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Thesis (M.S.)--West Virginia University, 2002. / Title from document title page. Document formatted into pages; contains xix, 130 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 98-101).

Thesis--PlanB (M.S.)--University of Wisconsin--Stout, 2000. / Field problem. Includes bibliographical references.

Thesis (M. Sc.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 96-101).

Embedding screenprinted transfers is one of several processes that can be used by artists as a means of expression to decorate blown glass forms. When screenprinted transfers are embedded into layers of glass and inflated, the imagery can be affected by a number of factors that limit the process. These limitations can include stretching and distortion of imagery, loss of density resulting in faded imagery and loss of clarity and detail of the imagery. Compatibility issues can also result in the artwork cracking. These limitations can result in the artworks being deemed unfit for their purpose, particularly when created for exhibition. This research addressed these limitations through the development of seven print inspired glass processes that alleviated or improved the limitations and provided alternative decorative processes to the use of printed transfers. This was achieved using a multi-method practice led research methodology approached from the perspective of a professional glass artist. To substantiate the research, several bodies of artwork were produced that developed and demonstrated the practicality and creative potential of the creative print inspired glass processes and extended the repertoire of visual effects that can be achieved when decorating blown glass forms. Throughout the research the print inspired glass processes were assessed for decorative qualities as well as the practicality of each process. To contribute to the limited technical knowledge currently available on the process of combining glass and print for the decoration of blown glass forms, the contextual review consolidated existing information. Technical guides relating to the seven print inspired glassmaking processes were formulated as part of the research.

This thesis concerns contributions made to the field of the Neon Arts. The field originated in the mid-nineteenth century with the invention of the Geissler tube, a blown glass tube internally illuminated by the electrical excitement of the low pressure gas it contained. The art was predominately represented in the mid- 1900s by conventional Neon signage. The introduction of the Studio Glass Arts movement in the 1960s began to expand the range of expression beyond signage, incorporating different glass structures, filling gases, power options, and other emerging technologies to produce a wide range of illuminated sculpture. In the span of his twenty-five year career, Wayne Strattman has made a variety of contributions to the field. These have included: Publications: The publication of a primary reference book, Neon Techniques, 4th Edition, with over five thousand copies sold, and one hundred articles in the leading trade journal, “Signs of the Times.” These publications not only consolidated historical and newly emerging technical knowledge but also incorporated a significant amount of original research. Results of this research include techniques for accelerating the filling of glass tubes with gases at low pressure, new ways to remove impurities from glass tubes, the adoption of foreline traps for enhanced vacuum pumping, new ways to stress test glass, and new ways to test outgassing rates. Patents: The development of two individual and one shared patent for new Neon technologies. One invention in particular, LuminglasTM (the first kinetic, interactive, flat plasma device capable of producing planes of moving light) has been incorporated in, among other applications, consumer products, movie set displays, and architectural installations around the globe. 3 Artwork: The first art pieces to incorporate flat panel, kinetic gas discharge displays. The author has also explored a range of additional illumination media and refined their qualities of expression for use in sculpture. Products: The commercial realization of four technical devices to aid in the development of neon sculpture and eleven consumer products that have significantly heightened popular awareness of new Neon technologies (as evidenced by sales in the tens of millions of dollars.) Community Involvement: Formative member of the developing community of illuminated glass artists (whose chosen media include and extend beyond traditional neon). The author curated the first Illuminated Glass Art show and has been an active representative of Neon within the Glass Art Society.

PhD maps a body of work by Cate Watkinson, artist and designer specialising in glass. Through selected commissioned works, the research documents the development of the practice from 1990-2012. The thesis establishes the unique contribution to knowledge made by the integration of glass in public spaces. The PhD demonstrates how research and advances in the field of glass technology have influenced the work and how the cited works have then contributed to the increasing potential of the use of glass in the built environment. Evolving from ‘2D’ pieces in stained glass in the 1990’s, the commentary charts the development of the work towards ‘3D’ pieces placed in the public realm. It also considers how changes in government regeneration policies have contributed to the creation of these original works. All artworks cited, including glass and solar powered public seating, sculptural pieces in Gateshead, Newcastle’s Quayside, and North Tyneside’s Police Headquarters, are situated in public spaces. They offer examples in the use of new techniques, which have been applied in innovative and creative ways. These new practices include exploring the innovative qualities of the material, combining text, imagery and light with glass, setting the works in an environment where glass is still perceived by the public as presenting some risk. Through the analysis of sketchbooks, illustrations, photographs, designs, letters, press cuttings and emails, the PhD reflects upon and evaluates the unique contribution made by each work. Each commission is considered in terms of qualitative and contextual research, the testing of the material and a reflective analysis of the process. Supporting this are illustrations of the works and a list of publications with reference to the submitted works. The approaches illustrated are useful to the researcher exploring developments in the external applications of glass, the public artist and the art historian investigating the contribution the work has made to the urban landscape of the North East.

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