Art as an Avenue to Science Literacy: Teaching Nanotechnology

through Stained Glass

Nanoscale science and engineering (NSE) and nanotechnology are

emerging fields that have captured the attention of scientists and
engineers, as well as mainstream media. However, NSE is not typically
addressed in K-12 classrooms (1), and only recently have colleges and
universities begun to offer coursework in this area (2). With limited
educational opportunities available to learn about NSE, it is not
surprising that a large percentage of the public has not heard of
nanotechnology (3-5). Nevertheless, despite their lack of knowledge,
consumers are already required to make decisions regarding the 800þ
products on the market that claim to be nanotechnology-enhanced (6).
To help fill this void in public understanding, national efforts are being
made to increase student and public awareness of nanotechnology (e.g.,
the National Center for Learning and Teaching in Nanoscale Science
and Engineering, http://www.nclt.us/; and the Nanoscale Informal
Science Education Network, http://www.nisenet.org/; both sites
accessed Jul 2010).

One of the largest barriers to increasing public awarenessmay be finding

an enticing hook to draw in students and members of the public to learn
more about this new field of science and engineering.Often, approaching
a topic from a seemingly unrelated angle can engage students or
members of the public who might otherwise be uninterested. These
interdisciplinary approaches have used topics as diverse as literature
(7), poetry, (8, 9), chemical “magic shows” (10), holiday-themed
chemical demonstrations (10, 11), art history (12-14), and artistic
composition (15, 16) to effectively convey scientific concepts. The
October 2001 issue of this Journal, and National Chemistry Week of that
same year, brought national attention to the interdisciplinary connections
of science and art.
In efforts to increase public scientific literacy, arguably an important task
in a democratic society (17, 18), educators may encounter audiences
who describe themselves as not interested in science, possibly even as
hating science. Even for those audiences who do express interest in
science, the subject matter may seem esoteric, dry, or unrelated to their
everyday lives. Evaluation, both formal (8, 19, 20) and anecdotal (9, 11,
21), has shown that interdisciplinary approaches to teaching science are
successful at increasing the target audience's interest in science and
their understanding of the nature of science, the social relevance, and
the relevant content. Alternative approaches have succeeded at
engaging girls (19) in science learning, and preliminary survey data
indicate that art may be a successful pathway to engaging women in
science (22). In this article, we describe a series of interdisciplinary
activities that highlight the connections between medieval stained glass
artistry and nanotechnology.

Combining Art and Cutting-Edge Science To Serve a Range of

Audiences

The nanoparticle stained glass program described is a suite of activities

and materials that can be used in a wide range of educational settings,
such as museums, undergraduate courses, secondary-school
classrooms, and other venues. The versatility of the program stems from
adaptable learning objectives and the variety of activities from which an
educator can choose. The multiple variations all can provide an
interdisciplinary, highly interactive experience for students or members
of the public.

The learning objectives for the suite of nanoparticle stained glass

activities include these three main concepts:

1. Nanoparticles of gold and silver behave differently than bulk gold and
silver
2. There is an interconnection between science and art
3. Nanotechnology has been used since the Middle Ages, even though
stained glass artisans did not know they were taking advantage of this
technology

These learning objectives are easily adapted to suit the intended

audience. For example, to serve young learners (K-2), the objectives
can be simplified and aligned with the learners' developmental stage.
For example, objective 1 can be altered to: “Very small particles of gold
and silver are a different color than silver and gold jewelry”, removing
difficult vocabulary as well as contextualizing the “normal” color of gold
and silver for the learner. Middle school and high school students
prepared to learn advanced topics in physics and materials science can
be challenged to explore why nanoparticles interact differently with light
because of plasmon resonance and to research other ways art and
science are connected (details are provided in the online supporting
information). Programming intended for the general public can provide
societal relevance by expanding objective 3 to include current uses and
applications of nanotechnology.
The nanoparticle stained glass program can be successfully used in
diverse venues, ranging from classrooms, workshops, laboratories,
summer camps, and public outreach events, because of the variety of
activities available to educators. The available activities can be
separated into three basic categories:

• Introduction to the connections between science and art (specifically,

nanotechnology and stained glass)
• Synthesis of nanoparticle solutions containing 4% poly(vinyl alcohol)
(PVA)
• Use of the nanoparticle-PVA solutions or dried solid shapes to create
art

Each of these categories has several variants that can be chosen and
implemented in different ways, depending on the audience and venue.
The following sections provide brief explanations of the activities
available in each category, as well as suggested modifications for
specific audiences and venues.

Connections between Science and Art

Throughout history, science and art have been interwoven in a symbiotic

relationship. Practitioners of these two seeminglydisparate fields have
relied on one another's skills, tools, and epistemological approaches in a
variety of ways to advance and evolve their own field. For example, art
forms, such as drawings or paintings, are frequently used to convey
scientific or medical information. As early as 13,000 BCE, cave drawings
of body parts aided Egyptians during the mummification process (23).
This connection linking art and medicine continued through the ages,
highlighted more recently in early modern Europe by the exquisitely
detailed drawings by Andreas Vesalius and others of the human figure
and anatomy (23).
Advances in scientific knowledge can also impact the actual practice of
art and, therefore, its products. During the 19th century, advancements
in pigments, paint matrices, and dyes provided artists with nontoxic
paints that could be used outside the studio. These practical
modifications helped to give rise to the Impressionist movement and are
still influencing artists' materials today (24). More recently, computer
scientists have transformed graphics design, and even movie
production, through advancements in digital design programs and
computer generated imagery (CGI). Artist Stephen Hilyard relied on
these advancements in CGI technology to create Inconsolable, an
exhibit of fictional photographs that challenges the viewer to question the
reliability of digital photography (25).
In some cases, scientific discoveries become forms of art themselves,
through photography, drama, and other media (26, 27). A unique
collaboration at the University of Wisconsin-Madison made this the focus
of their exhibit “Tiny: Art from Microscopes at UW-Madison”. Jointly
curated by university researchers and a university-affiliated printmaking
studio, the show features research images as works of art (28).
Finally, art is often used as a pedagogical method for encouraging
student engagement and understanding, such as observational drawings
during a laboratory experiment or other activity.
The projects discussed in this paper represent several of these
symbioses of art and science. The metallic nanoparticles impart the
colors used in the artistic objects, and artistic activities are used as hook
for helping to student to engage with the complex natural phenomenon
of plasmon resonance.
When presenting to students or participants, drawing out these
connections between art and science, and continually
reiterating the connection between nanotechnology and medieval
stained glass artistry, is an important part of the activity. The
presentation can vary in length, ranging from 2 to 30 min, as well as
level of complexity. Shorter presentations are suggested for younger
audiences and large outreach events designed for the general public.
Settings that are more structured, like a high school classroom or
science summer camp, allow for longer, more in-depth discussions of
the relationships and overlap between art and science. Emphasis can
also be placed on different portions of the presentations to achieve the
desired learning outcomes. For example, an art educator may wish to
extend the stained glass artistry section of the core presentation to
introduce students to the methods used by medieval artisans for
constructing stained glass windows or to the changes that stained glass
artistry has undergone over time. A science educator, using the same
core presentation, could use this activity to introduce the Tyndall effect
or the properties of light. When feasible, the interdisciplinary nature of
nanoparticle stained glass also provides an excellent opportunity for
cross-departmental collaboration between educators.

Synthesis of Nanoparticle/PVA Solutions

These syntheses serve as excellent avenues for middle and high school
teachers to incorporate nanotechnology into their classrooms while
addressing state and national curricular standards; for example,
structure and properties of matter, chemical reactions, and history of
science (1). The nanoparticle stained glass extension of these laboratory
experiments takes the published syntheses one step further by adding
poly(vinyl alcohol) (PVA, 95% hydrolyzed, average molecular weight
95,000, crystalline), a nontoxic, watersoluble polymer, available through
Fisher Science Education. This polymerwas selected for use in the
activity because it is commercially available in the polymerized state.
While other polymers may be possible, additional safety measures are
required to polymerize the commercially available monomers.
Evaporation of excess water from the nanoparticle/PVA solution results
in hard plastic pieces, or nanoparticle stained “glass”, with the gold or
silver nanoparticles embedded in the polymer matrix.

A synthesis method for creating the nanoparticle/PVA solutions has

been developed and tested for reliability. The synthesis method is as
follows and is shown in video form in an online lab manual:(31, 32)
1. Synthesize solutions of gold and silver nanoparticles following the
video lab manual instructions (31, 32).
2. Weigh 1 g of PVA for each 25 mL of nanoparticle solution.
3. While stirring vigorously, heat nanoparticle solution to a temperature
of 80-85 _C. Then, add the PVA.
4. Continue to heat the solution, maintaining the temperature at 80-85
_C to dissolve most of the PVA. Note: Not all of the PVA will dissolve.
Avoid overheating the silver nanoparticle solutions, as it may cause the
nanoparticles to aggregate.
5. Decant the nanoparticle/PVA solution into a clean container, leaving
any undissolved PVA in the beaker.
At this point, the nanoparticle/PVA solutions can be used in three distinct
ways using these options:
• Solutions can be used immediately to create nanoparticle stained
“glass” windows, as described below.
• Solutions can be poured into molds and dried to create nanoparticle
stained “glass” pieces for use in sculptures or other activities. While
silicone bakeware molds are recommended, solutions can also be dried
in other types ofmolds. Drying time can be reduced by heating the
solutions in a standard toaster oven.
• Solutions can be stored in tightly sealed bottles for up to 6 months for
use at another time.
The synthesis process is well suited for students in grades 9-12, and can
be adapted formiddle school students who will have appropriate
supervision. As indicated in the online lab manual (31, 32), basic safety
precautions (i.e., wearing safety goggles and chemical resistant gloves)
should be taken during the synthesis of the gold and silver
nanoparticles. These basic precautions will adequately protect
participants from chemical exposure. The nanoparticle/ PVA solutions
and nanoparticle stained glass pieces can also be prepared ahead of
time by teachers, museum staff, or other personnel. Premaking the
solutions is desirable in several instances and is recommended when:
• Contact time with participants is limited
• Participants do not have the necessary lab skills to complete the
Syntheses
• The selected venue is not equipped with the necessary lab equipment
or space
• The educator wishes to limit participant exposure to the precursor
reagents
• The activities do not require use of the solutions (e.g., making
nanoparticle stained glass sun catchers, take-away cards, or sculptures)

Figure 1. A student creates a nanoparticle stained glass window using

nanoparticle/PVA solutions.

Art Activities Using Nanoparticle Stained Glass

Once the nanoparticle/PVA solutions and nanoparticle stained glass

pieces have been synthesized, they can be used to engage students
and participants in a variety of creative art activities. Some audiences
will enjoy using the solutions to make nanoparticle stained glass
windows, while other audiences may be more interested in using
premade pieces of nanoparticle stained glass to create a take-away
card, sun catcher, or collaborative sculpture. The suite of activities gives
educators the opportunity to tailor the experience for the intended
audience, venue, and learning goals.

Nanoparticle Stained Glass Windows

Using an overhead transparency and simulated liquid leading (a water-

based, nontoxic material available at most craft stores), students can
create their own nanoparticle stained glass “window”, using provided
patterns or one they design themselves. The simulated liquid leading
takes the place of the lead came, the metal channels medieval artisans
used to assemble stained glass window. After allowing the simulated
liquid leading to dry for an hour (or overnight), students use droppers or
pipettes to fill in the different segments of their window pattern with the
nanoparticle/PVA solutions (Figure 1).
After students complete filling in their patterns, the windows are left to
dry overnight. Once all the excess water evaporates from the
nanoparticle/PVA solutions, a thin layer of colored plastic remains on the
transparency (Figure 2). The nanoparticles of gold and silver embedded
in the plastic cause the observed color.
This variant of the activity works best for events that have extended
contact time with participants, because the simulated liquid leading and
the completed nanoparticle stained glass windows require extending
drying time.
The nanoparticle stained glass window activity can be adapted for use
during programs with shorter contact time. Instead of making individual
nanoparticle stained glass windows, participants can make one large
collaborative nanoparticle stained glass window. The desired window
pattern is pretraced with simulated liquid leading by the educator on a
large piece of plexiglass and allowed to dry prior to its use. A variety of
patterns, ranging from organizational logos, artistic designs, or mascots,
can be traced. Educators are strongly encouraged to tailor this aspect of
collaborative stained glass window to their event and anticipated
audience. Examples of patterns used by the authors are shown in Figure
3. As in the classroom activity above, participants use droppers or
pipettes to fill in the different segments of their window pattern with the
nanoparticle/PVA solutions. Once the window pattern is completely filled
in, the excess water is allowed to evaporate from the nanoparticle/PVA
solutions. Generally, the water in nanoparticle/PVA solutions will
completely evaporate overnight, leaving behind a thin layer of colored
plastic in each segment of the traced pattern (Figure 3A). The
collaborative nanoparticle stained glass window can be framed and
placed on display for future visitors to admire. If the same pattern and
piece of plexiglass needs to be used again, the nanoparticle solutions
can be rinsed off the plexiglass before they dry.

Nanoparticle Stained Glass Pieces for Take-Away Cards, Sun Catchers,

and Sculptures

As mentioned above, the nanoparticle/PVA solutions can be dried to

create hard plastic pieces that are embedded with gold and silver
nanoparticles. These plastic pieces can be made using the following
procedure:
1. Pour the nanoparticle/PVA solution into silicone bakeware molds,
using enough solution to cover the bottom of the mold. f silicone molds
are not available, other molds can be used. Silicone molds were chosen
because of durability and ease of cleaning.
2. Set the molds with the solution in them out overnight so that the water
in the solution will evaporate. This step may require more than 12 h,
depending on the temperature and humidity of the work area. Drying
time can be reduced by gently heating the molds in a toaster oven for an
hour.

The resulting nanoparticle stained glass pieces can be used to make a

take-away card, a sun catcher, or an artistic sculpture.

Take-Away Cards

Take-away items from informal education events give educators a way

to reinforce the learning goals after participants have left the event. The
nanoparticle stained glass program uses a take-away card, equal in size
to a quarter sheet (5.5 in. by 4.25 in.) of paper that is 8.5 in. by 11 in.,
containing a 1-in. Circular window (Figure 4). The circular window is
created using a large circular craft punch available at most craft stores.
Participants use contact paper, or clear round stickers, to laminate small
pieces of nanoparticle stained glass in the circular window. The card
provides both visual and textual reminders of the program's goals. The
text included on the front of the card reminds visitors and students that:

• For hundreds of years, artists have used nanosized particles of silver

and gold to create colored pieces of stained glass.
• Because of their small size, the nanoparticles behave differently than
the metals we see in jewelry or coins.
• Color is one way nanoparticles behave differently. Depending on the
size of the particles, nanoparticles of gold can appear orange, purple,
green, or red, while nanoparticles of silver can appear yellow, red, or
blue.

The back of the card provides a brief historical timeline of stained glass
and an example of prairie-style stained glass that visitors are
encouraged to color using the different colors of nanoparticles of silver
and gold.

Figure 3. (A) Completed collaborative nanoparticle stained glass panel,

created by attendees at the Fall 2007 Materials Research Society
Meeting. (B) Panel featuring the UW mascot to be used at a local
outreach event. (C) Visitors help to complete a collaborative panel
featuring the NanoDays logo in spring 2009.

The take-away card activity works very well with a wide range of ages
and settings, except for very early learners (preschool). The vocabulary
on the card is too advanced for this audience, and the small size of the
circular window in the card requires a degree of fine motor skills that
many very early learners have not yet developed.

Sun Catchers

To extend the reach of the take-away card to the preschool audience,

the activity was scaled up in size. Instead of a small 1-in. circular
window, 3 in. _ 5 in. lamination sheets were used to make nanoparticle
stained glass sun catchers. For this variation of the activity, participants
use small, precut pieces of the nanoparticle stained glass pieces and
then arrange them in a desired pattern on one lamination sheet. A
second lamination sheet then used to seal in the nanoparticle stained
glass pieces. A small tag can be added to the sun catcher to reinforce
the simplified learning goals of the program: gold nanoparticles can
appear red; silver nanoparticles can appear yellow (Figure 5).

Nanoparticle Stained Glass Sculptures

The nanoparticle stained glass pieces can also be used to create

sculptures. Again, several variations are available to the educator when
selecting this component of the suite of stained glass activities. A large
suspended sculpture, crafted from irrigation tubing or metal conduit
(available from a local hardware or home supply store), can be
decorated using nanoparticle stained glass pieces (Figure 6A). The
sculpture can be built prior to an event, acting as a spectacle to draw
visitors to participate in the nanoparticle stained glass activities being
showcased during an event. The sculpture can also be built
collaboratively by visitors during the event, with each visitor hanging a
piece of nanoparticle stained glass on the irrigation tubing or metal
conduit frame. For a more individualized activity, students and visitors
can create tabletop sculptures from large sheets of nanoparticle stained
glass. (Large sheets of the nanoparticle stained glass can be obtained
by using larger molds, e.g., 9 in._13 in. silicone bake molds.) Using glue
and wire, the sheets can be crafted into different shapes (Figure 6B).

Putting It into Practice

With such a range of activities available, the nanoparticle stained glass

suite of educational materials can be used in a variety of settings, with a
variety of audiences, to achieve a core set of learning goals. To illustrate
this point, Table 1 describes several different approaches the authors
have taken with the nanoparticle stained glass activities.

Hazards

Basic safety precautions, namely, wearing safety goggles and chemical

resistant gloves, should be used while synthesizing gold and silver
nanoparticles and while handling the nanoparticle solutions during the
art-based activities. See the online supporting information; the student-
friendly synthesis methods of gold and silver nanoparticles previously
published in this Journal (29, 30); and video lab manuals based upon
these publications available online to aid teachers and students with the
laboratory experiments (31, 32). Chemical safety officers have instructed
the authors that nanoparticle/ PVA solutions can be flushed down the
drain with excess water. However, institutions should contact local
officials because of the geographical variance in regulations regarding
nanoparticles.

Formal Evaluation

We used an iterative evaluation process in the development of these

educational materials. As processes and content were developed,
feedback was obtained at several stages from collaborators and other
educators, including Nanoscale Informal Science Education Network
(NISE Net) program developers, and the revised materials were
presented to audiences in a range of venues. With each iteration of the
educational materials' design, an opportunity to test the new materials
with audiences was sought. These iterations including testing with the
UW PEOPLE Program (a week-long college access program for
underrepresented middle school students), the Materials Research
Society Meeting attendees (Fall 2007 and Spring 2008), the Madison
Senior Center, and the Madison Children's Museum. Results of a formal
evaluation conducted at a large public event held on the University of
Wisconsin-Madison campus are described below. The version of the
activity presented at Science Expeditions 2008 (see Table 1), a large,
campus-wide science outreach event that draws over 2000 members of
the public to campus, was formally evaluated via voluntary, anonymous
attitudinal surveys (approved by Institutional Review Board). Over 200
members of the public attended the three scheduled presentations of
this activity. Of these, 46 attendees opted to complete an anonymous
survey. Survey data reveal that 95% of the respondents found the
program both interesting and enjoyable (with 60% of the respondents
selecting the highest possible ranking for interest or level of enjoyment).
In addition to gauging level of enjoyment and interest, survey responses
indicate that 75% of participants understood that the color of
nanoparticles is size dependent, with six of the 31 respondents who
addressed this question providing the distinct colors exhibited by the
gold and silver nanoparticles used in the hands-on activity. When asked
what the program was trying to show, nearly 30% of respondents cited
the historical connection between nanotechnologists and medieval
artisans. Other common themes cited by participants were applications
(22%) and properties (16%) of nanoparticles, and nanotechnology's
relevance to their lives (19%). A portion (32%) of survey respondents
opted not to answer this question of the survey. While the public
perception of the main idea of the program did not completely overlap
with the proposed learning goals, there was strong indication that
participants increased their overall knowledge and understanding of
nanotechnology.

Conclusion

Engaging nonscience enthusiasts in informal science learning often

requires finding an appropriate “hook” or topic to pique learners' interest.
To engage these learners, we created and evaluated a multifaceted
activity connecting science and art: specifically nanotechnology and
stained glass. The highly interactive nanoparticle stained glass activity
has been successfully adapted to a wide variety of audiences and
venues and the interdisciplinary nature engages a broad base of
learners. Evaluation, via anonymous survey, showed that participants
found the activity both interesting and enjoyable, and that participants
understood the relationship between the size of nanoparticles and the
color they appear.
Acknowledgment

This material is based upon work supported by the National Science

Foundation through the University of Wisconsin- Madison's Materials
Research Science and Engineering Center on Nanostructured Interfaces
(DMR-0520527), the Internships in Public Science Education program
(DMR-0424350), and the Nanoscale Informal Science Education
Network (ESI-0532536). Any opinions, findings, and conclusions or
recommendations expressed in this material are those of the authors
and do not necessarily reflect the views of the National Science
Foundation. The authors would also like to thank our numerous
collaborator and participating venues for their valuable feedback and
generosity during the development process. We extend our sincere
gratitude to the members of the Nanoscale Informal Science Education
Network (NISE Net), with special thanks to Amy Grack-Nelson (Science
Museum of Minnesota) for assisting with program evaluation and Rae
Ostman (Sciencenter, Ithaca, NY) for her suggestion of the sun catcher
adaptation for younger audiences.