On Glass, in Glass, of Glass: Some Developments in the Combination of Glass and Printmaking

Round  1

Reviewer 1 Report

I believe this paper to be a thoughtful look at the mergence and innovation of print and glass.  It has enough general content to enjoy for both a novice or educated glass enthusiast.  I enjoy the thoughtful insights into studio practices which are pushing the perceptions and uses of glass as an artistic medium within the confines of a printing processes.  The wide variations in processes that artist invent are an exciting topic to explore.  The conclusion based in theory of craft, supported by Pyes work, gives additional food for thought and was a successful ending for a reader to both feel as if they learned from the article as well as also wanting to know more.

Author Response

Thank you for comments. I am particularly pleased that you felt that the conclusion 'gives additional food for thought and was a successful ending for a reader' as this relationship between the haptic and digital and Pye has been of interest to me for some time.

Reviewer 2 Report

I would recommend that the author change the title of the article to "Developments in Print and Glass in the UK" or "Developments and in Print and Glass at the University of Sunderland." All of the stated history is from the UK, and all of the case studies are from artists who have taught or matriculated through the University of Sunderland (although many of them are from different cultural backgrounds). 

This article omits other cultural histories of print and glass as well as artists from other countries who are innovating within those disciplines. The article should have a more specific title and description that acknowledges its limited geographic, cultural, and historic scope. The article text should be edited to be consistent with these changes.

Author Response

Thank you for the useful comments and points raised. I have reflected on the title and propose to change it to 'On Glass, in Glass, of Glass: Some developments in the combination of Glass and Printmaking'. I think this makes the focus clearer and the addition of 'some' hopefully makes the point that the article does not address 'all' developments in the area. I have made changes to the abstract to make the 'Sunderland' connection clear. It wouldn't be true to say that all developments discussed took place in Sunderland as one of the artists is based in New Zealand. The impact of the some of the artists also goes beyond Sunderland and the UK so I don't feel those links need to be in the title. I do make it clear in the paper that the examples relate to personal experience and position (in Sunderland). I have also made clearer in the conclusions that the examples are not exhaustive. Many thanks again for the insightful comments.