature and Composition, and AP Language and Composition. MAJOR TAKEAWAYS HERE.
 

=Milestone 1=
'''London Architecture ''' 
'''Objective:''' A descriptive timeline of the change in architecture throughout the city over time through photographs including comparing different churches, buildings, bridges, museums and even unsung architectures accomplishments such as parking garages (or car parks).
 
This is in collaberation with [[User:Eawilson|Emily Wilson]] and [[User:Osgibbs|Olivia Gibbs]]
 
Over the course of 2 weeks, we have traveled around London taking pictures and researching some of London's most stand out buildings. We have found the best source for finding architecture information which is the Royal Institute of British Architects (RIBA) Library, and some interesting facts about all of the buildings. Many buildings have been built multiple times due to the great fire of London, and more recent buildings were built in controversy. The buildings that we researched all have a rich history and interesting architectural design elements that add to the city. This has been a great experience and we have learned a lot about the buildings that make up the city of London.
 
[[London Architecture|Read More]]
 

=Milestone 2=
 
'''A Mosaic of Mosaics''' 
'''Objective:''' To develop an understand the techniques and materials needed to create a mosaic and apply that to a new digital medium.
 
Throughout this milestone I learned about mosaic, and the materials and tools needed to create one. I then applied this knowledge to a digital setting (Photoshop) and compared how it is different from the traditional methods. I can confidently say that the process of creating a digital mosaic is much more forgiving than a physical mosaic. I also began to learn that a digital mosaic has limits not unlike a physical mosaic; the main limit being the time the creator of the mosaic has to work on it and it is also limited by the processing ability of the computer being used, if the file becomes to big the computer cannot complete the desired action.
 
[[A Mosaic of Mosaics|Read More]]
 

=Milestone 3, Capstone=
 
'''Capstone: The History, Purpose, and Techniques of Stained Glass Windows''' 
'''Objective:''' To develop an understanding of the history of stained glass windows including their purpose, and to study the techniques needed to create a window; then applying those techniques to create my own stained glass window.
 
Below the objective statement, Insert a one or two paragraph summary of your findings from having reached this milestone. If this milestone, for you, represents a humanities and arts capstone, please indicate so. Edit the link below to link to your milestone page.
 
'''BETTER SUMMARY HERE''' After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It would be interesting to see how the art form will continue to evolve over time and what the purpose of it will be.
 
[[The History, Purpose, and Techniques of Stained Glass Windows|Read More]]
 

=Activity Journal=
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. I will be uploading photos soon.
 
===Week 1===
====Activity #1 [[Westminster Abbey|Westminster Abbey]] and the [[Tower of London|Tower of London]]====
Today's visit to [[Westminster Abbey|Westminster Abbey]] helped me to refine my first milestone from a broad history of architecture to a more focused analysis of Gothic architecture. It also provided a starting point for my research into Gothic architecture and some basic history of the Abbey. Though I really wanted to take photos inside to use for my milestone, I understand that that is not possible. I also started my quest to find the ugliest picture of Jesus as a baby, to keep with the tradition started by my brother on our vacation to Italy.
 
During the visit to the [[Tower of London|Tower of London]], I had discovered that medieval history is a period that I do not find that appealing to study. The queue leading up to catch a glimpse of the [[Crown Jewels|crown jewels]] felt like waiting for a roller coaster. The silliest part was that the exhibit was incredibly short, and to keep people moving they had a moving sidewalk along the row of crowns. I would have loved to spend more time looking at the ostentatious jewels, but it was incredibly crowded and my height made it hard to see around others in the exhibit.
 
I was so excited to have taken my first double-decker bus and getting to sit right in the front up on the upper level. It was interesting to see the crowds of other tourists get on and look confused from the Oxford Street stop I got on at, shift to bunches of more confident locals. The weirdest part of the journey was seeing one person getting on then immediately getting off one stop later, which would have been a two minute walk down the road.

 
 

====Activity #2 [[British Museum|The British Museum]]====
I really enjoyed today's visit to the [[British Museum|British Museum]]. After deciding last night to join the other two girls, [[User:Eawilson|Emily]] and [[User:Osgibbs|Olivia]], in the architecture group for their first milestone, this provided a great opportunity to start working with them. The museum courtyard provided some great photos for the milestone, and it was incredibly designed. The thought that people had built that intricate glass ceiling, creating the largest covered square in England, was fascinating. I especially enjoyed looking at all of the Egyptian artifacts, as that is my favorite time period throughout all of history. The sheer number of artifacts in the museum was incredible and it would take at least a week to be able to see and appreciate their extensive collection. I would love to go back at a later date to further explore the other wings of the museum. I knew that the British people had a large collection of Egyptian artifacts, but I never knew that the British Museum has the second largest collection outside of the Egyptian Museum in Cairo.
 
I also got the chance to do some more exploring in London on a quest to complete the scavenger hunt. At the end of our scavenger hunt quest we returned to [[Westminster Abbey]] to attend evensong. It was a pleasant experience and the choir sounded incredible, it was also a nice experience to attend the service to get a better idea of the protestant faith. It was cool to see that it is possible to sit right next the choir and among the members of the clergy. I wish I could have taken my own photos inside the Abbey for my milestone, but I understand they want to maintain the rights to images of the Abbey.
 
 

====Activity #3[[St. Paul's Cathedral| St. Paul's Cathedral]]====
Today's visit to [[St. Paul's Cathedral]] was incredibly interesting because it was a major architectural shift from [[Westminster Abbey]]. The two churches are similar in their abundance of statues and graves but are vastly different in appearance. The inside of the cathedral was stunning and bright. My two favorite aspects of the cathedral were the golden mosaics and the whispering gallery. The whispering gallery reminded me of the inside of Il Duomo in Florence, both with incredibly narrow staircases that have the tiniest of windows and their imposing artwork staring down at you. The cathedral is also a part of my first milestone and provided a good amount of the information I needed to research. I also learned today that the Dean's stairs were actually in Harry Potter like I thought. I find it fascinating to see that the movies took the time to find the most authentic English architecture to include in scenes, it helps ground the movies more towards reality.
 
Today was also a journey to capture more photos of buildings for my first milestone, taking me to the Gherkin, the Lloyd's Building, the Royal Exchange, and the Barbican Centre. I cannot wait to go back to the Barbican Centre because of its beautiful courtyard. I am also looking into taking a tour about the architecture of the building. The Gherkin was my favorite building to observe because of its unique shape. My least favorite building was the Barbican Centre only because of its brutalist style, which I find rather dreary and overtly industrial. The courtyard inside of the building made up for the drab architecture and is a place I hope to visit again.
 
 

====Activity #4 [[The National Gallery|The National Gallery]]====
I did not really enjoy the visit to [[The National Gallery]] today. The majority of the art I managed to see was early christian art that contains a myriad of paintings with the same four events in the life of Jesus and Mary: the Crucifixion, the Assumption, the arrival of the magi, and Mary with baby Jesus, The museum provided me the opportunity to increase my ugly baby Jesus tally to 12. The only paintings I truly enjoyed observing were the work of [[The National Gallery#Claude Monet|Claude Monet]]. I did manage to find one work of art relevant to my milestone as I exited the building; there was a large tile mosaic on the ground depicting the roman gods and I hope to go back to get a better look and study the large mosaic. Another reason I did not particularly like this museum was that even at opening, it was ultra crowded. I was hard to appreciate some of the art in such a loud place in some of the galleries. This museum almost felt like a repeat of previous museums that I had visited including the Metropolitan Museum of Art in New York City, and Gli Uffizi in Florence; that is not to say that I did not appreciate the art it just felt rather redundant.
 
 

====Activity #5 The [[Natural History Museum|Natural History Museum]]====
As a popular sight for children, the Natural History Museum was super crowded with school groups of little children in their bright safety vests. The museum had a subsection of the Minerals & The Vault exhibit which has contributed to my milestone all about [[Natural History Museum#Building Materials| building materials]]. The anamatronic T-Rex was really cool, and seeing the looks of wonder on some of the primary school children's faces was priceless. The large open cafe area provided great views of the stain glass windows of the original building as well as a chance to observe the mosaic floor. My favorite part of the museum was the Mineral & The Vault area because I have always had a fascination with rocks and gems since my childhood. The location of the museum was also convenient in that it was adjacent to the Victoria and Albert Museum which has an entire wing on architecture as well as a large amount of stained glass windows for my third milestone.
 
Today also marked my first official visit to [[The British Library]] on a research adventure for my first milestone. I had found three very helpful books that had information on the style and history of the buildings that I am researching as my portion of milestone one. The most helpful was "Reference Guides to National Architecture: Architecture of England, Scotland, and Wales" by Nigel R. Jones. Now that I have also stared to pan my other milestones more I am compiling a list of places to return to in an effort to earn more about either their mosaics or stained glass windows. I had a breakthrough in the idea for my second milestone in comparing two major types of mosaics: decorative and functional, which can be exemplified ny the difference between the mosaics of [[St. Paul's Cathedral]] and the floors of some of the museums including the Victoria and Albert Museum.
 
 

===Week 2===
====Activity #1 [[Tate Britain|Tate Britain]]====
The Tate Britain felt surprisingly small compared to its grandiose outside. I am starting to get a bit burned out going to museum after museum, where the content inside seems to stay the same. The most interesting piece of art was a modern installation by Cerith Wyn Evans called Forms in Space ...by Light (in Time). This piece was a huge mass of neon tubes hanging from the ceiling spanning the length of the museum. and if you stand at the entrance of the museum you can see the entire piece appearing as a flattened drawing in the air through a single neon ring.
 
I wish these museum visits were spread further apart to allow more time to dedicate to milestone one. Only having the afternoon to complete an article or contribution, a journal entry, and go read at the library is not enough time to put in all of the needed effort. It is also mildly frustrating to spend a majority of my day for two weeks going to places that aren't directly relevant to my milestones. I understand it is important to see all of these works of art and to be aware of other things besides my milestone but to spend three or four hours in a place to only stare at a single feature of art piece saps my will to continue working. The most helpful part of these activities so far has been seeing mosaics that I will come back and photograph and study in depth and looking at stained-glass windows in the churches we have visited.
 
 

====Activity #2 [[Victoria and Albert Museum|Victoria and Albert Museum]]====
As expected from how I enjoyed my previous visit, I loved the [[Victoria and Albert Museum]]. My only problem is that it is so easy to get lost inside of that museum and the online map is useless. My favorite exhibit I got to see today was the [[Victoria and Albert Museum#Stained Glass Exhibit|stained glass]] collection both in its own exhibit and among the period art. I wish that I had time to locate the section on mosaics to begin work on my second milestone, but I guess it will have to wait for another day. The stained glass section really helped me to understand the visuals of the history I read about yesterday and the transition from just stained glass to painted glass, and then back to the more traditional style was amazing to see up close and to get to study the details on the original windows in the book.
 
 

====Activity #3 [[Tate Modern|Tate Modern]]====
I have and will never understand modern art. There were a few things I enjoyed such as the pieces by Monet, Warhol, and three media elements, two auditory experiences: ''Wetin You Go Do?'' by Otobong Nkanga’ and ''Forty-Part Motet'' by Janet Cardiff, and a video ''How Not to Be Seen: A Fucking Didactic Educational .MOV File'' by Hito Steyerl. The video was just so ridiculous confirming some of my views on modern art, that sometimes modern art is just a practical joke that people haven't caught onto yet. The impending due date of the milestone is causing me stress that I don't have enough time to do everything, which in a sense is true because it is compressing seven weeks worth of work into two. I could argue against myself saying that it is the only thing I am focused on but that would be a lie. I have journal entries and articles to write, research to be done, and two other milestones to worry about. Being in a team has been the best choice I have made so far, but that is not quelling my anxiety. I want to visit all of these places but I am also worried that I do not have enough time to go and research. I don't want to buy books to only be focusing on them for two weeks and these books can get expensive, but I guess my tuition only covers so much. Maybe after this week I will feel less like I am drowning in work.
 
 

====Activity #4 [[Museum of London|Museum of London]]====
The coolest part of the museum today was the Olympic torch. I did manage to gather some relevant milestone information regarding columns and s mosaic, but in general I found it kinda boring. The history focusing on London was cool but all of the museums are blurring together and it is harder to tell each day apart. I am becoming a bit unsure about the focus of my second milestone; I want to study mosaics, but I don't know in what capacity. I believe it would be best for me to focus on religious imagery in mosaics, Catholic, Roman or otherwise, to help narrow down my background research. Being able to have enough photos of mosaics to create my own mosaic will be challenging because the most colorful ones are in places that I cannot photograph, meaning I will have to probably rip photos from the internet. My article entries are starting to show some of my disinterest in the topics I had chosen to write about, and I want to change that, but my motivation is severely lacking. I am excited for the weekend because it means a mental break, but I fear I might have to spend it in the library reading in preparation for my next milestone.
 
 

===Week 3===
====Activity #1 [[Museum of London Docklands|Museum of London Docklands]]====
I really enjoyed the museum today, much more than the other [[Museum of London]]. This one went much more in depth throughout the exhibits and was completely empty almost all morning. It was also cool to see the view of World War II and the slave trade through the eyes of the British, and how much they were impacted. Today's visit did relate to my first milestone, in that it had a small section on the modernization of London along the Thames that referenced City Hall and the London Eye. It was also cool to see the Sainsbury study area with the history of Sainsbury laid out in the entrance way. I am back to square one for my second milestone because I cannot seem to find any books about religious imagery in mosaics, and I might have to broaden the topic to the history and techniques of mosaics, to keep the topic of mosaics viable. I feel secure in my third milestone and I have found tons of useful books that I need to take the time to fully read and compile the information. I feel refreshed and ready for this next week of work, and I can't wait for the weekend to come to go exploring with my parents.
 
 

====Activity #2 [[Imperial War Museum|Imperial War Museum]]====
Today was not a happy day. After the events of last night, this museum was another punch in the gut. Humanity can be cruel. On a lighter note, the art for the World War I posters was cool and I enjoyed learning about the war from another perspective. Today was a super long reading day, though one of the books I really want to read, I can only find in Italian at the British Library and it is annoyingly expensive to buy. I might have to make use without it, but it would have been really useful. I also went through my photos and realized that I need more photos of mosaics, so I cannot wait to revisit some of the museums to get more photos to use for my mosaic. Maybe tomorrow will be better.
 
 

====Activity #3 [[Hampton Court Palace|Hampton Court Palace]]====
Where am I, I can't be in London, right? It was hot today, reaching a balmy 78°F. It was a great day to go to the palace and enjoy the gardens, the weather was perfect. I enjoyed the change of scenery from our standard London adventures, but Tudor England is not my ideal aesthetic. The palace was super enjoyable when it was empty, but once the school children came it got hard to hear the audio tour and move about the halls. My favorite part of today was exploring the gardens and looking at the hoard of deer they had on the property. I wish I had time to devote to reading for my second milestone today but sleep was calling and I couldn't ignore it. Hopefully tomorrow we don't spend as much time in the museum so I can devote all of my time to holing myself up in the library and reading boring books on mosaics. Mosaics: fascinating art, nightmare to read about.
 
 

====Activity #4 [[Horniman Museum|Horniman Museum]]====
This place was creepy. It was full of little children and dead animals, and that is super unnerving.The gardens were the highlight of the trip with the pleasant breeze and sound of wind chimes in the air. I really need to read for my milestone and take more pictures of mosaics, because I am severely lacking. I love mosaics, but books talking about their history are so dry, it feels like a 400 page trek through the Sahara. I can't wait to get this background done to work on my deliverable and make my mosaic.
 
 

===Week 4===
====Activity #1 [[The Wallace Collection|The Wallace Collection]]====
Baroque art is not my style. Something about the sheer excessive use of gold and other precious metals makes me feel that the art of the period was just created as an excuse to spend money. I have decided to expand the ugly baby Jesus count to include regular ugly babies as well, and the count now stands around 24. The one painting I was excited to see was [[The Wallace Collection#The Swing|The Swing]] because I have studied that painting in high school during AP European History. It was interesting to be able to learn more about the painting's origins and that the patron wanted to be painted admiring his mistress's legs from below. I am excited to start devoting my entire day to working on my milestones and having a mental break from most museums. On Sunday I went to see a classical concert, the Schumann Quartet, with my parents at Wigmore Hall.
 
 

====Activity #2 [[London Science Museum|London Science Museum]]====
This was my favorite of the non art museums to visit because I felt it was aimed to a slightly older audience then the [[Natural History Museum]]. The mathematics and communications exhibits were fascinating and I was excited to get to wander around without having to worry about mowing over all of the school children. I also got the chance to go the the [[Victoria and Albert Museum]] to take more photos of mosaics for my second milestone but I was disappointing that the mosaic collection was incredible limited but it gave me some more colorful options for my mosaic. I also did a bit of research into other books for my second milestone and create the basic outline for the design of my mosaic.
 
 

===Week 5===
====Activity #1 The [[British Museum]] & [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']]====
The [[British Museum]] today served as more inspiration for my second milestone in that I took more photos of mosaics and I got up close and personal with some Roman mosaics. I want to make another mosaic for milestone two in a Roman style that either depicts a figure or animal, maybe including some of the mythology; this would link the history I initially read about before I decided to scope down to just techniques and materials needed. [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']] was odd to say the least with creepy clown makeup, dub-step, and complete breaks of character as only some of the oddities. It was fun to see the show with such a modern interpretation, but I feel it went almost too far with the modernization in some aspects (clown makeup) and lacking in others (keeping the original Shakespearean dialog). I was glad I got to see the play, but it is not something I would go out of my way to see again.
 
 

====Activity #2 [[Stonehenge|Stonehenge]], [[Bath|Bath]], and Lacock====
I really enjoyed the tour of these three locations, as they were places I originally planned to visit when my parents were in London. I though [[Stonehenge]] would have been bigger, as many of the photos capture it that way, and I was disappointing that it was roped off. I find it funny that we know so little about what its purpose is so even the wildest speculations could be true (i.e. aliens). [[Bath]] was interesting in that the city's main attraction could almost be viewed as a hoax, with it recent construction date. I understand the history and why it isn't, but that reconstruction with the insides antiqued makes me laugh that people believe that it is actually a Roman building. Lacock was cool because it was a trip into the land of Hollywood without leaving England. I thought the church and buildings looked familiar, and it was nice to have someone confirm my suspicions. I feel horrible for the people who live in the house they filmed Harry Potter's parents dying, as the constant flow of tourists taking photos of your house and even encroaching onto the property must get old real fast.
 
 

===Week 6===
====Activity #1 [[Windsor Castle|Windsor Castle]]====
[[Windsor Castle]] was surprisingly small compared to how it looks. I understand that it is a working royal castle where the Queen actively spends her weekends, but it was painfully small compared to what I was expecting after [[Hampton Court Palace]]. I don't understand this country's obsession with audio tours, for once I just want a human over technology. The doll house and porcelain doll collection was nightmare fuel. I cannot grasp that people find those dolls cute, they are utterly terrifying. I feel bad for going into places and just cracking jokes about all of the paintings of rich white men in tights, but I know deep down that I do appreciate the art. It is also funny to me how expansive the castle is for just a few people. If Britain was so concerned about the homeless population they could house so many people in unused castles.
 
 

====Activity #2 Stained Glass Workshop====
This was my big day, a chance to see the theoretical knowledge from the past four weeks put into practice. Arriving at the studio was odd because the studio is located in the Bow Arts Trust building among many other studios, in addition to being inside another building the studio was three floors up from a tiny doorway in an alley. The entire day was surreal, in that for the first time in a while I felt completely comfortable trying something new. The window sadly ended up being much simpler than my original design, but I am proud of what I accomplished in approximately seven hours. The weirdest part of the day was that an Persian news network was filming the workshop for a segment on a daytime television show about crafts in London. I am happy to say that I escaped unscathed from my adventure with a large amount of lead and sharp glass, and I gave myself a pat on the back for that. The new challenge now is getting the window home without breaking the bank.
 
 

===Week 7===
 

===My Complete Contributions===
====[[Special:Contributions/Nbloniarz|All of My Created Content and Edits]]====

[[Category:Profiles]]
[[Category:2017]]
[[Category:Advisor:Manzo]]

User:Nbloniarz

2017-06-21T12:51:14Z

Nbloniarz:

=Natalie Bloniarz=
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|header1 =
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|image = [[File:Graduation_Photo.jpg|x450px|alt=Natalie Bloniarz]]
|caption =
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__TOC__

=Overview=
The paragraph should give a three to five sentence abstract about your entire London HUA experience including 1) a summary of the aims of your project, 2) your prior experience with humanities and arts courses and disciplines, and 3) your major takeaways from the experience.
 

My goal for my London HUA experience is to explore art through history. Specifically, I will be exploring the history of architecture through art, the characteristics of religious art throughout history, and the history, purpose, style, and creation of stained glass windows. Previous courses I have taken in the humanities and arts are: AR1101 Digital Imaging and Computer Art, MU 2637 String Ensemble, and I have experience from high school courses such as AP U.S. History, AP European History, AP Literature and Composition, and AP Language and Composition. MAJOR TAKEAWAYS HERE.
 

=Milestone 1=
'''London Architecture ''' 
'''Objective:''' A descriptive timeline of the change in architecture throughout the city over time through photographs including comparing different churches, buildings, bridges, museums and even unsung architectures accomplishments such as parking garages (or car parks).
 
This is in collaberation with [[User:Eawilson|Emily Wilson]] and [[User:Osgibbs|Olivia Gibbs]]
 
Below the objective statement, Insert a one or two paragraph summary of your findings from having reached this milestone. Edit the link below to link to your milestone page.

Over the course of 2 weeks, we have traveled around London taking pictures and researching some of London's most stand out buildings. We have found the best source for finding architecture information which is the Royal Institute of British Architects (RIBA) Library, and some interesting facts about all of the buildings. Many buildings have been built multiple times due to the great fire of London, and more recent buildings were built in controversy. The buildings that we researched all have a rich history and interesting architectural design elements that add to the city. This has been a great experience and we have learned a lot about the buildings that make up the city of London.

 
[[London Architecture|Read More]]
 

=Milestone 2=
 
'''A Mosaic of Mosaics''' 
'''Objective:''' To develop an understand the techniques and materials needed to create a mosaic and apply that to a new digital medium.
 
Throughout this milestone I learned about mosaic, and the materials and tools needed to create one. I then applied this knowledge to a digital setting (Photoshop) and compared how it is different from the traditional methods. I can confidently say that the process of creating a digital mosaic is much more forgiving than a physical mosaic. I also began to learn that a digital mosaic has limits not unlike a physical mosaic; the main limit being the time the creator of the mosaic has to work on it and it is also limited by the processing ability of the computer being used, if the file becomes to big the computer cannot complete the desired action.
 
[[A Mosaic of Mosaics|Read More]]
 

=Milestone 3, Capstone=
 
'''Capstone: The History, Purpose, and Techniques of Stained Glass Windows''' 
'''Objective:''' To develop an understanding of the history of stained glass windows including their purpose, and to study the techniques needed to create a window; then applying those techniques to create my own stained glass window.
 
Below the objective statement, Insert a one or two paragraph summary of your findings from having reached this milestone. If this milestone, for you, represents a humanities and arts capstone, please indicate so. Edit the link below to link to your milestone page.
 
'''BETTER SUMMARY HERE''' After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It would be interesting to see how the art form will continue to evolve over time and what the purpose of it will be.
 
[[The History, Purpose, and Techniques of Stained Glass Windows|Read More]]
 

=Activity Journal=
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. I will be uploading photos soon.
 
===Week 1===
====Activity #1 [[Westminster Abbey|Westminster Abbey]] and the [[Tower of London|Tower of London]]====
Today's visit to [[Westminster Abbey|Westminster Abbey]] helped me to refine my first milestone from a broad history of architecture to a more focused analysis of Gothic architecture. It also provided a starting point for my research into Gothic architecture and some basic history of the Abbey. Though I really wanted to take photos inside to use for my milestone, I understand that that is not possible. I also started my quest to find the ugliest picture of Jesus as a baby, to keep with the tradition started by my brother on our vacation to Italy.
 
During the visit to the [[Tower of London|Tower of London]], I had discovered that medieval history is a period that I do not find that appealing to study. The queue leading up to catch a glimpse of the [[Crown Jewels|crown jewels]] felt like waiting for a roller coaster. The silliest part was that the exhibit was incredibly short, and to keep people moving they had a moving sidewalk along the row of crowns. I would have loved to spend more time looking at the ostentatious jewels, but it was incredibly crowded and my height made it hard to see around others in the exhibit.
 
I was so excited to have taken my first double-decker bus and getting to sit right in the front up on the upper level. It was interesting to see the crowds of other tourists get on and look confused from the Oxford Street stop I got on at, shift to bunches of more confident locals. The weirdest part of the journey was seeing one person getting on then immediately getting off one stop later, which would have been a two minute walk down the road.

 
 

====Activity #2 [[British Museum|The British Museum]]====
I really enjoyed today's visit to the [[British Museum|British Museum]]. After deciding last night to join the other two girls, [[User:Eawilson|Emily]] and [[User:Osgibbs|Olivia]], in the architecture group for their first milestone, this provided a great opportunity to start working with them. The museum courtyard provided some great photos for the milestone, and it was incredibly designed. The thought that people had built that intricate glass ceiling, creating the largest covered square in England, was fascinating. I especially enjoyed looking at all of the Egyptian artifacts, as that is my favorite time period throughout all of history. The sheer number of artifacts in the museum was incredible and it would take at least a week to be able to see and appreciate their extensive collection. I would love to go back at a later date to further explore the other wings of the museum. I knew that the British people had a large collection of Egyptian artifacts, but I never knew that the British Museum has the second largest collection outside of the Egyptian Museum in Cairo.
 
I also got the chance to do some more exploring in London on a quest to complete the scavenger hunt. At the end of our scavenger hunt quest we returned to [[Westminster Abbey]] to attend evensong. It was a pleasant experience and the choir sounded incredible, it was also a nice experience to attend the service to get a better idea of the protestant faith. It was cool to see that it is possible to sit right next the choir and among the members of the clergy. I wish I could have taken my own photos inside the Abbey for my milestone, but I understand they want to maintain the rights to images of the Abbey.
 
 

====Activity #3[[St. Paul's Cathedral| St. Paul's Cathedral]]====
Today's visit to [[St. Paul's Cathedral]] was incredibly interesting because it was a major architectural shift from [[Westminster Abbey]]. The two churches are similar in their abundance of statues and graves but are vastly different in appearance. The inside of the cathedral was stunning and bright. My two favorite aspects of the cathedral were the golden mosaics and the whispering gallery. The whispering gallery reminded me of the inside of Il Duomo in Florence, both with incredibly narrow staircases that have the tiniest of windows and their imposing artwork staring down at you. The cathedral is also a part of my first milestone and provided a good amount of the information I needed to research. I also learned today that the Dean's stairs were actually in Harry Potter like I thought. I find it fascinating to see that the movies took the time to find the most authentic English architecture to include in scenes, it helps ground the movies more towards reality.
 
Today was also a journey to capture more photos of buildings for my first milestone, taking me to the Gherkin, the Lloyd's Building, the Royal Exchange, and the Barbican Centre. I cannot wait to go back to the Barbican Centre because of its beautiful courtyard. I am also looking into taking a tour about the architecture of the building. The Gherkin was my favorite building to observe because of its unique shape. My least favorite building was the Barbican Centre only because of its brutalist style, which I find rather dreary and overtly industrial. The courtyard inside of the building made up for the drab architecture and is a place I hope to visit again.
 
 

====Activity #4 [[The National Gallery|The National Gallery]]====
I did not really enjoy the visit to [[The National Gallery]] today. The majority of the art I managed to see was early christian art that contains a myriad of paintings with the same four events in the life of Jesus and Mary: the Crucifixion, the Assumption, the arrival of the magi, and Mary with baby Jesus, The museum provided me the opportunity to increase my ugly baby Jesus tally to 12. The only paintings I truly enjoyed observing were the work of [[The National Gallery#Claude Monet|Claude Monet]]. I did manage to find one work of art relevant to my milestone as I exited the building; there was a large tile mosaic on the ground depicting the roman gods and I hope to go back to get a better look and study the large mosaic. Another reason I did not particularly like this museum was that even at opening, it was ultra crowded. I was hard to appreciate some of the art in such a loud place in some of the galleries. This museum almost felt like a repeat of previous museums that I had visited including the Metropolitan Museum of Art in New York City, and Gli Uffizi in Florence; that is not to say that I did not appreciate the art it just felt rather redundant.
 
 

====Activity #5 The [[Natural History Museum|Natural History Museum]]====
As a popular sight for children, the Natural History Museum was super crowded with school groups of little children in their bright safety vests. The museum had a subsection of the Minerals & The Vault exhibit which has contributed to my milestone all about [[Natural History Museum#Building Materials| building materials]]. The anamatronic T-Rex was really cool, and seeing the looks of wonder on some of the primary school children's faces was priceless. The large open cafe area provided great views of the stain glass windows of the original building as well as a chance to observe the mosaic floor. My favorite part of the museum was the Mineral & The Vault area because I have always had a fascination with rocks and gems since my childhood. The location of the museum was also convenient in that it was adjacent to the Victoria and Albert Museum which has an entire wing on architecture as well as a large amount of stained glass windows for my third milestone.
 
Today also marked my first official visit to [[The British Library]] on a research adventure for my first milestone. I had found three very helpful books that had information on the style and history of the buildings that I am researching as my portion of milestone one. The most helpful was "Reference Guides to National Architecture: Architecture of England, Scotland, and Wales" by Nigel R. Jones. Now that I have also stared to pan my other milestones more I am compiling a list of places to return to in an effort to earn more about either their mosaics or stained glass windows. I had a breakthrough in the idea for my second milestone in comparing two major types of mosaics: decorative and functional, which can be exemplified ny the difference between the mosaics of [[St. Paul's Cathedral]] and the floors of some of the museums including the Victoria and Albert Museum.
 
 

===Week 2===
====Activity #1 [[Tate Britain|Tate Britain]]====
The Tate Britain felt surprisingly small compared to its grandiose outside. I am starting to get a bit burned out going to museum after museum, where the content inside seems to stay the same. The most interesting piece of art was a modern installation by Cerith Wyn Evans called Forms in Space ...by Light (in Time). This piece was a huge mass of neon tubes hanging from the ceiling spanning the length of the museum. and if you stand at the entrance of the museum you can see the entire piece appearing as a flattened drawing in the air through a single neon ring.
 
I wish these museum visits were spread further apart to allow more time to dedicate to milestone one. Only having the afternoon to complete an article or contribution, a journal entry, and go read at the library is not enough time to put in all of the needed effort. It is also mildly frustrating to spend a majority of my day for two weeks going to places that aren't directly relevant to my milestones. I understand it is important to see all of these works of art and to be aware of other things besides my milestone but to spend three or four hours in a place to only stare at a single feature of art piece saps my will to continue working. The most helpful part of these activities so far has been seeing mosaics that I will come back and photograph and study in depth and looking at stained-glass windows in the churches we have visited.
 
 

====Activity #2 [[Victoria and Albert Museum|Victoria and Albert Museum]]====
As expected from how I enjoyed my previous visit, I loved the [[Victoria and Albert Museum]]. My only problem is that it is so easy to get lost inside of that museum and the online map is useless. My favorite exhibit I got to see today was the [[Victoria and Albert Museum#Stained Glass Exhibit|stained glass]] collection both in its own exhibit and among the period art. I wish that I had time to locate the section on mosaics to begin work on my second milestone, but I guess it will have to wait for another day. The stained glass section really helped me to understand the visuals of the history I read about yesterday and the transition from just stained glass to painted glass, and then back to the more traditional style was amazing to see up close and to get to study the details on the original windows in the book.
 
 

====Activity #3 [[Tate Modern|Tate Modern]]====
I have and will never understand modern art. There were a few things I enjoyed such as the pieces by Monet, Warhol, and three media elements, two auditory experiences: ''Wetin You Go Do?'' by Otobong Nkanga’ and ''Forty-Part Motet'' by Janet Cardiff, and a video ''How Not to Be Seen: A Fucking Didactic Educational .MOV File'' by Hito Steyerl. The video was just so ridiculous confirming some of my views on modern art, that sometimes modern art is just a practical joke that people haven't caught onto yet. The impending due date of the milestone is causing me stress that I don't have enough time to do everything, which in a sense is true because it is compressing seven weeks worth of work into two. I could argue against myself saying that it is the only thing I am focused on but that would be a lie. I have journal entries and articles to write, research to be done, and two other milestones to worry about. Being in a team has been the best choice I have made so far, but that is not quelling my anxiety. I want to visit all of these places but I am also worried that I do not have enough time to go and research. I don't want to buy books to only be focusing on them for two weeks and these books can get expensive, but I guess my tuition only covers so much. Maybe after this week I will feel less like I am drowning in work.
 
 

====Activity #4 [[Museum of London|Museum of London]]====
The coolest part of the museum today was the Olympic torch. I did manage to gather some relevant milestone information regarding columns and s mosaic, but in general I found it kinda boring. The history focusing on London was cool but all of the museums are blurring together and it is harder to tell each day apart. I am becoming a bit unsure about the focus of my second milestone; I want to study mosaics, but I don't know in what capacity. I believe it would be best for me to focus on religious imagery in mosaics, Catholic, Roman or otherwise, to help narrow down my background research. Being able to have enough photos of mosaics to create my own mosaic will be challenging because the most colorful ones are in places that I cannot photograph, meaning I will have to probably rip photos from the internet. My article entries are starting to show some of my disinterest in the topics I had chosen to write about, and I want to change that, but my motivation is severely lacking. I am excited for the weekend because it means a mental break, but I fear I might have to spend it in the library reading in preparation for my next milestone.
 
 

===Week 3===
====Activity #1 [[Museum of London Docklands|Museum of London Docklands]]====
I really enjoyed the museum today, much more than the other [[Museum of London]]. This one went much more in depth throughout the exhibits and was completely empty almost all morning. It was also cool to see the view of World War II and the slave trade through the eyes of the British, and how much they were impacted. Today's visit did relate to my first milestone, in that it had a small section on the modernization of London along the Thames that referenced City Hall and the London Eye. It was also cool to see the Sainsbury study area with the history of Sainsbury laid out in the entrance way. I am back to square one for my second milestone because I cannot seem to find any books about religious imagery in mosaics, and I might have to broaden the topic to the history and techniques of mosaics, to keep the topic of mosaics viable. I feel secure in my third milestone and I have found tons of useful books that I need to take the time to fully read and compile the information. I feel refreshed and ready for this next week of work, and I can't wait for the weekend to come to go exploring with my parents.
 
 

====Activity #2 [[Imperial War Museum|Imperial War Museum]]====
Today was not a happy day. After the events of last night, this museum was another punch in the gut. Humanity can be cruel. On a lighter note, the art for the World War I posters was cool and I enjoyed learning about the war from another perspective. Today was a super long reading day, though one of the books I really want to read, I can only find in Italian at the British Library and it is annoyingly expensive to buy. I might have to make use without it, but it would have been really useful. I also went through my photos and realized that I need more photos of mosaics, so I cannot wait to revisit some of the museums to get more photos to use for my mosaic. Maybe tomorrow will be better.
 
 

====Activity #3 [[Hampton Court Palace|Hampton Court Palace]]====
Where am I, I can't be in London, right? It was hot today, reaching a balmy 78°F. It was a great day to go to the palace and enjoy the gardens, the weather was perfect. I enjoyed the change of scenery from our standard London adventures, but Tudor England is not my ideal aesthetic. The palace was super enjoyable when it was empty, but once the school children came it got hard to hear the audio tour and move about the halls. My favorite part of today was exploring the gardens and looking at the hoard of deer they had on the property. I wish I had time to devote to reading for my second milestone today but sleep was calling and I couldn't ignore it. Hopefully tomorrow we don't spend as much time in the museum so I can devote all of my time to holing myself up in the library and reading boring books on mosaics. Mosaics: fascinating art, nightmare to read about.
 
 

====Activity #4 [[Horniman Museum|Horniman Museum]]====
This place was creepy. It was full of little children and dead animals, and that is super unnerving.The gardens were the highlight of the trip with the pleasant breeze and sound of wind chimes in the air. I really need to read for my milestone and take more pictures of mosaics, because I am severely lacking. I love mosaics, but books talking about their history are so dry, it feels like a 400 page trek through the Sahara. I can't wait to get this background done to work on my deliverable and make my mosaic.
 
 

===Week 4===
====Activity #1 [[The Wallace Collection|The Wallace Collection]]====
Baroque art is not my style. Something about the sheer excessive use of gold and other precious metals makes me feel that the art of the period was just created as an excuse to spend money. I have decided to expand the ugly baby Jesus count to include regular ugly babies as well, and the count now stands around 24. The one painting I was excited to see was [[The Wallace Collection#The Swing|The Swing]] because I have studied that painting in high school during AP European History. It was interesting to be able to learn more about the painting's origins and that the patron wanted to be painted admiring his mistress's legs from below. I am excited to start devoting my entire day to working on my milestones and having a mental break from most museums. On Sunday I went to see a classical concert, the Schumann Quartet, with my parents at Wigmore Hall.
 
 

====Activity #2 [[London Science Museum|London Science Museum]]====
This was my favorite of the non art museums to visit because I felt it was aimed to a slightly older audience then the [[Natural History Museum]]. The mathematics and communications exhibits were fascinating and I was excited to get to wander around without having to worry about mowing over all of the school children. I also got the chance to go the the [[Victoria and Albert Museum]] to take more photos of mosaics for my second milestone but I was disappointing that the mosaic collection was incredible limited but it gave me some more colorful options for my mosaic. I also did a bit of research into other books for my second milestone and create the basic outline for the design of my mosaic.
 
 

===Week 5===
====Activity #1 The [[British Museum]] & [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']]====
The [[British Museum]] today served as more inspiration for my second milestone in that I took more photos of mosaics and I got up close and personal with some Roman mosaics. I want to make another mosaic for milestone two in a Roman style that either depicts a figure or animal, maybe including some of the mythology; this would link the history I initially read about before I decided to scope down to just techniques and materials needed. [[Shakespeare’s Romeo and Juliet at the Globe Theater (2017)|''Romeo and Juliet'']] was odd to say the least with creepy clown makeup, dub-step, and complete breaks of character as only some of the oddities. It was fun to see the show with such a modern interpretation, but I feel it went almost too far with the modernization in some aspects (clown makeup) and lacking in others (keeping the original Shakespearean dialog). I was glad I got to see the play, but it is not something I would go out of my way to see again.
 
 

====Activity #2 [[Stonehenge|Stonehenge]], [[Bath|Bath]], and Lacock====
I really enjoyed the tour of these three locations, as they were places I originally planned to visit when my parents were in London. I though [[Stonehenge]] would have been bigger, as many of the photos capture it that way, and I was disappointing that it was roped off. I find it funny that we know so little about what its purpose is so even the wildest speculations could be true (i.e. aliens). [[Bath]] was interesting in that the city's main attraction could almost be viewed as a hoax, with it recent construction date. I understand the history and why it isn't, but that reconstruction with the insides antiqued makes me laugh that people believe that it is actually a Roman building. Lacock was cool because it was a trip into the land of Hollywood without leaving England. I thought the church and buildings looked familiar, and it was nice to have someone confirm my suspicions. I feel horrible for the people who live in the house they filmed Harry Potter's parents dying, as the constant flow of tourists taking photos of your house and even encroaching onto the property must get old real fast.
 
 

===Week 6===
====Activity #1 [[Windsor Castle|Windsor Castle]]====
[[Windsor Castle]] was surprisingly small compared to how it looks. I understand that it is a working royal castle where the Queen actively spends her weekends, but it was painfully small compared to what I was expecting after [[Hampton Court Palace]]. I don't understand this country's obsession with audio tours, for once I just want a human over technology. The doll house and porcelain doll collection was nightmare fuel. I cannot grasp that people find those dolls cute, they are utterly terrifying. I feel bad for going into places and just cracking jokes about all of the paintings of rich white men in tights, but I know deep down that I do appreciate the art. It is also funny to me how expansive the castle is for just a few people. If Britain was so concerned about the homeless population they could house so many people in unused castles.
 
 

====Activity #2 Stained Glass Workshop====
This was my big day, a chance to see the theoretical knowledge from the past four weeks put into practice. Arriving at the studio was odd because the studio is located in the Bow Arts Trust building among many other studios, in addition to being inside another building the studio was three floors up from a tiny doorway in an alley. The entire day was surreal, in that for the first time in a while I felt completely comfortable trying something new. The window sadly ended up being much simpler than my original design, but I am proud of what I accomplished in approximately seven hours. The weirdest part of the day was that an Persian news network was filming the workshop for a segment on a daytime television show about crafts in London. I am happy to say that I escaped unscathed from my adventure with a large amount of lead and sharp glass, and I gave myself a pat on the back for that. The new challenge now is getting the window home without breaking the bank.
 
 

===Week 7===
 

===My Complete Contributions===
====[[Special:Contributions/Nbloniarz|All of My Created Content and Edits]]====

[[Category:Profiles]]
[[Category:2017]]
[[Category:Advisor:Manzo]]

London Architecture

2017-06-20T15:03:26Z

Nbloniarz:

=Twenty of London's Architectures=
by [[User:Osgibbs| Olivia Gibbs]],[[User:Nbloniarz| Natalie Bloniarz]] & [[User:Eawilson| Emily Wilson]]

{{Infobox
|title = View of London
|bodystyle = width:40em
|image = [[File:EWshardview.jpg|x450px|alt=Milestone Image]]
|label2= ''View:''
|data2= ''from The Sky Garden ''
}}

__TOC__

=Abstract=

 
Our objective was to create a descriptive timeline of the change in architecture throughout the city over time through photographs including exploring and comparing different churches, buildings, a bridge, and even unsung architectures accomplishments such as parking garages (or car parks). We learned how materials, windows, size and shape have transformed from the 11th century to today. Our background in humanities includes modern art class along with philosophy and religion, digital imaging and computer art, and music. We walk away from this experience with a new knowledge of different architecture styles and new appreciation for the skyline of London.
 

=Introduction=
 
The essence of this project was to explore the history of buildings in London that span across a large period of time, and create a visual comparison of the elements and styles of the buildings. Many architectural guide books exist, but this takes a deeper look into the history behind the buildings and their influences in addition to comparing the many styles. A main portion of this milestone was to take all of our own photos, allowing us to specifically capture elements of the buildings and apply our personal artistic style through the photography. We then complied the information to create an easy interactive map for viewers to use.
 
We hand selected twenty buildings in London so we could cover from the oldest, 11th century Westminster Abbey, to the newest, 2015 Leadenhall Building. We also took into account different functions and purposes of the buildings which is why we have included churches, office buildings, government buildings, bridges, and car parks. These buildings were found in Architectural Digest Magazine and noted as 25 Must-See Architectural Landmarks in London<ref> Strasnick, S. (2016, March 15). 25 Must-See Architectural Landmarks in London. Architectural Digest.</ref>. Through our selected twenty, a total of fourteen different styles can be observed from ancient medieval to traditional classical to full concrete brutalism and wrapping up with all glass in modern and High-Tech architecture. The buildings are listed in order of year of completed of the most current standing version of the building.
 

=Section 1: Background=
 

==11th Century==
 

===Westminster Abbey===
 
Dean's Yard, Westminster London, SW1
 

[[Westminster Abbey]] was created in the [[Gothic style]], though it had transitioned across styles over its long and tumultuous existence. The original construction of the building was completed in 1080, 15 years after it had been opened for service in 1065. One of the many redesigns of the Abbey, specifically one dictated by Henry III, nearly bankrupted the country in the 13th century. Henry III's redesign called for the reconstruction of the church starting from the Lady Chapel, then spreading west to the rest of the church, and was masterminded by Henry de Reyns, John of Gloucester, and Robert of Beverley. The Lady Chapel was reconstructed again by Henry VII and completed in 1519, standing as a memorial to his uncle, Henry VI. One of the architects that later added on to this great Abbey was Nicholas Hawksmoor in the 18th century, by designing and constructing the west towers, solidifying the transition of the Abbey into the [[Neo-Gothic]] style. The materials used to construct the abbey included marble, sandstone, and limestone. This imposing church with its tall spires, pointed windows, flying buttresses, and stained-glass windows, serves to exemplify the [[Gothic style]]. It also followed the format of most Anglican churches, forming a Latin cross and having the longer part of the cross running from west to east. The Abbey had its final construction completed in the 16th century, though it has undergone many restorations and is currently undergoing construction to make it more accessible. Westminster Abbey is home to all of the coronations of the British monarchy since 1066, the coronations of both King Harold and William the Conqueror. It also serves as a place for royal weddings and christenings.<ref>Westminster Abbey » History. (n.d.). Retrieved May 18, 2017, from http://www.westminster-abbey.org/our-history</ref><ref>Jones, N. (2005). Architecture of England, Scotland, and Wales (1st ed., pp. 299-303). Westport, Conn.: Greenwood Press.</ref>
 
 
<gallery mode=(packed)>
Image:EAWwest1.jpg|''Photo by Emily Wilson''
Image:EAWwest2.jpg|''Photo by Emily Wilson''
Image:EAWwest3.jpg|''Photo by Emily Wilson''
Image:EAWwest4.jpg|''Photo by Emily Wilson''
Image:OGWestminsterAbbeyWindows.jpg|''Photo by Olivia Gibbs''
</gallery>
 

==14th Century==
 
===The Jewel Tower ===
 
Abingdon St, Westminster SW1P 3JX
 
The Jewel Tower is one of three remaining buildings from the [[Medieval style]] Palace of Westminster with a lot of its 14th century architecture still remaining relatively unchanged. The building was constructed in 1365s, and at that point until the early 16th century it was used to store the royal jewels and plate which is how it earned its current name. From the 16th century until 1864 however it was used to store the records of the house of Lords, which is considered the nations 'memory'. <ref> Heritage, E. (n.d.). SIGNIFICANCE OF THE JEWEL TOWER. Retrieved May 12, 2017, from http://www.english-heritage.org.uk/visit/places/jewel-tower/history/significance/ </ref> The Jewel Tower showed the evolution from state, to monarchy, to parliamentary democracy, to an imperial power.
It was built as a medieval treasury, so there are no windows on the ground floor and only two small windows on the first floor. The windows were made of highly decorative glass protected by iron grilles. From the remains historians believe there were two double doors at the entrance to the top floor. Historians believe this level contained particularly sensitive or valuable items. The master mason who worked on this building was Henry Yevele and the master carpenter was Hugh Herland, they used Kentish Ragstone from Maidstone to construct the tower. Other stone used came from Reigate, Beer (Devon) and Caen (France), while timber for the roof came from Surrey. This was built in the [[Medieval style]], however unfortunately many of the medieval features had been defaced or removed when renovations were made to the building. <ref> Downes, K., Bold, J. F., & Chaney, E. (Eds.). (1993). English Architecture Public & Private: Essays for Kerry Downes. A&C Black. </ref>
To give the tower better protection it was surrounded by a moat. The moat was constructed in July of 1366, and the water came from a ditch leading directly into the Thames. Historians believe that the ditch and the moat had likely been partially filled in by the end of the 17th century.
Observations that were made presume that the building was a very functional building and it did not have many ostentatious features. A lot of the information on this building are presumptions because of its age, such as the fact that historians believe because of the distinctive shape of the windows that the architect Nicholas Hawksmoor helped in designing the buildings. <ref> Heritage, E. (n.d.). SIGNIFICANCE OF THE JEWEL TOWER. Retrieved May 12, 2017, from http://www.english-heritage.org.uk/visit/places/jewel-tower/history/significance/ </ref> <ref> Downes, K., Bold, J. F., & Chaney, E. (Eds.). (1993). English Architecture Public & Private: Essays for Kerry Downes. A&C Black. </ref>
<gallery>
file:EWjt1.jpg|'' Photo By Emily Wilson''
file:EWjt2.jpg|'' Photo By Emily Wilson''
file:OGJewelTowerMoat.jpg|'' Photo By Olivia Gibbs''
</gallery>
 

==16th Century==
 
===Shakespeare's Globe===
 
21 New Globe Walk, London SE1 9DT 

Shakespeare Globe today stands only 180 meters from its original site after the original one was destroyed in a fire in 1613. The original one was built by carpenter Peter and his workers in 1597/1598 out of timber, nails, stone (flint), plaster and thatched roofs. It was built to look similar to the Roman Coliseum, but on a smaller scale. Builders at the time believed if they constructed a similar building than it would give the performances an aura of respectability. After it was first rebuilt in 1613, it was shortly closed down by Puritans in 1642 and then demolished in 1644. Fortunately, rebuilding was resurrected by actor Sam Wanamaker who established the Globe Playhouse Trust in 1970. That same year, Southward Council offered the trust their now 1.2 hectare site which is home to the Globe. Peter McCurdy's team spent six years researching about the Globe to design it as close to the original as possible. They learned it held “Twenty bays [that] form a galleried perimeter wall, each three stories high and thatched in Norfolk reed with lime plaster." The stage was built with a 14 meter canopy coverage supported on two 8.5 meter high timber columns. Remaining true to the sixteenth century materials which craftsman used, the Globe was made from unseasoned green oak and each joint is unique and identified with the carpenter's numeral too. The chief architect was Theo Crosby, but he died during the building process so Peter McCurdy tried to remain as true to the original plan as possible allowing the audience to experience the authentic stage of Shakespeare's theatre, an [[Elizabethan style]] theatre. <ref>Hardingham, Samantha. London: A Guide to Recent Architecture. London: Batsford, 2005. N. pag. Print.</ref> <ref>"About Us - Original Globe / Shakespeare's Globe." Shakespeare's Globe. The Shakespeare Globe Trust, n.d. Web. 10 May 2017.</ref>

<gallery mode=(packed)>
Image:EAWglobe1.jpg|''Photo by Emily Wilson''
</gallery>
 

==17th Century==
 
===Kensington Palace ===
 
Kensington Gardens, London W8 4PX
 
King William III and Mary II purchased Nottingham house which was a [[Jacobean style]] mansion that was built around 1605. They made the purchase in order to escape the London smog that was plaguing King William III at the time. They hired [[Christopher Wren]] to work on it, and he got to work on it right away and in order to save money and time he added pavilions to the four corners of the exsisting Jacobean house and he used red brick for the material. <ref> Palaces, H. R. (n.d.). A building history. Retrieved May 12, 2017, from http://www.hrp.org.uk/kensington-palace/history-and-stories/a-building-history/#gs.null </ref>He also placed the main entrance on the west side of the building under a two-storied portico, which altered the face of the building, and had you approach through a courtyard that was guarded by a gate tower. They were in such a hurry to complete the renovation for the King and Queen that the architects took some risks, which caused part of the building to collapse under the weight of the new lead roof, which killed a few of the workmen. What Mary was most excited about was her ability to look out and see gardens, so she created 26 acres of flower beds in the formal French style. In November of 1661 a fire destroyed the new south wing and part of the Great Court, which allowed for a remodel of the royal apartments. The kings staircase was rebuilt, this time in marble, and a Guard Chamber was constructed. In 1670 Mary did another round of improvements by adding in the Queens Gallery. It had its very own staircase and gave a space for her Maids of Honor. The final addition to the Palace by William was done in 1695 which was the the south front of the building.<ref> Adair, J. E. (1981). The royal palaces of Britain. London: Thames and Hudson.</ref> When Queen Anne took the throne she renovated the gardens. She spent ₤26,000 on building garden buildings, and some are still standing today. Because Anne enjoyed tending to the gardens so much, she build a red-brick greenhouse, known as the Orangery, with round domes on each end, with [[Christopher Wren]], Vanbrugh, and Hawksmoor, all having helped design it.
 
When George I came into the palace he commissioned a dramatic rebuild in order to be better then Blenheim Palace, he insisted that it be more regal. In 1718 the renovation was done by William Benson. <ref> Palaces, H. R. (n.d.). A building history. Retrieved May 12, 2017, from http://www.hrp.org.uk/kensington-palace/history-and-stories/a-building-history/#gs.null </ref> William Benson designed and added in a suite of ornate state rooms. King George was a big fan of William Kent's work and commissioned him to elaborately decorate the Cupola Room of Nottinghouse. It was decorated in the style of Imperial Rome: with columns, gilded statutes of gods and goddesses, marble floors, and large chandeliers. Kent also painted a large Garter Star on the ceiling which is a symbol of regal continuity in England. William Kent was the one who changed [[Christopher Wren]]'s King's Staircase into the Grand Stair case which lead into the Presence Chamber. <ref> Adair, J. E. (1981). The royal palaces of Britain. London: Thames and Hudson.</ref> Towards the end of his reign King George gave orders to Henry Wise to prepare plans for landscaping the gardens south of the palace, which gave us most of Kensington Gardens and Hyde Park how they are known today.
Through the 19th century there was not a lot of care done for the palace. When Queen Victoria was reigning there were ideas to demolish it or change it into a museum or gallery. Queen Victoria however refused to destroy the place she was born. A restoration process took place to restore it as close as possible to the way it looked during George II reign. In 1899 the state apartments were opened to the public and it was both the public museum and a royal home.
 
In 1910 the Kensington Palace was opened to the public as a museum to display objects that had to do with the City of London and royal relics. <ref> Palaces, H. R. (n.d.). A building history. Retrieved May 12, 2017, from http://www.hrp.org.uk/kensington-palace/history-and-stories/a-building-history/#gs.null </ref> In 1914 the museum was moved and the state apartments at Kensington Palace were used as office space during the First World War. The palace was not reopened until 1923. During the Second World War however there was bomb damage causing it to close until 1949. Nowadays Kensington Palace is again a home for members of the royal family. <ref> Palaces, H. R. (n.d.). A building history. Retrieved May 12, 2017, from http://www.hrp.org.uk/kensington-palace/history-and-stories/a-building-history/#gs.null </ref> <ref> Adair, J. E. (1981). The royal palaces of Britain. London: Thames and Hudson.</ref>
 
 
<gallery mode=(packed)>
[[File:OGKensingtonPalace.jpg|400px]] [[File:OGKensingtonPalace2.jpg|400px]]
Image:NBKensington1.JPG|''Photo by Natalie Bloniarz''
Image:NBKensington2.JPG|''Photo by Natalie Bloniarz''
Image:NBKensington3.JPG|''Photo by Natalie Bloniarz''
Image:OGKensingtonPalace2.jpg|''Photo by Olivia Gibbs''
Image:OGKensingtonPalaceSmall.jpg|''Photo by Olivia Gibbs''
</gallery>
 

==18th Century==
 
===Buckingham Palace ===
 
Westminster, London SW1A 1AA
 
The reason Buckingham Palace is today was because of Queen Elizabeths need for silk, since she decided she would wear nothing but silk on her legs. After this there became a royal interest in silk making, and James I planted, where Buckingham Palace stands today, 10,000 mulberry trees. James I had hoped that silkworms spinning on the leaves of these trees would bring a fortune to Britain.<ref> Who built Buckingham Palace? (n.d.). Retrieved May 12, 2017, from https://www.royalcollection.org.uk/visit/buckinghampalace/about/who-built-the-palace </ref> Unfortunately, he bought the wrong type of mulberry tree and the ones he bought produced delicious berries, but silkworms would not touch them. Buckingham Palace, which is in Westminster London, was originally known as Buckingham house. It was called this because it was built for John Sheffield, the duke of Buckingham. The Buckingham Palace we know today has been worked on by many architects including John Nash, Edward Blore, Aston Webb, and James Pennethorne. It was built in the [[Neoclassical]] style, and there have been many alterations and additions to the house. One of them was the King's Library, which is now a part of the British Library.<ref> Buckingham Palace. (2017). In Encyclopædia Britannica. Retrieved from http://academic.eb.com.ezproxy.wpi.edu/levels/collegiate/article/Buckingham-Palace/17892 </ref>
 
Nash constructed the Palace which consisted of a main building that incorporated the old Buckingham house, with two low wings that extended eastwards. On the inside Nash redid the entrance into the Grand Hall. The Grand staircase that was made of marble lead to the Picture Gallery. There are two sets of state rooms on each side of the palace. There is the Green Drawing Room, Throne Room, State Dining Room, the Blue Drawing Room, and the domed Music Room which is in the bow. The first floor of the north wing was occupied by the royal private suite. Trying to save money Nash promised to use as many materials from the dismantled Carlton house, but his grand entrance, the marble arch, cost nearly ₤35,000. The last major construction was in the 1840's so Queen Victoria could have more space for her family. This was done by architect Sir Edward Blore, who built a new east front which completed the quadrangle. In order to do this they had to move the marble arch to the site of the old gallows at Tyburn, and now it is a monument on a traffic island.<ref> Adair, J. E. (1981). The royal palaces of Britain. London: Thames and Hudson.</ref> That very same year Sir James Pennethorn who studied under John Nash, did some work on interior alterations. He replaced the armory and Octagon Library with a new ballroom. The last changes made to the Palace where by Kind Edward VII. His architect was Sir Aston Went, who replaced the Caen stone on the east front with Portland stone, which was meant to act as a backcloth to the memorial to Queen Victoria. At the other end of the mall is the Admiraly Arch that Webb built as a grand entrance to the Processional Way.
<ref> Who built Buckingham Palace? (n.d.). Retrieved May 12, 2017, from https://www.royalcollection.org.uk/visit/buckinghampalace/about/who-built-the-palace </ref> <ref>Jones, N. (2005). Architecture of England, Scotland, and Wales (1st ed., pp. 38-44). Westport, Conn.: Greenwood Press.</ref> <ref> Buckingham Palace. (2017). In Encyclopædia Britannica. Retrieved from http://academic.eb.com.ezproxy.wpi.edu/levels/collegiate/article/Buckingham-Palace/17892 </ref> <ref> Adair, J. E. (1981). The royal palaces of Britain. London: Thames and Hudson.</ref>
 
<gallery mode=(packed)>
File:OGBuckinghamPalace.JPG|'' Photo by Olivia Gibbs'' 
File:OGBuckinghamPalace2.JPG|'' Photo by Olivia Gibbs'' 
</gallery>

===St. Paul's Cathedral===
 
St. Paul's Churchyard, London EC4M 8AD
 
The earliest existence of [[St. Paul's Cathedral]] dates back to 604, but it was burnt down multiple times over the centuries.The current version of the cathedral that people are able to visit today was completed in 1711 in the [[English Baroque]] style, though originally it was a [[Gothic style]] cathedral in the 17th century and before that a Norman style cathedral. [[Christopher Wren]], the architect, wanted the redesigned cathedral to be both grand and functional, creating a symbol for the Church of England. Wren chose to construct his masterpiece out of Portland stone, which is a type of limestone from an area of Portland in Dorset; he used this so that the cathedral would have a light and beautiful interior. His design was unlike any other Anglican cathedral in that it had characteristics of Roman Cathedrals. The dome, rounded arches, portico, and the columns are all elements of the Baroque style of architecture which he included. It gains the title of [[English Baroque]] because it was much more elaborate than its plainer Baroque counterparts and it kept elements influenced by traditional English architecture. Though it is a [[English Baroque]] style cathedral, it is heavily rooted in the [[Gothic style]] with elements such as flying buttresses supporting the upper vaults of the nave inside the cathedral. This stylistic overhaul created by [[Christopher Wren]] was only possible because the cathedral had been heavily damaged by the Great Fire of London. Over the 39 year period of construction, from 1675 to 1711, Wren oversaw the entire construction, living to see the cathedral's completion. <ref>Cathedral History Timeline. (n.d.). Retrieved May 18, 2017, from https://www.stpauls.co.uk/history-collections/history/cathedral-history-timeline</ref><ref>Jones, N. (2005). Architecture of England, Scotland, and Wales (1st ed., pp. 240-246). Westport, Conn.: Greenwood Press.</ref>

<gallery mode=(packed)>
File:OGSt.Paul'sCathedral2.jpg|'' Photo by Olivia Gibbs''
File:OGSt.Paul'sCathedral.jpg|'' Photo by Olivia Gibbs''
File:OGSt.Paul'sCathedral3.jpg|'' Photo by Olivia Gibbs''
File:OGSt.Paul'sCathedral4.jpg|'' Photo by Olivia Gibbs'' 
Image:EAWpauls1.jpg|''Photo by Emily Wilson''
Image:EAWpauls2.jpg|''Photo by Emily Wilson''
Image:EAWpauls3.jpg|''Photo by Emily Wilson''
</gallery>
 

==19th Century==
 
=== The Royal Exchange ===
 
3 Royal Court, Royal Exchange, Unit 15C, London EC3V 3LN
 
The first Royal Exchange was built as the center for trading stocks in London. It was built in 1566 by Thomas Gresham in the [[Neoclassical]] style and was opened by Queen Elizabeth I in 1571. In 1666 The Royal exchange was destroyed in the Great Fire of London, and a second site opened up in 1669.<ref>Heritage. (n.d.). Retrieved May 18, 2017, from http://www.theroyalexchange.co.uk/heritage/</ref> This building was designed in a Baroque style by Edward Herman. The second Royal Exchange was also destroyed by a fire in 1838, which leads to the third and current Royal Exchange. In 1844 there was an architectural competition to design the third Royal Exchange and Sir William Tite, who served as the President of the Royal Institute of British Architects, won and built it in the original layout from the first Stock Exchange. <ref>Heritage. (n.d.). Retrieved May 18, 2017, from http://www.theroyalexchange.co.uk/heritage/</ref> The building was constructed out of concrete and the only change he made from the original building was adding eight columns to the entrance, which was inspired by the Pantheon in Rome. The building was opened by Queen Victoria in 1844. Since then the Royal Exchange has been home to stock trading, theater shows, and now a luxury shopping mall.
<ref>Heritage. (n.d.). Retrieved May 18, 2017, from http://www.theroyalexchange.co.uk/heritage/</ref>
<gallery mode=(packed)>
Image:NBExchange1.JPG|''Photo by Natalie Bloniarz''
Image:NBExchange2.JPG|''Photo by Natalie Bloniarz''
Image:NBExchange3.JPG|''Photo by Natalie Bloniarz''
Image:OGTheRoyalExchange.jpg|''Photo by Olivia Gibbs''
Image:OGTheRoyalExchangeCloseUpPillars.jpg|''Photo by Olivia Gibbs''
Image:OGTheRoyalExchangeTopPillars.jpg|''Photo by Olivia Gibbs''
</gallery>
 

=== Westminster Palace ===
 
Westminster, London SW1A 0AA
 
This building, also known as the Houses of Parliament, is not the original building that existed on its location on the Thames river. The original palace was built in the 10th century and was the main residence of the monarchy until 1512. It was later rebuilt by Edward the Confessor when he constructed [[Westminster Abbey]] in the 11th century. The final reconstruction of the palace took place in 1836 after a fire had scourged the palace in 1834. Upon the chance to rebuild, the government stated that the design for the new building needed to be in a traditional English style, the two main choices were the [[Gothic style|Gothic ]] or the [[Elizabethan style]]. The [[Gothic style]] won over its main competitor of the time, Classical, and the chosen design was created by Sir Charles Barry. He was more partial to Classical designs so his plan was to keep the outside appearance in the [[Gothic style]] while making the inside more Classical, with a very Classical style layout. Barry chose to use sand-colored limestone as his main building material to rebuild the palace. The construction took only 12 years and was officially opened in 1852 by Queen Victoria. The only remaining parts of the palace's original form are the crypt of St. Steve's Chapel, once the king's private chapel, and Westminster Hall, also known as the Great Hall. In 1965 the palace officially stopped being a Royal Palace under the control of the monarchy, becoming solely a government building. Westminster Palace is famous for its clock tower, which contains the bell known as "Big Ben," that chimes every hour.<ref>Jones, N. (2005). Architecture of England, Scotland, and Wales (1st ed., pp. 146-151). Westport, Conn.: Greenwood Press.</ref><ref>The Palace of Westminster. (2017). UK Parliament. Retrieved 19 May 2017, from http://www.parliament.uk/about/living-heritage/building/palace/</ref>
<gallery mode=(packed)>
[[File:EWwp.jpg|400px]]
file:EWwp.jpg|'' Photo By Emily Wilson''
file:EWwmp1.jpg|'' Photo By Emily Wilson''
file:EWwmp2.jpg|'' Photo By Emily Wilson''
file:EWwmp3.jpg|'' Photo By Emily Wilson''
file:OGParliment.jpg|'' Photo By Olivia Gibbs''
</gallery>
 

===St Pancras Station & Hotel ===
 
Euston Rd, Kings Cross, London N1C 4QP
 
St Pancras Station opened in 1868 (but the hotel and station weren't completed until 1876) becoming one of the most elegant stations in the world. It is an exquisite example of [[Victorian Gothic style|Victorian Gothic]] architecture. It was first built by Midland Railway Company (MRC) led by head engineers William Henry Barlow and Roland Mason Ordish along with architect George Gilbert Scott who's job was to create a connection from London to other major cities in England. MRC wanted to make a grand statement for their company which they successfully accomplished. Not only is it gorgeous from the outside but the inside functions were advancements for their time including having the platform deck raised above so the steam engines can pass over the Regent’s canal. Also, the space below known today as The Arcade, was designed to store and sell beer. The most noticeable feature is the roof of the station, the iron ribs create a 100ft high, 240ft wide and 700ft long arch, which at the time was the longest spanning one rib. This roof design has been copied all over the world including New York's Grand Central Station. The hotel architecture all around complements the trusses which form at the top of the ribs. Both the hotel and station were bombed multiple times during World War I, but it was the fifth bomb that caused the most casualties and destroyed the Booking Office's roof which has since been replaced with a simpler one. Again during World War II more bombs had been dropped from air raids destroying the underground workings, but with time they had been reconfigured. The station more recently underwent an expansion to fulfill the modern international train system to include the Chunnel. The expansion included doubling it's length, and an additional 6 new platforms, but to preserve Scott and Barlow’s original design a separate extension was constructed in concrete, glass and steel. The greatest change though was converting the beer cellar to station facilities. The renewal was reopened by Queen Elizabeth II on November 6th, 2007 after taking three years to complete.
 
Once known as the Midland Grand Hotel, the St Pancras Renaissance hotel, has recently reopened in 2011 as a hotel. It was first closed in 1935 after World War II due to lack of profit and then used for miscellaneous offices for British Rail until it was at risk of being demolished. Fortunately, Sir John Betjeman started a campaign and was able to get the hotel granted Grade I status in 1967 so it wouldn't be touched. It has become home to scenes in Harry Potter and 101 Dalmatians for its unique interior full of spiral staircases and high pointed windows and decorated throughout in ornate stone details. The main architectural features are the arched double doorway through to the main hotel, and the arcade on its left. The arches create a natural flow for citizens to get to and from the station. Currently it is a five star hotel with one night starting at 250 pounds a night. <ref>Banerjee, Jacqueline. "Interior of the Former Midland Grand Hotel, by Sir George Gilbert Scott. Introduction and Entrance Hall." The Victorian Web. N.p., n.d. Web. 10 May 2017.</ref> <ref>Knox, Paul L. London: Architecture, Building and Social Change. London: Merrell, 2015. Print.</ref>
 

<gallery mode=(packed)>
Image:EAWst1.jpg|''Photo by Emily Wilson''
Image:EAWst2.jpg|''Photo by Emily Wilson''
Image:EAWst3.jpg|''Photo by Emily Wilson''
Image:EAWst4.jpg|''Photo by Emily Wilson''
Image:OGStPancras3.jpg|''Photo by Olivia Gibbs''
Image:OGStPancras.jpg|''Photo by Olivia Gibbs''
Image:OGStPancras2.jpg|''Photo by Olivia Gibbs''
Image:OGStPancrasWindow.jpg|''Photo by Olivia Gibbs''
</gallery>
 

===Royal Albert Hall===
 
Kensington Gore, Kensington, London SW7 2AP
 
Located in South Kensington, the Royal Albert Hall resides among other famous buildings such as the [[Victoria and Albert Museum]] and The [[Natural History Museum]]. The hall was built from 1866 to 1871 and designed by Captain Francis Fowke and Colonel H.Y. Darracott Scott of the Royal Engineers. It was built to be a permanent home to the exhibits featured during the Great Exhibition which was housed on a temporary structure known as the Crystal Palace, that had closed fifteen years before the construction began. A new cultural district was born in South Kensington under the nickname of "Albertopolis", and was funded by the profits from the Great Exhibition, which would help to decide the location of the new hall. The foundation for the building was laid by the widow of Albert, Queen Victoria. The initial design was created by Fowke, but after his death it was taken over and completed by Scott. The design of the building called for it to resemble a Roman amphitheater, being oval in shape. The roof was to be made of iron-and-glass and a dome shape to help the building withstand the effects of the English weather. The hall was constructed out of an orange-red type of brick and golden terra-cotta and bares resemblance to the [[Victorian Gothic style|Victorian]] and [[Neoclassical|Classical]] styles. At the opening of the hall a concert was performed, but the acoustics were so horrid that the conductor would hear the concert repeated in its echos. In 1969, the acoustics were fixed with the addition of fiberglass placed high up into the dome. The hall was partly funded by the donations of patrons in the form of subscriptions to seats giving the patron the right to attend later performances. On the north side resides The Royal Box, which was Queen Victoria's subscription seat. In a situation where the hall is hosting an event that would need a larger floor space, a temporary floor would be constructed over the lower level seats. The hall annually hosts two events: the Festival of Remembrance in recognition of twentieth century war deaths and the Henry Wood Promenade Concerts. Because of its well designed Victorian construction, Royal Albert Hall has stood up to more modern fire codes only failing in areas of service like the restaurant and loading docks due to its resilient design.<ref>Jones, N. (2005). Architecture of England, Scotland, and Wales (1st ed., pp. 220-223). Westport, Conn.: Greenwood Press.</ref><ref>Building — Royal Albert Hall. (2017). Royal Albert Hall. Retrieved 19 May 2017, from http://www.royalalberthall.com/about-the-hall/our-history/explore-our-history/building/</ref>
<gallery mode=(packed)>
Image:NBAlbert1.JPG|''Photo by Natalie Bloniarz''
Image:NBAlbert2.JPG|''Photo by Natalie Bloniarz''
Image:NBAlbert3.JPG|''Photo by Natalie Bloniarz''
File:EWalbert.jpg|'' Photo by Emily Wilson''
</gallery>
 

===Tower Bridge ===
 
Tower Bridge Rd, London SE1 2UP
 
Constructed over 8 years, [[Tower Bridge]] was built to create another path for people to journey across the river Thames. One of the problems it faced before construction even could begin was that the design of the bridge could not close off access to the ports along the Thames river. A multitude of designs were submitted in competition, but the winning design chosen was the design from Sir Joseph Bazalgette, and the architect appointed to construct Bazalgette's vision was Sir Horace Jones. His design consisted of two bridge towers with two leaves that could be raised to allow for ships to pass, and as per a major design requirement, it was made to be in the [[Gothic style]]. When Jones died at the beginning of the construction, a new architect was brought on, George D. Stevenson. Stevenson proceeded to slightly alter the style to be [[Victorian Gothic style| Victorian Gothic]], a more elaborate style than its predecessor. The bridge was built using steel clad granite and stone masonry. When the bridge was complete in 1894 it was opened officially by King Edward VIII.
 
Progressing forward to World War II, the suspension mechanism was modified to protect against attacks. In 1974, the bridge went under modernization replacing the old inefficient engines with a modern hydraulic system. Later in 1982, the Tower Bridge Exhibition was opened, creating a greater tourist attraction at the bridge. The exhibition was held between the two towers along the upper walkway and engine rooms, allowing for views of the skyline of the city and includes a portion with a glass floor added for the more thrill seeking visitors. Over four years, starting from 2008, Tower Bridge underwent a renovation to restore and revamp the facade, repainting the suspension cables blue and white and installing lighting along the pedestrian walkways allowing the bridge to be lit up in a multitude of colors. In preparation of the Olympics in 2012, the Olympic rings were hung to commemorate the event, taken down shortly after the closing ceremony; this was also completed in a similar fashion when the Paralympics were held.
 
Tower Bridge is 800 feet across with the top of its two towers reaching a height of 213 feet. It allows for two lanes of traffic, and beside the road are two pedestrian walkways protected from the traffic by fences. The bridge is opened upon request from ships and opens around 800 times a year at every time of the day. In an attempt to preserve the bridge, speed limits and weight restrictions are being enforced and monitored by cameras and sensors installed along the bridge road.<ref>Jones, N. (2005). Architecture of England, Scotland, and Wales (1st ed., pp. 283-286). Westport, Conn.: Greenwood Press.</ref><ref>Tower Bridge History | Historic Bridges London. (2017). Towerbridge.org.uk. Retrieved 15 May 2017, from http://www.towerbridge.org.uk/bridge-history/</ref>
 

<gallery mode=(packed)>
Image:EAWtb1.jpg|''Photo by Emily Wilson''
Image:EAWtb2.jpg|''Photo by Emily Wilson''
Image:EAWtb3.jpg|''Photo by Emily Wilson''
Image:EAWtb4.jpg|''Photo by Emily Wilson''
Image:EAWtb5.jpg|''Photo by Emily Wilson''
</gallery>
 

==20th Century==
 
===Welbeck Street Car Park===
 
77 Welbeck St, Marylebone, London W1G 0BB
 
This carpark was designed for Debehams department store in 1971, and it can be seen as a city block-sized sculpture. <ref> Lesser Known Architecture: London's most unappreciated buildings. (2013, July 10). Retrieved May 12, 2017, from http://www.telegraph.co.uk/finance/property/pictures/10171469/Lesser-Known-Architecture-Londons-most-unappreciated-buildings.html?frame=2613864 </ref> It was made with diamond shaped modular concrete panels that lock together with the row above to form a geometrical pattern. It was designed by Michael Blampied, with a frame that is open to the outdoors which allows for ventilation of fumes from the building. The building material used was concrete, which is used in [[Brutalist Style]] architecture. Concrete is a mixture of water, and in this case Irish Milwhite aggregate, which gives it its pale color, sand, and some sort of binding agent, such as cement. When it dries it is as hard as stone, and it did not become a widespread material until the late 19th century. The carpark has a brick spine wall, stair, and lift towers.<ref> Decision Summary. (n.d.). Retrieved May 16, 2017, from http://www.heritagegateway.org.uk/Gateway/Results_Single.aspx?uid=1425632&resourceID=7</ref> This is a great example of when architecture and transportation are combined. Unfortunately the Welbeck Street Car Park is at risk of being demolished. <ref> Lesser Known Architecture: London's most unappreciated buildings. (2013, July 10). Retrieved May 12, 2017, from http://www.telegraph.co.uk/finance/property/pictures/10171469/Lesser-Known-Architecture-Londons-most-unappreciated-buildings.html?frame=2613864 </ref> After and attempt to be put on the Listed Buildings and Conservation Areas that did not pass because it was constructed in a pop art style, which had already been a well established style before it was put into use in the car park.<ref> Decision Summary. (n.d.). Retrieved May 16, 2017, from http://www.heritagegateway.org.uk/Gateway/Results_Single.aspx?uid=1425632&resourceID=7</ref> This design was a first of its kind for car parks, and can be seen as art in a building. <ref> Lesser Known Architecture: London's most unappreciated buildings. (2013, July 10). Retrieved May 12, 2017, from http://www.telegraph.co.uk/finance/property/pictures/10171469/Lesser-Known-Architecture-Londons-most-unappreciated-buildings.html?frame=2613864 </ref> <ref> Decision Summary. (n.d.). Retrieved May 16, 2017, from http://www.heritagegateway.org.uk/Gateway/Results_Single.aspx?uid=1425632&resourceID=7</ref>

<gallery mode=(packed)>
File:OGCarpark3.jpg|''Photo by Olivia Gibbs''
File:OGCarpark2.jpg|''Photo by Olivia Gibbs''
File:OGCarpark.jpg|''Photo by Olivia Gibbs''
File:OGCarparkMaterial.jpg|''Photo by Olivia Gibbs''
</gallery>
 
 

===The British Library ===
 
96 Euston Rd, Kings Cross, London NW1 2DB
 
After separating from the [[British Museum]] in 1973, [[The British Library]] began construction in 1977 and was completed in 1997. The library was designed by Colin St. John Wilson and Sir Leslie Martin; the design was completed in 1964 and was based of the version of Modernism at the time, now known as [[Brutalist Style|Brutalism]]. The library contains a more organic feel and uses asymmetry to create visual interest and to contrast with the more traditional styles of architecture near by. The building's design is rooted in Gothic influences because the Gothic style lends itself to the visual effect that was desired by Wilson.
 
The material of choice was a combination of concrete and brick. The concrete provides a strong structural support and provides a stable foundation for the rest of the building. The brick was chosen to be in harmony with St. Pancras, and that the appearance of brick is improved as it is battered by both climate and time.
 
A major way the building was divided was based on the use of the space, following the modernist tradition that "form follows function."<ref>St. John Wilson, C. (1998). The Design and Construction of the British Library (1st ed., p. 25).</ref> The open reading areas of the library are much smaller and have less access to natural daylight, as people spend shorter spans of time in those areas. The reading rooms have a greater access to natural light to help alleviate the monotony of long research. Rooms that would require people to spend the longest amount of time in have the most access to daylight through the use of windows and skylights. Another area with emphasis on daylight is the main entry, and the light is used to create a more welcoming atmosphere. The entryway is broken up into tiers to make it appear less intimidating to the visitor and it is also designed so that people can easily understand where to go.
 
A major design element of the library is the central tower that houses the King's Library, home to many important documents like the Magna Carta and original manuscripts. The collection that is the King's Library is housed in a glass case to show of the beauty of the books and to add a scholarly air to the building. Another point of design was the Piazza, with its many meeting places to draw people to the library.<ref>St. John Wilson, C. (1998). The Design and Construction of the British Library (1st ed.).</ref><ref> Welch, A., Lomholt, I., Lomholt, I., & Welch, A. (2017). British Library Building, London - e-architect. e-architect. Retrieved 18 May 2017, from https://www.e-architect.co.uk/london/british-library</ref>

<gallery mode=(packed)>
Image:EAWbl1.jpg|'' Photo by Emily Wilson''
Image:NBBritishLibrary1.jpg|'' Photo by Natalie Bloniarz''
Image:NBBritishLibrary2.jpg|'' Photo by Natalie Bloniarz''
</gallery>
 

===Barbican Centre===
 
Silk St, London EC2Y 8DS
 
The Barbican Centre is Europe's largest multi-arts and conference center venue. It took over a decade to build and was opened by the Queen in 1982. It contains The Hall (for concerts of 1,943 people), Theatre ( for shows holding 1154 people), The Pit (which is a 164 seat studio theatre), three Cinemas, an art gallery, The Curve (an exhibition space), Conservatory (home to exotic fish and over 2,000 species of tropical fish), library and restaurants. It was designed by architects Chamberlin, Powell and Bon who were working to recreate an area of London that was destroyed during World War II. The theme was to create a utopian vision, which resulted in Europe's best example of [[Brutalist Style|Brutalist]] architecture. Brutalist architecture is what flourished from the 1950s to the 1970s after Modernist architecture. It is synonymous of concrete since that is the main material used for all brutalist buildings including the Barbican. The unique concrete ziggurat design allows different locations throughout for people to enjoy, however it is also controversial with many Londoners describing it as the ugliest building. This is similar to the project by architect John Honer, who later worked on the British Library at St Pancras, and used a red brick ziggurat. Over the years, different architects have tried to enhance and embellish the building to make improvements for the people. Including the circulation improvement by architect Allford Hall Monaghan Morris in 2005-2006 which included creating an internal linkage bridge from Silk Street entrance to lakeside foyer area. Please note the Barbican Estates were constructed before the Barbican Centre and is a neighboring building in similar style. <ref>"History." Barbican. The City of London, n.d. Web. 11 May 2017.</ref> <ref>Hopkins, Owen. "The Dezeen Guide to Brutalist Architecture." Dezeen. N.p., 10 Sept. 2015. Web. 11 May 2017.</ref>
 

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Image:OGBarbicanCenterFountain2.jpg|'' Photo by Olivia Gibbs''
Image:OGBarbicanCenterInside.jpg|'' Photo by Olivia Gibbs''
Image:OGBarbicanCenterInside2.jpg|'' Photo by Olivia Gibbs''
Image:OGBarbicanCenterOutside.jpg|'' Photo by Olivia Gibbs''
Image:OGBarbicanCenterOutside2.jpg|'' Photo by Olivia Gibbs''
Image:OGBarbicanCenterOutside3.jpg|'' Photo by Olivia Gibbs''
Image:OGBarbicanCenterOutside4.jpg|'' Photo by Olivia Gibbs''
Image:OGBarbicanCenterOutside5.jpg|'' Photo by Olivia Gibbs''
Image:OGBarbicanCenterOutsideFountain.jpg|'' Photo by Olivia Gibbs''
Image:OGBarbicanCenterOutsideTrees.jpg|'' Photo by Olivia Gibbs''
</gallery>
 

===The Lloyd’s Building===
 
One Lime Street, London, England, The City EC3
 

The Lloyd’s building is home to Lloyd's of London Headquarters. It was designed by architect Richard Rogers and took eight years to build. Made up of 33,510 cubic meters of concrete, 30,000 square meters of stainless steel and 12,000 square meters of glass it is considered High-Tech architecture. [[High-Tech Style|High-Tech]] architecture refers to buildings that look inside out typically maximizing the interior space by placing utilities on the outside and usually are made of bright cheerful colors. (Wright, 141) This skyscraper however is all one color, gray and silver, since Rogers looked to romanticism too. It was officially completed in 1984 and brought a high-tech architectural aesthetic to the medieval financial district of London. What makes it different is all the ductile work can be seen on the outside unlike other office building where it is typically tucked inside. The stairway itself is on the outside too, as seen in the image the six towers of stairs is what is typically noticed by tourists first. The stairs are made out of stainless steel instead of aluminum because of its higher melting point in case of a fire. Inside the building frames are made of concrete though because of the fire restriction not allowing stainless steel. The real advancement in architecture here is the internal atrium, which means all bathrooms, stairwells, kitchens etc. are all on the outer edge so as to not disturb the business inside. This also allows easy access to these departments so things can be replaced and fixed quickly and without disturbing the work being conducted. The stainless steel towers juxtaposition right next to the utilities show the mix of modern with technology, highlighting another aspect of High-Tech architecture; exposing technology. Lloyd's building is an example of green internal climatic engineering too with light fixtures that draw in stale air to pass into gaps in the external triple layer glazing which in the end diffuses light and sparkles at night, the basement holds tanks for heat to be recycled,fresh air is distributed through systems under the floors, and overall the concrete structure is a “heat sink, absorbing heat by day and radiating it away by night”. (152) The six blue cranes from the construction were left on the top of the building to highlight again the advancement and overlooking into modernism. And at night there are “strategically placed blue spotlights on the service towers make them look as if they belong to a Klingston spaceship. It’s just a hint of the amazing sci-fi interior, only open to the public one day each year in September.” (153)<ref>Wright, Herbert. London High. London: Frances Lincoln, 2006. Print.</ref> <ref>Hardingham, Samantha. London: A Guide to Recent Architecture. London: Batsford, 2005. Print.</ref>

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Image:OGLloyd'sBuilding.jpg|''Photo by Olivia Gibbs''
Image:NBLloyds1.JPG|''Photo by Natalie Bloniarz''
Image:NBLloyds2.JPG|''Photo by Natalie Bloniarz''
</gallery>
 

==21st Century==
 
===London Eye ===
 
Lambeth, London SE1 7PB
 
The London Eye is the largest cantilevered observation wheel at a height of 135 meters. Its style can be considered [[Modern Style|modern]], it is a new take on the traditional ferris wheel. It was designed by Marks Barfield Architects as a part of a competition, hosted by the Architecture Foundation and the Sunday Times, to best celebrate the turn of the century. <ref> Rose, S., & Robinson, M. (2007). Eye: the story behind the London Eye. London: Black Dog.</ref>However there was no winner of the competition, and the firm decided to go ahead with the project anyways.The base of the London Eye is made of steel cables that radiate from the center of the wheel and a steel A frame that supports a triangular truss structure. The frame has two 165 foot legs that are anchored by cables that are buried 80 feet into the ground. Because of these heavy duty materials the London Eye can withstand winds up to 50 miles per hour.<ref> Lubell, S. (2008). London 2000 : new architecture. New York: Monacelli Press.</ref> There are 32 steel-framed class passenger capsules that are fixed along the outside of the wheel that have a circumference of 1,392 feet. Each capsule has a motor which keeps it level as the wheel rotates, and keeps the unimpeded views. The glass that the capsules are made of are double curved and aerodynamically shaped to reduce wind drag. <ref> Lubell, S. (2008). London 2000 : new architecture. New York: Monacelli Press.</ref> It was launched in 2000 to celebrate the millennium, with 32 capsules on it representing the 32 boroughs of London. <ref> Rose, S., & Robinson, M. (2007). Eye: the story behind the London Eye. London: Black Dog.</ref>Originally it was built to be a temporary structure, made so that they could dismantle it and move it. It was only supposed to be in its location for 5 years but it became such a tourist attraction and staple it is now a permanent addition to the London skyline. More than 3.5 million people take a "flight" on the London Eye per year. <ref> Rose, S., & Robinson, M. (2007). Eye: the story behind the London Eye. London: Black Dog.</ref> <ref> Lubell, S. (2008). London 2000 : new architecture. New York: Monacelli Press.</ref>

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Image:EAWeye1.jpg|''Photo by Emily Wilson''
Image:OGTheEyeMaterial.JPG|''Photo by Olivia Gibbs''
Image:OGTheEyeWindow.JPG|''Photo by Olivia Gibbs''
Image: OGEyeSide.jpg|''Photo by Olivia Gibbs''
</gallery>
 

=== City Hall ===
 
The Queen's Walk, London SE1 2AA
 

Due to the previous hall, County Hall, that housed the older ruling body of London called the Greater London Council being converted into a luxury hotel, a competition for the commission to create a new city hall to represent the new democracy, the new Greater London Authority, that would govern London was held in late 1990's. Norman Foster's design competed against fifty-five other submissions, and in 1999 Foster's [[Neo-Futuristic Style|Neo-Futuristic]] design won the commission to build the new city hall. City Hall was constructed in the area at Tower Bridge known as London Bridge City. Some critics of the completed design of City Hall have called it a "glass-and-steel egg" and said that it bares resemblance to a helmet.<ref>Worsley, G. (2002). Why Foster hasn't cracked it. Telegraph.co.uk. Retrieved 20 June 2017, from http://www.telegraph.co.uk/culture/art/3579685/Why-Foster-hasnt-cracked-it.html</ref> One critic, the mayor at the time Ken Livingstone, went so far as to call the building a "glass testicle".<ref>BBC NEWS | UK | Inside London's new 'glass egg'. (2002). News.bbc.co.uk. Retrieved 20 June 2017, from http://news.bbc.co.uk/1/hi/uk/2129199.stm</ref> The use of glass by Foster was to symbolize that the government would be transparent and its energy efficiency to to represent a non polluted government. The top of the building, known as "London's Living Room," is know for views across the city and a multipurpose room composed entirely of glass walls.<ref>What can you visit at City Hall?. (2017). London City Hall. Retrieved 20 June 2017, from https://www.london.gov.uk/about-us/our-building-and-squares/what-can-you-visit-city-hall</ref> The unique shape of the building and the implementation of a specific type of glass, called fritted glass, that acts like a sun screen, allows for the building to be energy efficient in terms of heating and lighting. There is a spiral ramp that spans from the ground floor to the observation deck at the top of the building, a design that Foster has used in his design of the Berlin Reichstag. In celebration of Queen Elizabeth's Golden Jubilee, the building was formally opened in 2002.'<ref>Jones, N. (2005). Architecture of England, Scotland, and Wales (1st ed., pp. 169-173). Westport, Conn.: Greenwood Press.</ref><ref>Powell, K. (2011). 21st century London (1st ed., p. 18). London: Merrell.</ref>
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Image:EAWcity1.jpg|''Photo by Emily Wilson'' 
Image:EAWcity2.jpg|''Photo by Emily Wilson''
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===The Gherkin===
 
30 St Mary Axe, London EC3A 8EP
 
The tall cigar or pickled shaped 180 meter [[Post Modern Style|post modern]] building that lines the London skyline is The Gherkin. From the very beginning of the design it had been a controversial building. The new radical design of size and shape quickly gave it the nickname, 'the erotic gherkin'. Having been the location of previous bomb landings and in the middle of the financial district made it even more controversial when the first steel beam was erected only a month and a day after The World Trade Center fell in the fall of 2001. The previous building was the historic Victoria Baltic Exchange, built in 1903. While many pushed to salvage the building it was too expensive after it had been damaged in a terrorist bombing. That building was heavily damaged by the Irish Republican Army in 1992. So, despite the rocky beginning to the Gherkin, today it is known as one of the head features in the London Skyline. 
The Gherkin was commissioned by the Swiss Re Insurance Company with the goal of creating a landmark, and sure enough it has become one with the rounded top and what appears to be triangle windows but are really only rectangle window panes. It appears to be in a spiral and have rounded edges, but it actually all straight window panes. The five degree difference between each floor is what makes it appear to be spiraling. The top of the building, the dome top, is the only piece with a rounded piece of glass. The majority of the building is made out of glass. Ironically, it was designed by Mr. Shuttleworth who reported to the Telegraph in 2011 that 'he regrets his design of 30 St Mary Axe, the 40-floor City office block known as "the Gherkin", which won the Stirling Prize in 2004', thinking to himself about glass filling the entire building, ''Why on earth did we do that?'" believing there are better ways. 
However, the Gherkin's developed scheme was for ‘London’s first ecological tall building’. Its unique shape allows more air to easily pass through creating a comfort area for pedestrians below unlike rectangle office buildings. Also the towers diagonally braced structural envelope allows column-free floor space and a fully glazed facade, which opens up the building to light and views. Windows were made to be open so the use of air condition can be minimized. The sky gardens are mini-atria, creating ventilation largely by natural process. Integrated green work spaces were designed into the workplace. It is home to offices as it rises forty-one stories and provides 76,400 square meters, which also include a shopping area and club on the top floors for those who work there, so they can relax with a drink. The club room also offers a 360 degree panorama view of the city. This massive, unique and new building "undermines the contention that tall buildings are environmentally irresponsible, dependent on huge amounts of energy.” (Powell, 295)
<ref>Powell, Kenneth. 21st Century London: The New Architecture. London: Merrell, 2011. Print. </ref> <ref>Conn, David R. "Building the Gherkin." Library Journal, 1 Aug. 2007, p. 126. Biography in Context, libraries.state.ma.us/login?gwurl=http://link.galegroup.com/apps/doc/A168088996/BIC1?u=mlin_c_worpoly&xid=e5a35856. Accessed 11 May 2017.</ref> <ref>Eden, Richard. "Architect behind the Gherkin Says He Has Finished Designing Strangely Shaped Edifices." The Telegraph. Telegraph Media Group, 26 June 2011. Web. 12 May 2017.</ref><ref>"30 St. Mary Axe, London." London Architecture .co.uk. Artefaqs Corporation, n.d. Web. 11 May 2017.</ref>
 
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Image:OGTheGherkin.jpg|''Photo by Olivia Gibbs''
Image:OGTheGherkinOldvsNew.jpg|''Photo by Olivia Gibbs''
Image:OGTheGherkinWindow.jpg|''Photo by Olivia Gibbs''
</gallery>
 

===The Shard===
 
32 London Bridge St, London SE1 9SG
 

The Shard, also referred to as London Bridge Tower, is one of the newest and tallest [[Modern Style]] skyscraper of the London skyline after construction was completed in 2012 by lead architect Renzo Piano. Its main material is glass, with a glass facade of 602,779 square feet, weighing in at 18,000 tons and makes up 11,000 panels. The entire building is 310 meters and has 95 floors, which is actually shorter than the original plans since it was refigured following the World Trade Center terrorist attack, to have a more stable base and shorter exist routes. The Shard contains 54,000 sq meters of office space, a 200-bed five star hotel on the top 18 floors, 14 floors of flats and estimated to have about 7000 people work and live there. It only offers 40 parking spots but because of its close proximity to public transport stations it is still highly attractable. 
Unlike other skyscrapers, a steel frame is only used for the lower office floors and a concrete frame is used for the upper hotel and residential floors. Steel allows more open spaces in the office for work and the concrete creates a stronger sound barrier between living spaces and is more wind resistant. Also, unlike other skyscrapers it is covered in "extra" white glass which reflects the sky more so in some weather the top floors appear to be missing. The more reflection also means the building looks different season to season too. The Shard has a ventilated double skin of the building, which is designed to reduce heat and any extra hot air from the offices will be used to heat the hotel and flats above. Winter gardens with opening louvres still allow fresh air in during all the seasons. The Shard has been said to "consume 30 percent less energy than a conventional structure of comparable size”. <ref>Powell, Kenneth. 21st Century London: The New Architecture. London: Merrell, 2011. Print.</ref> <ref>Wright, Herbert. London High. London: Frances Lincoln, 2006. Print.</ref>

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Image: EAWshard1.jpg|''Photo by Emily Wilson''
Image:EAWshard2.jpg|''Photo by Emily Wilson''
Image:NBShard1.JPG|''Photo by Natalie Bloniarz''
</gallery>
 
 

===Leadenhall Building ===
 
122 Leadenhall St, London EC3V 4AB
 
Recently constructed, starting in 2011 and finished in 2015, the Leadenhall Building has already become a recognizable part of the London skyline. To allow the construction to progress so quickly, the building was made almost entirely of prefabricated parts that were easily assembled onsite. The angle that the building rises at is specifically 10 degrees, to keep within ordinances protecting the views of the other major landmarks across the city including Westminster Palace and [[St. Paul's Cathedral]]. The building was designed by Rogers Stirk Harbour + Partners, keeping that core ordinance at heart. In reference to the shape caused by its sloping front, it has been nicknamed "The Cheesegrater".<ref>Haslett, E., & Parmenter, C. (2015). A storey-by-storey look at everything in the Cheesegrater. Cityam.com. Retrieved 20 June 2017, from http://www.cityam.com/220396/whats-cheesegrater-aon-amlin-heres-storey-storey-breakdown-every-business-leadenhall-building</ref> The shape of the building, a distinguishing feature of the building, has a major draw back in that it limits floor space greatly with its shrinking footprint as one ascends the building. Another distinctive feature of the building is along the sides, the elevator shaft is exposed like its sister building, the Lloyd's Building; this allows for the mechanisms to be observed from the outside of the building. Because of the exposure of the elevator shafts, the surrounding supports appear to make an arrow pattern pointing up the sides of the building. The visible steel braces along the front side of the building create a diamond pattern and are exposed to emphasize the vertical of the building, strengthening the appearance. The Leadenhall Building is another example of [[High-Tech Style|High-Tech]] style architecture.
<ref>The Vision - The Leadenhall Building. (2017). The Leadenhall Building. Retrieved 18 May 2017, from https://www.theleadenhallbuilding.com/architecture/the-vision/</ref><ref>Wright, H. (2006). London high (1st ed., pp. 214-215). London: Frances Lincoln.</ref>
<gallery>
Image:NBLeadenhall2.JPG|''Photo by Natalie Bloniarz''
Image:NBLeadenhall1.JPG|''Photo by Natalie Bloniarz''
Image:OGLeadenhallBuilding.jpg|''Photo by Olivia Gibbs''
Image:OGLeadenhallBuildingEntrance.jpg|''Photo by Olivia Gibbs''
Image:OGLeadenhallCloseUp.jpg|''Photo by Olivia Gibbs''
</gallery>
 

=Section 2: Deliverables=
 
== Photographic Comparisons==
 
Our intention was to show a photographic progression of change over time. Photos were taken in various angles including, bird's eye, wide shot, close-up, and low angle. Most of the building photos were taken as wide shot to make sure the entire, or most of, the building can been seen. This can successfully be done when taken from a block away. We have included a few bird's eye photos which have been taken from higher grounds including The Eye and The Shard, these shots are to show the grand size of the building being able to take a roof-top image. Many, if not all, of the window photographs are taken from a low angle simply because of accessibility. In order to get a photo of the long arch Victorian style windows one must angle the camera up a little to include the entire window. Typically low shot angles are used to emphasize power in a character, allowing the viewer to feel below and the subject be the tall and almighty one but again for our purpose it was more of accessibility. The materials photos are all close-up shots, which means the camera was pointed straight on the building and on zoom. The close-up allows us to see the detail in the material used, such as the old stones in the Jewel Tower.
 

===The Buildings===
 As shown below, these buildings exemplify a wide range of styles since we tried to cover a large time period. Starting with the Neo-Gothic and Medieval style it can be observed most of the building is made from a hard solid material with fewer windows than the more modern all glass buildings. Each distinctive style can be read more about here:[[Gothic style]], [[Neo-Gothic]],[[Medieval style]],[[Elizabethan style]], [[Neoclassical]], [[English Baroque]], [[Brutalist Style]], [[High-Tech Style|High-Tech]], [[Modern Style]], [[Neo-Futuristic Style]],[[Jacobean style]] and [[Post Modern Style]].
<gallery>
[[File:EWkp.jpg|400px]] [[File:EWrah.jpg|400px]][[File:EWglobe.jpg|400px]][[File:EWcity.jpg|400px]][[File:Ewtower1.jpg|400px]][[File:EWsaintp.jpg|400px]][[File:EWsp.jpg|400px]][[File:EWwest.jpg|400px]][[File:EWwest.jpg|400px]]
File:EAWABBEY03.jpg|''' Westminster Abbey''' ''' Style:''' Neo-Gothic ''' Year:''' 1080'''
File:EWjt1.jpg|''' The Jewel Tower ''' ''' Style:''' Medieval ''' Year: ''' 1360's'''
File:EAWglobe1.jpg|''' Shakespeare's Globe''' ''' Style:''' Elizabethan ''' Year:''' 1597/1598'''
File:OGKensingtonPalaceSmall.jpg|''' Kensington Palace ''' ''' Style:''' Jacobean ''' Year:''' 1605'''
File:OGBuckinghamPalace2.JPG|''' Buckingham Palace ''' ''' Style: ''' Neoclassical ''' Year: ''' 1703'''
File:OGStPauls.jpg|''' St Paul's Cathedral ''' ''' Style:''' English Baroque ''' Year:''' 1711'''
File:NBExchange1.JPG|''' The Royal Exchange ''' ''' Style:''' Neoclassical ''' Year:''' 1844'''
file:EWwp.jpg|''' Westminster Palace ''' ''' Style:''' Gothic ''' Year:''' 1852'''
File:EAWst1.jpg|''' St. Pancras Station & Hotel ''' ''' Style:''' Victorian Gothic ''' Year:''' 1868'''
File:NBAlbert1.JPG|''' Royal Albert Hall ''' ''' Style:''' Victorian and Classical styles ''' Year:''' 1871'''
File:EAWtb1.jpg|''' Tower Bridge''' ''' Style:''' Victorian Gothic ''' Year: ''' 1894''' 
File:OGCarpark3.jpg|'''Welbeck Street Car Park ''' ''' Style:''' Brutalist ''' Year:''' 1971'''
File:EAWbl1.jpg|''' The British Library''' ''' Style:''' Brutalist ''' Year:''' 1977'''
File:OGBarbicanCenterOutside2.jpg|''' Barbican Center''' '''Style:''' Brutalist ''' Year:''' 1982'''
File:OGLloyd'sBuilding.jpg|''' Lloyd's Building''' ''' Style:''' High Tech ''' Year:''' 1986'''
File:OGTheEyeMaterial.JPG|''' London Eye''' ''' Style: ''' Modern ''' Year:''' 2000'''
File:EAWcity1.jpg|''' City Hall''' ''' Style:''' Neo-futurism ''' Year:''' 2002'''
File:OGTheGherkin.jpg|''' The Gherkin ''' ''' Style:''' Post-Modern ''' Year:''' 2003'''
File:NBShard1.JPG|''' The Shard''' ''' Style:''' Modern ''' Year:''' 2012'''
File:NBLeadenhall2.JPG|''' Leadenhall Building''' ''' Style: ''' High Tech ''' Year:''' 2015'''
</gallery>
 
As you can see there is a large variety of building styles and ages in London. There are many different styles that play into what we know as London today, and that makes it a very unique city.

 

===Materials===
 
Over time we have seen a change in materials depending on the year built. For our early buildings we can see that most of them were made with different types of stone. Then as we progress we start to see a mixture of stone and red brick starts to appear. Then we start to see more brick, and stone is replaced by concrete. Then after a long period of concrete we start to see a shift towards steel and then glass. There is not a heavy correlation between style and material used up until the more recent buildings, were concrete is heavily associated with the Brutalist style, and glass is associated with the more modern styles.
 
<gallery>
[[File:EWkp.jpg|400px]] [[File:EWrah.jpg|400px]][[File:EWglobe.jpg|400px]][[File:EWcity.jpg|400px]][[File:Ewtower1.jpg|400px]][[File:EWsaintp.jpg|400px]][[File:EWsp.jpg|400px]][[File:EWwest.jpg|400px]][[File:EWwest.jpg|400px]]
File:EWwest.jpg|'''Westminster Abbey''' '''Materials:''' Limestone, Marble, and Sandstone '''Style:''' Neo-Gothic '''Year:''' 1080
File:EWjtmat.jpg|'''The Jewel Tower''' '''Materials:''' Kentish Ragstone ''' Style:''' Medieval ''' Year:''' 1360's''
File:EWglobe.jpg|'''Shakespeare's Globe ''' '''Materials: '''Timber, Plaster, Thatch ''' Style:''' Elizabethan ''' Year:''' 1597/1598''
File:EWkp.jpg|'''Kensington Palace''' '''Materials:''' Red Brick ''' Style:''' Jacobean ''' Year:''' 1605''
File:OGBuckinghamPalaceWindow.jpg|'''Buckingham Palace''' ''' Materials:''' Caen Stone ''' Style:''' Neoclassical ''' Year:''' 1703''
File:EWsaintp.jpg|'''St Paul's Cathedral''' ''' Materials:'''Portland Stone ''' Style:''' English Baroque ''' Year:''' 1711''
File:OGRoyalExchangeMaterial.JPG|'''The Royal Exchange''' '''Materials: '''Concrete ''' Style:''' Neoclassical ''' Year:''' 1844''
file:EWwmpmat.jpg|'''Westminster Palace''' '''Materials:''' Limestone ''' Style:''' Gothic ''' Year:''' 1852''
File:EWsp.jpg|'''St. Pancras Station & Hotel ''' '''Materials:'''Red Brick Ziggurat ''' Style:''' Victorian Gothic ''' Year:''' 1868''
File:EWrahmat.jpg|'''Royal Albert Hall ''' '''Materials:''' Orange Red type of brick, and golden terra-cotta ''' Style:''' Victorian and Classical styles ''' Year: ''' 1871''
File:Ewtower1.jpg|'''Tower Bridge''' '''Materials:''' Steel, Clad Granite, Stone Masonry ''' Style:''' Victorian Gothic ''' Year:''' 1894''
File:OGCarparkMaterial.jpg|'''Welbeck Street Car Park''' '''Materials:''' Concrete ''' Style:''' Brutalist ''' Year: ''' 1971''
File:NBBritishLibrary3.jpg|'''The British Library''' '''Materials: '''Concrete and Brick ''' Style: ''' Brutalist ''' Year:''' 1977''
File:OGTheBarbicanCenterMaterial.jpg|'''Barbican Center ''' '''Materials:''' Concrete ''' Style:''' Brutalist ''' Year:''' 1982''
File:OGlloydsteel.JPG|'''Lloyd's Building ''' ''' Materials:''' Concrete and Stainless Steel ''' Style:''' High Tech ''' Year:''' 1984''
File:OGTheEyeMaterial.JPG|'''London Eye''' '''Materials:''' Steel ''' Style:''' Modern ''' Year:''' 2000''
File:EWcity.jpg|'''City Hall''' '''Materials: '''Glass ''' Style:''' Neo-futurism ''' Year:''' 2002''
File:OGTheGherkinMaterial.jpg|'''The Gherkin''' '''Materials: '''Glass ''' Style:''' Post-Modern ''' Year:''' 2003''
File:OGSHARDWindow.JPG|'''The Shard''' '''Materials:''' Glass ''' Style:''' Modern ''' Year:''' 2012''
File:OGTheLeadenhallMaterial.jpg|'''Leadenhall Building ''' '''Materials:''' Glass and Steel ''' Style: ''' High Tech ''' Year:''' 2015''
</gallery>

===Windows===
 
For the shape of windows, it mostly changes depending on the style that the building was built in, and not the year it was built. [[Medieval]], [[Neo-Gothic]], [[English Baroque]], and [[Gothic style]] tend to have rounder windows. The [[Brutalist Style]] and more modern styles have very square windows, with some exceptions for both.
 
<gallery>
[[File:EWkp.jpg|400px]] [[File:EWrah.jpg|400px]][[File:EWtower.jpg|400px]]
File:EWwestabbeywindow.jpg|''' Westminster Abbey ''' '''Style: '''Neo-Gothic '''Year:''' 1080'''
File:EWjtwindow.jpg|''' The Jewel Tower''' '''Style: '''Medieval '''Year: '''1360's'''
File:OGGlobeWindow.jpg|''' Shakespeare's Globe ''' '''Style:''' Elizabethan '''Year: '''1597/1598'''
File:EWkp.jpg|''' Kensington Palace''' '''Style:''' Jacobean '''Year:''' 1605'''
File:OGBuckinghamPalaceWindow.jpg|''' Buckingham Palace ''' '''Style:''' Neoclassical '''Year:''' 1703'''
File:OGStPaul'sCathedralWindow.jpg|''' St Paul's Cathedral''' '''Style:''' English Baroque ''' Year: '''1711'''
File:OGRoyalExchangeWindow.JPG|''' The Royal Exchange ''' '''Style:''' Neoclassical '''Year: '''1844'''
file:EWwmpwindow.jpg|''' Westminster Palace''' ''' Style:''' Gothic '''Year:''' 1852'''
File:OGStPancrasWindow.jpg|''' St. Pancras Station & Hotel''' '''Style:''' Victorian Gothic '''Year:''' 1868'''
File:EWrah.jpg|''' Royal Albert Hall ''' '''Style:''' Victorian and Classical styles '''Year:''' 1871'''
File:EWtower.jpg|''' Tower Bridge''' ''' Style:''' Victorian Gothic ''' Year:''' 1894'''
File:EWwellbeckwindow.jpg|''' Welbeck Street Car Park''' '''Style:''' Brutalist '''Year: '''1971'''
File:NBBLWindows.jpg|''' The British Library ''' '''Style:''' Brutalist '''Year: '''1977'''
File:OGBarbicanWindow.jpg|''' Barbican Center ''' '''Style:''' Brutalist ''' Year:''' 1982'''
File:OGLloydWindow.JPG|''' Lloyd's Building ''' '''Style:''' High Tech ''' Year:''' 1984'''
File:OGTheEyeWindow.JPG|''' London Eye ''' '''Style:''' Modern '''Year:''' 2000'''
File:EWcity.jpg|''' City Hall''' '''Style:''' Neo-futurism '''Year:''' 2002'''
File:OGTheGherkinWindow.jpg|''' The Gherkin ''' '''Style:''' Post-Modern '''Year: '''2003'''
File:OGSHARDWindow.JPG|''' The Shard ''' '''Style: '''Modern '''Year: '''2012'''
File:OGTheLeadenhallWindow.jpg|''' Leadenhall Building ''' '''Style:''' High Tech '''Year:''' 2015'''
</gallery>

==Interactive Map==
 
This map creates a visual representation of the relations between the locations of the buildings and their styles. It also helps to show how the architecture truly changes based on location, especially the areas constantly impacted by fires. It creates a context for the settings of the buildings showing what influence the location would have on the style of the building. For example, the elaborate [[London Architecture#Royal Albert Hall|Royal Albert Hall]] is located near [[London Architecture#Kensington Palace|Kensington Palace]], a previous home to royalty, as opposed to a financial area like the Royal Exchange. It also provides a basic amount of information about the location: style, materials, designers, year completed, and purpose/function that can be found in the background. The map also functions as our version of a map for architectural guide book created by the background information. Keeping with the idea that our project is similar to a guidebook, this map serves to highlight our chosen buildings and key information gathered from our research. The map operates similarly to Google Maps. To view the information about any location discussed in the background, the user can either click on the pinned icon on the map or on the name of the building from the list on the right. The information will then appear above the pin on the map and also in an box on the top right. Each location is marked with a relevant symbol on the pin, for example the [[The Globe Theater|Globe Theater]] has the drama masks and the Lloyd's Building has an office building icon. Included in the information on the map is also an image of each location.
 
https://maphub.net/bloniarzna/London-Architecture
 
<gallery mode=packed caption="Screenshots">
Image:NBMap1.png
Image:NBMap2.png
Image:NBMap3.png
Image:NBMap4.png
</gallery>
 

=Conclusion=
 
From our comparisons of buildings we have seen that over time the buildings have gotten taller and become more unique in shape. Also from our buildings that we looked at, there was a lack of pillars, showing little influence from the Roman style of architecture. While we showed a photographic comparison of the buildings we did not go into the specific comparisons of styles. If you are interested in this topic and would like to do some further reading on the comparisons between cathedrals architecture you can look at this page [[Cathedral Architecture]]. If you would like to read about the preservation of buildings you can read [[ London's Architectual Preservation of History]]. If you would like to look at the comparisons of architecture in different theaters in London you can read [[ Milestone 1: Different Theaters in London]]. It would be interesting to see more research done on where the future style of London Architecture is headed, if they are going to continue with their post-modern and high-tech styles, or if they are going to try and stay with their more traditional and classic styles.

 

=Attribution of Work=
==Emily==

I worked on the sections about the [[London Architecture#London Eye|London Eye]], [[London Architecture#The Royal Exchange|The Royal Exchange]], [[London Architecture#Buckingham Palace|Buckingham Palace]],[[London Architecture#The Jewel Tower|The Jewel Tower]] , [[London Architecture#Kensington Palace|Kensington Palace]] and [[London Architecture#NCP Car Park|NCP Car Park]]. I also took photographs for St. Pancras Hotel and Train Station, The Shard, The Globe Theatre, Tower Bridge, Houses of Parliament/Big Ben, St. Paul's Cathedral, Westminster Abbey, Royal Albert Hall, City Hall, The British Library, London Eye, and Kensington Palace. I also worked on all the comparison sections, pulled together and formatted all the information for the map with Olivia, and edited the page.

==Olivia==
I worked on the sections about the [[London Architecture#The Gherkin|The Gherkin]], [[London Architecture#The Shard|The Shard]], [[London Architecture#The Lloyd’s Building|Lloyd's Building]], [[London Architecture#Shakespeare's Globe|Shakespeare's Globe]], [[London Architecture#St Pancras Station & Hotel|St Pancras Station & Hotel]], [[London Architecture#Barbican Center|Barbican Center]] and [[London Architecture#Photography Comparison|Photography Comparison]]. I also took photographs for Westminster Abbey, Kensington Palace, Buckingham Palace, St Paul's Cathedral, The Royal Exchange, Barbican Center, Lloyd's Building, The Eye, The Gherkin, Leadenhall Building, Jewel Tower, and Welbeck Car Park.I also worked on all the comparison sections, and editing the page.

==Natalie==
I worked on the sections for [[London Architecture#Westminster Palace|Westminster Palace]], [[London Architecture#Westminster Abbey|Westminster Abbey]], [[London Architecture#Tower Bridge|Tower Bridge]], [[London Architecture#St. Paul's Cathedral|St. Paul's Cathedral]], [[London Architecture#Royal Albert Hall|Royal Albert Hall]], the [[London Architecture#Leadenhall Building|Leadenhall Building]], [[London Architecture#City Hall|City Hall]], and the [[London Architecture#British Library|British Library]]. I also contributed photos of Kensington Palace, the Royal Exchange, Royal Albert Hall, the Llyod's Building, the Leadenhall Building, and the Shard. I created the interactive map and inputted all of our information and photos, as well edited the page.
 

=External Links=
#http://www.westminster-abbey.org/
#http://www.english-heritage.org.uk/visit/places/jewel-tower/
#http://www.shakespearesglobe.com/
#http://www.hrp.org.uk/kensington-palace/
#http://www.buckinghampalace.co.uk/index.php
#https://www.stpauls.co.uk/
#http://www.theroyalexchange.co.uk/
#http://www.parliament.uk/about/living-heritage/building/palace/
#http://stpancras.com/
#http://www.royalalberthall.com/
#http://www.towerbridge.org.uk/
#https://www.bl.uk/
#https://www.barbican.org.uk/
#https://www.lloyds.com/lloyds/about-us/the-lloyds-building
#https://www.londoneye.com/
#https://www.london.gov.uk/about-us
#http://www.thegherkinlondon.com/
#https://www.the-shard.com/
#https://www.theleadenhallbuilding.com/
 

[[Category:Art Projects]]
[[Category:Advisor:Manzo]]
[[Category:2017]]

=References=

The History, Purpose, and Techniques of Stained Glass Windows

2017-06-20T15:02:51Z

Nbloniarz:

=The History, Purpose, and Techniques of Stained Glass Windows=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| bodystyle = width:20em
| image=[[File: NBAntique.jpg]]
| label1= '''Artist:'''
| data1=[[User:Nbloniarz|Natalie Bloniarz]]
| label2= '''Title:'''
| data2=''Mountain Sunset''
}}
__TOC__

=Abstract=
 
The aim of this project was to develop an understanding of the history and purpose of stained glass windows and to study the techniques needed to create a window, then apply those techniques to create my own stained glass window. Using my prior humanities and arts experience in digital art from AR1101 Digital Imaging and Computing, I created the design for my stained glass window and then proceed to go [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] to create the window. Creating the window for this project was a fun learning opportunity and taught me a lot about what it truly takes to design and create a successful stained glass window.
 

=Introduction=
 
This project covers a brief history of stained glass to provide some historical context for the art form, and then explores the techniques that can be used to create a window. The specific technique used to create the window for the deliverable portion of this milestone was leading. This is similar to the classes AR 162X and AR 262X Glass I and II respectively at WPI, which focus on glass blowing and techniques such as cutting and grinding glass. The main difference between the class I took at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] and the classes offered at WPI is that WPI focuses more on the creation of the glass and objects directly as a result of glass blowing rather than creating something from pieces of glass like stained glass. The window for the deliverable section of this project was created as part of a beginners workshop exploring the techniques needed to design stained glass, cutting and grinding glass, and soldering the panel together.. This project was unlike anything I have ever done and was a great chance to experience a new art form.
 

=Section 1: Background=
 

==A Brief History==
 
Stained glass is believed to originate from the Middle East as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form. The earliest glass windows were a huge transition from how mankind had been using glass beforehand, mainly as weapon blades made of the volcanic glass obsidian and simple housewares such as bowls and vases.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Moving forward to the medieval period, stained glass as it is known today began to take shape, progressing forward from simple glass shapes in holes in walls to full architectural elements. Medieval churches began to commission windows with religious figures and the royalty of the period would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> The windows of this time were expensive and at a constant risk of having their light source blocked by a new building, rendering the art useless.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> Glass in the centuries prior was as valuable as precious stones, for example ruby colored glass was the equivalent of an actual ruby, and can help explain why the churches and castles of medieval Europe were the only buildings commissioning stained glass for a long period. The Augsburg Cathedral is believed to have the oldest existing stained glass windows, but the construction of the windows shows great knowledge of advanced techniques. The windows in the cathedral suggest that other prior windows had existed, because of the advanced techniques, and suggests the idea that the creator of the window had knowledge from all across Europe, but these are the earliest existing windows still standing today.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> New colors for the glass in stained glass windows were introduced over the centuries as new metals were discovered, allowing for experimentation into lighter colors, painting, and the development of new styles.
 
[[Gothic style]] stained glass windows, particularly in France, popularized the heavy use of reds and blues in window designs.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The Gothic color choices of rich reds and blues can be easily observed in rose windows, which are the larger circular windows found in Gothic cathedrals. The [[Gothic style]] of stained glass windows reigned supreme in cathedrals in the thirteenth century.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 88-111). London: Thames and Hudson.</ref> Painting on glass became the next popular style for stained glass windows, and it was rose to popularity in the fourteenth and fifteenth centuries as a way to achieve greater detail in the windows, especially in the faces and hair of figures. This stylistic shift was a drastic change from the previous Gothic windows with their heavy use of vivid colors. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image. Buildings were starting to be designed around the grandiose windows that would provide the majority of the light inside. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window, with details painted on using silver.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> In the sixteenth century stained glass windows began to be used to decorate community buildings, homes, and businesses such as inns and the windows were mainly secular. The use of leading also was further reduced in favor of painting on silver stained glass driven by the desire for detail, but with more color than the grisaille style. Donors to the art also began to be immortalized in the windows they paid for by being added into the design.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The grisaille style of the fourteenth and fifteenth centuries served as a stark contrast to the renaissance style windows of that same time period. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries, and it also brought the use of perspective to the art form adding dimension to the figures. Both forms had a significant amount of detail painted onto the glass, but only renaissance style windows matched the resurgence of colors in the other art forms of the time.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 112-141). London: Thames and Hudson.</ref>
 
After the end of the renaissance, especially in the nineteenth century, there was a revival of historic styles and techniques that focused more on the quality of the glass than the painting. The [[Gothic style]] made a resurgence in popularity because of its focus on the glass and historical techniques. Many renovations of older buildings had damaged the stained glass windows, and allowed for new windows remade in the older styles to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The twentieth century brought about new styles and applications to stained glass. The Aesthetic styles of patterned, semiabstract, and non-figural work became popular especially in the United States. Stained glass also began to take on new forms, such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle-class. Art Nouveau was Europe’s response to the Aesthetic style in America and the increase of American glass production, putting even more glass in middle-class homes and in buildings. Art Deco in the early twentieth century made its way into stained glass using vibrant colors, geometry, and simple designs. The movement had international popularity and appeared in many building across the world, especially in Spain. Today the use of stained glass is as varied as it has ever been, even being used in sculptural elements like ''Lightpainting'' by Stephen Knapp on the front of the Gordon Library at WPI.<ref> Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref>
<gallery mode=packed>
Image:NBSGH1.JPG|This window exemplifies the simplistic forms of the time, with all three of the figures lacking facial detail and the heavy use of leading.
Image:NBVA2.jpg|A display of the coat of arms of the Dukes of Burgundy more characteristic of early stained glass windows.
Image:NBSGH2.JPG|A strong example of Gothic stained glass, with its heavy use of reds and blues.
Image:NBVA4.jpg|An example of the painted style of stained glass, the centerpiece is all painted.
Image:NBSGH4.JPG|An example of a grisaille panel that uses significantly lighter colors.
Image:NBVA3.jpg|This panel has donors praying to patron saints in the bottom two scenes.
Image:NBSGH5.JPG|A 16th century grisaille panel with significantly less leading, and a non secular subject.
Image:NBLamp.jpg|A Tiffany style lampshade in the Art Nouveau style<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 47). Lewes: Guild of Master Craftsman Publications.</ref>
</gallery>
 


==Purpose==
 
The purpose of stained glass windows is closely tied to its history, and has evolved over time. In the beginning, it was simply a way of letting daylight into buildings through small windows and keep the walls completely closed.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Stained glass is a strong example of how something can transition from just a functional item into an art form. As the windows became larger with larger individual pieces of glass, and higher quality was being produced in the medieval period, religious figures realized they could use the windows to educate the illiterate masses about the bible. Light was also symbolic to religious figures, in that it represented good and God’s protection in the Old Testament. Religious education in the medieval ages was very important because the church was the highest authority in society, and to achieve salvation one must follow the word of God.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 10). London: Thames and Hudson.</ref> Onward from the medieval ages, the use of stained glass had a dual purpose: to create religious images and to highlight the wealth of those who owned the building or were the patron of the art.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> In more recent times, some older homes, governmental buildings, and businesses have stained glass as a design element, and based on the texture and opacity of the glass, as a way to increase privacy without decreasing light as well.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 228). London: Thames and Hudson.</ref> In general, the main purpose of stained glass has stayed rather simple throughout history: to let light into buildings while keeping the building completely enclosed.
 

==Techniques==
 
The process of creating a stained glass window boils down to seven simple steps, but it can be altered based on the technique used and desired appearance of the window. The first part of the process is to develop a design for the window, sketch out the basic shapes and colors of the window. The next step forward is to create a template, called the cartoon, from the basic design and solidify the finalized design. This step creates a guide for every piece of glass that needs to be cut, and how the cut pieces are then later assembled and attached to become a cohesive piece. The cartoon is also important because if leading is being used it creates definitive lead lines and solder points.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 40-45). London: Batsford.</ref>
 
{{Infobox
| image= [[File:NBSGTools.jpg|x200px]]
| caption=A set of typical stained glass tools including
| label1= '''Tools Pictured (from left to right):'''
| data1= Diamond tipped scorer, breaking pliers, palette knife, applicator brush, badger brush, and a needle
}}
The third step is to gather all of the needed tools and materials, and to prep the work space. Tools needed for most projects include:
*A board to use as a cutting surface
*A ventilation system to reduce the fumes
*A scoring tool to break the glass along desired lines
*A grozing tool to cut (break) the jagged edges of the glass
*Lead strips or scraps
*A lead knife
*An oyster knife to manipulate the lead
*A soldering iron to attach the pieces of lead
*A light box to check the design of gaps
*A glass grinder for achieving different textures and fine curves
*A scrubbing brush for the application and removal of cement
*Any other tool deemed necessary or useful, as each artist can choose to use less or more tools than those listed.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 8-13). Lewes: Guild of Master Craftsman Publications.</ref>
 
A major part the entire process is the fourth step, which is choosing the proper glass for the desired appearance. A good basis for choosing glass is to pick from a slab or pieces that are flat and not too thick. Thickness is very important as it determines the majority of the weight of the window, and if it is too thick, the window could collapse and shatter under its own weight. A few typical glass choices are:
{{Infobox
| image1=[[Image:NBCrown.JPG|x100px]]
| caption1=An example of crowned glass<ref>Böhringer, F. (2006). Angelika Kauffmann-Museum in Schwarzenberg im Bregenzerwald. Retrieved from https://en.wikipedia.org/wiki/File:AKMuseum5.JPG</ref>
| image2=[[Image:NBNorman.jpg|x100px]]
| caption2=An example of Norman slab glass
| image3=[[Image:NBAntique.jpg|x100px]]
| caption3=An example of antique glass
| label1= '''Description:'''
| data1= These are three different types of glass, the most common of the three is antique glass.
}}
*Crowned glass, which is created by taking a bubble from a glass blowing rod and flattening it into a panel. This glass is not typically used in modern windows. This type of glass appears typically in two forms: roundels and bullions. Both forms of the glass have a circular pattern due to the manufacturing process, but bullions are any piece cut from that glass and a roundel is a circular bullion. Historically this type of glass is clear, but that does not mean that it cannot be found colored as well.<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A Norman slab, which is created by blowing glass into a rectangular form and it is known to have an irregular texture and thickness making it difficult to work with. The uneven thickness of the glass also give it a slight foggy appearance, and the bumpy texture of the glass is visible<ref>Sourcebook 2015. (2015) (pp. 1-2). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A crossed/pressed slab, which is created by rolling molten glass onto a table with a rolling pin. The pin and table have indentations to create texture but the glass is often hard to work with because of the differing thicknesses.
*Antique glass is the standard glass used for stained glass windows. It is created by creating a glass bubble, piercing both sides making a cylinder, and then cutting the cylinder and letting it unfurl and cool flat. the glass can be made with a variety of colors and textures. A singular color is achieved by mixing in metallic compounds into the glass creating pot glass, while multiple color can be achieved by mixing potted glass or using the flash method. The flash method uses a bubble of glass with a large amount of a light base color, and then dipping that bubble into a darker color creating a multilayered slab.
**If the mixed color was achieved by mixing multiple potted glasses, it is called streaky or reamy glass based on the colors mixed and the ease of cutting. Reamy glass specifically has a wavy pattern in the colors, with bands of strong tonal contrast. Streaky glass has a greater portion of light colored sections with streaks of contrasting colors of varying thickness<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>.
*Curious glass is glass that is an oddity or mistake of production and is often discarded by manufactures; this means that the glass can be any color or thickness.
*Commercially produced glass is another option in that it is readily available and easy to produce. It is often light in color and has a smooth texture.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 27-32). London: Batsford.</ref>
 
{{Infobox
| image1=[[File:NBCopperFoil.jpg|x100px]]
| caption1=An diagram of the copper and foil technique.This illustration shows how the copper is used as a base for the solder<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 63). New York: Prentice Hall Press.</ref>
| image2=[[File:NBApplique.jpg|x100px]]
| caption2=An example of the appliqué technique<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 48). Lewes: Guild of Master Craftsman Publications.</ref>
| image3=[[File:NBLeading.jpeg|x100px]]
| caption3=An example of the leading technique<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 57). New York: Prentice Hall Press.</ref>
| label1= '''Note:'''
| data1= The most commonly seen technique is the leading technique because of its wide use throughout history.
}}

The next step is to cut and shape the glass. Cutting glass can be difficult for beginners because each cut must go to the edge of the glass making intricate cuts challenging. To cut the glass it first must be scored along the desired line. Once scored, the glass is then carefully broken along the scored line using the pliers to firmly grip the glass.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 14-15). Lewes: Guild of Master Craftsman Publications.</ref> Then the cut pieces can be shaped and organized before moving onto assembly of the panel, which is the sixth step of the process. The window panel can be assembled in a few different methods the main methods are: copper and foil, appliqué, fusing, and leading. Copper and foil was popularized by Louis Comfort Tiffany, and is best known for the the use of copper and foil on a lampshade. The technique involves taking each piece of glass in the design and wrapping the edges in copper foil which is then soldered along the length of the seams. This method is similar to another called tinning which uses the same copper foil wrapping but lining the seam with flux, allowing blobs of solder to flow throughout the seam to create the bond. Soldering two pieces can be done in two main ways the first of which is seam. seam is similar to tinning and copper and foil in that the solder is run between the two joints, creating a flat joint. The other option is bead, which builds upon a seam with more flux and then the solder is run above the joint until a raised line is formed to the desired height.


Appliqué steps away from solder and it involved gluing the pieces to a clear slab. This changes the grouting of the glass from negative to positive, allowing more light to pass through. Fusing glass involves overlapping each edge of every piece and then firing the design in a kiln. The end result is a solid panel with no leading or gaps between the glass. The one main problem with this method is if the glass used in the panel is not homogeneous, it can lead to cracking and uneven melting.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 49). Lewes: Guild of Master Craftsman Publications.</ref>


Leading is the most commonly seen method in stained glass. This method used lead came to secure the glass in place, often in a grove in the lead, and then the lead is soldered to hold the pieces together. Cement is then used to secure the panel and fill any remaining gaps in the lead adding stability and waterproofing to the joints.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 57-61). Lewes: Guild of Master Craftsman Publications.</ref> The final step is to finish the window whether that be polishing the lead, packing for transport, installation, painting, or all of the above.<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 88-92). New York: Prentice Hall Press.</ref> Painting can add detail to a stained glass design that can easily be achieved by the coloration of the glass or the assembly. If a panel is painted it will need to be fired in a kiln to set the paint.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 73). London: Batsford.</ref>


 

=Section 2: Deliverable=
 
==Creating my own Stained Glass Window==
 
===The Design===
 
For the design of my window, I took inspiration from nature and a window design I had seen while browsing on pinterest. I decided on a mountain sunset scene for the beautiful array of colors that I could use and because I loved that design so much. I then chose an image off google and used that as a template for my design so I could see how it would look broken into pieces. This original design was contingent on how complex I could make my panel at the workshop. The main use I would have for this panel is as a decorative piece in my home, and maybe someday it could actually function as a window.
<gallery mode=packed>
Image:NBInspo.jpg
Image:NBTemplate.jpg
Image:NBDesign.png
</gallery>
 

===The Process===
 
[[Image:NBCartoon.jpg|right|x320px]]
The process of creating my own stained glass window began at 9:30 a.m. at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] in London. The first portion of the workshop involved learning how to properly handle and cut glass. I practiced scoring along a marker line and breaking glass for about an hour. The scoring tool works like a pen and carves a line into the glass, which can then be used to break the glass. There are three main methods I used for breaking the glass in my panel: scoring and using specialized pliers, scoring and tapping along the line, and scoring and using a different pair of specialized pliers. The two pairs of pliers were grozier pliers, for breaking small pieces, and the other was a pair of glass breaking pliers for larger breaks and simple curves. Moving onto the actual panel creation, I was given a piece of paper to design my window with a design restraint of a maximum of eight pieces. For my design, I took my ideal design above and dramatically simplified the lines and colors. The final design ended up looking like a basic mountain sunset.
 
[[Image:NBCut.jpg|right|x320px]]
The main historical influence on my design was the modern do-it-yourself movement, because I preferred the freedom to create any possible design rather than staying within a limited historical style. After creating my cartoon it became time to chose and cut the colored glass. The type of glass we used was standard antique glass, and was mainly the leftover pieces from commissioned art works. I picked pieces with a smooth texture for the sunset sky because I didn't want my sky to be too complicated, and the glass I chose had beautiful striations that helped me to achieve my desired sunset effect. For the hills and trees I chose to use four different shades of green to add depth to the piece and in an attempt to keep the image more realistic. I also chose to experiment with texture on two of the four pieces, further creating definition between each of the green pieces. Lastly, for the sun I picked a textured yellow piece because I like the more mellow refraction effect it had in the light.
 
After I had accurately cut each of my pieces, I began to cut and shape the lead. This was the most difficult part of the process because it required an incredible amount of precision. The first step was creating a corner of the frame, from which all other pieces would line up with. This was the most challenging part because nailing the wood guide to the table would often cause the cartoon to shift and to have to begin the process all over again. After that had passed I began the tedious task of cutting and shaping thin pieces of lead to the curves of my glass pieces. This was the only moment where I regretted my design choice because the lead would not hold the curved shapes very well. Once all of the lead was in place it was time for me to solder all of the joints, and using my prior experience I finished soldering rather quickly. Once I was finished soldering, the only step left was to polish my window.
 

===The Result===
 
[[Image:NBWindow.jpg|x500px]]
[[Image:NBAntique.jpg|x500px]]
 

=Conclusion=
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It would be interesting to see how the art form will continue to evolve over time and what the purpose of it will be.
 

=References=
<references />
 

=External Links=
Here is the website for the studio where I made my window: [http://dekostudio.co.uk/ Deko Studio].
 

[[Category: Art Projects]]
[[Category: 2017]]

The History, Purpose, and Techniques of Stained Glass Windows

2017-06-20T15:02:24Z

Nbloniarz:

=The History, Purpose, and Techniques of Stained Glass Windows=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| title=The History, Purpose, and Techniques of Stained Glass Windows
| bodystyle = width:15em
| image=[[File: NBAntique.jpg]]
| label1= '''Artist:'''
| data1=[[User:Nbloniarz|Natalie Bloniarz]]
| label2= '''Title:'''
| data2=''Mountain Sunset''
}}
__TOC__

=Abstract=
 
The aim of this project was to develop an understanding of the history and purpose of stained glass windows and to study the techniques needed to create a window, then apply those techniques to create my own stained glass window. Using my prior humanities and arts experience in digital art from AR1101 Digital Imaging and Computing, I created the design for my stained glass window and then proceed to go [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] to create the window. Creating the window for this project was a fun learning opportunity and taught me a lot about what it truly takes to design and create a successful stained glass window.
 

=Introduction=
 
This project covers a brief history of stained glass to provide some historical context for the art form, and then explores the techniques that can be used to create a window. The specific technique used to create the window for the deliverable portion of this milestone was leading. This is similar to the classes AR 162X and AR 262X Glass I and II respectively at WPI, which focus on glass blowing and techniques such as cutting and grinding glass. The main difference between the class I took at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] and the classes offered at WPI is that WPI focuses more on the creation of the glass and objects directly as a result of glass blowing rather than creating something from pieces of glass like stained glass. The window for the deliverable section of this project was created as part of a beginners workshop exploring the techniques needed to design stained glass, cutting and grinding glass, and soldering the panel together.. This project was unlike anything I have ever done and was a great chance to experience a new art form.
 

=Section 1: Background=
 

==A Brief History==
 
Stained glass is believed to originate from the Middle East as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form. The earliest glass windows were a huge transition from how mankind had been using glass beforehand, mainly as weapon blades made of the volcanic glass obsidian and simple housewares such as bowls and vases.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Moving forward to the medieval period, stained glass as it is known today began to take shape, progressing forward from simple glass shapes in holes in walls to full architectural elements. Medieval churches began to commission windows with religious figures and the royalty of the period would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> The windows of this time were expensive and at a constant risk of having their light source blocked by a new building, rendering the art useless.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> Glass in the centuries prior was as valuable as precious stones, for example ruby colored glass was the equivalent of an actual ruby, and can help explain why the churches and castles of medieval Europe were the only buildings commissioning stained glass for a long period. The Augsburg Cathedral is believed to have the oldest existing stained glass windows, but the construction of the windows shows great knowledge of advanced techniques. The windows in the cathedral suggest that other prior windows had existed, because of the advanced techniques, and suggests the idea that the creator of the window had knowledge from all across Europe, but these are the earliest existing windows still standing today.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> New colors for the glass in stained glass windows were introduced over the centuries as new metals were discovered, allowing for experimentation into lighter colors, painting, and the development of new styles.
 
[[Gothic style]] stained glass windows, particularly in France, popularized the heavy use of reds and blues in window designs.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The Gothic color choices of rich reds and blues can be easily observed in rose windows, which are the larger circular windows found in Gothic cathedrals. The [[Gothic style]] of stained glass windows reigned supreme in cathedrals in the thirteenth century.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 88-111). London: Thames and Hudson.</ref> Painting on glass became the next popular style for stained glass windows, and it was rose to popularity in the fourteenth and fifteenth centuries as a way to achieve greater detail in the windows, especially in the faces and hair of figures. This stylistic shift was a drastic change from the previous Gothic windows with their heavy use of vivid colors. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image. Buildings were starting to be designed around the grandiose windows that would provide the majority of the light inside. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window, with details painted on using silver.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> In the sixteenth century stained glass windows began to be used to decorate community buildings, homes, and businesses such as inns and the windows were mainly secular. The use of leading also was further reduced in favor of painting on silver stained glass driven by the desire for detail, but with more color than the grisaille style. Donors to the art also began to be immortalized in the windows they paid for by being added into the design.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The grisaille style of the fourteenth and fifteenth centuries served as a stark contrast to the renaissance style windows of that same time period. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries, and it also brought the use of perspective to the art form adding dimension to the figures. Both forms had a significant amount of detail painted onto the glass, but only renaissance style windows matched the resurgence of colors in the other art forms of the time.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 112-141). London: Thames and Hudson.</ref>
 
After the end of the renaissance, especially in the nineteenth century, there was a revival of historic styles and techniques that focused more on the quality of the glass than the painting. The [[Gothic style]] made a resurgence in popularity because of its focus on the glass and historical techniques. Many renovations of older buildings had damaged the stained glass windows, and allowed for new windows remade in the older styles to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The twentieth century brought about new styles and applications to stained glass. The Aesthetic styles of patterned, semiabstract, and non-figural work became popular especially in the United States. Stained glass also began to take on new forms, such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle-class. Art Nouveau was Europe’s response to the Aesthetic style in America and the increase of American glass production, putting even more glass in middle-class homes and in buildings. Art Deco in the early twentieth century made its way into stained glass using vibrant colors, geometry, and simple designs. The movement had international popularity and appeared in many building across the world, especially in Spain. Today the use of stained glass is as varied as it has ever been, even being used in sculptural elements like ''Lightpainting'' by Stephen Knapp on the front of the Gordon Library at WPI.<ref> Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref>
<gallery mode=packed>
Image:NBSGH1.JPG|This window exemplifies the simplistic forms of the time, with all three of the figures lacking facial detail and the heavy use of leading.
Image:NBVA2.jpg|A display of the coat of arms of the Dukes of Burgundy more characteristic of early stained glass windows.
Image:NBSGH2.JPG|A strong example of Gothic stained glass, with its heavy use of reds and blues.
Image:NBVA4.jpg|An example of the painted style of stained glass, the centerpiece is all painted.
Image:NBSGH4.JPG|An example of a grisaille panel that uses significantly lighter colors.
Image:NBVA3.jpg|This panel has donors praying to patron saints in the bottom two scenes.
Image:NBSGH5.JPG|A 16th century grisaille panel with significantly less leading, and a non secular subject.
Image:NBLamp.jpg|A Tiffany style lampshade in the Art Nouveau style<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 47). Lewes: Guild of Master Craftsman Publications.</ref>
</gallery>
 


==Purpose==
 
The purpose of stained glass windows is closely tied to its history, and has evolved over time. In the beginning, it was simply a way of letting daylight into buildings through small windows and keep the walls completely closed.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Stained glass is a strong example of how something can transition from just a functional item into an art form. As the windows became larger with larger individual pieces of glass, and higher quality was being produced in the medieval period, religious figures realized they could use the windows to educate the illiterate masses about the bible. Light was also symbolic to religious figures, in that it represented good and God’s protection in the Old Testament. Religious education in the medieval ages was very important because the church was the highest authority in society, and to achieve salvation one must follow the word of God.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 10). London: Thames and Hudson.</ref> Onward from the medieval ages, the use of stained glass had a dual purpose: to create religious images and to highlight the wealth of those who owned the building or were the patron of the art.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> In more recent times, some older homes, governmental buildings, and businesses have stained glass as a design element, and based on the texture and opacity of the glass, as a way to increase privacy without decreasing light as well.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 228). London: Thames and Hudson.</ref> In general, the main purpose of stained glass has stayed rather simple throughout history: to let light into buildings while keeping the building completely enclosed.
 

==Techniques==
 
The process of creating a stained glass window boils down to seven simple steps, but it can be altered based on the technique used and desired appearance of the window. The first part of the process is to develop a design for the window, sketch out the basic shapes and colors of the window. The next step forward is to create a template, called the cartoon, from the basic design and solidify the finalized design. This step creates a guide for every piece of glass that needs to be cut, and how the cut pieces are then later assembled and attached to become a cohesive piece. The cartoon is also important because if leading is being used it creates definitive lead lines and solder points.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 40-45). London: Batsford.</ref>
 
{{Infobox
| image= [[File:NBSGTools.jpg|x200px]]
| caption=A set of typical stained glass tools including
| label1= '''Tools Pictured (from left to right):'''
| data1= Diamond tipped scorer, breaking pliers, palette knife, applicator brush, badger brush, and a needle
}}
The third step is to gather all of the needed tools and materials, and to prep the work space. Tools needed for most projects include:
*A board to use as a cutting surface
*A ventilation system to reduce the fumes
*A scoring tool to break the glass along desired lines
*A grozing tool to cut (break) the jagged edges of the glass
*Lead strips or scraps
*A lead knife
*An oyster knife to manipulate the lead
*A soldering iron to attach the pieces of lead
*A light box to check the design of gaps
*A glass grinder for achieving different textures and fine curves
*A scrubbing brush for the application and removal of cement
*Any other tool deemed necessary or useful, as each artist can choose to use less or more tools than those listed.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 8-13). Lewes: Guild of Master Craftsman Publications.</ref>
 
A major part the entire process is the fourth step, which is choosing the proper glass for the desired appearance. A good basis for choosing glass is to pick from a slab or pieces that are flat and not too thick. Thickness is very important as it determines the majority of the weight of the window, and if it is too thick, the window could collapse and shatter under its own weight. A few typical glass choices are:
{{Infobox
| image1=[[Image:NBCrown.JPG|x100px]]
| caption1=An example of crowned glass<ref>Böhringer, F. (2006). Angelika Kauffmann-Museum in Schwarzenberg im Bregenzerwald. Retrieved from https://en.wikipedia.org/wiki/File:AKMuseum5.JPG</ref>
| image2=[[Image:NBNorman.jpg|x100px]]
| caption2=An example of Norman slab glass
| image3=[[Image:NBAntique.jpg|x100px]]
| caption3=An example of antique glass
| label1= '''Description:'''
| data1= These are three different types of glass, the most common of the three is antique glass.
}}
*Crowned glass, which is created by taking a bubble from a glass blowing rod and flattening it into a panel. This glass is not typically used in modern windows. This type of glass appears typically in two forms: roundels and bullions. Both forms of the glass have a circular pattern due to the manufacturing process, but bullions are any piece cut from that glass and a roundel is a circular bullion. Historically this type of glass is clear, but that does not mean that it cannot be found colored as well.<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A Norman slab, which is created by blowing glass into a rectangular form and it is known to have an irregular texture and thickness making it difficult to work with. The uneven thickness of the glass also give it a slight foggy appearance, and the bumpy texture of the glass is visible<ref>Sourcebook 2015. (2015) (pp. 1-2). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A crossed/pressed slab, which is created by rolling molten glass onto a table with a rolling pin. The pin and table have indentations to create texture but the glass is often hard to work with because of the differing thicknesses.
*Antique glass is the standard glass used for stained glass windows. It is created by creating a glass bubble, piercing both sides making a cylinder, and then cutting the cylinder and letting it unfurl and cool flat. the glass can be made with a variety of colors and textures. A singular color is achieved by mixing in metallic compounds into the glass creating pot glass, while multiple color can be achieved by mixing potted glass or using the flash method. The flash method uses a bubble of glass with a large amount of a light base color, and then dipping that bubble into a darker color creating a multilayered slab.
**If the mixed color was achieved by mixing multiple potted glasses, it is called streaky or reamy glass based on the colors mixed and the ease of cutting. Reamy glass specifically has a wavy pattern in the colors, with bands of strong tonal contrast. Streaky glass has a greater portion of light colored sections with streaks of contrasting colors of varying thickness<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>.
*Curious glass is glass that is an oddity or mistake of production and is often discarded by manufactures; this means that the glass can be any color or thickness.
*Commercially produced glass is another option in that it is readily available and easy to produce. It is often light in color and has a smooth texture.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 27-32). London: Batsford.</ref>
 
{{Infobox
| image1=[[File:NBCopperFoil.jpg|x100px]]
| caption1=An diagram of the copper and foil technique.This illustration shows how the copper is used as a base for the solder<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 63). New York: Prentice Hall Press.</ref>
| image2=[[File:NBApplique.jpg|x100px]]
| caption2=An example of the appliqué technique<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 48). Lewes: Guild of Master Craftsman Publications.</ref>
| image3=[[File:NBLeading.jpeg|x100px]]
| caption3=An example of the leading technique<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 57). New York: Prentice Hall Press.</ref>
| label1= '''Note:'''
| data1= The most commonly seen technique is the leading technique because of its wide use throughout history.
}}

The next step is to cut and shape the glass. Cutting glass can be difficult for beginners because each cut must go to the edge of the glass making intricate cuts challenging. To cut the glass it first must be scored along the desired line. Once scored, the glass is then carefully broken along the scored line using the pliers to firmly grip the glass.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 14-15). Lewes: Guild of Master Craftsman Publications.</ref> Then the cut pieces can be shaped and organized before moving onto assembly of the panel, which is the sixth step of the process. The window panel can be assembled in a few different methods the main methods are: copper and foil, appliqué, fusing, and leading. Copper and foil was popularized by Louis Comfort Tiffany, and is best known for the the use of copper and foil on a lampshade. The technique involves taking each piece of glass in the design and wrapping the edges in copper foil which is then soldered along the length of the seams. This method is similar to another called tinning which uses the same copper foil wrapping but lining the seam with flux, allowing blobs of solder to flow throughout the seam to create the bond. Soldering two pieces can be done in two main ways the first of which is seam. seam is similar to tinning and copper and foil in that the solder is run between the two joints, creating a flat joint. The other option is bead, which builds upon a seam with more flux and then the solder is run above the joint until a raised line is formed to the desired height.


Appliqué steps away from solder and it involved gluing the pieces to a clear slab. This changes the grouting of the glass from negative to positive, allowing more light to pass through. Fusing glass involves overlapping each edge of every piece and then firing the design in a kiln. The end result is a solid panel with no leading or gaps between the glass. The one main problem with this method is if the glass used in the panel is not homogeneous, it can lead to cracking and uneven melting.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 49). Lewes: Guild of Master Craftsman Publications.</ref>


Leading is the most commonly seen method in stained glass. This method used lead came to secure the glass in place, often in a grove in the lead, and then the lead is soldered to hold the pieces together. Cement is then used to secure the panel and fill any remaining gaps in the lead adding stability and waterproofing to the joints.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 57-61). Lewes: Guild of Master Craftsman Publications.</ref> The final step is to finish the window whether that be polishing the lead, packing for transport, installation, painting, or all of the above.<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 88-92). New York: Prentice Hall Press.</ref> Painting can add detail to a stained glass design that can easily be achieved by the coloration of the glass or the assembly. If a panel is painted it will need to be fired in a kiln to set the paint.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 73). London: Batsford.</ref>


 

=Section 2: Deliverable=
 
==Creating my own Stained Glass Window==
 
===The Design===
 
For the design of my window, I took inspiration from nature and a window design I had seen while browsing on pinterest. I decided on a mountain sunset scene for the beautiful array of colors that I could use and because I loved that design so much. I then chose an image off google and used that as a template for my design so I could see how it would look broken into pieces. This original design was contingent on how complex I could make my panel at the workshop. The main use I would have for this panel is as a decorative piece in my home, and maybe someday it could actually function as a window.
<gallery mode=packed>
Image:NBInspo.jpg
Image:NBTemplate.jpg
Image:NBDesign.png
</gallery>
 

===The Process===
 
[[Image:NBCartoon.jpg|right|x320px]]
The process of creating my own stained glass window began at 9:30 a.m. at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] in London. The first portion of the workshop involved learning how to properly handle and cut glass. I practiced scoring along a marker line and breaking glass for about an hour. The scoring tool works like a pen and carves a line into the glass, which can then be used to break the glass. There are three main methods I used for breaking the glass in my panel: scoring and using specialized pliers, scoring and tapping along the line, and scoring and using a different pair of specialized pliers. The two pairs of pliers were grozier pliers, for breaking small pieces, and the other was a pair of glass breaking pliers for larger breaks and simple curves. Moving onto the actual panel creation, I was given a piece of paper to design my window with a design restraint of a maximum of eight pieces. For my design, I took my ideal design above and dramatically simplified the lines and colors. The final design ended up looking like a basic mountain sunset.
 
[[Image:NBCut.jpg|right|x320px]]
The main historical influence on my design was the modern do-it-yourself movement, because I preferred the freedom to create any possible design rather than staying within a limited historical style. After creating my cartoon it became time to chose and cut the colored glass. The type of glass we used was standard antique glass, and was mainly the leftover pieces from commissioned art works. I picked pieces with a smooth texture for the sunset sky because I didn't want my sky to be too complicated, and the glass I chose had beautiful striations that helped me to achieve my desired sunset effect. For the hills and trees I chose to use four different shades of green to add depth to the piece and in an attempt to keep the image more realistic. I also chose to experiment with texture on two of the four pieces, further creating definition between each of the green pieces. Lastly, for the sun I picked a textured yellow piece because I like the more mellow refraction effect it had in the light.
 
After I had accurately cut each of my pieces, I began to cut and shape the lead. This was the most difficult part of the process because it required an incredible amount of precision. The first step was creating a corner of the frame, from which all other pieces would line up with. This was the most challenging part because nailing the wood guide to the table would often cause the cartoon to shift and to have to begin the process all over again. After that had passed I began the tedious task of cutting and shaping thin pieces of lead to the curves of my glass pieces. This was the only moment where I regretted my design choice because the lead would not hold the curved shapes very well. Once all of the lead was in place it was time for me to solder all of the joints, and using my prior experience I finished soldering rather quickly. Once I was finished soldering, the only step left was to polish my window.
 

===The Result===
 
[[Image:NBWindow.jpg|x500px]]
[[Image:NBAntique.jpg|x500px]]
 

=Conclusion=
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It would be interesting to see how the art form will continue to evolve over time and what the purpose of it will be.
 

=References=
<references />
 

=External Links=
Here is the website for the studio where I made my window: [http://dekostudio.co.uk/ Deko Studio].
 

[[Category: Art Projects]]
[[Category: 2017]]

The History, Purpose, and Techniques of Stained Glass Windows

2017-06-20T15:01:53Z

Nbloniarz:

=The History, Purpose, and Techniques of Stained Glass Windows=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| bodystyle = width:25em
| image=[[File: NBAntique.jpg]]
| label1= '''Artist:'''
| data1=[[User:Nbloniarz|Natalie Bloniarz]]
| label2= '''Title:'''
| data2=''Mountain Sunset''
}}
__TOC__

=Abstract=
 
The aim of this project was to develop an understanding of the history and purpose of stained glass windows and to study the techniques needed to create a window, then apply those techniques to create my own stained glass window. Using my prior humanities and arts experience in digital art from AR1101 Digital Imaging and Computing, I created the design for my stained glass window and then proceed to go [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] to create the window. Creating the window for this project was a fun learning opportunity and taught me a lot about what it truly takes to design and create a successful stained glass window.
 

=Introduction=
 
This project covers a brief history of stained glass to provide some historical context for the art form, and then explores the techniques that can be used to create a window. The specific technique used to create the window for the deliverable portion of this milestone was leading. This is similar to the classes AR 162X and AR 262X Glass I and II respectively at WPI, which focus on glass blowing and techniques such as cutting and grinding glass. The main difference between the class I took at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] and the classes offered at WPI is that WPI focuses more on the creation of the glass and objects directly as a result of glass blowing rather than creating something from pieces of glass like stained glass. The window for the deliverable section of this project was created as part of a beginners workshop exploring the techniques needed to design stained glass, cutting and grinding glass, and soldering the panel together.. This project was unlike anything I have ever done and was a great chance to experience a new art form.
 

=Section 1: Background=
 

==A Brief History==
 
Stained glass is believed to originate from the Middle East as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form. The earliest glass windows were a huge transition from how mankind had been using glass beforehand, mainly as weapon blades made of the volcanic glass obsidian and simple housewares such as bowls and vases.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Moving forward to the medieval period, stained glass as it is known today began to take shape, progressing forward from simple glass shapes in holes in walls to full architectural elements. Medieval churches began to commission windows with religious figures and the royalty of the period would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> The windows of this time were expensive and at a constant risk of having their light source blocked by a new building, rendering the art useless.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> Glass in the centuries prior was as valuable as precious stones, for example ruby colored glass was the equivalent of an actual ruby, and can help explain why the churches and castles of medieval Europe were the only buildings commissioning stained glass for a long period. The Augsburg Cathedral is believed to have the oldest existing stained glass windows, but the construction of the windows shows great knowledge of advanced techniques. The windows in the cathedral suggest that other prior windows had existed, because of the advanced techniques, and suggests the idea that the creator of the window had knowledge from all across Europe, but these are the earliest existing windows still standing today.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> New colors for the glass in stained glass windows were introduced over the centuries as new metals were discovered, allowing for experimentation into lighter colors, painting, and the development of new styles.
 
[[Gothic style]] stained glass windows, particularly in France, popularized the heavy use of reds and blues in window designs.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The Gothic color choices of rich reds and blues can be easily observed in rose windows, which are the larger circular windows found in Gothic cathedrals. The [[Gothic style]] of stained glass windows reigned supreme in cathedrals in the thirteenth century.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 88-111). London: Thames and Hudson.</ref> Painting on glass became the next popular style for stained glass windows, and it was rose to popularity in the fourteenth and fifteenth centuries as a way to achieve greater detail in the windows, especially in the faces and hair of figures. This stylistic shift was a drastic change from the previous Gothic windows with their heavy use of vivid colors. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image. Buildings were starting to be designed around the grandiose windows that would provide the majority of the light inside. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window, with details painted on using silver.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> In the sixteenth century stained glass windows began to be used to decorate community buildings, homes, and businesses such as inns and the windows were mainly secular. The use of leading also was further reduced in favor of painting on silver stained glass driven by the desire for detail, but with more color than the grisaille style. Donors to the art also began to be immortalized in the windows they paid for by being added into the design.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The grisaille style of the fourteenth and fifteenth centuries served as a stark contrast to the renaissance style windows of that same time period. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries, and it also brought the use of perspective to the art form adding dimension to the figures. Both forms had a significant amount of detail painted onto the glass, but only renaissance style windows matched the resurgence of colors in the other art forms of the time.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 112-141). London: Thames and Hudson.</ref>
 
After the end of the renaissance, especially in the nineteenth century, there was a revival of historic styles and techniques that focused more on the quality of the glass than the painting. The [[Gothic style]] made a resurgence in popularity because of its focus on the glass and historical techniques. Many renovations of older buildings had damaged the stained glass windows, and allowed for new windows remade in the older styles to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The twentieth century brought about new styles and applications to stained glass. The Aesthetic styles of patterned, semiabstract, and non-figural work became popular especially in the United States. Stained glass also began to take on new forms, such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle-class. Art Nouveau was Europe’s response to the Aesthetic style in America and the increase of American glass production, putting even more glass in middle-class homes and in buildings. Art Deco in the early twentieth century made its way into stained glass using vibrant colors, geometry, and simple designs. The movement had international popularity and appeared in many building across the world, especially in Spain. Today the use of stained glass is as varied as it has ever been, even being used in sculptural elements like ''Lightpainting'' by Stephen Knapp on the front of the Gordon Library at WPI.<ref> Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref>
<gallery mode=packed>
Image:NBSGH1.JPG|This window exemplifies the simplistic forms of the time, with all three of the figures lacking facial detail and the heavy use of leading.
Image:NBVA2.jpg|A display of the coat of arms of the Dukes of Burgundy more characteristic of early stained glass windows.
Image:NBSGH2.JPG|A strong example of Gothic stained glass, with its heavy use of reds and blues.
Image:NBVA4.jpg|An example of the painted style of stained glass, the centerpiece is all painted.
Image:NBSGH4.JPG|An example of a grisaille panel that uses significantly lighter colors.
Image:NBVA3.jpg|This panel has donors praying to patron saints in the bottom two scenes.
Image:NBSGH5.JPG|A 16th century grisaille panel with significantly less leading, and a non secular subject.
Image:NBLamp.jpg|A Tiffany style lampshade in the Art Nouveau style<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 47). Lewes: Guild of Master Craftsman Publications.</ref>
</gallery>
 


==Purpose==
 
The purpose of stained glass windows is closely tied to its history, and has evolved over time. In the beginning, it was simply a way of letting daylight into buildings through small windows and keep the walls completely closed.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Stained glass is a strong example of how something can transition from just a functional item into an art form. As the windows became larger with larger individual pieces of glass, and higher quality was being produced in the medieval period, religious figures realized they could use the windows to educate the illiterate masses about the bible. Light was also symbolic to religious figures, in that it represented good and God’s protection in the Old Testament. Religious education in the medieval ages was very important because the church was the highest authority in society, and to achieve salvation one must follow the word of God.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 10). London: Thames and Hudson.</ref> Onward from the medieval ages, the use of stained glass had a dual purpose: to create religious images and to highlight the wealth of those who owned the building or were the patron of the art.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> In more recent times, some older homes, governmental buildings, and businesses have stained glass as a design element, and based on the texture and opacity of the glass, as a way to increase privacy without decreasing light as well.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 228). London: Thames and Hudson.</ref> In general, the main purpose of stained glass has stayed rather simple throughout history: to let light into buildings while keeping the building completely enclosed.
 

==Techniques==
 
The process of creating a stained glass window boils down to seven simple steps, but it can be altered based on the technique used and desired appearance of the window. The first part of the process is to develop a design for the window, sketch out the basic shapes and colors of the window. The next step forward is to create a template, called the cartoon, from the basic design and solidify the finalized design. This step creates a guide for every piece of glass that needs to be cut, and how the cut pieces are then later assembled and attached to become a cohesive piece. The cartoon is also important because if leading is being used it creates definitive lead lines and solder points.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 40-45). London: Batsford.</ref>
 
{{Infobox
| image= [[File:NBSGTools.jpg|x200px]]
| caption=A set of typical stained glass tools including
| label1= '''Tools Pictured (from left to right):'''
| data1= Diamond tipped scorer, breaking pliers, palette knife, applicator brush, badger brush, and a needle
}}
The third step is to gather all of the needed tools and materials, and to prep the work space. Tools needed for most projects include:
*A board to use as a cutting surface
*A ventilation system to reduce the fumes
*A scoring tool to break the glass along desired lines
*A grozing tool to cut (break) the jagged edges of the glass
*Lead strips or scraps
*A lead knife
*An oyster knife to manipulate the lead
*A soldering iron to attach the pieces of lead
*A light box to check the design of gaps
*A glass grinder for achieving different textures and fine curves
*A scrubbing brush for the application and removal of cement
*Any other tool deemed necessary or useful, as each artist can choose to use less or more tools than those listed.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 8-13). Lewes: Guild of Master Craftsman Publications.</ref>
 
A major part the entire process is the fourth step, which is choosing the proper glass for the desired appearance. A good basis for choosing glass is to pick from a slab or pieces that are flat and not too thick. Thickness is very important as it determines the majority of the weight of the window, and if it is too thick, the window could collapse and shatter under its own weight. A few typical glass choices are:
{{Infobox
| image1=[[Image:NBCrown.JPG|x100px]]
| caption1=An example of crowned glass<ref>Böhringer, F. (2006). Angelika Kauffmann-Museum in Schwarzenberg im Bregenzerwald. Retrieved from https://en.wikipedia.org/wiki/File:AKMuseum5.JPG</ref>
| image2=[[Image:NBNorman.jpg|x100px]]
| caption2=An example of Norman slab glass
| image3=[[Image:NBAntique.jpg|x100px]]
| caption3=An example of antique glass
| label1= '''Description:'''
| data1= These are three different types of glass, the most common of the three is antique glass.
}}
*Crowned glass, which is created by taking a bubble from a glass blowing rod and flattening it into a panel. This glass is not typically used in modern windows. This type of glass appears typically in two forms: roundels and bullions. Both forms of the glass have a circular pattern due to the manufacturing process, but bullions are any piece cut from that glass and a roundel is a circular bullion. Historically this type of glass is clear, but that does not mean that it cannot be found colored as well.<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A Norman slab, which is created by blowing glass into a rectangular form and it is known to have an irregular texture and thickness making it difficult to work with. The uneven thickness of the glass also give it a slight foggy appearance, and the bumpy texture of the glass is visible<ref>Sourcebook 2015. (2015) (pp. 1-2). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A crossed/pressed slab, which is created by rolling molten glass onto a table with a rolling pin. The pin and table have indentations to create texture but the glass is often hard to work with because of the differing thicknesses.
*Antique glass is the standard glass used for stained glass windows. It is created by creating a glass bubble, piercing both sides making a cylinder, and then cutting the cylinder and letting it unfurl and cool flat. the glass can be made with a variety of colors and textures. A singular color is achieved by mixing in metallic compounds into the glass creating pot glass, while multiple color can be achieved by mixing potted glass or using the flash method. The flash method uses a bubble of glass with a large amount of a light base color, and then dipping that bubble into a darker color creating a multilayered slab.
**If the mixed color was achieved by mixing multiple potted glasses, it is called streaky or reamy glass based on the colors mixed and the ease of cutting. Reamy glass specifically has a wavy pattern in the colors, with bands of strong tonal contrast. Streaky glass has a greater portion of light colored sections with streaks of contrasting colors of varying thickness<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>.
*Curious glass is glass that is an oddity or mistake of production and is often discarded by manufactures; this means that the glass can be any color or thickness.
*Commercially produced glass is another option in that it is readily available and easy to produce. It is often light in color and has a smooth texture.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 27-32). London: Batsford.</ref>
 
{{Infobox
| image1=[[File:NBCopperFoil.jpg|x100px]]
| caption1=An diagram of the copper and foil technique.This illustration shows how the copper is used as a base for the solder<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 63). New York: Prentice Hall Press.</ref>
| image2=[[File:NBApplique.jpg|x100px]]
| caption2=An example of the appliqué technique<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 48). Lewes: Guild of Master Craftsman Publications.</ref>
| image3=[[File:NBLeading.jpeg|x100px]]
| caption3=An example of the leading technique<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 57). New York: Prentice Hall Press.</ref>
| label1= '''Note:'''
| data1= The most commonly seen technique is the leading technique because of its wide use throughout history.
}}

The next step is to cut and shape the glass. Cutting glass can be difficult for beginners because each cut must go to the edge of the glass making intricate cuts challenging. To cut the glass it first must be scored along the desired line. Once scored, the glass is then carefully broken along the scored line using the pliers to firmly grip the glass.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 14-15). Lewes: Guild of Master Craftsman Publications.</ref> Then the cut pieces can be shaped and organized before moving onto assembly of the panel, which is the sixth step of the process. The window panel can be assembled in a few different methods the main methods are: copper and foil, appliqué, fusing, and leading. Copper and foil was popularized by Louis Comfort Tiffany, and is best known for the the use of copper and foil on a lampshade. The technique involves taking each piece of glass in the design and wrapping the edges in copper foil which is then soldered along the length of the seams. This method is similar to another called tinning which uses the same copper foil wrapping but lining the seam with flux, allowing blobs of solder to flow throughout the seam to create the bond. Soldering two pieces can be done in two main ways the first of which is seam. seam is similar to tinning and copper and foil in that the solder is run between the two joints, creating a flat joint. The other option is bead, which builds upon a seam with more flux and then the solder is run above the joint until a raised line is formed to the desired height.


Appliqué steps away from solder and it involved gluing the pieces to a clear slab. This changes the grouting of the glass from negative to positive, allowing more light to pass through. Fusing glass involves overlapping each edge of every piece and then firing the design in a kiln. The end result is a solid panel with no leading or gaps between the glass. The one main problem with this method is if the glass used in the panel is not homogeneous, it can lead to cracking and uneven melting.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 49). Lewes: Guild of Master Craftsman Publications.</ref>


Leading is the most commonly seen method in stained glass. This method used lead came to secure the glass in place, often in a grove in the lead, and then the lead is soldered to hold the pieces together. Cement is then used to secure the panel and fill any remaining gaps in the lead adding stability and waterproofing to the joints.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 57-61). Lewes: Guild of Master Craftsman Publications.</ref> The final step is to finish the window whether that be polishing the lead, packing for transport, installation, painting, or all of the above.<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 88-92). New York: Prentice Hall Press.</ref> Painting can add detail to a stained glass design that can easily be achieved by the coloration of the glass or the assembly. If a panel is painted it will need to be fired in a kiln to set the paint.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 73). London: Batsford.</ref>


 

=Section 2: Deliverable=
 
==Creating my own Stained Glass Window==
 
===The Design===
 
For the design of my window, I took inspiration from nature and a window design I had seen while browsing on pinterest. I decided on a mountain sunset scene for the beautiful array of colors that I could use and because I loved that design so much. I then chose an image off google and used that as a template for my design so I could see how it would look broken into pieces. This original design was contingent on how complex I could make my panel at the workshop. The main use I would have for this panel is as a decorative piece in my home, and maybe someday it could actually function as a window.
<gallery mode=packed>
Image:NBInspo.jpg
Image:NBTemplate.jpg
Image:NBDesign.png
</gallery>
 

===The Process===
 
[[Image:NBCartoon.jpg|right|x320px]]
The process of creating my own stained glass window began at 9:30 a.m. at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] in London. The first portion of the workshop involved learning how to properly handle and cut glass. I practiced scoring along a marker line and breaking glass for about an hour. The scoring tool works like a pen and carves a line into the glass, which can then be used to break the glass. There are three main methods I used for breaking the glass in my panel: scoring and using specialized pliers, scoring and tapping along the line, and scoring and using a different pair of specialized pliers. The two pairs of pliers were grozier pliers, for breaking small pieces, and the other was a pair of glass breaking pliers for larger breaks and simple curves. Moving onto the actual panel creation, I was given a piece of paper to design my window with a design restraint of a maximum of eight pieces. For my design, I took my ideal design above and dramatically simplified the lines and colors. The final design ended up looking like a basic mountain sunset.
 
[[Image:NBCut.jpg|right|x320px]]
The main historical influence on my design was the modern do-it-yourself movement, because I preferred the freedom to create any possible design rather than staying within a limited historical style. After creating my cartoon it became time to chose and cut the colored glass. The type of glass we used was standard antique glass, and was mainly the leftover pieces from commissioned art works. I picked pieces with a smooth texture for the sunset sky because I didn't want my sky to be too complicated, and the glass I chose had beautiful striations that helped me to achieve my desired sunset effect. For the hills and trees I chose to use four different shades of green to add depth to the piece and in an attempt to keep the image more realistic. I also chose to experiment with texture on two of the four pieces, further creating definition between each of the green pieces. Lastly, for the sun I picked a textured yellow piece because I like the more mellow refraction effect it had in the light.
 
After I had accurately cut each of my pieces, I began to cut and shape the lead. This was the most difficult part of the process because it required an incredible amount of precision. The first step was creating a corner of the frame, from which all other pieces would line up with. This was the most challenging part because nailing the wood guide to the table would often cause the cartoon to shift and to have to begin the process all over again. After that had passed I began the tedious task of cutting and shaping thin pieces of lead to the curves of my glass pieces. This was the only moment where I regretted my design choice because the lead would not hold the curved shapes very well. Once all of the lead was in place it was time for me to solder all of the joints, and using my prior experience I finished soldering rather quickly. Once I was finished soldering, the only step left was to polish my window.
 

===The Result===
 
[[Image:NBWindow.jpg|x500px]]
[[Image:NBAntique.jpg|x500px]]
 

=Conclusion=
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It would be interesting to see how the art form will continue to evolve over time and what the purpose of it will be.
 

=References=
<references />
 

=External Links=
Here is the website for the studio where I made my window: [http://dekostudio.co.uk/ Deko Studio].
 

[[Category: Art Projects]]
[[Category: 2017]]

The History, Purpose, and Techniques of Stained Glass Windows

2017-06-20T15:01:32Z

Nbloniarz:

=The History, Purpose, and Techniques of Stained Glass Windows=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| title = The History, Purpose, and Techniques of Stained Glass Windows
| bodystyle = width:25em
| image=[[File: NBAntique.jpg]]
| label1= '''Artist:'''
| data1=[[User:Nbloniarz|Natalie Bloniarz]]
| label2= '''Title:'''
| data2=''Mountain Sunset''
}}
__TOC__

=Abstract=
 
The aim of this project was to develop an understanding of the history and purpose of stained glass windows and to study the techniques needed to create a window, then apply those techniques to create my own stained glass window. Using my prior humanities and arts experience in digital art from AR1101 Digital Imaging and Computing, I created the design for my stained glass window and then proceed to go [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] to create the window. Creating the window for this project was a fun learning opportunity and taught me a lot about what it truly takes to design and create a successful stained glass window.
 

=Introduction=
 
This project covers a brief history of stained glass to provide some historical context for the art form, and then explores the techniques that can be used to create a window. The specific technique used to create the window for the deliverable portion of this milestone was leading. This is similar to the classes AR 162X and AR 262X Glass I and II respectively at WPI, which focus on glass blowing and techniques such as cutting and grinding glass. The main difference between the class I took at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] and the classes offered at WPI is that WPI focuses more on the creation of the glass and objects directly as a result of glass blowing rather than creating something from pieces of glass like stained glass. The window for the deliverable section of this project was created as part of a beginners workshop exploring the techniques needed to design stained glass, cutting and grinding glass, and soldering the panel together.. This project was unlike anything I have ever done and was a great chance to experience a new art form.
 

=Section 1: Background=
 

==A Brief History==
 
Stained glass is believed to originate from the Middle East as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form. The earliest glass windows were a huge transition from how mankind had been using glass beforehand, mainly as weapon blades made of the volcanic glass obsidian and simple housewares such as bowls and vases.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Moving forward to the medieval period, stained glass as it is known today began to take shape, progressing forward from simple glass shapes in holes in walls to full architectural elements. Medieval churches began to commission windows with religious figures and the royalty of the period would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> The windows of this time were expensive and at a constant risk of having their light source blocked by a new building, rendering the art useless.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> Glass in the centuries prior was as valuable as precious stones, for example ruby colored glass was the equivalent of an actual ruby, and can help explain why the churches and castles of medieval Europe were the only buildings commissioning stained glass for a long period. The Augsburg Cathedral is believed to have the oldest existing stained glass windows, but the construction of the windows shows great knowledge of advanced techniques. The windows in the cathedral suggest that other prior windows had existed, because of the advanced techniques, and suggests the idea that the creator of the window had knowledge from all across Europe, but these are the earliest existing windows still standing today.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> New colors for the glass in stained glass windows were introduced over the centuries as new metals were discovered, allowing for experimentation into lighter colors, painting, and the development of new styles.
 
[[Gothic style]] stained glass windows, particularly in France, popularized the heavy use of reds and blues in window designs.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The Gothic color choices of rich reds and blues can be easily observed in rose windows, which are the larger circular windows found in Gothic cathedrals. The [[Gothic style]] of stained glass windows reigned supreme in cathedrals in the thirteenth century.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 88-111). London: Thames and Hudson.</ref> Painting on glass became the next popular style for stained glass windows, and it was rose to popularity in the fourteenth and fifteenth centuries as a way to achieve greater detail in the windows, especially in the faces and hair of figures. This stylistic shift was a drastic change from the previous Gothic windows with their heavy use of vivid colors. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image. Buildings were starting to be designed around the grandiose windows that would provide the majority of the light inside. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window, with details painted on using silver.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> In the sixteenth century stained glass windows began to be used to decorate community buildings, homes, and businesses such as inns and the windows were mainly secular. The use of leading also was further reduced in favor of painting on silver stained glass driven by the desire for detail, but with more color than the grisaille style. Donors to the art also began to be immortalized in the windows they paid for by being added into the design.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The grisaille style of the fourteenth and fifteenth centuries served as a stark contrast to the renaissance style windows of that same time period. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries, and it also brought the use of perspective to the art form adding dimension to the figures. Both forms had a significant amount of detail painted onto the glass, but only renaissance style windows matched the resurgence of colors in the other art forms of the time.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 112-141). London: Thames and Hudson.</ref>
 
After the end of the renaissance, especially in the nineteenth century, there was a revival of historic styles and techniques that focused more on the quality of the glass than the painting. The [[Gothic style]] made a resurgence in popularity because of its focus on the glass and historical techniques. Many renovations of older buildings had damaged the stained glass windows, and allowed for new windows remade in the older styles to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The twentieth century brought about new styles and applications to stained glass. The Aesthetic styles of patterned, semiabstract, and non-figural work became popular especially in the United States. Stained glass also began to take on new forms, such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle-class. Art Nouveau was Europe’s response to the Aesthetic style in America and the increase of American glass production, putting even more glass in middle-class homes and in buildings. Art Deco in the early twentieth century made its way into stained glass using vibrant colors, geometry, and simple designs. The movement had international popularity and appeared in many building across the world, especially in Spain. Today the use of stained glass is as varied as it has ever been, even being used in sculptural elements like ''Lightpainting'' by Stephen Knapp on the front of the Gordon Library at WPI.<ref> Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref>
<gallery mode=packed>
Image:NBSGH1.JPG|This window exemplifies the simplistic forms of the time, with all three of the figures lacking facial detail and the heavy use of leading.
Image:NBVA2.jpg|A display of the coat of arms of the Dukes of Burgundy more characteristic of early stained glass windows.
Image:NBSGH2.JPG|A strong example of Gothic stained glass, with its heavy use of reds and blues.
Image:NBVA4.jpg|An example of the painted style of stained glass, the centerpiece is all painted.
Image:NBSGH4.JPG|An example of a grisaille panel that uses significantly lighter colors.
Image:NBVA3.jpg|This panel has donors praying to patron saints in the bottom two scenes.
Image:NBSGH5.JPG|A 16th century grisaille panel with significantly less leading, and a non secular subject.
Image:NBLamp.jpg|A Tiffany style lampshade in the Art Nouveau style<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 47). Lewes: Guild of Master Craftsman Publications.</ref>
</gallery>
 


==Purpose==
 
The purpose of stained glass windows is closely tied to its history, and has evolved over time. In the beginning, it was simply a way of letting daylight into buildings through small windows and keep the walls completely closed.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Stained glass is a strong example of how something can transition from just a functional item into an art form. As the windows became larger with larger individual pieces of glass, and higher quality was being produced in the medieval period, religious figures realized they could use the windows to educate the illiterate masses about the bible. Light was also symbolic to religious figures, in that it represented good and God’s protection in the Old Testament. Religious education in the medieval ages was very important because the church was the highest authority in society, and to achieve salvation one must follow the word of God.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 10). London: Thames and Hudson.</ref> Onward from the medieval ages, the use of stained glass had a dual purpose: to create religious images and to highlight the wealth of those who owned the building or were the patron of the art.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> In more recent times, some older homes, governmental buildings, and businesses have stained glass as a design element, and based on the texture and opacity of the glass, as a way to increase privacy without decreasing light as well.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 228). London: Thames and Hudson.</ref> In general, the main purpose of stained glass has stayed rather simple throughout history: to let light into buildings while keeping the building completely enclosed.
 

==Techniques==
 
The process of creating a stained glass window boils down to seven simple steps, but it can be altered based on the technique used and desired appearance of the window. The first part of the process is to develop a design for the window, sketch out the basic shapes and colors of the window. The next step forward is to create a template, called the cartoon, from the basic design and solidify the finalized design. This step creates a guide for every piece of glass that needs to be cut, and how the cut pieces are then later assembled and attached to become a cohesive piece. The cartoon is also important because if leading is being used it creates definitive lead lines and solder points.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 40-45). London: Batsford.</ref>
 
{{Infobox
| image= [[File:NBSGTools.jpg|x200px]]
| caption=A set of typical stained glass tools including
| label1= '''Tools Pictured (from left to right):'''
| data1= Diamond tipped scorer, breaking pliers, palette knife, applicator brush, badger brush, and a needle
}}
The third step is to gather all of the needed tools and materials, and to prep the work space. Tools needed for most projects include:
*A board to use as a cutting surface
*A ventilation system to reduce the fumes
*A scoring tool to break the glass along desired lines
*A grozing tool to cut (break) the jagged edges of the glass
*Lead strips or scraps
*A lead knife
*An oyster knife to manipulate the lead
*A soldering iron to attach the pieces of lead
*A light box to check the design of gaps
*A glass grinder for achieving different textures and fine curves
*A scrubbing brush for the application and removal of cement
*Any other tool deemed necessary or useful, as each artist can choose to use less or more tools than those listed.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 8-13). Lewes: Guild of Master Craftsman Publications.</ref>
 
A major part the entire process is the fourth step, which is choosing the proper glass for the desired appearance. A good basis for choosing glass is to pick from a slab or pieces that are flat and not too thick. Thickness is very important as it determines the majority of the weight of the window, and if it is too thick, the window could collapse and shatter under its own weight. A few typical glass choices are:
{{Infobox
| image1=[[Image:NBCrown.JPG|x100px]]
| caption1=An example of crowned glass<ref>Böhringer, F. (2006). Angelika Kauffmann-Museum in Schwarzenberg im Bregenzerwald. Retrieved from https://en.wikipedia.org/wiki/File:AKMuseum5.JPG</ref>
| image2=[[Image:NBNorman.jpg|x100px]]
| caption2=An example of Norman slab glass
| image3=[[Image:NBAntique.jpg|x100px]]
| caption3=An example of antique glass
| label1= '''Description:'''
| data1= These are three different types of glass, the most common of the three is antique glass.
}}
*Crowned glass, which is created by taking a bubble from a glass blowing rod and flattening it into a panel. This glass is not typically used in modern windows. This type of glass appears typically in two forms: roundels and bullions. Both forms of the glass have a circular pattern due to the manufacturing process, but bullions are any piece cut from that glass and a roundel is a circular bullion. Historically this type of glass is clear, but that does not mean that it cannot be found colored as well.<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A Norman slab, which is created by blowing glass into a rectangular form and it is known to have an irregular texture and thickness making it difficult to work with. The uneven thickness of the glass also give it a slight foggy appearance, and the bumpy texture of the glass is visible<ref>Sourcebook 2015. (2015) (pp. 1-2). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A crossed/pressed slab, which is created by rolling molten glass onto a table with a rolling pin. The pin and table have indentations to create texture but the glass is often hard to work with because of the differing thicknesses.
*Antique glass is the standard glass used for stained glass windows. It is created by creating a glass bubble, piercing both sides making a cylinder, and then cutting the cylinder and letting it unfurl and cool flat. the glass can be made with a variety of colors and textures. A singular color is achieved by mixing in metallic compounds into the glass creating pot glass, while multiple color can be achieved by mixing potted glass or using the flash method. The flash method uses a bubble of glass with a large amount of a light base color, and then dipping that bubble into a darker color creating a multilayered slab.
**If the mixed color was achieved by mixing multiple potted glasses, it is called streaky or reamy glass based on the colors mixed and the ease of cutting. Reamy glass specifically has a wavy pattern in the colors, with bands of strong tonal contrast. Streaky glass has a greater portion of light colored sections with streaks of contrasting colors of varying thickness<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>.
*Curious glass is glass that is an oddity or mistake of production and is often discarded by manufactures; this means that the glass can be any color or thickness.
*Commercially produced glass is another option in that it is readily available and easy to produce. It is often light in color and has a smooth texture.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 27-32). London: Batsford.</ref>
 
{{Infobox
| image1=[[File:NBCopperFoil.jpg|x100px]]
| caption1=An diagram of the copper and foil technique.This illustration shows how the copper is used as a base for the solder<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 63). New York: Prentice Hall Press.</ref>
| image2=[[File:NBApplique.jpg|x100px]]
| caption2=An example of the appliqué technique<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 48). Lewes: Guild of Master Craftsman Publications.</ref>
| image3=[[File:NBLeading.jpeg|x100px]]
| caption3=An example of the leading technique<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 57). New York: Prentice Hall Press.</ref>
| label1= '''Note:'''
| data1= The most commonly seen technique is the leading technique because of its wide use throughout history.
}}

The next step is to cut and shape the glass. Cutting glass can be difficult for beginners because each cut must go to the edge of the glass making intricate cuts challenging. To cut the glass it first must be scored along the desired line. Once scored, the glass is then carefully broken along the scored line using the pliers to firmly grip the glass.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 14-15). Lewes: Guild of Master Craftsman Publications.</ref> Then the cut pieces can be shaped and organized before moving onto assembly of the panel, which is the sixth step of the process. The window panel can be assembled in a few different methods the main methods are: copper and foil, appliqué, fusing, and leading. Copper and foil was popularized by Louis Comfort Tiffany, and is best known for the the use of copper and foil on a lampshade. The technique involves taking each piece of glass in the design and wrapping the edges in copper foil which is then soldered along the length of the seams. This method is similar to another called tinning which uses the same copper foil wrapping but lining the seam with flux, allowing blobs of solder to flow throughout the seam to create the bond. Soldering two pieces can be done in two main ways the first of which is seam. seam is similar to tinning and copper and foil in that the solder is run between the two joints, creating a flat joint. The other option is bead, which builds upon a seam with more flux and then the solder is run above the joint until a raised line is formed to the desired height.


Appliqué steps away from solder and it involved gluing the pieces to a clear slab. This changes the grouting of the glass from negative to positive, allowing more light to pass through. Fusing glass involves overlapping each edge of every piece and then firing the design in a kiln. The end result is a solid panel with no leading or gaps between the glass. The one main problem with this method is if the glass used in the panel is not homogeneous, it can lead to cracking and uneven melting.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 49). Lewes: Guild of Master Craftsman Publications.</ref>


Leading is the most commonly seen method in stained glass. This method used lead came to secure the glass in place, often in a grove in the lead, and then the lead is soldered to hold the pieces together. Cement is then used to secure the panel and fill any remaining gaps in the lead adding stability and waterproofing to the joints.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 57-61). Lewes: Guild of Master Craftsman Publications.</ref> The final step is to finish the window whether that be polishing the lead, packing for transport, installation, painting, or all of the above.<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 88-92). New York: Prentice Hall Press.</ref> Painting can add detail to a stained glass design that can easily be achieved by the coloration of the glass or the assembly. If a panel is painted it will need to be fired in a kiln to set the paint.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 73). London: Batsford.</ref>


 

=Section 2: Deliverable=
 
==Creating my own Stained Glass Window==
 
===The Design===
 
For the design of my window, I took inspiration from nature and a window design I had seen while browsing on pinterest. I decided on a mountain sunset scene for the beautiful array of colors that I could use and because I loved that design so much. I then chose an image off google and used that as a template for my design so I could see how it would look broken into pieces. This original design was contingent on how complex I could make my panel at the workshop. The main use I would have for this panel is as a decorative piece in my home, and maybe someday it could actually function as a window.
<gallery mode=packed>
Image:NBInspo.jpg
Image:NBTemplate.jpg
Image:NBDesign.png
</gallery>
 

===The Process===
 
[[Image:NBCartoon.jpg|right|x320px]]
The process of creating my own stained glass window began at 9:30 a.m. at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] in London. The first portion of the workshop involved learning how to properly handle and cut glass. I practiced scoring along a marker line and breaking glass for about an hour. The scoring tool works like a pen and carves a line into the glass, which can then be used to break the glass. There are three main methods I used for breaking the glass in my panel: scoring and using specialized pliers, scoring and tapping along the line, and scoring and using a different pair of specialized pliers. The two pairs of pliers were grozier pliers, for breaking small pieces, and the other was a pair of glass breaking pliers for larger breaks and simple curves. Moving onto the actual panel creation, I was given a piece of paper to design my window with a design restraint of a maximum of eight pieces. For my design, I took my ideal design above and dramatically simplified the lines and colors. The final design ended up looking like a basic mountain sunset.
 
[[Image:NBCut.jpg|right|x320px]]
The main historical influence on my design was the modern do-it-yourself movement, because I preferred the freedom to create any possible design rather than staying within a limited historical style. After creating my cartoon it became time to chose and cut the colored glass. The type of glass we used was standard antique glass, and was mainly the leftover pieces from commissioned art works. I picked pieces with a smooth texture for the sunset sky because I didn't want my sky to be too complicated, and the glass I chose had beautiful striations that helped me to achieve my desired sunset effect. For the hills and trees I chose to use four different shades of green to add depth to the piece and in an attempt to keep the image more realistic. I also chose to experiment with texture on two of the four pieces, further creating definition between each of the green pieces. Lastly, for the sun I picked a textured yellow piece because I like the more mellow refraction effect it had in the light.
 
After I had accurately cut each of my pieces, I began to cut and shape the lead. This was the most difficult part of the process because it required an incredible amount of precision. The first step was creating a corner of the frame, from which all other pieces would line up with. This was the most challenging part because nailing the wood guide to the table would often cause the cartoon to shift and to have to begin the process all over again. After that had passed I began the tedious task of cutting and shaping thin pieces of lead to the curves of my glass pieces. This was the only moment where I regretted my design choice because the lead would not hold the curved shapes very well. Once all of the lead was in place it was time for me to solder all of the joints, and using my prior experience I finished soldering rather quickly. Once I was finished soldering, the only step left was to polish my window.
 

===The Result===
 
[[Image:NBWindow.jpg|x500px]]
[[Image:NBAntique.jpg|x500px]]
 

=Conclusion=
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It would be interesting to see how the art form will continue to evolve over time and what the purpose of it will be.
 

=References=
<references />
 

=External Links=
Here is the website for the studio where I made my window: [http://dekostudio.co.uk/ Deko Studio].
 

[[Category: Art Projects]]
[[Category: 2017]]

A Mosaic of Mosaics

2017-06-20T14:59:23Z

Nbloniarz:

=A Mosaic of Mosaics=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| title = A Mosaic of Mosaics
| bodystyle = width:40em
| image=[[Image:NBMosaic_V1.png]]
| label1= '''Artist:'''
| data1= [[User:Nbloniarz|Natalie Bloniarz]]
}}

__TOC__

=Abstract=
The aim of this project was to develop an understand the techniques and materials needed to create a mosaic and apply that to a new digital medium. Using my skills from AR 1101, Digital Imaging and Computer Art, and my experience from high school using the Adobe Suite, I aimed to create a modern mosaic in a digital format. Throughout this milestone I learned that much of the origins of mosaics are unknown and that mosaics can be made of '''virtually''' any material. The experience of creating the mosaic was enlightening into how difficult creating a cohesive and well structured mosaic could be.
 

=Introduction=
 
A mosaic is, "something resembling such a picture or decoration in composition, especially in being made up of diverse elements."<ref>the definition of mosaic. (2017). Dictionary.com. Retrieved 14 June 2017, from http://www.dictionary.com/browse/mosaic</ref> From that definition, a mosaic is a decorative element or image made of just a few simple components: some form of tile made of any material, a base surface for the mosaic to rest on, and an adhesive to hold to mosaic to the base.
 
A Mosaic of Mosaics takes the traditional art of mosaics and then applies it to a digital setting. This involved looking into the elements needed to create a physical mosaic and what kind of properties make them effective materials. It also required a discussion of techniques needed to create a mosaic, and how they are used. Unlike a collage that just mashes photos together, the mosaic created is based on mosaics that I have observed across London to create "such a picture or decoration in composition".<ref>the definition of mosaic. (2017). Dictionary.com. Retrieved 14 June 2017, from http://www.dictionary.com/browse/mosaic</ref> As opposed to creating a traditional mosaic I chose to experiment with a digital medium to see how the process would differ and what challenges this new method could create. I chose to use Photoshop to create the mosaic because of prior experience and I knew it would lend itself well to the functions needed for this project: cloning, resizing, compressing, and reshaping. I used my previous knowledge of photography to capture the mosaics that would make up my mosaic, but I used my newfound knowledge of mosaic techniques to create the mosaic.
 

=Section 1: Background=
==Materials==
 
===Tiling===
 
This is the most important portion of the mosaic, as it is the most visible part of the mosaic. Tiling is the individual pieces of a chosen, or a variety of chosen materials, that are cut and then typically shaped into rough squares. These squares are then adhered to a base to create an image or design. The oldest known mosaics were created from smooth pebbles of varying sizes, but this limited the precision of the artist to the available stones; pebble mosaics were popular with the Greeks and many of their mosaics were made from pebbles.<ref>Dunbabin, K. (2012). Mosaics of the Greek and Roman world (1st ed., pp. 5-17). New York: Cambridge University Press.</ref> Eventually the Romans popularized ''tesserae'', the style of mosaic made of individual square cut pieces of stone and shell.<ref>Dunbabin, K. (2012). Mosaics of the Greek and Roman world (1st ed., pp. 18). New York: Cambridge University Press.</ref> Tesserae can be made of a variety of materials and have been as time has passed, and it is now how the majority of mosaic tile materials are sold. Stone was a popular choice of the Romans and is more durable than other materials and it can have natural variance within the tiles; though stone is durable, it is hard to create the tesserae.
 
<gallery mode=packed>
File:NBPebble.jpg|''An example of pebbles<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 32). London: Cassell Illustrated.</ref>''
File:NBPebbleExample.jpg|''A pebble mosaic<ref>Howarth, M. (1992). Compass & Winds.</ref>''
File:NBStone.jpg|''An example of stone<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 30). London: Cassell Illustrated.</ref>''
File:NBStoneExample.jpg|''A stone mosaic<ref>Bison, I. (2000). African Mask.</ref>''
</gallery>
The Byzantine Empire was known to use smalti, a type of enameled glass with pure opaque colors, a uneven texture, and it reflects light very well. Smalti is made by sandwiching two pieces of enameled glass together. A separate form of smalti is gold smalti, which consists of gold sandwiched between the two glass plates, it can also have many different textures, colors, and levels of reflective strength.
 
<gallery mode=packed>
File:NBSmalti1.jpg|''An example of smalti<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 29). London: Cassell Illustrated.</ref>''
File:NBSmaltiExample.jpg|''A smalti mosaic<ref>Cohen, C. (1976). La Marseillaise.</ref>''
File:NBGoldSmalti.jpg|''An example of gold smalti<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 32). London: Cassell Illustrated.</ref>''
File:NBGoldSmaltiExample.jpg|''A gold smalti mosaic<ref>Fishman, G. (2000). Tropical Bouquet.</ref>''
</gallery>
Another material is Venetian (Vitreous) glass, which has less intense colors than smalti and a constantly smooth surface on one side and groves on the other. Venetian glass is often used for more mundane works such as pools and bathrooms than the Byzantine smalti, and typically comes in a standard thickness. Ceramic tile is another type of tile that is great for outdoor use, for when it is glazed it is incredibly weather resistant, and the tile comes in a variety of colors and can be made with specialized designed within the tiles. There are four main types of ceramic tiles: unglazed, glazed, patterned, and decorative.<ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 12-13). London: Quarto Publishing plc.</ref>
 
<gallery mode=packed>
File:NBVenetian.jpg|''An example of Venetian glass<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 28). London: Cassell Illustrated.</ref>''
File:NBVenetianExample.jpg|''A Venetian glass mosaic<ref>Hunkin, T. (2000). Vegetables.</ref>''
File:NBCeramic.jpg|''An example of ceramic<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 28-29). London: Cassell Illustrated.</ref>''
File:NBCeramicExample.jpg|''A ceramic mosaic<ref>Bahouth, C. (2000). Mosaic Chair No. 2.</ref>''
</gallery>
A more modern mosaic tile choice would be broken china, "Pique Assiette" a French saying that means 'one who eats from others' plates'.<ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 23). London: Quarto Publishing plc.</ref> This style is unlike most tesserae because it is not often in a regular shape and size. Stained glass is another option that resembles the Byzantine smalti, though is typically transparent as opposed to opaque; this can lead to the surface of the background to show through and it is a relatively fragile material depending on the thickness. The glass can come in a variety of levels of opacity, thickness, and textures making it a versatile tiling option. Mirror is an interesting material for mosaics because of its unique pure reflective quality, but it can be subject to tarnishing/patina over time diminishing its main quality. Aside from these main tiling materials there are many alternative options that can be experimented with like shell and recycled materials like buttons.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 65-72). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 28-33). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 9-25). London: Quarto Publishing plc.</ref> A mosaic can be made out of any material the artist desires, it depends solely on the desired appearance of the final product.
<gallery mode=packed>
File:NBChina.jpg|''An example of broken china<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 33). London: Cassell Illustrated.</ref>''
File:NBChinaExample.jpg|''A china mosaic<ref>Zanelli, C. (2001). My Shower.</ref>''
File:NBStainedGlass.jpg|''An example of stained glass<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 31). London: Cassell Illustrated.</ref>''
File:NBStainedGlassExample.jpg|''A stained glass mosaic<ref>Cohen, J. Tigers.</ref>''
File:NBMirror.jpg|''An example of mirror<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 31). London: Cassell Illustrated.</ref>''
File:NBMirrorExample.jpg|''A mirror mosaic<ref>Taylor, A. Golden Retriever.</ref>''
</gallery>
 

===Base===
 
The tiling must sit on a surface for it to be stable and the different options for bases can have effects on the artist's choice of tiling and adhesive. For mosaics that would be indoors, plywood or Medium Density Fiberboard (MDF) would be a good choice because they are readily available. Furniture can also be used as a base for a mosaic, but the shape, material, and structural integrity must be taken into account to see if it can support the weight of the mosaic and if it is possible to adhere the tile to the furniture. Pottery, cement, and cement backer board are great for outdoor projects due to their durability. Metal can be used for both outdoor and indoor mosaics but warping can occur when placed outdoors due to temperature variation. The porosity of the base material will have an affect of the type of adhesives that can be used, and that must be kept in mind when choosing a base; porosity also has a strong affect on how waterproof/weatherproof the base material will be. These are just a few example base materials, but others such as glass or mesh, can be used to create a more custom work of art.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 72-73). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 38-39). London: Cassell Illustrated.</ref> Similar to choosing a specific tile type to use, the base choice depends on the desired appearance of the mosaic.
 
<gallery mode=packed caption="Some Possible Base Materials" heights=x100px>
Image:NBPlywood.JPG|Plywood
Image:NBMDF.jpg|MDF
Image:NBFurniture.png|Furniture
Image:NBPottery.jpg|Pottery
</gallery>

===Adhesive===
 
This is the material that will determine if the mosaic will last across the testament of time. Location is a major factor when determining the adhesive, because the strength of the adhesive must change dependent on what the mosaic will be exposed to: water, physical weathering, temperature changes, and other forms of weathering and erosion. A cement based adhesive is one of the most versatile options, as it has a variety of setting times based on composition and forms a waterproof bond. Silicone is a good adhesive choice for materials such as glass, mirror, and other non porous tiling options. It is especially good for mirror mosaics because silicone is clear and will not damage the silvering on the mirror tiles, protecting the mirror from patina. Tile mastic is another form of adhesive that can be used for vertical mosaics because of its strong bond that occurs rapidly after placement, though it can break under pressure and exposure to moisture. Craft glue, such as school glue or PVA, comes in two formulas. The water-soluble formulas of craft glue are good for mosaics made using the [[A Mosaic of Mosaics#The Indirect method|indirect method]], and the non-water-soluble formulas are good for interior mosaics only, as the bond between the tile and the base would disolve upon exposure to high humility or rain. Thin-set is a common adhesive option, and is mortar made of portland cement, silica, sand, and other moisture absorbing materials; it has adhesive properties similar to cement, needing only a thin layer to create a strong bond and that it is waterproof.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 73-75). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 40-41). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 102-103). London: Quarto Publishing plc.</ref>
 

===Tools===
 
The final items needed to construct a mosaic are the tools. Planning tools such as paper, pencils, t-squares, and compasses can be used both before the starting the assembly of the mosaic to illustrate a design, and during assembly to help create guides and notes on the base about placement and coloring. Tile nippers and cutters are vital for shaping and trimming the tesserae and contingent on the design, as the tesserae may need to be manipulated into different sizes and edge shapes. A scoring tool is another item that can be used to cut tiles. The method used to break tile using the scoring tool is done in two parts, the first part is creating a line for the tile to break across, then applying pressure to crack the weakened tile. Screwdrivers, tweezers, and potter's needles, can be used to maneuver singular tiles and not disturb the surrounding area. Aside from these basic tools, many other tools or household items can be used and it is up to the creator of the mosaic to determine what tools to use.<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 36-37). London: Cassell Illustrated.</ref><ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 75-79). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 42-45). London: Cassell Illustrated.</ref>
 
<gallery mode=packed caption=Tools>
Image:NBTileNippers.jpg|Tile Nippers
Image:NBScorer.jpg|Scoring Tool
</gallery>
 

==Techniques==
 
===Direct Method===
[[Image:NBDirect.jpg|x200px|right|thumb|''An example of the direct method<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 75). London: Cassell Illustrated.</ref>'']]
 
Now moving on from the materials needed to the assembly methods of the mosaic. The easier of the two main assembly techniques, the direct method, involves pressing and adhering the tesserae directly onto the base material. This is best for mosaics that require the face of the tesserae that will be facing away from the base to be visible to the artist such as mosaics that use intricate shading, as the level of precision needed is incredibly high. The texture of the mosaic can be easily manipulated using the direct method as the tile pieces do not need to be completely identical heights, textures, or sizes to ensure a secure application; this is because the tesserae are being adhered individually and any height or size adjustments needed can be made as the tile is placed. This method is also useful for three dimensional mosaics to allow the artist to compensate for the curves and lines of the base. The direct method also allows for immediate results to be visible, creating an easy way to measure progress.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 110-115). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 74-79). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 86-89). London: Quarto Publishing plc.</ref> A common practice is to complete the direct method onto mesh if the base is unavailable, so that the mosaic can then be adhered to the base via the mesh rather than the tile by tile. This can help to eliminate any difficulty that may arise from adhering the chosen base material and tiling material, such as the bond not solidifying.<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 78-79). London: Cassell Illustrated.</ref>
 
 

===Indirect Method===
[[Image:NBIndirect.jpg|x200px|right|thumb|''An example of the product of the indirect method<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 82). London: Cassell Illustrated.</ref>'']]
 
The indirect method takes a different approach to assembly than the direct method in that the final assembly is more like completing a puzzle, fitting all of the predetermined pieces together. This method is useful for larger designs, as the artist can create sections of the piece and just have to assemble the larger pieces at the end. The indirect method also allows for a controlled environment when creating a mosaic that will be displayed outdoors rather than being limited by factors such as temperature and humidity. It also allows for modification of sections of the mosaic before the finalized design is complete; this is possible because of the adhesive applied to each section of mosaic is removable, allowing for easy deconstruction of the miniature mosaic. The base for this assembly method is typically paper or mesh, the mesh option allowing for more flexibility in the design because it is easy to cut away any undesirable pieces. The mesh differs from other materials used for the indirect method in that the tiles are placed finished side up, allowing the artist to view the final design like the direct method. This can also be done with the face tape method that uses clear tape to hold the mosaic together, with the finished side visible until it needs to be adhered. The reverse method is the more complicated of the indirect method techniques as it involves working in reverse, therefore creating a mirror image of the design. The tesserae are placed onto a surface with the face that will be visible placed facing the surface and then adhered together from behind to a temporary base. The mosaic is then flipped and applied to the base, and then the temporary base is removed. <ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 116-123). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 80-83). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 90-101). London: Quarto Publishing plc.</ref>
 
 

=Section 2: Deliverable=
 
==About the Mosaic==
For my mosaic I decided to use a completely digital medium, akin to a collage. The tiles of my mosaic are photos of mosaics, one taken by me and the other three from the internet, that have been shrunken down to a relatively consistent size. I then took my digital tesserae and using Photoshop I created the image above. The digital medium I used allowed for more experimentation than would have been allowed by the traditional physical mosaic media, as I could move photos whenever I wanted and constantly undo my mistakes. I also had an unlimited supply of tile possibilities at my fingertips via the world wide web if I needed a new tile. I also used a combination of the two techniques as some of my designs such as the leaf design I created separately on a separate layer and placed them into the piece; I used the direct method for the outermost set of white tiles directly placing each tile in its position. A digital medium also provides the advantage of creating a clone of an image allowing me to speed up the creation of my mosaic, by only having to create half of it, or even a quarter, and then duplicating and mirroring the image. One other major advantage was the lack of precision needed to accurately shape the tiles; Photoshop can ensure that my tiles are even and shaped exactly to fit the shape of the hole it was being put into. I used a monochrome palate inspired by the mosaics on the floor of the [[Victoria and Albert Museum]] and around the city. This also inspired my heavy use of geometric patterns like the concentric circles and the repeated use of right angles.
 

==A Modern Mosaic==
[[Image:NBMosaic_V1.png]]
 

==A Comparison==
Unlike a physical medium, a digital medium has limitless possibilities. For this mosaic my tiling is made up of pictures of mosaics. The pictures used for this mosaic specifically are of monochromatic mosaics similar to a Roman stone mosaic. I chose these pictures because of their color schemes, especially the pure white and black images, to be able to create a sharp contrast.
[[Image:NBLeafZoom.png|right]]
[[Image:NBConcentricZoom.png|right|x210px]] The final image in the gallery of images I used to create this mosaic was my main inspiration for this mosaic, as it has a simple geometric pattern and a monochromatic color palette. I have seen mosaics similar to that final gallery image across London, from museum walls and floors to store entryways; because of the common appearance of this style of mosaic, I tried to replicate the elements I observed: a dark and thick border, repeating shapes, and large sections of a singular color. These were the specific elements I chose to focus on in my design. For this design, I chose the size of my tiles to be different in each major section to create movement and a stronger division of each section. The border is darker than the surrounding tiles, but not the darkest element of the mosaic; I kept the border at a medium darkness to have a wider range of shades of grey, rather than a pure black and white mosaic. In terms of repeating shapes I decided to create a leaf shape and concentric circles. The leaf pattern pays homage to the mosaics on the stairs of the [[Victoria and Albert Museum]] and I thought an irregular shape would add more complexity to a relatively simplistic design. The concentric circles are a reference to the first image in the gallery of images I used, as it has a clearly defined circle and then a circular element inside of that circle. I chose to create large sections of solid color blocks to achieve the same effect of the mosaics I observed, which were harsh visual contrast and subdivision of the areas in the mosaic.
 
To move onto the base, I chose to use a grey background for my tiles to rest upon. I chose this color to replicate the appearance of concrete, which is visible in some of the more worn mosaics I have seen. The base rectangle is only visible in a few places because I personally favor a tightly packed mosaic over one with a larger space and therefore more base visible between the tiles. Another reason for my choice of base was that for the sections with small gaps between the tiles it would mock the appearance of grout. The adhesive holding the mosaic together is the merging of each individual image layer in Photoshop; this is almost as permanent as a physical adhesive due to the, albeit large, limit to the number of times a user can undo an action. To shape my tiles I used the crop tool in Photoshop, not unlike using tile cutters to shape and resize tiles. All of the tools I deem necessary to create a digital mosaic can be found in Photoshop: crop, clone, and merge. Photoshop served as my entire studio when creating this mosaic in that it held all of my tools and materials, in a clean and organized manner.
 
In terms of techniques, the digital and physical methods of creating mosaics are very similar. For the border portion of the mosaic, I created it in a separate file and later placed that file into the main mosaic. This is a direct translation of the indirect method from physical to digital, as the physical method involves creating the mosaic offsite and then placing the pre-created piece into place. The remaining portion of the mosaic was created using the direct method, adding image by image into the file, placing them in the correct position, and then merging the layers to cement the mosaic together. I tried two techniques to create the concentric circles the first of the two was rotating the tiles to create the illusion of a curve. This option was inefficient and I did not have enough skill to achieve the desired effect, so I decided to maximize my digital advantage by creating a rectangular block and cutting the circle from that block. The latter attempt to create the circles allowed me to achieve a perfectly round edge to my tiles, a task that would be incredibly difficult by hand.
 
<gallery mode="packed" caption="Images used in the mosaic">
File:NBTile1.jpg
File:NBTile2.jpg
File:NBTile3.jpg
File:NBTile4.JPG
</gallery>
 
<gallery mode="packed" caption="Images used as inspiration for the mosaic">
File:NBMI1.jpg
File:NBMI2.jpg
File:NBMI3.jpg
File:NBMI4.jpg
File:NBMI5.jpg
File:NBMI6.jpg
File:NBMI7.jpg
</gallery>
 

=Conclusion=
 
Throughout this milestone I learned about mosaics, and the materials and tools needed to create one. I then applied this knowledge to a digital setting (Photoshop) and compared how it is different from the traditional methods. I can confidently say that the process of creating a digital mosaic is much more forgiving than a physical mosaic. I would have loved to use more of my own photos, but due to having to look up or down at most of the mosaics the distortion made the tiles appear lopsided. It would be interesting to make a physical mosaic and be able to compare those experiences in a more than theoretical setting. It would also be interesting to see how digital enhancement of the images used to create the mosaic or a change in the color palate could change the mood of the piece.
 

=References=

[[Category: Art Projects]]
[[Category: 2017]]

A Mosaic of Mosaics

2017-06-20T14:56:11Z

Nbloniarz:

=A Mosaic of Mosaics=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| image=[[Image:NBMosaic_V1.png]]
| label1= '''Artist:'''
| data1= [[User:Nbloniarz|Natalie Bloniarz]]
}}

__TOC__

=Abstract=
The aim of this project was to develop an understand the techniques and materials needed to create a mosaic and apply that to a new digital medium. Using my skills from AR 1101, Digital Imaging and Computer Art, and my experience from high school using the Adobe Suite, I aimed to create a modern mosaic in a digital format. Throughout this milestone I learned that much of the origins of mosaics are unknown and that mosaics can be made of '''virtually''' any material. The experience of creating the mosaic was enlightening into how difficult creating a cohesive and well structured mosaic could be.
 

=Introduction=
 
A mosaic is, "something resembling such a picture or decoration in composition, especially in being made up of diverse elements."<ref>the definition of mosaic. (2017). Dictionary.com. Retrieved 14 June 2017, from http://www.dictionary.com/browse/mosaic</ref> From that definition, a mosaic is a decorative element or image made of just a few simple components: some form of tile made of any material, a base surface for the mosaic to rest on, and an adhesive to hold to mosaic to the base.
 
A Mosaic of Mosaics takes the traditional art of mosaics and then applies it to a digital setting. This involved looking into the elements needed to create a physical mosaic and what kind of properties make them effective materials. It also required a discussion of techniques needed to create a mosaic, and how they are used. Unlike a collage that just mashes photos together, the mosaic created is based on mosaics that I have observed across London to create "such a picture or decoration in composition".<ref>the definition of mosaic. (2017). Dictionary.com. Retrieved 14 June 2017, from http://www.dictionary.com/browse/mosaic</ref> As opposed to creating a traditional mosaic I chose to experiment with a digital medium to see how the process would differ and what challenges this new method could create. I chose to use Photoshop to create the mosaic because of prior experience and I knew it would lend itself well to the functions needed for this project: cloning, resizing, compressing, and reshaping. I used my previous knowledge of photography to capture the mosaics that would make up my mosaic, but I used my newfound knowledge of mosaic techniques to create the mosaic.
 

=Section 1: Background=
==Materials==
 
===Tiling===
 
This is the most important portion of the mosaic, as it is the most visible part of the mosaic. Tiling is the individual pieces of a chosen, or a variety of chosen materials, that are cut and then typically shaped into rough squares. These squares are then adhered to a base to create an image or design. The oldest known mosaics were created from smooth pebbles of varying sizes, but this limited the precision of the artist to the available stones; pebble mosaics were popular with the Greeks and many of their mosaics were made from pebbles.<ref>Dunbabin, K. (2012). Mosaics of the Greek and Roman world (1st ed., pp. 5-17). New York: Cambridge University Press.</ref> Eventually the Romans popularized ''tesserae'', the style of mosaic made of individual square cut pieces of stone and shell.<ref>Dunbabin, K. (2012). Mosaics of the Greek and Roman world (1st ed., pp. 18). New York: Cambridge University Press.</ref> Tesserae can be made of a variety of materials and have been as time has passed, and it is now how the majority of mosaic tile materials are sold. Stone was a popular choice of the Romans and is more durable than other materials and it can have natural variance within the tiles; though stone is durable, it is hard to create the tesserae.
 
<gallery mode=packed>
File:NBPebble.jpg|''An example of pebbles<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 32). London: Cassell Illustrated.</ref>''
File:NBPebbleExample.jpg|''A pebble mosaic<ref>Howarth, M. (1992). Compass & Winds.</ref>''
File:NBStone.jpg|''An example of stone<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 30). London: Cassell Illustrated.</ref>''
File:NBStoneExample.jpg|''A stone mosaic<ref>Bison, I. (2000). African Mask.</ref>''
</gallery>
The Byzantine Empire was known to use smalti, a type of enameled glass with pure opaque colors, a uneven texture, and it reflects light very well. Smalti is made by sandwiching two pieces of enameled glass together. A separate form of smalti is gold smalti, which consists of gold sandwiched between the two glass plates, it can also have many different textures, colors, and levels of reflective strength.
 
<gallery mode=packed>
File:NBSmalti1.jpg|''An example of smalti<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 29). London: Cassell Illustrated.</ref>''
File:NBSmaltiExample.jpg|''A smalti mosaic<ref>Cohen, C. (1976). La Marseillaise.</ref>''
File:NBGoldSmalti.jpg|''An example of gold smalti<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 32). London: Cassell Illustrated.</ref>''
File:NBGoldSmaltiExample.jpg|''A gold smalti mosaic<ref>Fishman, G. (2000). Tropical Bouquet.</ref>''
</gallery>
Another material is Venetian (Vitreous) glass, which has less intense colors than smalti and a constantly smooth surface on one side and groves on the other. Venetian glass is often used for more mundane works such as pools and bathrooms than the Byzantine smalti, and typically comes in a standard thickness. Ceramic tile is another type of tile that is great for outdoor use, for when it is glazed it is incredibly weather resistant, and the tile comes in a variety of colors and can be made with specialized designed within the tiles. There are four main types of ceramic tiles: unglazed, glazed, patterned, and decorative.<ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 12-13). London: Quarto Publishing plc.</ref>
 
<gallery mode=packed>
File:NBVenetian.jpg|''An example of Venetian glass<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 28). London: Cassell Illustrated.</ref>''
File:NBVenetianExample.jpg|''A Venetian glass mosaic<ref>Hunkin, T. (2000). Vegetables.</ref>''
File:NBCeramic.jpg|''An example of ceramic<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 28-29). London: Cassell Illustrated.</ref>''
File:NBCeramicExample.jpg|''A ceramic mosaic<ref>Bahouth, C. (2000). Mosaic Chair No. 2.</ref>''
</gallery>
A more modern mosaic tile choice would be broken china, "Pique Assiette" a French saying that means 'one who eats from others' plates'.<ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 23). London: Quarto Publishing plc.</ref> This style is unlike most tesserae because it is not often in a regular shape and size. Stained glass is another option that resembles the Byzantine smalti, though is typically transparent as opposed to opaque; this can lead to the surface of the background to show through and it is a relatively fragile material depending on the thickness. The glass can come in a variety of levels of opacity, thickness, and textures making it a versatile tiling option. Mirror is an interesting material for mosaics because of its unique pure reflective quality, but it can be subject to tarnishing/patina over time diminishing its main quality. Aside from these main tiling materials there are many alternative options that can be experimented with like shell and recycled materials like buttons.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 65-72). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 28-33). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 9-25). London: Quarto Publishing plc.</ref> A mosaic can be made out of any material the artist desires, it depends solely on the desired appearance of the final product.
<gallery mode=packed>
File:NBChina.jpg|''An example of broken china<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 33). London: Cassell Illustrated.</ref>''
File:NBChinaExample.jpg|''A china mosaic<ref>Zanelli, C. (2001). My Shower.</ref>''
File:NBStainedGlass.jpg|''An example of stained glass<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 31). London: Cassell Illustrated.</ref>''
File:NBStainedGlassExample.jpg|''A stained glass mosaic<ref>Cohen, J. Tigers.</ref>''
File:NBMirror.jpg|''An example of mirror<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 31). London: Cassell Illustrated.</ref>''
File:NBMirrorExample.jpg|''A mirror mosaic<ref>Taylor, A. Golden Retriever.</ref>''
</gallery>
 

===Base===
 
The tiling must sit on a surface for it to be stable and the different options for bases can have effects on the artist's choice of tiling and adhesive. For mosaics that would be indoors, plywood or Medium Density Fiberboard (MDF) would be a good choice because they are readily available. Furniture can also be used as a base for a mosaic, but the shape, material, and structural integrity must be taken into account to see if it can support the weight of the mosaic and if it is possible to adhere the tile to the furniture. Pottery, cement, and cement backer board are great for outdoor projects due to their durability. Metal can be used for both outdoor and indoor mosaics but warping can occur when placed outdoors due to temperature variation. The porosity of the base material will have an affect of the type of adhesives that can be used, and that must be kept in mind when choosing a base; porosity also has a strong affect on how waterproof/weatherproof the base material will be. These are just a few example base materials, but others such as glass or mesh, can be used to create a more custom work of art.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 72-73). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 38-39). London: Cassell Illustrated.</ref> Similar to choosing a specific tile type to use, the base choice depends on the desired appearance of the mosaic.
 
<gallery mode=packed caption="Some Possible Base Materials" heights=x100px>
Image:NBPlywood.JPG|Plywood
Image:NBMDF.jpg|MDF
Image:NBFurniture.png|Furniture
Image:NBPottery.jpg|Pottery
</gallery>

===Adhesive===
 
This is the material that will determine if the mosaic will last across the testament of time. Location is a major factor when determining the adhesive, because the strength of the adhesive must change dependent on what the mosaic will be exposed to: water, physical weathering, temperature changes, and other forms of weathering and erosion. A cement based adhesive is one of the most versatile options, as it has a variety of setting times based on composition and forms a waterproof bond. Silicone is a good adhesive choice for materials such as glass, mirror, and other non porous tiling options. It is especially good for mirror mosaics because silicone is clear and will not damage the silvering on the mirror tiles, protecting the mirror from patina. Tile mastic is another form of adhesive that can be used for vertical mosaics because of its strong bond that occurs rapidly after placement, though it can break under pressure and exposure to moisture. Craft glue, such as school glue or PVA, comes in two formulas. The water-soluble formulas of craft glue are good for mosaics made using the [[A Mosaic of Mosaics#The Indirect method|indirect method]], and the non-water-soluble formulas are good for interior mosaics only, as the bond between the tile and the base would disolve upon exposure to high humility or rain. Thin-set is a common adhesive option, and is mortar made of portland cement, silica, sand, and other moisture absorbing materials; it has adhesive properties similar to cement, needing only a thin layer to create a strong bond and that it is waterproof.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 73-75). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 40-41). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 102-103). London: Quarto Publishing plc.</ref>
 

===Tools===
 
The final items needed to construct a mosaic are the tools. Planning tools such as paper, pencils, t-squares, and compasses can be used both before the starting the assembly of the mosaic to illustrate a design, and during assembly to help create guides and notes on the base about placement and coloring. Tile nippers and cutters are vital for shaping and trimming the tesserae and contingent on the design, as the tesserae may need to be manipulated into different sizes and edge shapes. A scoring tool is another item that can be used to cut tiles. The method used to break tile using the scoring tool is done in two parts, the first part is creating a line for the tile to break across, then applying pressure to crack the weakened tile. Screwdrivers, tweezers, and potter's needles, can be used to maneuver singular tiles and not disturb the surrounding area. Aside from these basic tools, many other tools or household items can be used and it is up to the creator of the mosaic to determine what tools to use.<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 36-37). London: Cassell Illustrated.</ref><ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 75-79). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 42-45). London: Cassell Illustrated.</ref>
 
<gallery mode=packed caption=Tools>
Image:NBTileNippers.jpg|Tile Nippers
Image:NBScorer.jpg|Scoring Tool
</gallery>
 

==Techniques==
 
===Direct Method===
[[Image:NBDirect.jpg|x200px|right|thumb|''An example of the direct method<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 75). London: Cassell Illustrated.</ref>'']]
 
Now moving on from the materials needed to the assembly methods of the mosaic. The easier of the two main assembly techniques, the direct method, involves pressing and adhering the tesserae directly onto the base material. This is best for mosaics that require the face of the tesserae that will be facing away from the base to be visible to the artist such as mosaics that use intricate shading, as the level of precision needed is incredibly high. The texture of the mosaic can be easily manipulated using the direct method as the tile pieces do not need to be completely identical heights, textures, or sizes to ensure a secure application; this is because the tesserae are being adhered individually and any height or size adjustments needed can be made as the tile is placed. This method is also useful for three dimensional mosaics to allow the artist to compensate for the curves and lines of the base. The direct method also allows for immediate results to be visible, creating an easy way to measure progress.<ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 110-115). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 74-79). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 86-89). London: Quarto Publishing plc.</ref> A common practice is to complete the direct method onto mesh if the base is unavailable, so that the mosaic can then be adhered to the base via the mesh rather than the tile by tile. This can help to eliminate any difficulty that may arise from adhering the chosen base material and tiling material, such as the bond not solidifying.<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 78-79). London: Cassell Illustrated.</ref>
 
 

===Indirect Method===
[[Image:NBIndirect.jpg|x200px|right|thumb|''An example of the product of the indirect method<ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 82). London: Cassell Illustrated.</ref>'']]
 
The indirect method takes a different approach to assembly than the direct method in that the final assembly is more like completing a puzzle, fitting all of the predetermined pieces together. This method is useful for larger designs, as the artist can create sections of the piece and just have to assemble the larger pieces at the end. The indirect method also allows for a controlled environment when creating a mosaic that will be displayed outdoors rather than being limited by factors such as temperature and humidity. It also allows for modification of sections of the mosaic before the finalized design is complete; this is possible because of the adhesive applied to each section of mosaic is removable, allowing for easy deconstruction of the miniature mosaic. The base for this assembly method is typically paper or mesh, the mesh option allowing for more flexibility in the design because it is easy to cut away any undesirable pieces. The mesh differs from other materials used for the indirect method in that the tiles are placed finished side up, allowing the artist to view the final design like the direct method. This can also be done with the face tape method that uses clear tape to hold the mosaic together, with the finished side visible until it needs to be adhered. The reverse method is the more complicated of the indirect method techniques as it involves working in reverse, therefore creating a mirror image of the design. The tesserae are placed onto a surface with the face that will be visible placed facing the surface and then adhered together from behind to a temporary base. The mosaic is then flipped and applied to the base, and then the temporary base is removed. <ref>King, S. (2006). Mosaic techniques & traditions (1st ed., pp. 116-123). New York: Sterling.</ref><ref>Biggs, E. (2003). Mosaic techniques (1st ed., pp. 80-83). London: Cassell Illustrated.</ref><ref>Fitzgerald, B. Complete guide to mosaic technique (1st ed., pp. 90-101). London: Quarto Publishing plc.</ref>
 
 

=Section 2: Deliverable=
 
==About the Mosaic==
For my mosaic I decided to use a completely digital medium, akin to a collage. The tiles of my mosaic are photos of mosaics, one taken by me and the other three from the internet, that have been shrunken down to a relatively consistent size. I then took my digital tesserae and using Photoshop I created the image above. The digital medium I used allowed for more experimentation than would have been allowed by the traditional physical mosaic media, as I could move photos whenever I wanted and constantly undo my mistakes. I also had an unlimited supply of tile possibilities at my fingertips via the world wide web if I needed a new tile. I also used a combination of the two techniques as some of my designs such as the leaf design I created separately on a separate layer and placed them into the piece; I used the direct method for the outermost set of white tiles directly placing each tile in its position. A digital medium also provides the advantage of creating a clone of an image allowing me to speed up the creation of my mosaic, by only having to create half of it, or even a quarter, and then duplicating and mirroring the image. One other major advantage was the lack of precision needed to accurately shape the tiles; Photoshop can ensure that my tiles are even and shaped exactly to fit the shape of the hole it was being put into. I used a monochrome palate inspired by the mosaics on the floor of the [[Victoria and Albert Museum]] and around the city. This also inspired my heavy use of geometric patterns like the concentric circles and the repeated use of right angles.
 

==A Modern Mosaic==
[[Image:NBMosaic_V1.png]]
 

==A Comparison==
Unlike a physical medium, a digital medium has limitless possibilities. For this mosaic my tiling is made up of pictures of mosaics. The pictures used for this mosaic specifically are of monochromatic mosaics similar to a Roman stone mosaic. I chose these pictures because of their color schemes, especially the pure white and black images, to be able to create a sharp contrast.
[[Image:NBLeafZoom.png|right]]
[[Image:NBConcentricZoom.png|right|x210px]] The final image in the gallery of images I used to create this mosaic was my main inspiration for this mosaic, as it has a simple geometric pattern and a monochromatic color palette. I have seen mosaics similar to that final gallery image across London, from museum walls and floors to store entryways; because of the common appearance of this style of mosaic, I tried to replicate the elements I observed: a dark and thick border, repeating shapes, and large sections of a singular color. These were the specific elements I chose to focus on in my design. For this design, I chose the size of my tiles to be different in each major section to create movement and a stronger division of each section. The border is darker than the surrounding tiles, but not the darkest element of the mosaic; I kept the border at a medium darkness to have a wider range of shades of grey, rather than a pure black and white mosaic. In terms of repeating shapes I decided to create a leaf shape and concentric circles. The leaf pattern pays homage to the mosaics on the stairs of the [[Victoria and Albert Museum]] and I thought an irregular shape would add more complexity to a relatively simplistic design. The concentric circles are a reference to the first image in the gallery of images I used, as it has a clearly defined circle and then a circular element inside of that circle. I chose to create large sections of solid color blocks to achieve the same effect of the mosaics I observed, which were harsh visual contrast and subdivision of the areas in the mosaic.
 
To move onto the base, I chose to use a grey background for my tiles to rest upon. I chose this color to replicate the appearance of concrete, which is visible in some of the more worn mosaics I have seen. The base rectangle is only visible in a few places because I personally favor a tightly packed mosaic over one with a larger space and therefore more base visible between the tiles. Another reason for my choice of base was that for the sections with small gaps between the tiles it would mock the appearance of grout. The adhesive holding the mosaic together is the merging of each individual image layer in Photoshop; this is almost as permanent as a physical adhesive due to the, albeit large, limit to the number of times a user can undo an action. To shape my tiles I used the crop tool in Photoshop, not unlike using tile cutters to shape and resize tiles. All of the tools I deem necessary to create a digital mosaic can be found in Photoshop: crop, clone, and merge. Photoshop served as my entire studio when creating this mosaic in that it held all of my tools and materials, in a clean and organized manner.
 
In terms of techniques, the digital and physical methods of creating mosaics are very similar. For the border portion of the mosaic, I created it in a separate file and later placed that file into the main mosaic. This is a direct translation of the indirect method from physical to digital, as the physical method involves creating the mosaic offsite and then placing the pre-created piece into place. The remaining portion of the mosaic was created using the direct method, adding image by image into the file, placing them in the correct position, and then merging the layers to cement the mosaic together. I tried two techniques to create the concentric circles the first of the two was rotating the tiles to create the illusion of a curve. This option was inefficient and I did not have enough skill to achieve the desired effect, so I decided to maximize my digital advantage by creating a rectangular block and cutting the circle from that block. The latter attempt to create the circles allowed me to achieve a perfectly round edge to my tiles, a task that would be incredibly difficult by hand.
 
<gallery mode="packed" caption="Images used in the mosaic">
File:NBTile1.jpg
File:NBTile2.jpg
File:NBTile3.jpg
File:NBTile4.JPG
</gallery>
 
<gallery mode="packed" caption="Images used as inspiration for the mosaic">
File:NBMI1.jpg
File:NBMI2.jpg
File:NBMI3.jpg
File:NBMI4.jpg
File:NBMI5.jpg
File:NBMI6.jpg
File:NBMI7.jpg
</gallery>
 

=Conclusion=
 
Throughout this milestone I learned about mosaics, and the materials and tools needed to create one. I then applied this knowledge to a digital setting (Photoshop) and compared how it is different from the traditional methods. I can confidently say that the process of creating a digital mosaic is much more forgiving than a physical mosaic. I would have loved to use more of my own photos, but due to having to look up or down at most of the mosaics the distortion made the tiles appear lopsided. It would be interesting to make a physical mosaic and be able to compare those experiences in a more than theoretical setting. It would also be interesting to see how digital enhancement of the images used to create the mosaic or a change in the color palate could change the mood of the piece.
 

=References=

[[Category: Art Projects]]
[[Category: 2017]]

The History, Purpose, and Techniques of Stained Glass Windows

2017-06-20T14:54:24Z

Nbloniarz:

=The History, Purpose, and Techniques of Stained Glass Windows=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| image=[[File: NBAntique.jpg]]
| label1= '''Artist:'''
| data1=[[User:Nbloniarz|Natalie Bloniarz]]
}}
__TOC__

=Abstract=
 
The aim of this project was to develop an understanding of the history and purpose of stained glass windows and to study the techniques needed to create a window, then apply those techniques to create my own stained glass window. Using my prior humanities and arts experience in digital art from AR1101 Digital Imaging and Computing, I created the design for my stained glass window and then proceed to go [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] to create the window. Creating the window for this project was a fun learning opportunity and taught me a lot about what it truly takes to design and create a successful stained glass window.
 

=Introduction=
 
This project covers a brief history of stained glass to provide some historical context for the art form, and then explores the techniques that can be used to create a window. The specific technique used to create the window for the deliverable portion of this milestone was leading. This is similar to the classes AR 162X and AR 262X Glass I and II respectively at WPI, which focus on glass blowing and techniques such as cutting and grinding glass. The main difference between the class I took at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] and the classes offered at WPI is that WPI focuses more on the creation of the glass and objects directly as a result of glass blowing rather than creating something from pieces of glass like stained glass. The window for the deliverable section of this project was created as part of a beginners workshop exploring the techniques needed to design stained glass, cutting and grinding glass, and soldering the panel together.. This project was unlike anything I have ever done and was a great chance to experience a new art form.
 

=Section 1: Background=
 

==A Brief History==
 
Stained glass is believed to originate from the Middle East as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form. The earliest glass windows were a huge transition from how mankind had been using glass beforehand, mainly as weapon blades made of the volcanic glass obsidian and simple housewares such as bowls and vases.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Moving forward to the medieval period, stained glass as it is known today began to take shape, progressing forward from simple glass shapes in holes in walls to full architectural elements. Medieval churches began to commission windows with religious figures and the royalty of the period would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> The windows of this time were expensive and at a constant risk of having their light source blocked by a new building, rendering the art useless.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> Glass in the centuries prior was as valuable as precious stones, for example ruby colored glass was the equivalent of an actual ruby, and can help explain why the churches and castles of medieval Europe were the only buildings commissioning stained glass for a long period. The Augsburg Cathedral is believed to have the oldest existing stained glass windows, but the construction of the windows shows great knowledge of advanced techniques. The windows in the cathedral suggest that other prior windows had existed, because of the advanced techniques, and suggests the idea that the creator of the window had knowledge from all across Europe, but these are the earliest existing windows still standing today.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> New colors for the glass in stained glass windows were introduced over the centuries as new metals were discovered, allowing for experimentation into lighter colors, painting, and the development of new styles.
 
[[Gothic style]] stained glass windows, particularly in France, popularized the heavy use of reds and blues in window designs.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The Gothic color choices of rich reds and blues can be easily observed in rose windows, which are the larger circular windows found in Gothic cathedrals. The [[Gothic style]] of stained glass windows reigned supreme in cathedrals in the thirteenth century.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 88-111). London: Thames and Hudson.</ref> Painting on glass became the next popular style for stained glass windows, and it was rose to popularity in the fourteenth and fifteenth centuries as a way to achieve greater detail in the windows, especially in the faces and hair of figures. This stylistic shift was a drastic change from the previous Gothic windows with their heavy use of vivid colors. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image. Buildings were starting to be designed around the grandiose windows that would provide the majority of the light inside. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window, with details painted on using silver.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> In the sixteenth century stained glass windows began to be used to decorate community buildings, homes, and businesses such as inns and the windows were mainly secular. The use of leading also was further reduced in favor of painting on silver stained glass driven by the desire for detail, but with more color than the grisaille style. Donors to the art also began to be immortalized in the windows they paid for by being added into the design.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The grisaille style of the fourteenth and fifteenth centuries served as a stark contrast to the renaissance style windows of that same time period. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries, and it also brought the use of perspective to the art form adding dimension to the figures. Both forms had a significant amount of detail painted onto the glass, but only renaissance style windows matched the resurgence of colors in the other art forms of the time.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 112-141). London: Thames and Hudson.</ref>
 
After the end of the renaissance, especially in the nineteenth century, there was a revival of historic styles and techniques that focused more on the quality of the glass than the painting. The [[Gothic style]] made a resurgence in popularity because of its focus on the glass and historical techniques. Many renovations of older buildings had damaged the stained glass windows, and allowed for new windows remade in the older styles to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The twentieth century brought about new styles and applications to stained glass. The Aesthetic styles of patterned, semiabstract, and non-figural work became popular especially in the United States. Stained glass also began to take on new forms, such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle-class. Art Nouveau was Europe’s response to the Aesthetic style in America and the increase of American glass production, putting even more glass in middle-class homes and in buildings. Art Deco in the early twentieth century made its way into stained glass using vibrant colors, geometry, and simple designs. The movement had international popularity and appeared in many building across the world, especially in Spain. Today the use of stained glass is as varied as it has ever been, even being used in sculptural elements like ''Lightpainting'' by Stephen Knapp on the front of the Gordon Library at WPI.<ref> Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref>
<gallery mode=packed>
Image:NBSGH1.JPG|This window exemplifies the simplistic forms of the time, with all three of the figures lacking facial detail and the heavy use of leading.
Image:NBVA2.jpg|A display of the coat of arms of the Dukes of Burgundy more characteristic of early stained glass windows.
Image:NBSGH2.JPG|A strong example of Gothic stained glass, with its heavy use of reds and blues.
Image:NBVA4.jpg|An example of the painted style of stained glass, the centerpiece is all painted.
Image:NBSGH4.JPG|An example of a grisaille panel that uses significantly lighter colors.
Image:NBVA3.jpg|This panel has donors praying to patron saints in the bottom two scenes.
Image:NBSGH5.JPG|A 16th century grisaille panel with significantly less leading, and a non secular subject.
Image:NBLamp.jpg|A Tiffany style lampshade in the Art Nouveau style<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 47). Lewes: Guild of Master Craftsman Publications.</ref>
</gallery>
 


==Purpose==
 
The purpose of stained glass windows is closely tied to its history, and has evolved over time. In the beginning, it was simply a way of letting daylight into buildings through small windows and keep the walls completely closed.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Stained glass is a strong example of how something can transition from just a functional item into an art form. As the windows became larger with larger individual pieces of glass, and higher quality was being produced in the medieval period, religious figures realized they could use the windows to educate the illiterate masses about the bible. Light was also symbolic to religious figures, in that it represented good and God’s protection in the Old Testament. Religious education in the medieval ages was very important because the church was the highest authority in society, and to achieve salvation one must follow the word of God.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 10). London: Thames and Hudson.</ref> Onward from the medieval ages, the use of stained glass had a dual purpose: to create religious images and to highlight the wealth of those who owned the building or were the patron of the art.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> In more recent times, some older homes, governmental buildings, and businesses have stained glass as a design element, and based on the texture and opacity of the glass, as a way to increase privacy without decreasing light as well.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 228). London: Thames and Hudson.</ref> In general, the main purpose of stained glass has stayed rather simple throughout history: to let light into buildings while keeping the building completely enclosed.
 

==Techniques==
 
The process of creating a stained glass window boils down to seven simple steps, but it can be altered based on the technique used and desired appearance of the window. The first part of the process is to develop a design for the window, sketch out the basic shapes and colors of the window. The next step forward is to create a template, called the cartoon, from the basic design and solidify the finalized design. This step creates a guide for every piece of glass that needs to be cut, and how the cut pieces are then later assembled and attached to become a cohesive piece. The cartoon is also important because if leading is being used it creates definitive lead lines and solder points.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 40-45). London: Batsford.</ref>
 
{{Infobox
| image= [[File:NBSGTools.jpg|x200px]]
| caption=A set of typical stained glass tools including
| label1= '''Tools Pictured (from left to right):'''
| data1= Diamond tipped scorer, breaking pliers, palette knife, applicator brush, badger brush, and a needle
}}
The third step is to gather all of the needed tools and materials, and to prep the work space. Tools needed for most projects include:
*A board to use as a cutting surface
*A ventilation system to reduce the fumes
*A scoring tool to break the glass along desired lines
*A grozing tool to cut (break) the jagged edges of the glass
*Lead strips or scraps
*A lead knife
*An oyster knife to manipulate the lead
*A soldering iron to attach the pieces of lead
*A light box to check the design of gaps
*A glass grinder for achieving different textures and fine curves
*A scrubbing brush for the application and removal of cement
*Any other tool deemed necessary or useful, as each artist can choose to use less or more tools than those listed.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 8-13). Lewes: Guild of Master Craftsman Publications.</ref>
 
A major part the entire process is the fourth step, which is choosing the proper glass for the desired appearance. A good basis for choosing glass is to pick from a slab or pieces that are flat and not too thick. Thickness is very important as it determines the majority of the weight of the window, and if it is too thick, the window could collapse and shatter under its own weight. A few typical glass choices are:
{{Infobox
| image1=[[Image:NBCrown.JPG|x100px]]
| caption1=An example of crowned glass<ref>Böhringer, F. (2006). Angelika Kauffmann-Museum in Schwarzenberg im Bregenzerwald. Retrieved from https://en.wikipedia.org/wiki/File:AKMuseum5.JPG</ref>
| image2=[[Image:NBNorman.jpg|x100px]]
| caption2=An example of Norman slab glass
| image3=[[Image:NBAntique.jpg|x100px]]
| caption3=An example of antique glass
| label1= '''Description:'''
| data1= These are three different types of glass, the most common of the three is antique glass.
}}
*Crowned glass, which is created by taking a bubble from a glass blowing rod and flattening it into a panel. This glass is not typically used in modern windows. This type of glass appears typically in two forms: roundels and bullions. Both forms of the glass have a circular pattern due to the manufacturing process, but bullions are any piece cut from that glass and a roundel is a circular bullion. Historically this type of glass is clear, but that does not mean that it cannot be found colored as well.<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A Norman slab, which is created by blowing glass into a rectangular form and it is known to have an irregular texture and thickness making it difficult to work with. The uneven thickness of the glass also give it a slight foggy appearance, and the bumpy texture of the glass is visible<ref>Sourcebook 2015. (2015) (pp. 1-2). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A crossed/pressed slab, which is created by rolling molten glass onto a table with a rolling pin. The pin and table have indentations to create texture but the glass is often hard to work with because of the differing thicknesses.
*Antique glass is the standard glass used for stained glass windows. It is created by creating a glass bubble, piercing both sides making a cylinder, and then cutting the cylinder and letting it unfurl and cool flat. the glass can be made with a variety of colors and textures. A singular color is achieved by mixing in metallic compounds into the glass creating pot glass, while multiple color can be achieved by mixing potted glass or using the flash method. The flash method uses a bubble of glass with a large amount of a light base color, and then dipping that bubble into a darker color creating a multilayered slab.
**If the mixed color was achieved by mixing multiple potted glasses, it is called streaky or reamy glass based on the colors mixed and the ease of cutting. Reamy glass specifically has a wavy pattern in the colors, with bands of strong tonal contrast. Streaky glass has a greater portion of light colored sections with streaks of contrasting colors of varying thickness<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>.
*Curious glass is glass that is an oddity or mistake of production and is often discarded by manufactures; this means that the glass can be any color or thickness.
*Commercially produced glass is another option in that it is readily available and easy to produce. It is often light in color and has a smooth texture.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 27-32). London: Batsford.</ref>
 
{{Infobox
| image1=[[File:NBCopperFoil.jpg|x100px]]
| caption1=An diagram of the copper and foil technique.This illustration shows how the copper is used as a base for the solder<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 63). New York: Prentice Hall Press.</ref>
| image2=[[File:NBApplique.jpg|x100px]]
| caption2=An example of the appliqué technique<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 48). Lewes: Guild of Master Craftsman Publications.</ref>
| image3=[[File:NBLeading.jpeg|x100px]]
| caption3=An example of the leading technique<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 57). New York: Prentice Hall Press.</ref>
| label1= '''Note:'''
| data1= The most commonly seen technique is the leading technique because of its wide use throughout history.
}}

The next step is to cut and shape the glass. Cutting glass can be difficult for beginners because each cut must go to the edge of the glass making intricate cuts challenging. To cut the glass it first must be scored along the desired line. Once scored, the glass is then carefully broken along the scored line using the pliers to firmly grip the glass.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 14-15). Lewes: Guild of Master Craftsman Publications.</ref> Then the cut pieces can be shaped and organized before moving onto assembly of the panel, which is the sixth step of the process. The window panel can be assembled in a few different methods the main methods are: copper and foil, appliqué, fusing, and leading. Copper and foil was popularized by Louis Comfort Tiffany, and is best known for the the use of copper and foil on a lampshade. The technique involves taking each piece of glass in the design and wrapping the edges in copper foil which is then soldered along the length of the seams. This method is similar to another called tinning which uses the same copper foil wrapping but lining the seam with flux, allowing blobs of solder to flow throughout the seam to create the bond. Soldering two pieces can be done in two main ways the first of which is seam. seam is similar to tinning and copper and foil in that the solder is run between the two joints, creating a flat joint. The other option is bead, which builds upon a seam with more flux and then the solder is run above the joint until a raised line is formed to the desired height.


Appliqué steps away from solder and it involved gluing the pieces to a clear slab. This changes the grouting of the glass from negative to positive, allowing more light to pass through. Fusing glass involves overlapping each edge of every piece and then firing the design in a kiln. The end result is a solid panel with no leading or gaps between the glass. The one main problem with this method is if the glass used in the panel is not homogeneous, it can lead to cracking and uneven melting.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 49). Lewes: Guild of Master Craftsman Publications.</ref>


Leading is the most commonly seen method in stained glass. This method used lead came to secure the glass in place, often in a grove in the lead, and then the lead is soldered to hold the pieces together. Cement is then used to secure the panel and fill any remaining gaps in the lead adding stability and waterproofing to the joints.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 57-61). Lewes: Guild of Master Craftsman Publications.</ref> The final step is to finish the window whether that be polishing the lead, packing for transport, installation, painting, or all of the above.<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 88-92). New York: Prentice Hall Press.</ref> Painting can add detail to a stained glass design that can easily be achieved by the coloration of the glass or the assembly. If a panel is painted it will need to be fired in a kiln to set the paint.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 73). London: Batsford.</ref>


 

=Section 2: Deliverable=
 
==Creating my own Stained Glass Window==
 
===The Design===
 
For the design of my window, I took inspiration from nature and a window design I had seen while browsing on pinterest. I decided on a mountain sunset scene for the beautiful array of colors that I could use and because I loved that design so much. I then chose an image off google and used that as a template for my design so I could see how it would look broken into pieces. This original design was contingent on how complex I could make my panel at the workshop. The main use I would have for this panel is as a decorative piece in my home, and maybe someday it could actually function as a window.
<gallery mode=packed>
Image:NBInspo.jpg
Image:NBTemplate.jpg
Image:NBDesign.png
</gallery>
 

===The Process===
 
[[Image:NBCartoon.jpg|right|x320px]]
The process of creating my own stained glass window began at 9:30 a.m. at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] in London. The first portion of the workshop involved learning how to properly handle and cut glass. I practiced scoring along a marker line and breaking glass for about an hour. The scoring tool works like a pen and carves a line into the glass, which can then be used to break the glass. There are three main methods I used for breaking the glass in my panel: scoring and using specialized pliers, scoring and tapping along the line, and scoring and using a different pair of specialized pliers. The two pairs of pliers were grozier pliers, for breaking small pieces, and the other was a pair of glass breaking pliers for larger breaks and simple curves. Moving onto the actual panel creation, I was given a piece of paper to design my window with a design restraint of a maximum of eight pieces. For my design, I took my ideal design above and dramatically simplified the lines and colors. The final design ended up looking like a basic mountain sunset.
 
[[Image:NBCut.jpg|right|x320px]]
The main historical influence on my design was the modern do-it-yourself movement, because I preferred the freedom to create any possible design rather than staying within a limited historical style. After creating my cartoon it became time to chose and cut the colored glass. The type of glass we used was standard antique glass, and was mainly the leftover pieces from commissioned art works. I picked pieces with a smooth texture for the sunset sky because I didn't want my sky to be too complicated, and the glass I chose had beautiful striations that helped me to achieve my desired sunset effect. For the hills and trees I chose to use four different shades of green to add depth to the piece and in an attempt to keep the image more realistic. I also chose to experiment with texture on two of the four pieces, further creating definition between each of the green pieces. Lastly, for the sun I picked a textured yellow piece because I like the more mellow refraction effect it had in the light.
 
After I had accurately cut each of my pieces, I began to cut and shape the lead. This was the most difficult part of the process because it required an incredible amount of precision. The first step was creating a corner of the frame, from which all other pieces would line up with. This was the most challenging part because nailing the wood guide to the table would often cause the cartoon to shift and to have to begin the process all over again. After that had passed I began the tedious task of cutting and shaping thin pieces of lead to the curves of my glass pieces. This was the only moment where I regretted my design choice because the lead would not hold the curved shapes very well. Once all of the lead was in place it was time for me to solder all of the joints, and using my prior experience I finished soldering rather quickly. Once I was finished soldering, the only step left was to polish my window.
 

===The Result===
 
[[Image:NBWindow.jpg|x500px]]
[[Image:NBAntique.jpg|x500px]]
 

=Conclusion=
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It would be interesting to see how the art form will continue to evolve over time and what the purpose of it will be.
 

=References=
<references />
 

=External Links=
Here is the website for the studio where I made my window: [http://dekostudio.co.uk/ Deko Studio].
 

[[Category: Art Projects]]
[[Category: 2017]]

The History, Purpose, and Techniques of Stained Glass Windows

2017-06-20T14:50:05Z

Nbloniarz:

=The History, Purpose, and Techniques of Stained Glass Windows=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| image=[[File: NBAntique.jpg]]
| label1= '''Artist:'''
| data1=[[User:Nbloniarz|Natalie Bloniarz]]
}}
__TOC__

=Abstract=
 
The aim of this project was to develop an understanding of the history and purpose of stained glass windows and to study the techniques needed to create a window, then apply those techniques to create my own stained glass window. Using my prior humanities and arts experience in digital art from AR1101 Digital Imaging and Computing, I created the design for my stained glass window and then proceed to go [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] to create the window. Creating the window for this project was a fun learning opportunity and taught me a lot about what it truly takes to design and create a successful stained glass window.
 

=Introduction=
 
This project covers a brief history of stained glass to provide some historical context for the art form, and then explores the techniques that can be used to create a window. The specific technique used to create the window for the deliverable portion of this milestone was leading. This is similar to the classes AR 162X and AR 262X Glass I and II respectively at WPI, which focus on glass blowing and techniques such as cutting and grinding glass. The main difference between the class I took at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] and the classes offered at WPI is that WPI focuses more on the creation of the glass and objects directly as a result of glass blowing rather than creating something from pieces of glass like stained glass. The window for the deliverable section of this project was created as part of a beginners workshop exploring the techniques needed to design stained glass, cutting and grinding glass, and soldering the panel together.. This project was unlike anything I have ever done and was a great chance to experience a new art form.
 

=Section 1: Background=
 

==A Brief History==
 
Stained glass is believed to originate from the Middle East as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form. The earliest glass windows were a huge transition from how mankind had been using glass beforehand, mainly as weapon blades made of the volcanic glass obsidian and simple housewares such as bowls and vases.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Moving forward to the medieval period, stained glass as it is known today began to take shape, progressing forward from simple glass shapes in holes in walls to full architectural elements. Medieval churches began to commission windows with religious figures and the royalty of the period would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> The windows of this time were expensive and at a constant risk of having their light source blocked by a new building, rendering the art useless.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> Glass in the centuries prior was as valuable as precious stones, for example ruby colored glass was the equivalent of an actual ruby, and can help explain why the churches and castles of medieval Europe were the only buildings commissioning stained glass for a long period. The Augsburg Cathedral is believed to have the oldest existing stained glass windows, but the construction of the windows shows great knowledge of advanced techniques. The windows in the cathedral suggest that other prior windows had existed, because of the advanced techniques, and suggests the idea that the creator of the window had knowledge from all across Europe, but these are the earliest existing windows still standing today.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> New colors for the glass in stained glass windows were introduced over the centuries as new metals were discovered, allowing for experimentation into lighter colors, painting, and the development of new styles.
 
[[Gothic style]] stained glass windows, particularly in France, popularized the heavy use of reds and blues in window designs.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The Gothic color choices of rich reds and blues can be easily observed in rose windows, which are the larger circular windows found in Gothic cathedrals. The [[Gothic style]] of stained glass windows reigned supreme in cathedrals in the thirteenth century.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 88-111). London: Thames and Hudson.</ref> Painting on glass became the next popular style for stained glass windows, and it was rose to popularity in the fourteenth and fifteenth centuries as a way to achieve greater detail in the windows, especially in the faces and hair of figures. This stylistic shift was a drastic change from the previous Gothic windows with their heavy use of vivid colors. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image. Buildings were starting to be designed around the grandiose windows that would provide the majority of the light inside. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window, with details painted on using silver.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> In the sixteenth century stained glass windows began to be used to decorate community buildings, homes, and businesses such as inns and the windows were mainly secular. The use of leading also was further reduced in favor of painting on silver stained glass driven by the desire for detail, but with more color than the grisaille style. Donors to the art also began to be immortalized in the windows they paid for by being added into the design.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The grisaille style of the fourteenth and fifteenth centuries served as a stark contrast to the renaissance style windows of that same time period. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries, and it also brought the use of perspective to the art form adding dimension to the figures. Both forms had a significant amount of detail painted onto the glass, but only renaissance style windows matched the resurgence of colors in the other art forms of the time.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 112-141). London: Thames and Hudson.</ref>
 
After the end of the renaissance, especially in the nineteenth century, there was a revival of historic styles and techniques that focused more on the quality of the glass than the painting. The [[Gothic style]] made a resurgence in popularity because of its focus on the glass and historical techniques. Many renovations of older buildings had damaged the stained glass windows, and allowed for new windows remade in the older styles to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The twentieth century brought about new styles and applications to stained glass. The Aesthetic styles of patterned, semiabstract, and non-figural work became popular especially in the United States. Stained glass also began to take on new forms, such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle-class. Art Nouveau was Europe’s response to the Aesthetic style in America and the increase of American glass production, putting even more glass in middle-class homes and in buildings. Art Deco in the early twentieth century made its way into stained glass using vibrant colors, geometry, and simple designs. The movement had international popularity and appeared in many building across the world, especially in Spain. Today the use of stained glass is as varied as it has ever been, even being used in sculptural elements like ''Lightpainting'' by Stephen Knapp on the front of the Gordon Library at WPI.<ref> Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref>
<gallery mode=packed>
Image:NBSGH1.JPG|This window exemplifies the simplistic forms of the time, with all three of the figures lacking facial detail and the heavy use of leading.
Image:NBVA2.jpg|A display of the coat of arms of the Dukes of Burgundy more characteristic of early stained glass windows.
Image:NBSGH2.JPG|A strong example of Gothic stained glass, with its heavy use of reds and blues.
Image:NBVA4.jpg|An example of the painted style of stained glass, the centerpiece is all painted.
Image:NBSGH4.JPG|An example of a grisaille panel that uses significantly lighter colors.
Image:NBVA3.jpg|This panel has donors praying to patron saints in the bottom two scenes.
Image:NBSGH5.JPG|A 16th century grisaille panel with significantly less leading, and a non secular subject.
Image:NBLamp.jpg|A Tiffany style lampshade in the Art Nouveau style<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 47). Lewes: Guild of Master Craftsman Publications.</ref>
</gallery>
 


==Purpose==
 
The purpose of stained glass windows is closely tied to its history, and has evolved over time. In the beginning, it was simply a way of letting daylight into buildings through small windows and keep the walls completely closed.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Stained glass is a strong example of how something can transition from just a functional item into an art form. As the windows became larger with larger individual pieces of glass, and higher quality was being produced in the medieval period, religious figures realized they could use the windows to educate the illiterate masses about the bible. Light was also symbolic to religious figures, in that it represented good and God’s protection in the Old Testament. Religious education in the medieval ages was very important because the church was the highest authority in society, and to achieve salvation one must follow the word of God.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 10). London: Thames and Hudson.</ref> Onward from the medieval ages, the use of stained glass had a dual purpose: to create religious images and to highlight the wealth of those who owned the building or were the patron of the art.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> In more recent times, some older homes, governmental buildings, and businesses have stained glass as a design element, and based on the texture and opacity of the glass, as a way to increase privacy without decreasing light as well.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 228). London: Thames and Hudson.</ref> In general, the main purpose of stained glass has stayed rather simple throughout history: to let light into buildings while keeping the building completely enclosed.
 

==Techniques==
 
The process of creating a stained glass window boils down to seven simple steps, but it can be altered based on the technique used and desired appearance of the window. The first part of the process is to develop a design for the window, sketch out the basic shapes and colors of the window. The next step forward is to create a template, called the cartoon, from the basic design and solidify the finalized design. This step creates a guide for every piece of glass that needs to be cut, and how the cut pieces are then later assembled and attached to become a cohesive piece. The cartoon is also important because if leading is being used it creates definitive lead lines and solder points.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 40-45). London: Batsford.</ref>
 
{{Infobox
| image= [[File:NBSGTools.jpg|x200px]]
| caption=A set of typical stained glass tools including
| label1= '''Tools Pictured (from left to right):'''
| data1= Diamond tipped scorer, breaking pliers, palette knife, applicator brush, badger brush, and a needle
}}
The third step is to gather all of the needed tools and materials, and to prep the work space. Tools needed for most projects include:
*A board to use as a cutting surface
*A ventilation system to reduce the fumes
*A scoring tool to break the glass along desired lines
*A grozing tool to cut (break) the jagged edges of the glass
*Lead strips or scraps
*A lead knife
*An oyster knife to manipulate the lead
*A soldering iron to attach the pieces of lead
*A light box to check the design of gaps
*A glass grinder for achieving different textures and fine curves
*A scrubbing brush for the application and removal of cement
*Any other tool deemed necessary or useful, as each artist can choose to use less or more tools than those listed.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 8-13). Lewes: Guild of Master Craftsman Publications.</ref>
 
A major part the entire process is the fourth step, which is choosing the proper glass for the desired appearance. A good basis for choosing glass is to pick from a slab or pieces that are flat and not too thick. Thickness is very important as it determines the majority of the weight of the window, and if it is too thick, the window could collapse and shatter under its own weight. A few typical glass choices are:
{{Infobox
| image1=[[Image:NBCrown.JPG|x100px]]
| caption1=An example of crowned glass<ref>Böhringer, F. (2006). Angelika Kauffmann-Museum in Schwarzenberg im Bregenzerwald. Retrieved from https://en.wikipedia.org/wiki/File:AKMuseum5.JPG</ref>
| image2=[[Image:NBNorman.jpg|x100px]]
| caption2=An example of Norman slab glass
| image3=[[Image:NBAntique.jpg|x100px]]
| caption3=An example of antique glass
| label1= '''Description:'''
| data1= These are three different types of glass, the most common of the three is antique glass.
}}
*Crowned glass, which is created by taking a bubble from a glass blowing rod and flattening it into a panel. This glass is not typically used in modern windows. This type of glass appears typically in two forms: roundels and bullions. Both forms of the glass have a circular pattern due to the manufacturing process, but bullions are any piece cut from that glass and a roundel is a circular bullion. Historically this type of glass is clear, but that does not mean that it cannot be found colored as well.<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A Norman slab, which is created by blowing glass into a rectangular form and it is known to have an irregular texture and thickness making it difficult to work with. The uneven thickness of the glass also give it a slight foggy appearance, and the bumpy texture of the glass is visible<ref>Sourcebook 2015. (2015) (pp. 1-2). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A crossed/pressed slab, which is created by rolling molten glass onto a table with a rolling pin. The pin and table have indentations to create texture but the glass is often hard to work with because of the differing thicknesses.
*Antique glass is the standard glass used for stained glass windows. It is created by creating a glass bubble, piercing both sides making a cylinder, and then cutting the cylinder and letting it unfurl and cool flat. the glass can be made with a variety of colors and textures. A singular color is achieved by mixing in metallic compounds into the glass creating pot glass, while multiple color can be achieved by mixing potted glass or using the flash method. The flash method uses a bubble of glass with a large amount of a light base color, and then dipping that bubble into a darker color creating a multilayered slab.
**If the mixed color was achieved by mixing multiple potted glasses, it is called streaky or reamy glass based on the colors mixed and the ease of cutting. Reamy glass specifically has a wavy pattern in the colors, with bands of strong tonal contrast. Streaky glass has a greater portion of light colored sections with streaks of contrasting colors of varying thickness<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>.
*Curious glass is glass that is an oddity or mistake of production and is often discarded by manufactures; this means that the glass can be any color or thickness.
*Commercially produced glass is another option in that it is readily available and easy to produce. It is often light in color and has a smooth texture.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 27-32). London: Batsford.</ref>
 
{{Infobox
| image1=[[File:NBCopperFoil.jpg|x100px]]
| caption1=An diagram of the copper and foil technique.This illustration shows how the copper is used as a base for the solder<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 63). New York: Prentice Hall Press.</ref>
| image2=[[File:NBApplique.jpg|x100px]]
| caption2=An example of the appliqué technique<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 48). Lewes: Guild of Master Craftsman Publications.</ref>
| image3=[[File:NBLeading.jpeg|x100px]]
| caption3=An example of the leading technique<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 57). New York: Prentice Hall Press.</ref>
| label1= '''Note:'''
| data1= The most commonly seen technique is the leading technique because of its wide use throughout history.
}}

The next step is to cut and shape the glass. Cutting glass can be difficult for beginners because each cut must go to the edge of the glass making intricate cuts challenging. To cut the glass it first must be scored along the desired line. Once scored, the glass is then carefully broken along the scored line using the pliers to firmly grip the glass.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 14-15). Lewes: Guild of Master Craftsman Publications.</ref> Then the cut pieces can be shaped and organized before moving onto assembly of the panel, which is the sixth step of the process. The window panel can be assembled in a few different methods the main methods are: copper and foil, appliqué, fusing, and leading. Copper and foil was popularized by Louis Comfort Tiffany, and is best known for the the use of copper and foil on a lampshade. The technique involves taking each piece of glass in the design and wrapping the edges in copper foil which is then soldered along the length of the seams. This method is similar to another called tinning which uses the same copper foil wrapping but lining the seam with flux, allowing blobs of solder to flow throughout the seam to create the bond. Soldering two pieces can be done in two main ways the first of which is seam. seam is similar to tinning and copper and foil in that the solder is run between the two joints, creating a flat joint. The other option is bead, which builds upon a seam with more flux and then the solder is run above the joint until a raised line is formed to the desired height.


Appliqué steps away from solder and it involved gluing the pieces to a clear slab. This changes the grouting of the glass from negative to positive, allowing more light to pass through. Fusing glass involves overlapping each edge of every piece and then firing the design in a kiln. The end result is a solid panel with no leading or gaps between the glass. The one main problem with this method is if the glass used in the panel is not homogeneous, it can lead to cracking and uneven melting.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 49). Lewes: Guild of Master Craftsman Publications.</ref>


Leading is the most commonly seen method in stained glass. This method used lead came to secure the glass in place, often in a grove in the lead, and then the lead is soldered to hold the pieces together. Cement is then used to secure the panel and fill any remaining gaps in the lead adding stability and waterproofing to the joints.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 57-61). Lewes: Guild of Master Craftsman Publications.</ref> The final step is to finish the window whether that be polishing the lead, packing for transport, installation, painting, or all of the above.<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 88-92). New York: Prentice Hall Press.</ref> Painting can add detail to a stained glass design that can easily be achieved by the coloration of the glass or the assembly. If a panel is painted it will need to be fired in a kiln to set the paint.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 73). London: Batsford.</ref>


 

=Section 2: Deliverable=
 
==Creating my own Stained Glass Window==
 
===The Design===
 
For the design of my window, I took inspiration from nature and a window design I had seen while browsing on pinterest. I decided on a mountain sunset scene for the beautiful array of colors that I could use and because I loved that design so much. I then chose an image off google and used that as a template for my design so I could see how it would look broken into pieces. This original design was contingent on how complex I could make my panel at the workshop. The main use I would have for this panel is as a decorative piece in my home, and maybe someday it could actually function as a window.
<gallery mode=packed>
Image:NBInspo.jpg
Image:NBTemplate.jpg
Image:NBDesign.png
</gallery>
 

===The Process===
 
[[Image:NBCartoon.jpg|right|x320px]]
The process of creating my own stained glass window began at 9:30 a.m. at Deko Studio in London. The first portion of the workshop involved learning how to properly handle and cut glass. I practiced scoring and breaking glass for about an hour. The scoring tool works like a pen and carves a line into the glass, which can then be used to break the glass. There are three main methods I used for breaking the glass in my panel: scoring and using specialized pliers, scoring and tapping along the line, and scoring and using a different specialized pair of pliers. The two pairs of pliers were grozier pliers, for breaking small pieces, and the other was a pair of glass breaking pliers. Moving onto the actual panel creation, I was given a piece of paper to design my window with a maximum of eight pieces. For my design, I took my ideal design above and dramatically simplified the lines and colors. The final design ended up looking like a basic mountain sunset.
 
[[Image:NBCut.jpg|right|x320px]]
The main historical influence on my design was the modern do-it-yourself movement, because I preferred the freedom to create any possible design rather than staying within a limited historical style. After creating my cartoon it became time to chose and cut the colored glass. The type of glass we used was standard antique glass, and was main\y the leftover pieces from commissioned art works. I picked pieces with a smooth texture for the sunset sky because I didn't want my sky to be too complicated, and the glass I chose had beautiful striations that helped me to achieve my desired sunset effect. For the hills and trees I chose to use four different shades of green to add depth to the piece and in an attempt to keep the image more realistic. I also chose to experiment with texture on two of the four pieces, further creating definition between each of the green pieces. Lastly, for the sun I picked a textured yellow piece because I like the more mellow effect it had in the light.
 
After I had accurately cut each of my pieces, I began to cut and shape the lead. This was the most difficult part of the process because it required an incredible amount of precision. The first step was creating a corner of the frame, from which all other pieces would line up with. This was the most challenging part because nailing the wood guide to the table would often cause the cartoon to shift and to have to begin the process all over again. After that had passed I began the tedious task of cutting and shaping thin pieces of lead to the curves of my glass pieces. This was the only moment where I regretted my design choice because the lead would not hold the curved shapes very well. Once all of the lead was in place it was time for me to solder all of the joints, and using my prior experience I finished soldering rather quickly. Once I was finished soldering, the only step left was to polish my window.
 

===The Result===
 
[[Image:NBWindow.jpg|x500px]]
[[Image:NBAntique.jpg|x500px]]
 

=Conclusion=
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It would be interesting to see how the art form will continue to evolve over time and what the purpose of it will be.
 

=References=
<references />
 

=External Links=
Here is the website for the studio where I made my window: [http://dekostudio.co.uk/ Deko Studio].
 

[[Category: Art Projects]]
[[Category: 2017]]

The History, Purpose, and Techniques of Stained Glass Windows

2017-06-20T14:48:31Z

Nbloniarz:

=The History, Purpose, and Techniques of Stained Glass Windows=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| image=[[File: NBAntique.jpg]]
| label1= '''Artist:'''
| data1=[[User:Nbloniarz|Natalie Bloniarz]]
}}
__TOC__

=Abstract=
 
The aim of this project was to develop an understanding of the history and purpose of stained glass windows and to study the techniques needed to create a window, then apply those techniques to create my own stained glass window. Using my prior humanities and arts experience in digital art from AR1101 Digital Imaging and Computing, I created the design for my stained glass window and then proceed to go [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] to create the window. Creating the window for this project was a fun learning opportunity and taught me a lot about what it truly takes to design and create a successful stained glass window.
 

=Introduction=
 
This project covers a brief history of stained glass to provide some historical context for the art form, and then explores the techniques that can be used to create a window. The specific technique used to create the window for the deliverable portion of this milestone was leading. This is similar to the classes AR 162X and AR 262X Glass I and II respectively at WPI, which focus on glass blowing and techniques such as cutting and grinding glass. The main difference between the class I took at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] and the classes offered at WPI is that WPI focuses more on the creation of the glass and objects directly as a result of glass blowing rather than creating something from pieces of glass like stained glass. The window for the deliverable section of this project was created as part of a beginners workshop exploring the techniques needed to design stained glass, cutting and grinding glass, and soldering the panel together.. This project was unlike anything I have ever done and was a great chance to experience a new art form.
 

=Section 1: Background=
 

==A Brief History==
 
Stained glass is believed to originate from the Middle East as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form. The earliest glass windows were a huge transition from how mankind had been using glass beforehand, mainly as weapon blades made of the volcanic glass obsidian and simple housewares such as bowls and vases.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Moving forward to the medieval period, stained glass as it is known today began to take shape, progressing forward from simple glass shapes in holes in walls to full architectural elements. Medieval churches began to commission windows with religious figures and the royalty of the period would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> The windows of this time were expensive and at a constant risk of having their light source blocked by a new building, rendering the art useless.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> Glass in the centuries prior was as valuable as precious stones, for example ruby colored glass was the equivalent of an actual ruby, and can help explain why the churches and castles of medieval Europe were the only buildings commissioning stained glass for a long period. The Augsburg Cathedral is believed to have the oldest existing stained glass windows, but the construction of the windows shows great knowledge of advanced techniques. The windows in the cathedral suggest that other prior windows had existed, because of the advanced techniques, and suggests the idea that the creator of the window had knowledge from all across Europe, but these are the earliest existing windows still standing today.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> New colors for the glass in stained glass windows were introduced over the centuries as new metals were discovered, allowing for experimentation into lighter colors, painting, and the development of new styles.
 
[[Gothic style]] stained glass windows, particularly in France, popularized the heavy use of reds and blues in window designs.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The Gothic color choices of rich reds and blues can be easily observed in rose windows, which are the larger circular windows found in Gothic cathedrals. The [[Gothic style]] of stained glass windows reigned supreme in cathedrals in the thirteenth century.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 88-111). London: Thames and Hudson.</ref> Painting on glass became the next popular style for stained glass windows, and it was rose to popularity in the fourteenth and fifteenth centuries as a way to achieve greater detail in the windows, especially in the faces and hair of figures. This stylistic shift was a drastic change from the previous Gothic windows with their heavy use of vivid colors. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image. Buildings were starting to be designed around the grandiose windows that would provide the majority of the light inside. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window, with details painted on using silver.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> In the sixteenth century stained glass windows began to be used to decorate community buildings, homes, and businesses such as inns and the windows were mainly secular. The use of leading also was further reduced in favor of painting on silver stained glass driven by the desire for detail, but with more color than the grisaille style. Donors to the art also began to be immortalized in the windows they paid for by being added into the design.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The grisaille style of the fourteenth and fifteenth centuries served as a stark contrast to the renaissance style windows of that same time period. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries, and it also brought the use of perspective to the art form adding dimension to the figures. Both forms had a significant amount of detail painted onto the glass, but only renaissance style windows matched the resurgence of colors in the other art forms of the time.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 112-141). London: Thames and Hudson.</ref>
 
After the end of the renaissance, especially in the nineteenth century, there was a revival of historic styles and techniques that focused more on the quality of the glass than the painting. The [[Gothic style]] made a resurgence in popularity because of its focus on the glass and historical techniques. Many renovations of older buildings had damaged the stained glass windows, and allowed for new windows remade in the older styles to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The twentieth century brought about new styles and applications to stained glass. The Aesthetic styles of patterned, semiabstract, and non-figural work became popular especially in the United States. Stained glass also began to take on new forms, such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle-class. Art Nouveau was Europe’s response to the Aesthetic style in America and the increase of American glass production, putting even more glass in middle-class homes and in buildings. Art Deco in the early twentieth century made its way into stained glass using vibrant colors, geometry, and simple designs. The movement had international popularity and appeared in many building across the world, especially in Spain. Today the use of stained glass is as varied as it has ever been, even being used in sculptural elements like ''Lightpainting'' by Stephen Knapp on the front of the Gordon Library at WPI.<ref> Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref>
<gallery mode=packed>
Image:NBSGH1.JPG|This window exemplifies the simplistic forms of the time, with all three of the figures lacking facial detail and the heavy use of leading.
Image:NBVA2.jpg|A display of the coat of arms of the Dukes of Burgundy more characteristic of early stained glass windows.
Image:NBSGH2.JPG|A strong example of Gothic stained glass, with its heavy use of reds and blues.
Image:NBVA4.jpg|An example of the painted style of stained glass, the centerpiece is all painted.
Image:NBSGH4.JPG|An example of a grisaille panel that uses significantly lighter colors.
Image:NBVA3.jpg|This panel has donors praying to patron saints in the bottom two scenes.
Image:NBSGH5.JPG|A 16th century grisaille panel with significantly less leading, and a non secular subject.
Image:NBLamp.jpg|A Tiffany style lampshade in the Art Nouveau style<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 47). Lewes: Guild of Master Craftsman Publications.</ref>
</gallery>
 


==Purpose==
 
The purpose of stained glass windows is closely tied to its history, and has evolved over time. In the beginning, it was simply a way of letting daylight into buildings through small windows and keep the walls completely closed.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Stained glass is a strong example of how something can transition from just a functional item into an art form. As the windows became larger with larger individual pieces of glass, and higher quality was being produced in the medieval period, religious figures realized they could use the windows to educate the illiterate masses about the bible. Light was also symbolic to religious figures, in that it represented good and God’s protection in the Old Testament. Religious education in the medieval ages was very important because the church was the highest authority in society, and to achieve salvation one must follow the word of God.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 10). London: Thames and Hudson.</ref> Onward from the medieval ages, the use of stained glass had a dual purpose: to create religious images and to highlight the wealth of those who owned the building or were the patron of the art.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> In more recent times, some older homes, governmental buildings, and businesses have stained glass as a design element, and based on the texture and opacity of the glass, as a way to increase privacy without decreasing light as well.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 228). London: Thames and Hudson.</ref> In general, the main purpose of stained glass has stayed rather simple throughout history: to let light into buildings while keeping the building completely enclosed.
 

==Techniques==
 
The process of creating a stained glass window boils down to seven simple steps, but it can be altered based on the technique used and desired appearance of the window. The first part of the process is to develop a design for the window, sketch out the basic shapes and colors of the window. The next step forward is to create a template, called the cartoon, from the basic design and solidify the finalized design. This step creates a guide for every piece of glass that needs to be cut, and how the cut pieces are then later assembled and attached to become a cohesive piece. The cartoon is also important because if leading is being used it creates definitive lead lines and solder points.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 40-45). London: Batsford.</ref>
 
{{Infobox
| image= [[File:NBSGTools.jpg|x200px]]
| caption=A set of typical stained glass tools including
| label1= '''Tools Pictured (from left to right):'''
| data1= Diamond tipped scorer, breaking pliers, palette knife, applicator brush, badger brush, and a needle
}}
The third step is to gather all of the needed tools and materials, and to prep the work space. Tools needed for most projects include:
*A board to use as a cutting surface
*A ventilation system to reduce the fumes
*A scoring tool to break the glass along desired lines
*A grozing tool to cut (break) the jagged edges of the glass
*Lead strips or scraps
*A lead knife
*An oyster knife to manipulate the lead
*A soldering iron to attach the pieces of lead
*A light box to check the design of gaps
*A glass grinder for achieving different textures and fine curves
*A scrubbing brush for the application and removal of cement
*Any other tool deemed necessary or useful, as each artist can choose to use less or more tools than those listed.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 8-13). Lewes: Guild of Master Craftsman Publications.</ref>
 
A major part the entire process is the fourth step, which is choosing the proper glass for the desired appearance. A good basis for choosing glass is to pick from a slab or pieces that are flat and not too thick. Thickness is very important as it determines the majority of the weight of the window, and if it is too thick, the window could collapse and shatter under its own weight. A few typical glass choices are:
{{Infobox
| image1=[[Image:NBCrown.JPG|x100px]]
| caption1=An example of crowned glass<ref>Böhringer, F. (2006). Angelika Kauffmann-Museum in Schwarzenberg im Bregenzerwald. Retrieved from https://en.wikipedia.org/wiki/File:AKMuseum5.JPG</ref>
| image2=[[Image:NBNorman.jpg|x100px]]
| caption2=An example of Norman slab glass
| image3=[[Image:NBAntique.jpg|x100px]]
| caption3=An example of antique glass
| label1= '''Description:'''
| data1= These are three different types of glass, the most common of the three is antique glass.
}}
*Crowned glass, which is created by taking a bubble from a glass blowing rod and flattening it into a panel. This glass is not typically used in modern windows. This type of glass appears typically in two forms: roundels and bullions. Both forms of the glass have a circular pattern due to the manufacturing process, but bullions are any piece cut from that glass and a roundel is a circular bullion. Historically this type of glass is clear, but that does not mean that it cannot be found colored as well.<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A Norman slab, which is created by blowing glass into a rectangular form and it is known to have an irregular texture and thickness making it difficult to work with. The uneven thickness of the glass also give it a slight foggy appearance, and the bumpy texture of the glass is visible<ref>Sourcebook 2015. (2015) (pp. 1-2). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A crossed/pressed slab, which is created by rolling molten glass onto a table with a rolling pin. The pin and table have indentations to create texture but the glass is often hard to work with because of the differing thicknesses.
*Antique glass is the standard glass used for stained glass windows. It is created by creating a glass bubble, piercing both sides making a cylinder, and then cutting the cylinder and letting it unfurl and cool flat. the glass can be made with a variety of colors and textures. A singular color is achieved by mixing in metallic compounds into the glass creating pot glass, while multiple color can be achieved by mixing potted glass or using the flash method. The flash method uses a bubble of glass with a large amount of a light base color, and then dipping that bubble into a darker color creating a multilayered slab.
**If the mixed color was achieved by mixing multiple potted glasses, it is called streaky or reamy glass based on the colors mixed and the ease of cutting. Reamy glass specifically has a wavy pattern in the colors, with bands of strong tonal contrast. Streaky glass has a greater portion of light colored sections with streaks of contrasting colors of varying thickness<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>.
*Curious glass is glass that is an oddity or mistake of production and is often discarded by manufactures; this means that the glass can be any color or thickness.
*Commercially produced glass is another option in that it is readily available and easy to produce. It is often light in color and has a smooth texture.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 27-32). London: Batsford.</ref>
 
{{Infobox
| image1=[[File:NBCopperFoil.jpg|x100px]]
| caption1=An diagram of the copper and foil technique.This illustration shows how the copper is used as a base for the solder<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 63). New York: Prentice Hall Press.</ref>
| image2=[[File:NBApplique.jpg|x100px]]
| caption2=An example of the appliqué technique<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 48). Lewes: Guild of Master Craftsman Publications.</ref>
| image3=[[File:NBLeading.jpeg|x100px]]
| caption3=An example of the leading technique<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 57). New York: Prentice Hall Press.</ref>
| label1= '''Note:'''
| data1= The most commonly seen technique is the leading technique because of its wide use throughout history.
}}

The next step is to cut and shape the glass. Cutting glass can be difficult for beginners because each cut must go to the edge of the glass making intricate cuts challenging. To cut the glass it first must be scored along the desired line. Once scored, the glass is then carefully broken along the scored line using the pliers to firmly grip the glass.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 14-15). Lewes: Guild of Master Craftsman Publications.</ref> Then the cut pieces can be shaped and organized before moving onto assembly of the panel, which is the sixth step of the process. The window panel can be assembled in a few different methods the main methods are: copper and foil, appliqué, fusing, and leading. Copper and foil was popularized by Louis Comfort Tiffany, and is best known for the the use of copper and foil on a lampshade. The technique involves taking each piece of glass in the design and wrapping the edges in copper foil which is then soldered along the length of the seams. This method is similar to another called tinning which uses the same copper foil wrapping but lining the seam with flux, allowing blobs of solder to flow throughout the seam to create the bond. Soldering two pieces can be done in two main ways the first of which is seam. seam is similar to tinning and copper and foil in that the solder is run between the two joints, creating a flat joint. The other option is bead, which builds upon a seam with more flux and then the solder is run above the joint until a raised line is formed to the desired height.


Appliqué steps away from solder and it involved gluing the pieces to a clear slab. This changes the grouting of the glass from negative to positive, allowing more light to pass through. Fusing glass involves overlapping each edge of every piece and then firing the design in a kiln. The end result is a solid panel with no leading or gaps between the glass. The one main problem with this method is if the glass used in the panel is not homogeneous, it can lead to cracking and uneven melting.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 49). Lewes: Guild of Master Craftsman Publications.</ref>


Leading is the most commonly seen method in stained glass. This method used lead came to secure the glass in place, often in a grove in the lead, and then the lead is soldered to hold the pieces together. Cement is then used to secure the panel and fill any remaining gaps in the lead adding stability and waterproofing to the joints.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 57-61). Lewes: Guild of Master Craftsman Publications.</ref> The final step is to finish the window whether that be polishing the lead, packing for transport, installation, painting, or all of the above.<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 88-92). New York: Prentice Hall Press.</ref> Painting can add detail to a stained glass design that can easily be achieved by the coloration of the glass or the assembly. If a panel is painted it will need to be fired in a kiln to set the paint.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 73). London: Batsford.</ref>


 

=Section 2: Deliverable=
 
==Creating my own Stained Glass Window==
 
===The Design===
 
For the design of my window I took inspiration from nature and a window design I had seen while browsing on pinterest. I decided on a mountain sunset scene for the beautiful array of colors that I could use and because I loved that design so much. I then chose an image off google and used that as a template for my design so I could see how it would look broken into pieces. This original design was contingent on how complex I could make my panel at the workshop. The main use I would have for this panel is as a decorative piece in my home, and maybe someday it could actually function as a window.
<gallery mode=packed>
Image:NBInspo.jpg
Image:NBTemplate.jpg
Image:NBDesign.png
</gallery>
 

===The Process===
 
[[Image:NBCartoon.jpg|right|x320px]]
The process of creating my own stained glass window began at 9:30 a.m. at Deko Studio in London. The first portion of the workshop involved learning how to properly handle and cut glass. I practiced scoring and breaking glass for about an hour. The scoring tool works like a pen and carves a line into the glass, which can then be used to break the glass. There are three main methods I used for breaking the glass in my panel: scoring and using specialized pliers, scoring and tapping along the line, and scoring and using a different specialized pair of pliers. The two pairs of pliers were grozier pliers, for breaking small pieces, and the other was a pair of glass breaking pliers. Moving onto the actual panel creation, I was given a piece of paper to design my window with a maximum of eight pieces. For my design, I took my ideal design above and dramatically simplified the lines and colors. The final design ended up looking like a basic mountain sunset.
 
[[Image:NBCut.jpg|right|x320px]]
The main historical influence on my design was the modern do-it-yourself movement, because I preferred the freedom to create any possible design rather than staying within a limited historical style. After creating my cartoon it became time to chose and cut the colored glass. The type of glass we used was standard antique glass, and was main\y the leftover pieces from commissioned art works. I picked pieces with a smooth texture for the sunset sky because I didn't want my sky to be too complicated, and the glass I chose had beautiful striations that helped me to achieve my desired sunset effect. For the hills and trees I chose to use four different shades of green to add depth to the piece and in an attempt to keep the image more realistic. I also chose to experiment with texture on two of the four pieces, further creating definition between each of the green pieces. Lastly, for the sun I picked a textured yellow piece because I like the more mellow effect it had in the light.
 
After I had accurately cut each of my pieces, I began to cut and shape the lead. This was the most difficult part of the process because it required an incredible amount of precision. The first step was creating a corner of the frame, from which all other pieces would line up with. This was the most challenging part because nailing the wood guide to the table would often cause the cartoon to shift and to have to begin the process all over again. After that had passed I began the tedious task of cutting and shaping thin pieces of lead to the curves of my glass pieces. This was the only moment where I regretted my design choice because the lead would not hold the curved shapes very well. Once all of the lead was in place it was time for me to solder all of the joints, and using my prior experience I finished soldering rather quickly. Once I was finished soldering, the only step left was to polish my window.
 

===The Result===
 
[[Image:NBWindow.jpg|x500px]]
[[Image:NBAntique.jpg|x500px]]
 

=Conclusion=
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It would be interesting to see how the art form will continue to evolve over time and what the purpose of it will be.
 

=References=
<references />
 

=External Links=
Here is the website for the studio where I made my window: [http://dekostudio.co.uk/ Deko Studio].
 

[[Category: Art Projects]]
[[Category: 2017]]

The History, Purpose, and Techniques of Stained Glass Windows

2017-06-20T14:44:21Z

Nbloniarz:

=The History, Purpose, and Techniques of Stained Glass Windows=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| image=[[File: NBAntique.jpg]]
| label1= '''Artist:'''
| data1=[[User:Nbloniarz|Natalie Bloniarz]]
}}
__TOC__

=Abstract=
 
The aim of this project was to develop an understanding of the history and purpose of stained glass windows and to study the techniques needed to create a window, then apply those techniques to create my own stained glass window. Using my prior humanities and arts experience in digital art from AR1101 Digital Imaging and Computing, I created the design for my stained glass window and then proceed to go [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] to create the window. Creating the window for this project was a fun learning opportunity and taught me a lot about what it truly takes to design and create a successful stained glass window.
 

=Introduction=
 
This project covers a brief history of stained glass to provide some historical context for the art form, and then explores the techniques that can be used to create a window. The specific technique used to create the window for the deliverable portion of this milestone was leading. This is similar to the classes AR 162X and AR 262X Glass I and II respectively at WPI, which focus on glass blowing and techniques such as cutting and grinding glass. The main difference between the class I took at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] and the classes offered at WPI is that WPI focuses more on the creation of the glass and objects directly as a result of glass blowing rather than creating something from pieces of glass like stained glass. The window for the deliverable section of this project was created as part of a beginners workshop exploring the techniques needed to design stained glass, cutting and grinding glass, and soldering the panel together.. This project was unlike anything I have ever done and was a great chance to experience a new art form.
 

=Section 1: Background=
 

==A Brief History==
 
Stained glass is believed to originate from the Middle East as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form. The earliest glass windows were a huge transition from how mankind had been using glass beforehand, mainly as weapon blades made of the volcanic glass obsidian and simple housewares such as bowls and vases.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Moving forward to the medieval period, stained glass as it is known today began to take shape, progressing forward from simple glass shapes in holes in walls to full architectural elements. Medieval churches began to commission windows with religious figures and the royalty of the period would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> The windows of this time were expensive and at a constant risk of having their light source blocked by a new building, rendering the art useless.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> Glass in the centuries prior was as valuable as precious stones, for example ruby colored glass was the equivalent of an actual ruby, and can help explain why the churches and castles of medieval Europe were the only buildings commissioning stained glass for a long period. The Augsburg Cathedral is believed to have the oldest existing stained glass windows, but the construction of the windows shows great knowledge of advanced techniques. The windows in the cathedral suggest that other prior windows had existed, because of the advanced techniques, and suggests the idea that the creator of the window had knowledge from all across Europe, but these are the earliest existing windows still standing today.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> New colors for the glass in stained glass windows were introduced over the centuries as new metals were discovered, allowing for experimentation into lighter colors, painting, and the development of new styles.
 
[[Gothic style]] stained glass windows, particularly in France, popularized the heavy use of reds and blues in window designs.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The Gothic color choices of rich reds and blues can be easily observed in rose windows, which are the larger circular windows found in Gothic cathedrals. The [[Gothic style]] of stained glass windows reigned supreme in cathedrals in the thirteenth century.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 88-111). London: Thames and Hudson.</ref> Painting on glass became the next popular style for stained glass windows, and it was rose to popularity in the fourteenth and fifteenth centuries as a way to achieve greater detail in the windows, especially in the faces and hair of figures. This stylistic shift was a drastic change from the previous Gothic windows with their heavy use of vivid colors. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image. Buildings were starting to be designed around the grandiose windows that would provide the majority of the light inside. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window, with details painted on using silver.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> In the sixteenth century stained glass windows began to be used to decorate community buildings, homes, and businesses such as inns and the windows were mainly secular. The use of leading also was further reduced in favor of painting on silver stained glass driven by the desire for detail, but with more color than the grisaille style. Donors to the art also began to be immortalized in the windows they paid for by being added into the design.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The grisaille style of the fourteenth and fifteenth centuries served as a stark contrast to the renaissance style windows of that same time period. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries, and it also brought the use of perspective to the art form adding dimension to the figures. Both forms had a significant amount of detail painted onto the glass, but only renaissance style windows matched the resurgence of colors in the other art forms of the time.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 112-141). London: Thames and Hudson.</ref>
 
After the end of the renaissance, especially in the nineteenth century, there was a revival of historic styles and techniques that focused more on the quality of the glass than the painting. The [[Gothic style]] made a resurgence in popularity because of its focus on the glass and historical techniques. Many renovations of older buildings had damaged the stained glass windows, and allowed for new windows remade in the older styles to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The twentieth century brought about new styles and applications to stained glass. The Aesthetic styles of patterned, semiabstract, and non-figural work became popular especially in the United States. Stained glass also began to take on new forms, such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle-class. Art Nouveau was Europe’s response to the Aesthetic style in America and the increase of American glass production, putting even more glass in middle-class homes and in buildings. Art Deco in the early twentieth century made its way into stained glass using vibrant colors, geometry, and simple designs. The movement had international popularity and appeared in many building across the world, especially in Spain. Today the use of stained glass is as varied as it has ever been, even being used in sculptural elements like ''Lightpainting'' by Stephen Knapp on the front of the Gordon Library at WPI.<ref> Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref>
<gallery mode=packed>
Image:NBSGH1.JPG|This window exemplifies the simplistic forms of the time, with all three of the figures lacking facial detail and the heavy use of leading.
Image:NBVA2.jpg|A display of the coat of arms of the Dukes of Burgundy more characteristic of early stained glass windows.
Image:NBSGH2.JPG|A strong example of Gothic stained glass, with its heavy use of reds and blues.
Image:NBVA4.jpg|An example of the painted style of stained glass, the centerpiece is all painted.
Image:NBSGH4.JPG|An example of a grisaille panel that uses significantly lighter colors.
Image:NBVA3.jpg|This panel has donors praying to patron saints in the bottom two scenes.
Image:NBSGH5.JPG|A 16th century grisaille panel with significantly less leading, and a non secular subject.
Image:NBLamp.jpg|A Tiffany style lampshade in the Art Nouveau style<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 47). Lewes: Guild of Master Craftsman Publications.</ref>
</gallery>
 


==Purpose==
 
The purpose of stained glass windows is closely tied to its history, and has evolved over time. In the beginning, it was simply a way of letting daylight into buildings through small windows and keep the walls completely closed.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Stained glass is a strong example of how something can transition from just a functional item into an art form. As the windows became larger with larger individual pieces of glass, and higher quality was being produced in the medieval period, religious figures realized they could use the windows to educate the illiterate masses about the bible. Light was also symbolic to religious figures, in that it represented good and God’s protection in the Old Testament. Religious education in the medieval ages was very important because the church was the highest authority in society, and to achieve salvation one must follow the word of God.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 10). London: Thames and Hudson.</ref> Onward from the medieval ages, the use of stained glass had a dual purpose: to create religious images and to highlight the wealth of those who owned the building or were the patron of the art.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> In more recent times, some older homes, governmental buildings, and businesses have stained glass as a design element, and based on the texture and opacity of the glass, as a way to increase privacy without decreasing light as well.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 228). London: Thames and Hudson.</ref> In general, the main purpose of stained glass has stayed rather simple throughout history: to let light into buildings while keeping the building completely enclosed.
 

==Techniques==
 
The process of creating a stained glass window boils down to seven simple steps, but it can be altered based on the technique used and desired appearance of the window. The first part of the process is to develop a design for the window, sketch out the basic shapes and colors of the window. The next step forward is to create a template, called the cartoon, from the basic design and solidify the finalized design. This step creates a guide for every piece of glass that needs to be cut, and how the cut pieces are then later assembled and attached to become a cohesive piece. The cartoon is also important because if leading is being used it creates definitive lead lines and solder points.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 40-45). London: Batsford.</ref>
 
{{Infobox
| image= [[File:NBSGTools.jpg|x200px]]
| caption=A set of typical stained glass tools including
| label1= '''Tools Pictured (from left to right):'''
| data1= Diamond tipped scorer, breaking pliers, palette knife, applicator brush, badger brush, and a needle
}}
The third step is to gather all of the needed tools and materials, and to prep the work space. Tools needed for most projects include:
*A board to use as a cutting surface
*A ventilation system to reduce the fumes
*A scoring tool to break the glass along desired lines
*A grozing tool to cut (break) the jagged edges of the glass
*Lead strips or scraps
*A lead knife
*An oyster knife to manipulate the lead
*A soldering iron to attach the pieces of lead
*A light box to check the design of gaps
*A glass grinder for achieving different textures and fine curves
*A scrubbing brush for the application and removal of cement
*Any other tool deemed necessary or useful, as each artist can choose to use less or more tools than those listed.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 8-13). Lewes: Guild of Master Craftsman Publications.</ref>
 
A major part of the fourth step is choosing the proper glass for the desired appearance. A good basis for choosing glass is to pick from a slab or pieces that are flat and not too thick. Thickness is very important as it determines the majority of the weight of the window, and if it is too thick, the window could collapse and shatter under its own weight. A few typical glass choices are:
{{Infobox
| image1=[[Image:NBCrown.JPG|x100px]]
| caption1=An example of crowned glass<ref>Böhringer, F. (2006). Angelika Kauffmann-Museum in Schwarzenberg im Bregenzerwald. Retrieved from https://en.wikipedia.org/wiki/File:AKMuseum5.JPG</ref>
| image2=[[Image:NBNorman.jpg|x100px]]
| caption2=An example of Norman slab glass
| image3=[[Image:NBAntique.jpg|x100px]]
| caption3=An example of antique glass
| label1= '''Description:'''
| data1= These are three different types of glass, the most common of the three is antique glass.
}}
*Crowned glass, which is created by taking a bubble from a glass blowing rod and flattening it into a panel. This glass is not typically used in modern windows. This type of glass appears typically in two forms: roundels and bullions. Both forms of the glass have a circular pattern due to the manufacturing process, but bullions are any piece cut from that glass and a roundel is a circular bullion. Historically this type of glass is clear, but that does not mean that it cannot be found colored as well.<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A Norman slab, which is created by blowing glass into a rectangular form and it is known to have an irregular texture and thickness making it difficult to work with. The uneven thickness of the glass also give it a slight foggy appearance, and the bumpy texture of the glass is visible<ref>Sourcebook 2015. (2015) (pp. 1-2). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A crossed/pressed slab, which is created by rolling molten glass onto a table with a rolling pin. The pin and table have indentations to create texture but the glass is often hard to work with because of the differing thicknesses.
*Antique glass is the standard glass used for stained glass windows. It is created by creating a glass bubble, piercing both sides making a cylinder, and then cutting the cylinder and letting it unfurl and cool flat. the glass can be made with a variety of colors and textures. A singular color is achieved by mixing in metallic compounds into the glass creating pot glass, while multiple color can be achieved by mixing potted glass or using the flash method. The flash method uses a bubble of glass with a large amount of a light base color, and then dipping that bubble into a darker color creating a multilayered slab.
**If the mixed color was achieved by mixing multiple potted glasses, it is called streaky or reamy glass based on the colors mixed and the ease of cutting. Reamy glass specifically has a wavy pattern in the colors, with bands of strong tonal contrast. Streaky glass has a greater portion of light colored sections with streaks of contrasting colors of varying thickness<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>.
*Curious glass is glass that is an oddity or mistake of production and is often discarded by manufactures; this means that the glass can be any color or thickness.
*Commercially produced glass is another option in that it is readily available and easy to produce. It is often light in color and has a smooth texture.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 27-32). London: Batsford.</ref>
 
{{Infobox
| image1=[[File:NBCopperFoil.jpg|x100px]]
| caption1=An diagram of the copper and foil technique.This illustration shows how the copper is used as a base for the solder<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 63). New York: Prentice Hall Press.</ref>
| image2=[[File:NBApplique.jpg|x100px]]
| caption2=An example of the appliqué technique<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 48). Lewes: Guild of Master Craftsman Publications.</ref>
| image3=[[File:NBLeading.jpeg|x100px]]
| caption3=An example of the leading technique<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 57). New York: Prentice Hall Press.</ref>
| label1= '''Note:'''
| data1= The most commonly seen technique is the leading technique because of its wide use throughout history.
}}

The next step is to cut and shape the glass. Cutting glass can be difficult for beginners because each cut must go to the edge of the glass making intricate cuts challenging. To cut the glass it first must be scored along the desired line. Once scored, the glass is then carefully broken along the scored line using the pliers to firmly grip the glass.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 14-15). Lewes: Guild of Master Craftsman Publications.</ref>
Then the cut pieces can be shaped and organized before moving onto assembly of the panel. The window panel can be assembled in a few different methods the main methods are: copper and foil, appliqué, fusing, and leading. Copper and foil was popularized by Louis Comfort Tiffany, and is best known for the the use of copper and foil on a lampshade. The technique involves taking each piece of glass in the design and wrapping the edges in copper foil which is then soldered along the length of the seams. This method is similar to another called tinning which uses the same copper foil wrapping but lining the seam with flux, allowing blobs of solder to flow throughout the seam to create the bond. Soldering two pieces can be done in two main ways the first of which is seam. seam is similar to tinning and copper and foil in that the solder is run between the two joints, creating a flat joint. The other option is bead, which builds upon a seam with more flux and then the solder is run above the joint until a raised line is formed to the desired height.


Appliqué steps away from solder and it involved gluing the pieces to a clear slab. This changes the grouting of the glass from negative to positive, allowing more light to pass through. Fusing glass involves overlapping each edge of every piece and then firing the design in a kiln. The end result is a solid panel with no leading or gaps between the glass. The one main problem with this method is if the glass used in the panel is not homogeneous, it can lead to cracking and uneven melting.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 49). Lewes: Guild of Master Craftsman Publications.</ref>


Leading is the most commonly seen method in stained glass. This method used lead to secure the glass in place, often in grove in the lead, and then the lead is soldered to hold the pieces together. Cement is then used to secure the panel and fill any remaining gaps in the lead adding stability and waterproofing to the joints.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 57-61). Lewes: Guild of Master Craftsman Publications.</ref> The final step is to finish the window whether that be polishing the lead, packing for transport, installation, or painting.<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 88-92). New York: Prentice Hall Press.</ref> Painting can add detail to a stained glass design that can easily be achieved by the coloration of the glass or the assembly. If a panel is painted it will need to be fired in a kiln to set the paint.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 73). London: Batsford.</ref>


 

=Section 2: Deliverable=
 
==Creating my own Stained Glass Window==
 
===The Design===
 
For the design of my window I took inspiration from nature and a window design I had seen while browsing on pinterest. I decided on a mountain sunset scene for the beautiful array of colors that I could use and because I loved that design so much. I then chose an image off google and used that as a template for my design so I could see how it would look broken into pieces. This original design was contingent on how complex I could make my panel at the workshop. The main use I would have for this panel is as a decorative piece in my home, and maybe someday it could actually function as a window.
<gallery mode=packed>
Image:NBInspo.jpg
Image:NBTemplate.jpg
Image:NBDesign.png
</gallery>
 

===The Process===
 
[[Image:NBCartoon.jpg|right|x320px]]
The process of creating my own stained glass window began at 9:30 a.m. at Deko Studio in London. The first portion of the workshop involved learning how to properly handle and cut glass. I practiced scoring and breaking glass for about an hour. The scoring tool works like a pen and carves a line into the glass, which can then be used to break the glass. There are three main methods I used for breaking the glass in my panel: scoring and using specialized pliers, scoring and tapping along the line, and scoring and using a different specialized pair of pliers. The two pairs of pliers were grozier pliers, for breaking small pieces, and the other was a pair of glass breaking pliers. Moving onto the actual panel creation, I was given a piece of paper to design my window with a maximum of eight pieces. For my design, I took my ideal design above and dramatically simplified the lines and colors. The final design ended up looking like a basic mountain sunset.
 
[[Image:NBCut.jpg|right|x320px]]
The main historical influence on my design was the modern do-it-yourself movement, because I preferred the freedom to create any possible design rather than staying within a limited historical style. After creating my cartoon it became time to chose and cut the colored glass. The type of glass we used was standard antique glass, and was main\y the leftover pieces from commissioned art works. I picked pieces with a smooth texture for the sunset sky because I didn't want my sky to be too complicated, and the glass I chose had beautiful striations that helped me to achieve my desired sunset effect. For the hills and trees I chose to use four different shades of green to add depth to the piece and in an attempt to keep the image more realistic. I also chose to experiment with texture on two of the four pieces, further creating definition between each of the green pieces. Lastly, for the sun I picked a textured yellow piece because I like the more mellow effect it had in the light.
 
After I had accurately cut each of my pieces, I began to cut and shape the lead. This was the most difficult part of the process because it required an incredible amount of precision. The first step was creating a corner of the frame, from which all other pieces would line up with. This was the most challenging part because nailing the wood guide to the table would often cause the cartoon to shift and to have to begin the process all over again. After that had passed I began the tedious task of cutting and shaping thin pieces of lead to the curves of my glass pieces. This was the only moment where I regretted my design choice because the lead would not hold the curved shapes very well. Once all of the lead was in place it was time for me to solder all of the joints, and using my prior experience I finished soldering rather quickly. Once I was finished soldering, the only step left was to polish my window.
 

===The Result===
 
[[Image:NBWindow.jpg|x500px]]
[[Image:NBAntique.jpg|x500px]]
 

=Conclusion=
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It would be interesting to see how the art form will continue to evolve over time and what the purpose of it will be.
 

=References=
<references />
 

=External Links=
Here is the website for the studio where I made my window: [http://dekostudio.co.uk/ Deko Studio].
 

[[Category: Art Projects]]
[[Category: 2017]]

The History, Purpose, and Techniques of Stained Glass Windows

2017-06-20T14:36:17Z

Nbloniarz:

=The History, Purpose, and Techniques of Stained Glass Windows=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| image=[[File: NBAntique.jpg]]
| label1= '''Artist:'''
| data1=[[User:Nbloniarz|Natalie Bloniarz]]
}}
__TOC__

=Abstract=
 
The aim of this project was to develop an understanding of the history and purpose of stained glass windows and to study the techniques needed to create a window, then apply those techniques to create my own stained glass window. Using my prior humanities and arts experience in digital art from AR1101 Digital Imaging and Computing, I created the design for my stained glass window and then proceed to go [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] to create the window. Creating the window for this project was a fun learning opportunity and taught me a lot about what it truly takes to design and create a successful stained glass window.
 

=Introduction=
 
This project covers a brief history of stained glass to provide some historical context for the art form, and then explores the techniques that can be used to create a window. The specific technique used to create the window for the deliverable portion of this milestone was leading. This is similar to the classes AR 162X and AR 262X Glass I and II respectively at WPI, which focus on glass blowing and techniques such as cutting and grinding glass. The main difference between the class I took at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] and the classes offered at WPI is that WPI focuses more on the creation of the glass and objects directly as a result of glass blowing rather than creating something from pieces of glass like stained glass. The window for the deliverable section of this project was created as part of a beginners workshop exploring the techniques needed to design stained glass, cutting and grinding glass, and soldering the panel together.. This project was unlike anything I have ever done and was a great chance to experience a new art form.
 

=Section 1: Background=
 

==A Brief History==
 
Stained glass is believed to originate from the Middle East as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form. The earliest glass windows were a huge transition from how mankind had been using glass beforehand, mainly as weapon blades made of the volcanic glass obsidian and simple housewares such as bowls and vases.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Moving forward to the medieval period, stained glass as it is known today began to take shape, progressing forward from simple glass shapes in holes in walls to full architectural elements. Medieval churches began to commission windows with religious figures and the royalty of the period would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> The windows of this time were expensive and at a constant risk of having their light source blocked by a new building, rendering the art useless.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> Glass in the centuries prior was as valuable as precious stones, for example ruby colored glass was the equivalent of an actual ruby, and can help explain why the churches and castles of medieval Europe were the only buildings commissioning stained glass for a long period. The Augsburg Cathedral is believed to have the oldest existing stained glass windows, but the construction of the windows shows great knowledge of advanced techniques. The windows in the cathedral suggest that other prior windows had existed, because of the advanced techniques, and suggests the idea that the creator of the window had knowledge from all across Europe, but these are the earliest existing windows still standing today.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> New colors for the glass in stained glass windows were introduced over the centuries as new metals were discovered, allowing for experimentation into lighter colors, painting, and the development of new styles.
 
[[Gothic style]] stained glass windows, particularly in France, popularized the heavy use of reds and blues in window designs.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The Gothic color choices of rich reds and blues can be easily observed in rose windows, which are the larger circular windows found in Gothic cathedrals. The [[Gothic style]] of stained glass windows reigned supreme in cathedrals in the thirteenth century.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 88-111). London: Thames and Hudson.</ref> Painting on glass became the next popular style for stained glass windows, and it was rose to popularity in the fourteenth and fifteenth centuries as a way to achieve greater detail in the windows, especially in the faces and hair of figures. This stylistic shift was a drastic change from the previous Gothic windows with their heavy use of vivid colors. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image. Buildings were starting to be designed around the grandiose windows that would provide the majority of the light inside. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window, with details painted on using silver.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> In the sixteenth century stained glass windows began to be used to decorate community buildings, homes, and businesses such as inns and the windows were mainly secular. The use of leading also was further reduced in favor of painting on silver stained glass driven by the desire for detail, but with more color than the grisaille style. Donors to the art also began to be immortalized in the windows they paid for by being added into the design.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The grisaille style of the fourteenth and fifteenth centuries served as a stark contrast to the renaissance style windows of that same time period. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries, and it also brought the use of perspective to the art form adding dimension to the figures. Both forms had a significant amount of detail painted onto the glass, but only renaissance style windows matched the resurgence of colors in the other art forms of the time.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 112-141). London: Thames and Hudson.</ref>
 
After the end of the renaissance, especially in the nineteenth century, there was a revival of historic styles and techniques that focused more on the quality of the glass than the painting. The [[Gothic style]] made a resurgence in popularity because of its focus on the glass and historical techniques. Many renovations of older buildings had damaged the stained glass windows, and allowed for new windows remade in the older styles to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The twentieth century brought about new styles and applications to stained glass. The Aesthetic styles of patterned, semiabstract, and non-figural work became popular especially in the United States. Stained glass also began to take on new forms, such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle-class. Art Nouveau was Europe’s response to the Aesthetic style in America and the increase of American glass production, putting even more glass in middle-class homes and in buildings. Art Deco in the early twentieth century made its way into stained glass using vibrant colors, geometry, and simple designs. The movement had international popularity and appeared in many building across the world, especially in Spain. Today the use of stained glass is as varied as it has ever been, even being used in sculptural elements like ''Lightpainting'' by Stephen Knapp on the front of the Gordon Library at WPI.<ref> Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref>
<gallery mode=packed>
Image:NBSGH1.JPG|This window exemplifies the simplistic forms of the time, with all three of the figures lacking facial detail and the heavy use of leading.
Image:NBVA2.jpg|A display of the coat of arms of the Dukes of Burgundy more characteristic of early stained glass windows.
Image:NBSGH2.JPG|A strong example of Gothic stained glass, with its heavy use of reds and blues.
Image:NBVA4.jpg|An example of the painted style of stained glass, the centerpiece is all painted.
Image:NBSGH4.JPG|An example of a grisaille panel that uses significantly lighter colors.
Image:NBVA3.jpg|This panel has donors praying to patron saints in the bottom two scenes.
Image:NBSGH5.JPG|A 16th century grisaille panel with significantly less leading, and a non secular subject.
Image:NBLamp.jpg|A Tiffany style lampshade in the Art Nouveau style<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 47). Lewes: Guild of Master Craftsman Publications.</ref>
</gallery>
 


==Purpose==
 
The purpose of stained glass windows is closely tied to its history, and has evolved over time. In the beginning, it was simply a way of letting daylight into buildings through small windows and keep the walls completely closed.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Stained glass is a strong example of how something can transition from just a functional item into an art form. As the windows became larger with larger individual pieces of glass, and higher quality was being produced in the medieval period, religious figures realized they could use the windows to educate the illiterate masses about the bible. Light was also symbolic to religious figures, in that it represented good and God’s protection in the Old Testament. Religious education in the medieval ages was very important because the church was the highest authority in society, and to achieve salvation one must follow the word of God.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 10). London: Thames and Hudson.</ref> Onward from the medieval ages, the use of stained glass had a dual purpose: to create religious images and to highlight the wealth of those who owned the building or were the patron of the art.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> In more recent times, some older homes, governmental buildings, and businesses have stained glass as a design element, and based on the texture and opacity of the glass, as a way to increase privacy without decreasing light as well.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 228). London: Thames and Hudson.</ref> In general, the main purpose of stained glass has stayed rather simple throughout history: to let light into buildings while keeping the building completely enclosed.
 

==Techniques==
 
The process of creating a stained glass window boils down to seven simple steps, but It can be altered based on the technique used and desired appearance of the window. The first part of the process is to develop a design for the window, sketch out the basic shapes and colors of the window. From this basic design a template, called the cartoon, is made with the finalized design. This step creates a guide for every piece of glass that needs to be cut, and how the cut pieces are then later assembled and attached to become a cohesive piece. The cartoon is also important because if leading is being used it creates definitive lead lines and solder points.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 40-45). London: Batsford.</ref>
 
{{Infobox
| image= [[File:NBSGTools.jpg|x200px]]
| caption=A set of typical stained glass tools including
| label1= '''Tools Pictured (from left to right):'''
| data1= Diamond tipped scorer, breaking pliers, palette knife, applicator brush, badger brush, and a needle
}}
The next step is to gather all of the needed tools and materials, and to prep the work space. Tools needed for most projects include:
*A board to use as a cutting surface
*A ventilation system to reduce the fumes
*A grozing tool to cut the jagged edges of the glass
*Lead strips or scraps
*A lead knife
*An oyster knife to manipulate the lead
*A soldering iron to attach the pieces of lead
*A light box to check the design of gaps
*A glass grinder for achieving different textures and fine curves
*A scrubbing brush for the application and removal of cement
*Any other tool deemed necessary or useful, as each artist can choose to use less or more tools than those listed.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 8-13). Lewes: Guild of Master Craftsman Publications.</ref>
 
A major part of this step is choosing the proper glass for the desired appearance. A good basis for choosing goof glass is to pick from a slab or pieces that are flat and not to thick. Thickness is very important as it determines the majority of the weight of the window, and if it is too thick, the window could collapse and shatter under its own weight. A few typical glass choices are:
{{Infobox
| image1=[[Image:NBCrown.JPG|x100px]]
| caption1=An example of crowned glass<ref>Böhringer, F. (2006). Angelika Kauffmann-Museum in Schwarzenberg im Bregenzerwald. Retrieved from https://en.wikipedia.org/wiki/File:AKMuseum5.JPG</ref>
| image2=[[Image:NBNorman.jpg|x100px]]
| caption2=An example of Norman slab glass
| image3=[[Image:NBAntique.jpg|x100px]]
| caption3=An example of antique glass
| label1= '''Description:'''
| data1= These are three different types of glass, the most common of the three is antique glass.
}}
*Crowned glass, which is created by taking a bubble from a glass blowing rod and flattening it into a panel. This glass is not typically used in modern windows. This type of glass appears typically in two forms: roundels and bullions. Both forms of the glass have a circular pattern due to the manufacturing process, but bullions are any piece cut from that glass and a roundel is a circular bullion. Historically this type of glass is clear, but that does not mean that it cannot be found colored as well.<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A Norman slab, which is created by blowing glass into a rectangular form and it is known to have an irregular texture and thickness making it difficult to work with. The uneven thickness of the glass also give it a slight foggy appearance, and the bumpy texture of the glass is visible<ref>Sourcebook 2015. (2015) (pp. 1-2). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A crossed/pressed slab, which is created by rolling molten glass onto a table with a rolling pin. The pin and table have indentations to create texture but the glass is often hard to work with because of the differing thicknesses.
*Antique glass is the standard glass used for stained glass windows. It is created by creating a glass bubble, piercing both sides making a cylinder, and then cutting the cylinder and letting it unfurl and cool flat. the glass can be made with a variety of colors and textures. A singular color is achieved by mixing in metallic compounds into the glass creating pot glass, while multiple color can be achieved by mixing potted glass or using the flash method. The flash method uses a bubble of glass with a large amount of a light base color, and then dipping that bubble into a darker color creating a multilayered slab.
*If the mixed color was achieved by mixing multiple potted glasses, it is called streaky or reamy glass based on the colors mixed and the ease of cutting. Reamy glass specifically has a wavy pattern in the colors, with bands of strong tonal contrast. Streaky glass has a greater portion of light colored sections with streaks of contrasting colors of varying thickness<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>.
*Curious glass is glass that is an oddity or mistake of production and is often discarded by manufactures; this means that the glass can be any color or thickness.
*Commercially produced glass is another option in that it is readily available and easy to produce. It is often light in color and has a smooth texture.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 27-32). London: Batsford.</ref>
 
{{Infobox
| image1=[[File:NBCopperFoil.jpg|x100px]]
| caption1=An diagram of the copper and foil technique.This illustration shows how the copper is used as a base for the solder<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 63). New York: Prentice Hall Press.</ref>
| image2=[[File:NBApplique.jpg|x100px]]
| caption2=An example of the appliqué technique<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 48). Lewes: Guild of Master Craftsman Publications.</ref>
| image3=[[File:NBLeading.jpeg|x100px]]
| caption3=An example of the leading technique<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 57). New York: Prentice Hall Press.</ref>
| label1= '''Note:'''
| data1= The most commonly seen technique is the leading technique because of its wide use throughout history.
}}

The next step is to cut and shape the glass. Cutting glass can be difficult for beginners because each cut must go to the edge of the glass making intricate cuts challenging. To cut the glass it first must be scored along the desired line. Once scored, the glass is then carefully broken along the scored line using the pliers to firmly grip the glass.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 14-15). Lewes: Guild of Master Craftsman Publications.</ref>
Then the cut pieces can be shaped and organized before moving onto assembly of the panel. The window panel can be assembled in a few different methods the main methods are: copper and foil, appliqué, fusing, and leading. Copper and foil was popularized by Louis Comfort Tiffany, and is best known for the the use of copper and foil on a lampshade. The technique involves taking each piece of glass in the design and wrapping the edges in copper foil which is then soldered along the length of the seams. This method is similar to another called tinning which uses the same copper foil wrapping but lining the seam with flux, allowing blobs of solder to flow throughout the seam to create the bond. Soldering two pieces can be done in two main ways the first of which is seam. seam is similar to tinning and copper and foil in that the solder is run between the two joints, creating a flat joint. The other option is bead, which builds upon a seam with more flux and then the solder is run above the joint until a raised line is formed to the desired height.


Appliqué steps away from solder and it involved gluing the pieces to a clear slab. This changes the grouting of the glass from negative to positive, allowing more light to pass through. Fusing glass involves overlapping each edge of every piece and then firing the design in a kiln. The end result is a solid panel with no leading or gaps between the glass. The one main problem with this method is if the glass used in the panel is not homogeneous, it can lead to cracking and uneven melting.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 49). Lewes: Guild of Master Craftsman Publications.</ref>


Leading is the most commonly seen method in stained glass. This method used lead to secure the glass in place, often in grove in the lead, and then the lead is soldered to hold the pieces together. Cement is then used to secure the panel and fill any remaining gaps in the lead adding stability and waterproofing to the joints.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 57-61). Lewes: Guild of Master Craftsman Publications.</ref> The final step is to finish the window whether that be polishing the lead, packing for transport, installation, or painting.<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 88-92). New York: Prentice Hall Press.</ref> Painting can add detail to a stained glass design that can easily be achieved by the coloration of the glass or the assembly. If a panel is painted it will need to be fired in a kiln to set the paint.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 73). London: Batsford.</ref>


 

=Section 2: Deliverable=
 
==Creating my own Stained Glass Window==
 
===The Design===
 
For the design of my window I took inspiration from nature and a window design I had seen while browsing on pinterest. I decided on a mountain sunset scene for the beautiful array of colors that I could use and because I loved that design so much. I then chose an image off google and used that as a template for my design so I could see how it would look broken into pieces. This original design was contingent on how complex I could make my panel at the workshop. The main use I would have for this panel is as a decorative piece in my home, and maybe someday it could actually function as a window.
<gallery mode=packed>
Image:NBInspo.jpg
Image:NBTemplate.jpg
Image:NBDesign.png
</gallery>
 

===The Process===
 
[[Image:NBCartoon.jpg|right|x320px]]
The process of creating my own stained glass window began at 9:30 a.m. at Deko Studio in London. The first portion of the workshop involved learning how to properly handle and cut glass. I practiced scoring and breaking glass for about an hour. The scoring tool works like a pen and carves a line into the glass, which can then be used to break the glass. There are three main methods I used for breaking the glass in my panel: scoring and using specialized pliers, scoring and tapping along the line, and scoring and using a different specialized pair of pliers. The two pairs of pliers were grozier pliers, for breaking small pieces, and the other was a pair of glass breaking pliers. Moving onto the actual panel creation, I was given a piece of paper to design my window with a maximum of eight pieces. For my design, I took my ideal design above and dramatically simplified the lines and colors. The final design ended up looking like a basic mountain sunset.
 
[[Image:NBCut.jpg|right|x320px]]
The main historical influence on my design was the modern do-it-yourself movement, because I preferred the freedom to create any possible design rather than staying within a limited historical style. After creating my cartoon it became time to chose and cut the colored glass. The type of glass we used was standard antique glass, and was main\y the leftover pieces from commissioned art works. I picked pieces with a smooth texture for the sunset sky because I didn't want my sky to be too complicated, and the glass I chose had beautiful striations that helped me to achieve my desired sunset effect. For the hills and trees I chose to use four different shades of green to add depth to the piece and in an attempt to keep the image more realistic. I also chose to experiment with texture on two of the four pieces, further creating definition between each of the green pieces. Lastly, for the sun I picked a textured yellow piece because I like the more mellow effect it had in the light.
 
After I had accurately cut each of my pieces, I began to cut and shape the lead. This was the most difficult part of the process because it required an incredible amount of precision. The first step was creating a corner of the frame, from which all other pieces would line up with. This was the most challenging part because nailing the wood guide to the table would often cause the cartoon to shift and to have to begin the process all over again. After that had passed I began the tedious task of cutting and shaping thin pieces of lead to the curves of my glass pieces. This was the only moment where I regretted my design choice because the lead would not hold the curved shapes very well. Once all of the lead was in place it was time for me to solder all of the joints, and using my prior experience I finished soldering rather quickly. Once I was finished soldering, the only step left was to polish my window.
 

===The Result===
 
[[Image:NBWindow.jpg|x500px]]
[[Image:NBAntique.jpg|x500px]]
 

=Conclusion=
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It would be interesting to see how the art form will continue to evolve over time and what the purpose of it will be.
 

=References=
<references />
 

=External Links=
Here is the website for the studio where I made my window: [http://dekostudio.co.uk/ Deko Studio].
 

[[Category: Art Projects]]
[[Category: 2017]]

The History, Purpose, and Techniques of Stained Glass Windows

2017-06-20T14:06:53Z

Nbloniarz:

=The History, Purpose, and Techniques of Stained Glass Windows=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| image=[[File: NBAntique.jpg]]
| label1= '''Artist:'''
| data1=[[User:Nbloniarz|Natalie Bloniarz]]
}}
__TOC__

=Abstract=
 
The aim of this project was to develop an understanding of the history and purpose of stained glass windows and to study the techniques needed to create a window, then apply those techniques to create my own stained glass window. Using my prior humanities and arts experience in digital art from AR1101 Digital Imaging and Computing, I created the design for my stained glass window and then proceed to go [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] to create the window. Creating the window for this project was a fun learning opportunity and taught me a lot about what it truly takes to design and create a successful stained glass window.
 

=Introduction=
 
This project covers a brief history of stained glass to provide some historical context for the art form, and then explores the techniques that can be used to create a window. The specific technique used to create the window for the deliverable portion of this milestone was leading. This is similar to the classes AR 162X and AR 262X Glass I and II respectively at WPI, which focus on glass blowing and techniques such as cutting and grinding glass. The main difference between the class I took at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] and the classes offered at WPI is that WPI focuses more on the creation of the glass and objects directly as a result of glass blowing rather than creating something from pieces of glass like stained glass. The window for the deliverable section of this project was created as part of a beginners workshop exploring the techniques needed to design stained glass, cutting and grinding glass, and soldering the panel together.. This project was unlike anything I have ever done and was a great chance to experience a new art form.
 

=Section 1: Background=
 

==A Brief History==
 
Stained glass is believed to originate from the Middle East as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form. The earliest glass windows were a huge transition from how mankind had been using glass beforehand, mainly as weapon blades made of the volcanic glass obsidian and simple housewares such as bowls and vases.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Moving forward to the medieval period, stained glass as it is known today began to take shape, progressing forward from simple glass shapes in holes in walls to full architectural elements. Medieval churches began to commission windows with religious figures and the royalty of the period would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> The windows of this time were expensive and at a constant risk of having their light source blocked by a new building, rendering the art useless.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> Glass in the centuries prior was as valuable as precious stones, for example ruby colored glass was the equivalent of an actual ruby, and can help explain why the churches and castles of medieval Europe were the only buildings commissioning stained glass for a long period. The Augsburg Cathedral is believed to have the oldest existing stained glass windows, but the construction of the windows shows great knowledge of advanced techniques. The windows in the cathedral suggest that other prior windows had existed, because of the advanced techniques, and suggests the idea that the creator of the window had knowledge from all across Europe, but these are the earliest existing windows still standing today.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> New colors for the glass in stained glass windows were introduced over the centuries as new metals were discovered, allowing for experimentation into lighter colors, painting, and the development of new styles.
 
[[Gothic style]] stained glass windows, particularly in France, popularized the heavy use of reds and blues in window designs.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The Gothic color choices of rich reds and blues can be easily observed in rose windows, which are the larger circular windows found in Gothic cathedrals. The [[Gothic style]] of stained glass windows reigned supreme in cathedrals in the thirteenth century.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 88-111). London: Thames and Hudson.</ref> Painting on glass became the next popular style for stained glass windows, and it was rose to popularity in the fourteenth and fifteenth centuries as a way to achieve greater detail in the windows, especially in the faces and hair of figures. This stylistic shift was a drastic change from the previous Gothic windows with their heavy use of vivid colors. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image. Buildings were starting to be designed around the grandiose windows that would provide the majority of the light inside. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window, with details painted on using silver.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> In the sixteenth century stained glass windows began to be used to decorate community buildings, homes, and businesses such as inns and the windows were mainly secular. The use of leading also was further reduced in favor of painting on silver stained glass driven by the desire for detail, but with more color than the grisaille style. Donors to the art also began to be immortalized in the windows they paid for by being added into the design.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The grisaille style of the fourteenth and fifteenth centuries served as a stark contrast to the renaissance style windows of that same time period. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries, and it also brought the use of perspective to the art form adding dimension to the figures. Both forms had a significant amount of detail painted onto the glass, but only renaissance style windows matched the resurgence of colors in the other art forms of the time.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 112-141). London: Thames and Hudson.</ref>
 
After the end of the renaissance, especially in the nineteenth century, there was a revival of historic styles and techniques that focused more on the quality of the glass than the painting. The [[Gothic style]] made a resurgence in popularity because of its focus on the glass and historical techniques. Many renovations of older buildings had damaged the stained glass windows, and allowed for new windows remade in the older styles to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The twentieth century brought about new styles and applications to stained glass. The Aesthetic styles of patterned, semiabstract, and non-figural work became popular especially in the United States. Stained glass also began to take on new forms, such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle-class. Art Nouveau was Europe’s response to the Aesthetic style in America and the increase of American glass production, putting even more glass in middle-class homes and in buildings. Art Deco in the early twentieth century made its way into stained glass using vibrant colors, geometry, and simple designs. The movement had international popularity and appeared in many building across the world, especially in Spain. Today the use of stained glass is as varied as it has ever been, even being used in sculptural elements like ''Lightpainting'' by Stephen Knapp on the front of the Gordon Library at WPI.<ref> Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref>
<gallery mode=packed>
Image:NBSGH1.JPG|This window exemplifies the simplistic forms of the time, with all three of the figures lacking facial detail and the heavy use of leading.
Image:NBVA2.jpg|A display of the coat of arms of the Dukes of Burgundy more characteristic of early stained glass windows.
Image:NBSGH2.JPG|A strong example of Gothic stained glass, with its heavy use of reds and blues.
Image:NBVA4.jpg|An example of the painted style of stained glass, the centerpiece is all painted.
Image:NBSGH4.JPG|An example of a grisaille panel that uses significantly lighter colors.
Image:NBVA3.jpg|This panel has donors praying to patron saints in the bottom two scenes.
Image:NBSGH5.JPG|A 16th century grisaille panel with significantly less leading, and a non secular subject.
Image:NBLamp.jpg|A Tiffany style lampshade in the Art Nouveau style<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 47). Lewes: Guild of Master Craftsman Publications.</ref>
</gallery>
 


==Purpose==
 
The purpose of stained glass is closely tied to its history, and has evolved over time. In the beginning, it was simply a way of letting daylight into buildings through small windows and keep the walls completely closed.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Stained glass is a strong example of how something can transition from just a functional item into an art form. As the glass became larger and better in the medieval period, religious figures realized they could use the windows to educate the illiterate masses about the bible. Light was also symbolic, in that it represented good and God’s protection in the Old Testament. Religious education in the medieval ages was very important because the church was the highest authority in society, and to achieve salvation one must follow the word of God.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 10). London: Thames and Hudson.</ref> From the medieval ages onward, the use of stained glass had a dual purpose, to create religious images and to highlight the wealth of those who own the building or paid for the art.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> In some older homes, governmental buildings, and businesses, stained glass can be found as a design element, and based on the texture and opacity of the glass, as a way to increase privacy without decreasing light.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 228). London: Thames and Hudson.</ref> In general, the main purpose of stained glass has stayed rather simple throughout history: to let light into buildings while keeping the building completely enclosed.
 

==Techniques==
 
The process of creating a stained glass window boils down to seven simple steps, but It can be altered based on the technique used and desired appearance of the window. The first part of the process is to develop a design for the window, sketch out the basic shapes and colors of the window. From this basic design a template, called the cartoon, is made with the finalized design. This step creates a guide for every piece of glass that needs to be cut, and how the cut pieces are then later assembled and attached to become a cohesive piece. The cartoon is also important because if leading is being used it creates definitive lead lines and solder points.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 40-45). London: Batsford.</ref>
 
{{Infobox
| image= [[File:NBSGTools.jpg|x200px]]
| caption=A set of typical stained glass tools including
| label1= '''Tools Pictured (from left to right):'''
| data1= Diamond tipped scorer, breaking pliers, palette knife, applicator brush, badger brush, and a needle
}}
The next step is to gather all of the needed tools and materials, and to prep the work space. Tools needed for most projects include:
*A board to use as a cutting surface
*A ventilation system to reduce the fumes
*A grozing tool to cut the jagged edges of the glass
*Lead strips or scraps
*A lead knife
*An oyster knife to manipulate the lead
*A soldering iron to attach the pieces of lead
*A light box to check the design of gaps
*A glass grinder for achieving different textures and fine curves
*A scrubbing brush for the application and removal of cement
*Any other tool deemed necessary or useful, as each artist can choose to use less or more tools than those listed.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 8-13). Lewes: Guild of Master Craftsman Publications.</ref>
 
A major part of this step is choosing the proper glass for the desired appearance. A good basis for choosing goof glass is to pick from a slab or pieces that are flat and not to thick. Thickness is very important as it determines the majority of the weight of the window, and if it is too thick, the window could collapse and shatter under its own weight. A few typical glass choices are:
{{Infobox
| image1=[[Image:NBCrown.JPG|x100px]]
| caption1=An example of crowned glass<ref>Böhringer, F. (2006). Angelika Kauffmann-Museum in Schwarzenberg im Bregenzerwald. Retrieved from https://en.wikipedia.org/wiki/File:AKMuseum5.JPG</ref>
| image2=[[Image:NBNorman.jpg|x100px]]
| caption2=An example of Norman slab glass
| image3=[[Image:NBAntique.jpg|x100px]]
| caption3=An example of antique glass
| label1= '''Description:'''
| data1= These are three different types of glass, the most common of the three is antique glass.
}}
*Crowned glass, which is created by taking a bubble from a glass blowing rod and flattening it into a panel. This glass is not typically used in modern windows. This type of glass appears typically in two forms: roundels and bullions. Both forms of the glass have a circular pattern due to the manufacturing process, but bullions are any piece cut from that glass and a roundel is a circular bullion. Historically this type of glass is clear, but that does not mean that it cannot be found colored as well.<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A Norman slab, which is created by blowing glass into a rectangular form and it is known to have an irregular texture and thickness making it difficult to work with. The uneven thickness of the glass also give it a slight foggy appearance, and the bumpy texture of the glass is visible<ref>Sourcebook 2015. (2015) (pp. 1-2). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A crossed/pressed slab, which is created by rolling molten glass onto a table with a rolling pin. The pin and table have indentations to create texture but the glass is often hard to work with because of the differing thicknesses.
*Antique glass is the standard glass used for stained glass windows. It is created by creating a glass bubble, piercing both sides making a cylinder, and then cutting the cylinder and letting it unfurl and cool flat. the glass can be made with a variety of colors and textures. A singular color is achieved by mixing in metallic compounds into the glass creating pot glass, while multiple color can be achieved by mixing potted glass or using the flash method. The flash method uses a bubble of glass with a large amount of a light base color, and then dipping that bubble into a darker color creating a multilayered slab.
*If the mixed color was achieved by mixing multiple potted glasses, it is called streaky or reamy glass based on the colors mixed and the ease of cutting. Reamy glass specifically has a wavy pattern in the colors, with bands of strong tonal contrast. Streaky glass has a greater portion of light colored sections with streaks of contrasting colors of varying thickness<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>.
*Curious glass is glass that is an oddity or mistake of production and is often discarded by manufactures; this means that the glass can be any color or thickness.
*Commercially produced glass is another option in that it is readily available and easy to produce. It is often light in color and has a smooth texture.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 27-32). London: Batsford.</ref>
 
{{Infobox
| image1=[[File:NBCopperFoil.jpg|x100px]]
| caption1=An diagram of the copper and foil technique.This illustration shows how the copper is used as a base for the solder<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 63). New York: Prentice Hall Press.</ref>
| image2=[[File:NBApplique.jpg|x100px]]
| caption2=An example of the appliqué technique<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 48). Lewes: Guild of Master Craftsman Publications.</ref>
| image3=[[File:NBLeading.jpeg|x100px]]
| caption3=An example of the leading technique<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 57). New York: Prentice Hall Press.</ref>
| label1= '''Note:'''
| data1= The most commonly seen technique is the leading technique because of its wide use throughout history.
}}

The next step is to cut and shape the glass. Cutting glass can be difficult for beginners because each cut must go to the edge of the glass making intricate cuts challenging. To cut the glass it first must be scored along the desired line. Once scored, the glass is then carefully broken along the scored line using the pliers to firmly grip the glass.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 14-15). Lewes: Guild of Master Craftsman Publications.</ref>
Then the cut pieces can be shaped and organized before moving onto assembly of the panel. The window panel can be assembled in a few different methods the main methods are: copper and foil, appliqué, fusing, and leading. Copper and foil was popularized by Louis Comfort Tiffany, and is best known for the the use of copper and foil on a lampshade. The technique involves taking each piece of glass in the design and wrapping the edges in copper foil which is then soldered along the length of the seams. This method is similar to another called tinning which uses the same copper foil wrapping but lining the seam with flux, allowing blobs of solder to flow throughout the seam to create the bond. Soldering two pieces can be done in two main ways the first of which is seam. seam is similar to tinning and copper and foil in that the solder is run between the two joints, creating a flat joint. The other option is bead, which builds upon a seam with more flux and then the solder is run above the joint until a raised line is formed to the desired height.


Appliqué steps away from solder and it involved gluing the pieces to a clear slab. This changes the grouting of the glass from negative to positive, allowing more light to pass through. Fusing glass involves overlapping each edge of every piece and then firing the design in a kiln. The end result is a solid panel with no leading or gaps between the glass. The one main problem with this method is if the glass used in the panel is not homogeneous, it can lead to cracking and uneven melting.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 49). Lewes: Guild of Master Craftsman Publications.</ref>


Leading is the most commonly seen method in stained glass. This method used lead to secure the glass in place, often in grove in the lead, and then the lead is soldered to hold the pieces together. Cement is then used to secure the panel and fill any remaining gaps in the lead adding stability and waterproofing to the joints.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 57-61). Lewes: Guild of Master Craftsman Publications.</ref> The final step is to finish the window whether that be polishing the lead, packing for transport, installation, or painting.<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 88-92). New York: Prentice Hall Press.</ref> Painting can add detail to a stained glass design that can easily be achieved by the coloration of the glass or the assembly. If a panel is painted it will need to be fired in a kiln to set the paint.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 73). London: Batsford.</ref>


 

=Section 2: Deliverable=
 
==Creating my own Stained Glass Window==
 
===The Design===
 
For the design of my window I took inspiration from nature and a window design I had seen while browsing on pinterest. I decided on a mountain sunset scene for the beautiful array of colors that I could use and because I loved that design so much. I then chose an image off google and used that as a template for my design so I could see how it would look broken into pieces. This original design was contingent on how complex I could make my panel at the workshop. The main use I would have for this panel is as a decorative piece in my home, and maybe someday it could actually function as a window.
<gallery mode=packed>
Image:NBInspo.jpg
Image:NBTemplate.jpg
Image:NBDesign.png
</gallery>
 

===The Process===
 
[[Image:NBCartoon.jpg|right|x320px]]
The process of creating my own stained glass window began at 9:30 a.m. at Deko Studio in London. The first portion of the workshop involved learning how to properly handle and cut glass. I practiced scoring and breaking glass for about an hour. The scoring tool works like a pen and carves a line into the glass, which can then be used to break the glass. There are three main methods I used for breaking the glass in my panel: scoring and using specialized pliers, scoring and tapping along the line, and scoring and using a different specialized pair of pliers. The two pairs of pliers were grozier pliers, for breaking small pieces, and the other was a pair of glass breaking pliers. Moving onto the actual panel creation, I was given a piece of paper to design my window with a maximum of eight pieces. For my design, I took my ideal design above and dramatically simplified the lines and colors. The final design ended up looking like a basic mountain sunset.
 
[[Image:NBCut.jpg|right|x320px]]
The main historical influence on my design was the modern do-it-yourself movement, because I preferred the freedom to create any possible design rather than staying within a limited historical style. After creating my cartoon it became time to chose and cut the colored glass. The type of glass we used was standard antique glass, and was main\y the leftover pieces from commissioned art works. I picked pieces with a smooth texture for the sunset sky because I didn't want my sky to be too complicated, and the glass I chose had beautiful striations that helped me to achieve my desired sunset effect. For the hills and trees I chose to use four different shades of green to add depth to the piece and in an attempt to keep the image more realistic. I also chose to experiment with texture on two of the four pieces, further creating definition between each of the green pieces. Lastly, for the sun I picked a textured yellow piece because I like the more mellow effect it had in the light.
 
After I had accurately cut each of my pieces, I began to cut and shape the lead. This was the most difficult part of the process because it required an incredible amount of precision. The first step was creating a corner of the frame, from which all other pieces would line up with. This was the most challenging part because nailing the wood guide to the table would often cause the cartoon to shift and to have to begin the process all over again. After that had passed I began the tedious task of cutting and shaping thin pieces of lead to the curves of my glass pieces. This was the only moment where I regretted my design choice because the lead would not hold the curved shapes very well. Once all of the lead was in place it was time for me to solder all of the joints, and using my prior experience I finished soldering rather quickly. Once I was finished soldering, the only step left was to polish my window.
 

===The Result===
 
[[Image:NBWindow.jpg|x500px]]
[[Image:NBAntique.jpg|x500px]]
 

=Conclusion=
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It would be interesting to see how the art form will continue to evolve over time and what the purpose of it will be.
 

=References=
<references />
 

=External Links=
Here is the website for the studio where I made my window: [http://dekostudio.co.uk/ Deko Studio].
 

[[Category: Art Projects]]
[[Category: 2017]]

The History, Purpose, and Techniques of Stained Glass Windows

2017-06-20T14:06:12Z

Nbloniarz:

=The History, Purpose, and Techniques of Stained Glass Windows=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| image=[[File: NBAntique.jpg]]
| label1= '''Artist:'''
| data1=[[User:Nbloniarz|Natalie Bloniarz]]
}}
__TOC__

=Abstract=
 
The aim of this project was to develop an understanding of the history and purpose of stained glass windows and to study the techniques needed to create a window, then apply those techniques to create my own stained glass window. Using my prior humanities and arts experience in digital art from AR1101 Digital Imaging and Computing, I created the design for my stained glass window and then proceed to go [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] to create the window. Creating the window for this project was a fun learning opportunity and taught me a lot about what it truly takes to design and create a successful stained glass window.
 

=Introduction=
 
This project covers a brief history of stained glass to provide some historical context for the art form, and then explores the techniques that can be used to create a window. The specific technique used to create the window for the deliverable portion of this milestone was leading. This is similar to the classes AR 162X and AR 262X Glass I and II respectively at WPI, which focus on glass blowing and techniques such as cutting and grinding glass. The main difference between the class I took at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] and the classes offered at WPI is that WPI focuses more on the creation of the glass and objects directly as a result of glass blowing rather than creating something from pieces of glass like stained glass. The window for the deliverable section of this project was created as part of a beginners workshop exploring the techniques needed to design stained glass, cutting and grinding glass, and soldering the panel together.. This project was unlike anything I have ever done and was a great chance to experience a new art form.
 

=Section 1: Background=
 

==A Brief History==
 
Stained glass is believed to originate from the Middle East as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form. The earliest glass windows were a huge transition from how mankind had been using glass beforehand, mainly as weapon blades made of the volcanic glass obsidian and simple housewares such as bowls and vases.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Moving forward to the medieval period, stained glass as it is known today began to take shape, progressing forward from simple glass shapes in holes in walls to full architectural elements. Medieval churches began to commission windows with religious figures and the royalty of the period would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> The windows of this time were expensive and at a constant risk of having their light source blocked by a new building, rendering the art useless.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> Glass in the centuries prior was as valuable as precious stones, for example ruby colored glass was the equivalent of an actual ruby, and can help explain why the churches and castles of medieval Europe were the only buildings commissioning stained glass for a long period. The Augsburg Cathedral is believed to have the oldest existing stained glass windows, but the construction of the windows shows great knowledge of advanced techniques. The windows in the cathedral suggest that other prior windows had existed, because of the advanced techniques, and suggests the idea that the creator of the window had knowledge from all across Europe, but these are the earliest existing windows still standing today.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> New colors for the glass in stained glass windows were introduced over the centuries as new metals were discovered, allowing for experimentation into lighter colors, painting, and the development of new styles.
 
[[Gothic style]] stained glass windows, particularly in France, popularized the heavy use of reds and blues in window designs.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The Gothic color choices of rich reds and blues can be easily observed in rose windows, which are the larger circular windows found in Gothic cathedrals. The [[Gothic style]] of stained glass windows reigned supreme in cathedrals in the thirteenth century.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 88-111). London: Thames and Hudson.</ref> Painting on glass became the next popular style for stained glass windows, and it was rose to popularity in the fourteenth and fifteenth centuries as a way to achieve greater detail in the windows, especially in the faces and hair of figures. This stylistic shift was a drastic change from the previous Gothic windows with their heavy use of vivid colors. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image. Buildings were starting to be designed around the grandiose windows that would provide the majority of the light inside. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window, with details painted on using silver.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> In the sixteenth century stained glass windows began to be used to decorate community buildings, homes, and businesses such as inns and the windows were mainly secular. The use of leading also was further reduced in favor of painting on silver stained glass driven by the desire for detail, but with more color than the grisaille style. Donors to the art also began to be immortalized in the windows they paid for by being added into the design.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The grisaille style of the fourteenth and fifteenth centuries served as a stark contrast to the renaissance style windows of that same time period. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries, and it also brought the use of perspective to the art form adding dimension to the figures. Both forms had a significant amount of detail painted onto the glass, but only renaissance style windows matched the resurgence of colors in the other art forms of the time.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 112-141). London: Thames and Hudson.</ref>
 
After the end of the renaissance, especially in the nineteenth century, there was a revival of historic styles and techniques that focused more on the quality of the glass than the painting. The [[Gothic style]] made a resurgence in popularity because of its focus on the glass and historical techniques. Many renovations of older buildings had damaged the stained glass windows, and allowed for new windows remade in the older styles to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The twentieth century brought about new styles and applications to stained glass. The Aesthetic styles of patterned, semiabstract, and non-figural work became popular especially in the United States. Stained glass also began to take on new forms, such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle-class. Art Nouveau was Europe’s response to the Aesthetic style in America and the increase of American glass production, putting even more glass in middle-class homes and in buildings. Art deco in the early twentieth century made its way into stained glass using vibrant colors, geometry, and simple designs. The movement had international popularity and appeared in many building across the world, especially in Spain. Today the use of stained glass is as varied as it has ever been, even being used in sculptural elements like ''Lightpainting'' by Stephen Knapp on the front of the Gordon Library at WPI.<ref> Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref>
<gallery mode=packed>
Image:NBSGH1.JPG|This window exemplifies the simplistic forms of the time, with all three of the figures lacking facial detail and the heavy use of leading.
Image:NBVA2.jpg|A display of the coat of arms of the Dukes of Burgundy more characteristic of early stained glass windows.
Image:NBSGH2.JPG|A strong example of Gothic stained glass, with its heavy use of reds and blues.
Image:NBVA4.jpg|An example of the painted style of stained glass, the centerpiece is all painted.
Image:NBSGH4.JPG|An example of a grisaille panel that uses significantly lighter colors.
Image:NBVA3.jpg|This panel has donors praying to patron saints in the bottom two scenes.
Image:NBSGH5.JPG|A 16th century grisaille panel with significantly less leading, and a non secular subject.
Image:NBLamp.jpg|A Tiffany style lampshade in the Art Nouveau style<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 47). Lewes: Guild of Master Craftsman Publications.</ref>
</gallery>
 


==Purpose==
 
The purpose of stained glass is closely tied to its history, and has evolved over time. In the beginning, it was simply a way of letting daylight into buildings through small windows and keep the walls completely closed.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Stained glass is a strong example of how something can transition from just a functional item into an art form. As the glass became larger and better in the medieval period, religious figures realized they could use the windows to educate the illiterate masses about the bible. Light was also symbolic, in that it represented good and God’s protection in the Old Testament. Religious education in the medieval ages was very important because the church was the highest authority in society, and to achieve salvation one must follow the word of God.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 10). London: Thames and Hudson.</ref> From the medieval ages onward, the use of stained glass had a dual purpose, to create religious images and to highlight the wealth of those who own the building or paid for the art.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> In some older homes, governmental buildings, and businesses, stained glass can be found as a design element, and based on the texture and opacity of the glass, as a way to increase privacy without decreasing light.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 228). London: Thames and Hudson.</ref> In general, the main purpose of stained glass has stayed rather simple throughout history: to let light into buildings while keeping the building completely enclosed.
 

==Techniques==
 
The process of creating a stained glass window boils down to seven simple steps, but It can be altered based on the technique used and desired appearance of the window. The first part of the process is to develop a design for the window, sketch out the basic shapes and colors of the window. From this basic design a template, called the cartoon, is made with the finalized design. This step creates a guide for every piece of glass that needs to be cut, and how the cut pieces are then later assembled and attached to become a cohesive piece. The cartoon is also important because if leading is being used it creates definitive lead lines and solder points.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 40-45). London: Batsford.</ref>
 
{{Infobox
| image= [[File:NBSGTools.jpg|x200px]]
| caption=A set of typical stained glass tools including
| label1= '''Tools Pictured (from left to right):'''
| data1= Diamond tipped scorer, breaking pliers, palette knife, applicator brush, badger brush, and a needle
}}
The next step is to gather all of the needed tools and materials, and to prep the work space. Tools needed for most projects include:
*A board to use as a cutting surface
*A ventilation system to reduce the fumes
*A grozing tool to cut the jagged edges of the glass
*Lead strips or scraps
*A lead knife
*An oyster knife to manipulate the lead
*A soldering iron to attach the pieces of lead
*A light box to check the design of gaps
*A glass grinder for achieving different textures and fine curves
*A scrubbing brush for the application and removal of cement
*Any other tool deemed necessary or useful, as each artist can choose to use less or more tools than those listed.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 8-13). Lewes: Guild of Master Craftsman Publications.</ref>
 
A major part of this step is choosing the proper glass for the desired appearance. A good basis for choosing goof glass is to pick from a slab or pieces that are flat and not to thick. Thickness is very important as it determines the majority of the weight of the window, and if it is too thick, the window could collapse and shatter under its own weight. A few typical glass choices are:
{{Infobox
| image1=[[Image:NBCrown.JPG|x100px]]
| caption1=An example of crowned glass<ref>Böhringer, F. (2006). Angelika Kauffmann-Museum in Schwarzenberg im Bregenzerwald. Retrieved from https://en.wikipedia.org/wiki/File:AKMuseum5.JPG</ref>
| image2=[[Image:NBNorman.jpg|x100px]]
| caption2=An example of Norman slab glass
| image3=[[Image:NBAntique.jpg|x100px]]
| caption3=An example of antique glass
| label1= '''Description:'''
| data1= These are three different types of glass, the most common of the three is antique glass.
}}
*Crowned glass, which is created by taking a bubble from a glass blowing rod and flattening it into a panel. This glass is not typically used in modern windows. This type of glass appears typically in two forms: roundels and bullions. Both forms of the glass have a circular pattern due to the manufacturing process, but bullions are any piece cut from that glass and a roundel is a circular bullion. Historically this type of glass is clear, but that does not mean that it cannot be found colored as well.<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A Norman slab, which is created by blowing glass into a rectangular form and it is known to have an irregular texture and thickness making it difficult to work with. The uneven thickness of the glass also give it a slight foggy appearance, and the bumpy texture of the glass is visible<ref>Sourcebook 2015. (2015) (pp. 1-2). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A crossed/pressed slab, which is created by rolling molten glass onto a table with a rolling pin. The pin and table have indentations to create texture but the glass is often hard to work with because of the differing thicknesses.
*Antique glass is the standard glass used for stained glass windows. It is created by creating a glass bubble, piercing both sides making a cylinder, and then cutting the cylinder and letting it unfurl and cool flat. the glass can be made with a variety of colors and textures. A singular color is achieved by mixing in metallic compounds into the glass creating pot glass, while multiple color can be achieved by mixing potted glass or using the flash method. The flash method uses a bubble of glass with a large amount of a light base color, and then dipping that bubble into a darker color creating a multilayered slab.
*If the mixed color was achieved by mixing multiple potted glasses, it is called streaky or reamy glass based on the colors mixed and the ease of cutting. Reamy glass specifically has a wavy pattern in the colors, with bands of strong tonal contrast. Streaky glass has a greater portion of light colored sections with streaks of contrasting colors of varying thickness<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>.
*Curious glass is glass that is an oddity or mistake of production and is often discarded by manufactures; this means that the glass can be any color or thickness.
*Commercially produced glass is another option in that it is readily available and easy to produce. It is often light in color and has a smooth texture.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 27-32). London: Batsford.</ref>
 
{{Infobox
| image1=[[File:NBCopperFoil.jpg|x100px]]
| caption1=An diagram of the copper and foil technique.This illustration shows how the copper is used as a base for the solder<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 63). New York: Prentice Hall Press.</ref>
| image2=[[File:NBApplique.jpg|x100px]]
| caption2=An example of the appliqué technique<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 48). Lewes: Guild of Master Craftsman Publications.</ref>
| image3=[[File:NBLeading.jpeg|x100px]]
| caption3=An example of the leading technique<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 57). New York: Prentice Hall Press.</ref>
| label1= '''Note:'''
| data1= The most commonly seen technique is the leading technique because of its wide use throughout history.
}}

The next step is to cut and shape the glass. Cutting glass can be difficult for beginners because each cut must go to the edge of the glass making intricate cuts challenging. To cut the glass it first must be scored along the desired line. Once scored, the glass is then carefully broken along the scored line using the pliers to firmly grip the glass.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 14-15). Lewes: Guild of Master Craftsman Publications.</ref>
Then the cut pieces can be shaped and organized before moving onto assembly of the panel. The window panel can be assembled in a few different methods the main methods are: copper and foil, appliqué, fusing, and leading. Copper and foil was popularized by Louis Comfort Tiffany, and is best known for the the use of copper and foil on a lampshade. The technique involves taking each piece of glass in the design and wrapping the edges in copper foil which is then soldered along the length of the seams. This method is similar to another called tinning which uses the same copper foil wrapping but lining the seam with flux, allowing blobs of solder to flow throughout the seam to create the bond. Soldering two pieces can be done in two main ways the first of which is seam. seam is similar to tinning and copper and foil in that the solder is run between the two joints, creating a flat joint. The other option is bead, which builds upon a seam with more flux and then the solder is run above the joint until a raised line is formed to the desired height.


Appliqué steps away from solder and it involved gluing the pieces to a clear slab. This changes the grouting of the glass from negative to positive, allowing more light to pass through. Fusing glass involves overlapping each edge of every piece and then firing the design in a kiln. The end result is a solid panel with no leading or gaps between the glass. The one main problem with this method is if the glass used in the panel is not homogeneous, it can lead to cracking and uneven melting.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 49). Lewes: Guild of Master Craftsman Publications.</ref>


Leading is the most commonly seen method in stained glass. This method used lead to secure the glass in place, often in grove in the lead, and then the lead is soldered to hold the pieces together. Cement is then used to secure the panel and fill any remaining gaps in the lead adding stability and waterproofing to the joints.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 57-61). Lewes: Guild of Master Craftsman Publications.</ref> The final step is to finish the window whether that be polishing the lead, packing for transport, installation, or painting.<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 88-92). New York: Prentice Hall Press.</ref> Painting can add detail to a stained glass design that can easily be achieved by the coloration of the glass or the assembly. If a panel is painted it will need to be fired in a kiln to set the paint.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 73). London: Batsford.</ref>


 

=Section 2: Deliverable=
 
==Creating my own Stained Glass Window==
 
===The Design===
 
For the design of my window I took inspiration from nature and a window design I had seen while browsing on pinterest. I decided on a mountain sunset scene for the beautiful array of colors that I could use and because I loved that design so much. I then chose an image off google and used that as a template for my design so I could see how it would look broken into pieces. This original design was contingent on how complex I could make my panel at the workshop. The main use I would have for this panel is as a decorative piece in my home, and maybe someday it could actually function as a window.
<gallery mode=packed>
Image:NBInspo.jpg
Image:NBTemplate.jpg
Image:NBDesign.png
</gallery>
 

===The Process===
 
[[Image:NBCartoon.jpg|right|x320px]]
The process of creating my own stained glass window began at 9:30 a.m. at Deko Studio in London. The first portion of the workshop involved learning how to properly handle and cut glass. I practiced scoring and breaking glass for about an hour. The scoring tool works like a pen and carves a line into the glass, which can then be used to break the glass. There are three main methods I used for breaking the glass in my panel: scoring and using specialized pliers, scoring and tapping along the line, and scoring and using a different specialized pair of pliers. The two pairs of pliers were grozier pliers, for breaking small pieces, and the other was a pair of glass breaking pliers. Moving onto the actual panel creation, I was given a piece of paper to design my window with a maximum of eight pieces. For my design, I took my ideal design above and dramatically simplified the lines and colors. The final design ended up looking like a basic mountain sunset.
 
[[Image:NBCut.jpg|right|x320px]]
The main historical influence on my design was the modern do-it-yourself movement, because I preferred the freedom to create any possible design rather than staying within a limited historical style. After creating my cartoon it became time to chose and cut the colored glass. The type of glass we used was standard antique glass, and was main\y the leftover pieces from commissioned art works. I picked pieces with a smooth texture for the sunset sky because I didn't want my sky to be too complicated, and the glass I chose had beautiful striations that helped me to achieve my desired sunset effect. For the hills and trees I chose to use four different shades of green to add depth to the piece and in an attempt to keep the image more realistic. I also chose to experiment with texture on two of the four pieces, further creating definition between each of the green pieces. Lastly, for the sun I picked a textured yellow piece because I like the more mellow effect it had in the light.
 
After I had accurately cut each of my pieces, I began to cut and shape the lead. This was the most difficult part of the process because it required an incredible amount of precision. The first step was creating a corner of the frame, from which all other pieces would line up with. This was the most challenging part because nailing the wood guide to the table would often cause the cartoon to shift and to have to begin the process all over again. After that had passed I began the tedious task of cutting and shaping thin pieces of lead to the curves of my glass pieces. This was the only moment where I regretted my design choice because the lead would not hold the curved shapes very well. Once all of the lead was in place it was time for me to solder all of the joints, and using my prior experience I finished soldering rather quickly. Once I was finished soldering, the only step left was to polish my window.
 

===The Result===
 
[[Image:NBWindow.jpg|x500px]]
[[Image:NBAntique.jpg|x500px]]
 

=Conclusion=
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It would be interesting to see how the art form will continue to evolve over time and what the purpose of it will be.
 

=References=
<references />
 

=External Links=
Here is the website for the studio where I made my window: [http://dekostudio.co.uk/ Deko Studio].
 

[[Category: Art Projects]]
[[Category: 2017]]

The History, Purpose, and Techniques of Stained Glass Windows

2017-06-20T13:53:43Z

Nbloniarz:

=The History, Purpose, and Techniques of Stained Glass Windows=
by [[User:Nbloniarz|Natalie Bloniarz]] 
{{Infobox
| image=[[File: NBAntique.jpg]]
| label1= '''Artist:'''
| data1=[[User:Nbloniarz|Natalie Bloniarz]]
}}
__TOC__

=Abstract=
 
The aim of this project was to develop an understanding of the history and purpose of stained glass windows and to study the techniques needed to create a window, then apply those techniques to create my own stained glass window. Using my prior humanities and arts experience in digital art from AR1101 Digital Imaging and Computing, I created the design for my stained glass window and then proceed to go [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] to create the window. Creating the window for this project was a fun learning opportunity and taught me a lot about what it truly takes to design and create a successful stained glass window.
 

=Introduction=
 
This project covers a brief history of stained glass to provide some historical context for the art form, and then explores the techniques that can be used to create a window. The specific technique used to create the window for the deliverable portion of this milestone was leading. This is similar to the classes AR 162X and AR 262X Glass I and II respectively at WPI, which focus on glass blowing and techniques such as cutting and grinding glass. The main difference between the class I took at [[The History, Purpose, and Techniques of Stained Glass Windows#External Links|Deko Studio]] and the classes offered at WPI is that WPI focuses more on the creation of the glass and objects directly as a result of glass blowing rather than creating something from pieces of glass like stained glass. The window for the deliverable section of this project was created as part of a beginners workshop exploring the techniques needed to design stained glass, cutting and grinding glass, and soldering the panel together.. This project was unlike anything I have ever done and was a great chance to experience a new art form.
 

=Section 1: Background=
 

==A Brief History==
 
Stained glass is believed to originate from the Middle East as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form. The earliest glass windows were a huge transition from how mankind had been using glass beforehand, mainly as weapon blades made of the volcanic glass obsidian and simple housewares such as bowls and vases.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Moving forward to the medieval period, stained glass as it is known today began to take shape, progressing forward from simple glass shapes in holes in walls to full architectural elements. Medieval churches began to commission windows with religious figures and the royalty of the period would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> The windows of this time were expensive and at a constant risk of having their light source blocked by a new building, rendering the art useless.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> Glass in the centuries prior was as valuable as precious stones, for example ruby colored glass was the equivalent of an actual ruby, and can help explain why the churches and castles of medieval Europe were the only buildings commissioning stained glass for a long period. The Augsburg Cathedral is believed to have the oldest existing stained glass windows, but the construction of the windows shows great knowledge of advanced techniques. The windows in the cathedral suggest that other prior windows had existed, because of the advanced techniques, and suggests the idea that the creator of the window had knowledge from all across Europe, but these are the earliest existing windows still standing today.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> New colors for the glass in stained glass windows were introduced over the centuries as new metals were discovered, allowing for experimentation into lighter colors, painting, and the development of new styles.
 
[[Gothic style]] stained glass windows, particularly in France, popularized the heavy use of reds and blues in window designs.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The Gothic color choices of rich reds and blues can be easily observed in rose windows, which are the larger circular windows found in Gothic cathedrals. The [[Gothic style]] of stained glass windows reigned supreme in cathedrals in the thirteenth century.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 88-111). London: Thames and Hudson.</ref> Painting on glass became popular in the fourteenth and fifteenth centuries as a way to achieve greater detail in the windows, especially in the faces and hair of figures. This stylistic shift was a drastic change from the previous Gothic windows with their heavy use of vivid colors. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image. Buildings were starting to be designed around the grandiose windows that would provide the majority of the light. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref> In the sixteenth century stained glass windows began to be used to decorate community buildings, homes, and businesses such as inns and the windows were mainly secular. The use of leading also was further reduced in favor of painting on silver stained glass driven by the desire for detail. Donors to the art also began to be immortalized in the windows they paid for by being added into the design.<ref>ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 34-40). Pl. 117. Leonard Hill: London.</ref> The grisaille style of the fourteenth and fifteenth centuries served as a stark contrast to the renaissance style windows of that same time period. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries; it also brought the use of perspective to the art form adding dimension to the figures. Both forms had a significant amount of detail painted onto the glass, but only renaissance style windows matched the resurgence of colors of the other art of the time.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 112-141). London: Thames and Hudson.</ref>
 
After the end of the renaissance, especially in the nineteenth century, there was a revival of historic styles and techniques that focused more on the glass than the painting. The [[Gothic style]] made a resurgence in popularity because of its focus on the glass and historical techniques. Many renovations of older buildings had damages the windows and allowed for new windows to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The twentieth century brought about new styles and applications to stained glass. The aesthetic style of patterned, semiabstract, and non-figural work became popular especially in the United States. Stained glass also began to take on new forms such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle class. Art Nouveau was Europe’s response to the aesthetic style in America and the increase of American glass production, putting glass in the middle-class homes and in buildings. Art deco made its way into stained glass using vibrant colors, geometry, and simple designs. The movement had international popularity and appeared in many building across the world, especially in Spain. Today the use of stained glass is as varied as it has even been even being used in sculptural elements, like ''Lightpainting'' by Stephen Knapp on the front of the Gordon Library at WPI.<ref> Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 32). London: Thames and Hudson.</ref>
<gallery mode=packed>
Image:NBSGH1.JPG|This window exemplifies the simplistic forms of the time, with all three of the figures lacking facial detail and the heavy use of leading.
Image:NBVA2.jpg|A display of the coat of arms of the Dukes of Burgundy more characteristic of early stained glass windows.
Image:NBSGH2.JPG|A strong example of Gothic stained glass, with its heavy use of reds and blues.
Image:NBVA4.jpg|An example of the painted style of stained glass, the centerpiece is all painted.
Image:NBSGH4.JPG|An example of a grisaille panel that uses significantly lighter colors.
Image:NBVA3.jpg|This panel has donors praying to patron saints in the bottom two scenes.
Image:NBSGH5.JPG|A 16th century grisaille panel with significantly less leading, and a non secular subject.
Image:NBLamp.jpg|A Tiffany style lampshade in the Art Nouveau style<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 47). Lewes: Guild of Master Craftsman Publications.</ref>
</gallery>
 


==Purpose==
 
The purpose of stained glass is closely tied to its history, and has evolved over time. In the beginning, it was simply a way of letting daylight into buildings through small windows and keep the walls completely closed.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 19-21). Pl. 117. Leonard Hill: London.</ref> Stained glass is a strong example of how something can transition from just a functional item into an art form. As the glass became larger and better in the medieval period, religious figures realized they could use the windows to educate the illiterate masses about the bible. Light was also symbolic, in that it represented good and God’s protection in the Old Testament. Religious education in the medieval ages was very important because the church was the highest authority in society, and to achieve salvation one must follow the word of God.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 10). London: Thames and Hudson.</ref> From the medieval ages onward, the use of stained glass had a dual purpose, to create religious images and to highlight the wealth of those who own the building or paid for the art.<ref> ARMITAGE, E. (1959). Stained Glass: history, technology and practice, etc (1st ed., pp. 22-28). Pl. 117. Leonard Hill: London.</ref> In some older homes, governmental buildings, and businesses, stained glass can be found as a design element, and based on the texture and opacity of the glass, as a way to increase privacy without decreasing light.<ref>Chieffo Raguin, V. (2003). The history of stained glass (1st ed., pp. 228). London: Thames and Hudson.</ref> In general, the main purpose of stained glass has stayed rather simple throughout history: to let light into buildings while keeping the building completely enclosed.
 

==Techniques==
 
The process of creating a stained glass window boils down to seven simple steps, but It can be altered based on the technique used and desired appearance of the window. The first part of the process is to develop a design for the window, sketch out the basic shapes and colors of the window. From this basic design a template, called the cartoon, is made with the finalized design. This step creates a guide for every piece of glass that needs to be cut, and how the cut pieces are then later assembled and attached to become a cohesive piece. The cartoon is also important because if leading is being used it creates definitive lead lines and solder points.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 40-45). London: Batsford.</ref>
 
{{Infobox
| image= [[File:NBSGTools.jpg|x200px]]
| caption=A set of typical stained glass tools including
| label1= '''Tools Pictured (from left to right):'''
| data1= Diamond tipped scorer, breaking pliers, palette knife, applicator brush, badger brush, and a needle
}}
The next step is to gather all of the needed tools and materials, and to prep the work space. Tools needed for most projects include:
*A board to use as a cutting surface
*A ventilation system to reduce the fumes
*A grozing tool to cut the jagged edges of the glass
*Lead strips or scraps
*A lead knife
*An oyster knife to manipulate the lead
*A soldering iron to attach the pieces of lead
*A light box to check the design of gaps
*A glass grinder for achieving different textures and fine curves
*A scrubbing brush for the application and removal of cement
*Any other tool deemed necessary or useful, as each artist can choose to use less or more tools than those listed.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 8-13). Lewes: Guild of Master Craftsman Publications.</ref>
 
A major part of this step is choosing the proper glass for the desired appearance. A good basis for choosing goof glass is to pick from a slab or pieces that are flat and not to thick. Thickness is very important as it determines the majority of the weight of the window, and if it is too thick, the window could collapse and shatter under its own weight. A few typical glass choices are:
{{Infobox
| image1=[[Image:NBCrown.JPG|x100px]]
| caption1=An example of crowned glass<ref>Böhringer, F. (2006). Angelika Kauffmann-Museum in Schwarzenberg im Bregenzerwald. Retrieved from https://en.wikipedia.org/wiki/File:AKMuseum5.JPG</ref>
| image2=[[Image:NBNorman.jpg|x100px]]
| caption2=An example of Norman slab glass
| image3=[[Image:NBAntique.jpg|x100px]]
| caption3=An example of antique glass
| label1= '''Description:'''
| data1= These are three different types of glass, the most common of the three is antique glass.
}}
*Crowned glass, which is created by taking a bubble from a glass blowing rod and flattening it into a panel. This glass is not typically used in modern windows. This type of glass appears typically in two forms: roundels and bullions. Both forms of the glass have a circular pattern due to the manufacturing process, but bullions are any piece cut from that glass and a roundel is a circular bullion. Historically this type of glass is clear, but that does not mean that it cannot be found colored as well.<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A Norman slab, which is created by blowing glass into a rectangular form and it is known to have an irregular texture and thickness making it difficult to work with. The uneven thickness of the glass also give it a slight foggy appearance, and the bumpy texture of the glass is visible<ref>Sourcebook 2015. (2015) (pp. 1-2). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>
*A crossed/pressed slab, which is created by rolling molten glass onto a table with a rolling pin. The pin and table have indentations to create texture but the glass is often hard to work with because of the differing thicknesses.
*Antique glass is the standard glass used for stained glass windows. It is created by creating a glass bubble, piercing both sides making a cylinder, and then cutting the cylinder and letting it unfurl and cool flat. the glass can be made with a variety of colors and textures. A singular color is achieved by mixing in metallic compounds into the glass creating pot glass, while multiple color can be achieved by mixing potted glass or using the flash method. The flash method uses a bubble of glass with a large amount of a light base color, and then dipping that bubble into a darker color creating a multilayered slab.
*If the mixed color was achieved by mixing multiple potted glasses, it is called streaky or reamy glass based on the colors mixed and the ease of cutting. Reamy glass specifically has a wavy pattern in the colors, with bands of strong tonal contrast. Streaky glass has a greater portion of light colored sections with streaks of contrasting colors of varying thickness<ref>Sourcebook 2015. (2015) (pp. 109). Retrieved from http://www.sgaaonline.com/SB2015-pdf/Sourcebook-2015OE.pdf</ref>.
*Curious glass is glass that is an oddity or mistake of production and is often discarded by manufactures; this means that the glass can be any color or thickness.
*Commercially produced glass is another option in that it is readily available and easy to produce. It is often light in color and has a smooth texture.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 27-32). London: Batsford.</ref>
 
{{Infobox
| image1=[[File:NBCopperFoil.jpg|x100px]]
| caption1=An diagram of the copper and foil technique.This illustration shows how the copper is used as a base for the solder<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 63). New York: Prentice Hall Press.</ref>
| image2=[[File:NBApplique.jpg|x100px]]
| caption2=An example of the appliqué technique<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 48). Lewes: Guild of Master Craftsman Publications.</ref>
| image3=[[File:NBLeading.jpeg|x100px]]
| caption3=An example of the leading technique<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 57). New York: Prentice Hall Press.</ref>
| label1= '''Note:'''
| data1= The most commonly seen technique is the leading technique because of its wide use throughout history.
}}

The next step is to cut and shape the glass. Cutting glass can be difficult for beginners because each cut must go to the edge of the glass making intricate cuts challenging. To cut the glass it first must be scored along the desired line. Once scored, the glass is then carefully broken along the scored line using the pliers to firmly grip the glass.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 14-15). Lewes: Guild of Master Craftsman Publications.</ref>
Then the cut pieces can be shaped and organized before moving onto assembly of the panel. The window panel can be assembled in a few different methods the main methods are: copper and foil, appliqué, fusing, and leading. Copper and foil was popularized by Louis Comfort Tiffany, and is best known for the the use of copper and foil on a lampshade. The technique involves taking each piece of glass in the design and wrapping the edges in copper foil which is then soldered along the length of the seams. This method is similar to another called tinning which uses the same copper foil wrapping but lining the seam with flux, allowing blobs of solder to flow throughout the seam to create the bond. Soldering two pieces can be done in two main ways the first of which is seam. seam is similar to tinning and copper and foil in that the solder is run between the two joints, creating a flat joint. The other option is bead, which builds upon a seam with more flux and then the solder is run above the joint until a raised line is formed to the desired height.


Appliqué steps away from solder and it involved gluing the pieces to a clear slab. This changes the grouting of the glass from negative to positive, allowing more light to pass through. Fusing glass involves overlapping each edge of every piece and then firing the design in a kiln. The end result is a solid panel with no leading or gaps between the glass. The one main problem with this method is if the glass used in the panel is not homogeneous, it can lead to cracking and uneven melting.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 49). Lewes: Guild of Master Craftsman Publications.</ref>


Leading is the most commonly seen method in stained glass. This method used lead to secure the glass in place, often in grove in the lead, and then the lead is soldered to hold the pieces together. Cement is then used to secure the panel and fill any remaining gaps in the lead adding stability and waterproofing to the joints.<ref>Shanahan, M. (2001). Stained glass (1st ed., pp. 57-61). Lewes: Guild of Master Craftsman Publications.</ref> The final step is to finish the window whether that be polishing the lead, packing for transport, installation, or painting.<ref>O'Brien, V. (1986). Techniques of stained glass (1st ed., pp. 88-92). New York: Prentice Hall Press.</ref> Painting can add detail to a stained glass design that can easily be achieved by the coloration of the glass or the assembly. If a panel is painted it will need to be fired in a kiln to set the paint.<ref>Reyntiens, P. (1967). The technique of stained glass (1st ed., pp. 73). London: Batsford.</ref>


 

=Section 2: Deliverable=
 
==Creating my own Stained Glass Window==
 
===The Design===
 
For the design of my window I took inspiration from nature and a window design I had seen while browsing on pinterest. I decided on a mountain sunset scene for the beautiful array of colors that I could use and because I loved that design so much. I then chose an image off google and used that as a template for my design so I could see how it would look broken into pieces. This original design was contingent on how complex I could make my panel at the workshop. The main use I would have for this panel is as a decorative piece in my home, and maybe someday it could actually function as a window.
<gallery mode=packed>
Image:NBInspo.jpg
Image:NBTemplate.jpg
Image:NBDesign.png
</gallery>
 

===The Process===
 
[[Image:NBCartoon.jpg|right|x320px]]
The process of creating my own stained glass window began at 9:30 a.m. at Deko Studio in London. The first portion of the workshop involved learning how to properly handle and cut glass. I practiced scoring and breaking glass for about an hour. The scoring tool works like a pen and carves a line into the glass, which can then be used to break the glass. There are three main methods I used for breaking the glass in my panel: scoring and using specialized pliers, scoring and tapping along the line, and scoring and using a different specialized pair of pliers. The two pairs of pliers were grozier pliers, for breaking small pieces, and the other was a pair of glass breaking pliers. Moving onto the actual panel creation, I was given a piece of paper to design my window with a maximum of eight pieces. For my design, I took my ideal design above and dramatically simplified the lines and colors. The final design ended up looking like a basic mountain sunset.
 
[[Image:NBCut.jpg|right|x320px]]
The main historical influence on my design was the modern do-it-yourself movement, because I preferred the freedom to create any possible design rather than staying within a limited historical style. After creating my cartoon it became time to chose and cut the colored glass. The type of glass we used was standard antique glass, and was main\y the leftover pieces from commissioned art works. I picked pieces with a smooth texture for the sunset sky because I didn't want my sky to be too complicated, and the glass I chose had beautiful striations that helped me to achieve my desired sunset effect. For the hills and trees I chose to use four different shades of green to add depth to the piece and in an attempt to keep the image more realistic. I also chose to experiment with texture on two of the four pieces, further creating definition between each of the green pieces. Lastly, for the sun I picked a textured yellow piece because I like the more mellow effect it had in the light.
 
After I had accurately cut each of my pieces, I began to cut and shape the lead. This was the most difficult part of the process because it required an incredible amount of precision. The first step was creating a corner of the frame, from which all other pieces would line up with. This was the most challenging part because nailing the wood guide to the table would often cause the cartoon to shift and to have to begin the process all over again. After that had passed I began the tedious task of cutting and shaping thin pieces of lead to the curves of my glass pieces. This was the only moment where I regretted my design choice because the lead would not hold the curved shapes very well. Once all of the lead was in place it was time for me to solder all of the joints, and using my prior experience I finished soldering rather quickly. Once I was finished soldering, the only step left was to polish my window.
 

===The Result===
 
[[Image:NBWindow.jpg|x500px]]
[[Image:NBAntique.jpg|x500px]]
 

=Conclusion=
 
After looking into the history, purpose, and techniques of stained glass windows I applied my knowledge to create my own window. Creating a stained glass window is a tedious process of endlessly cutting glass and lead, hoping that in the end the pieces will fit together. It would be interesting to see how the art form will continue to evolve over time and what the purpose of it will be.
 

=References=
<references />
 

=External Links=
Here is the website for the studio where I made my window: [http://dekostudio.co.uk/ Deko Studio].
 

[[Category: Art Projects]]
[[Category: 2017]]