This research explored the creative potential of the phenomenon of “bloom”, a matt film caused by the expansion of the tin-containing layer on the surface of float glass that occurs when it is reheated to temperatures above 600° C. “Bloom” has long been regarded as a problem, both in industry and by artists using float glass for kilnforming. Under specific conditions designed to stretch the glass the expansion of the tin-containing layer can be controlled sufficiently to produce a new surface effect similar to iridescence, instead of a matt film. The research examined ways of using the new surface to create images in glass. In addition, the hardness of the tin in relation to the glass causes the images to form slight low relief. The visual effects can be contrasted with those of existing methods of creating surfaces on glass and with methods of forming low relief in glass, in being lightreflecting and integral to the medium itself. While the effects are quite subtle, methods derived from creative practice were developed to create artworks that exploited their unique visual characteristics. These are composed of imagery, glass and light. The research has been approached from the perspective of an artist working with the medium of glass. Its purpose was to explain and control the effects sufficiently in order to use them for creative expression. The submission consists of a body of artwork and a written thesis.

This research examines established and emerging practical methods and theoretical ideas in contemporary drawing in relation to studio glass. The Studio Glass Movement, encompassing both applied and fine art practice, originated in the 1950’s and, despite rapid advancements in the subject, glass is still considered an emergent material when compared to most other studio processes. For this reason existing and long established practices in drawing, developed in relation to other materials, may not be as effective in realising or exploring those qualities which are particular to glass, whether aesthetic, technical or philosophical. Parallel to this are rapid changes happening within the field of contemporary drawing as a subject in its own right, which influence the wider context in which studio glass engages. In this research the use of empirical methods provide working examples of how drawing and glass can be integrated, through the production of a body of new work supported by theoretical and contextual findings. The investigation is practice orientated, incorporating both practice led and practice based methodologies. The practice led theoretical research proposes a new drawing taxonomy in which dimension, notation, physiology and improvisation are understood as key components in the theory and practice of drawing. This is examined here in relation to glass as both a subject of drawing and as a material process. Identification and reference to contemporary issues in drawing come from a variety of sources, for example through the Drawing Research Network, contact with specialist drawing research hubs including Wimbledon School of Art and Loughborough University, specific exhibitions and attendance at related events and conferences . The practice based aspect uses facilities at the Glass Department, University of Sunderland and a drawing studio in Newcastle upon Tyne. The main area of exploration is concerned with the use of drawing integrated within kiln cast glass as differentiated from established practices such as engraving and stained glass which use drawing as a surface application to an existing glass body.

This thesis deals with the problems of reception of art works. The theoretical part induces this theme. It lists the most common factors which influencing our perception and assessment of art works and watching them from the position of art teacher. The practical part is trying to work with these findings in the glass objects and is also verified in the pedagogical work with children in the gallery.