ART 103

CERAMICS I

TR 1:00-3:15

SYLLABUS

Barbara Patten Starr	Fall 2004
E-mail: bstarr@shc.edu	Office: 380-3856
Web Address: http://faculty.shc.edu/bstarr	Art Department: 380-3855

TEXT: HANDBUILDING CERAMIC FORMS, Elsbeth S. Woody (on reserve in the library.)

COURSE DESCRIPTION: This course is designed to acquaint the student with the use of the basic handbuilding techniques used in forming functional and sculptural objects in clay.

COURSE OBJECTIVES:

1. To provide opportunities to experience the personal growth and satisfaction of creating art.

2. To provide opportunities to develop skills in analysis (critical thinking) and syntheses (creative thinking.)

3. To become familiar with the nature and characteristics of clay.

4. To experience the techniques (ie. slab, coil and pinch) used in handbuilding.

COURSE OUTLINE

8/24	Course Overview
8/26	Intro Problem I (Texture)
8/31	Intro Problem II (Pinch)
9/2	TEST / Studio
9/7	Intro Problem III (Coil)
9/9	Studio
9/14	Studio
9/16	Intro Problem IV (Soft Slab)/Gallery Visits
9/21	Simple Drape / Altered Cylinder
9/23	Studio
9/28	REFLECTION PAPER I and JOURNALS DUE / Studio
9/30	CRITIQUE / Introduction Sculpture (Problem IV)
10/5	Studio
10/7	TEST / Studio
10/14	Studio
10/19	Studio
10/21	Intro Sculpture (Problem V) / Intro glazing
10/26	Studio
10/28	Studio
11/2	Studio / LAST DAY FOR FORMING AND JOINING GREENWARE
11/4-11/30	Finishing and Glazing
12/2	LAST CLASS MEETING: ATTENDANCE REQUIRED
	FINAL CRITIQUE: ALL WORK FINISHED AND DUE FOR GRADING
	END TERM REFLECTION PAPER DUE
	FINAL CLEAN-UP – REQUIRED OF ALL STUDENTS

GENERAL COURSE REQUIREMENTS

CLASS ATTENDANCE: Much of the learning in this class is experiential; therefore, regular class attendance and active participation are required. A maximum of 3 absences, for whatever reason, including ordinary illness, will be permitted; a student may be withdrawn after that point. Excessive absence may also result in the downward adjustment of the grade. Student athletes are required to be present for all classes except when engaged in official athletic events; those who may be scheduled to miss more than 2 classes should see the professor at the beginning of the semester. Most lecture/demonstration is done at the beginning of class, and interruptions are distracting and annoying. Therefore, punctuality is also expected. Students who come to class after roll has been called, or who come unprepared for class may be considered absent.

CLEAN UP AND CARE OF CERAMICS STUDIO: Each student is expected to keep his/her individual storage space clean and orderly. INDIVIDUAL WORK AREAS ARE TO BE CLEANED BY THE STUDENT WHO WORKED THERE. All tools and equipment furnished by the department are to be cleaned, DRIED, and returned to proper storage areas at the end of each class. Any student using the potter's wheel is responsible for its clean-up. The care and cleaning of the general areas of the room is a specific group responsibility. It is expected that these tasks will be performed as needed, in most instances on a daily basis.

SINKS: All tools, bowls, etc. should be cleaned and stored properly before the sinks are cleaned. Hands or tools heavily soiled with clay should first be rinsed in a bucket of water to prevent clay from stopping up the drains.

GENERAL: CLAY DUST IS NOT GOOD TO BREATHE. EVERY EFFORT SHOULD BE MADE TO KEEP IT DOWN.

FLOORS: Pick up pieces of clay when dropped and wash up spills.

WEDGING BOARDS: Should be scraped free of excess clay and sponged off daily.

TABLES: Should be sponged clean. Canvas should be shaken into the trashcan and returned to storage. Sponges should be rinsed in bucket until clean.

SECURITY: All cabinets and doors are to be kept locked when not in use. Lights should be turned off, especially DRYINGLAMPS which could cause a fire. Be sure and sign up on signup sheet when working outside of class.

GRADING POLICY

60%- Quality of the final products, using the criteria given in the Student Evaluation Sheet. Greater weight will be given to the more complex projects toward the end of the semester.

30%- This includes prompt regular attendance and the amount of time and effort expended, both inside and outside of class. In this course, practice improves performance, so credit is given to those who practice; an additional two hours a week is a good goal. Also included are the positive creative attitude of the student, ability to follow directions and also to work independently, self-motivation, care for the materials and facilities and growth in abilities and skills.

10%- Written work: There will be two announced tests on the reading, terminology, class notes, etc., during the semester. In addition, there may be pop quizzes from time to time. There will be no written exam during the final examination period.

There will also be two Reflection Papers, described more fully on the last page of this syllabus.

ALL WORK SHOULD BE FINISHED (GLAZED OR ANOTHER FINISH) AND SAVED FOR REVIEW AND PHOTOGRAPHING AT THE END OF THE SEMESTER.

CERAMIC SUPPLY LIST

Available at USA Bookstore: Clay and tools

Clay - 25 lbs. of # 239 White Raku (If you don't see this, ask. It may be in the back.)

Clay tools: silk sponge, metal scraper, ribbon tool, drape stick, lock, comb, and toothbrush. You will also need: a small inexpensive comb, an old toothbrush, old shirt, etc., plastic bags and ties, old tee-shirts, a variety of round objects, such as beach balls, and a variety of "found objects" that will make impressions in clay.

Glazes-Students are responsible to purchase their own glazes.

A good source is creativeglazes.com. (tel. 770-476-7322). They have a great website and knowledgeable staff on phone (Gloria), and answer emails promptly. You will need to use a credit card. They don’t ship to PO boxes; feel free to have glazes mailed to me, c/o Fine Arts Downstairs, attn. your name. Doubling up with another person saves on shipping costs. Time is usually 2 or 3 days.

ASSIGNMENTS

INTRODUCTION: Introduction to Ceramics: Study "Stages of Plasticity"; buy supplies. (Read Ch. 1-4)

PROBLEM I -- Textured Clay Surfaces -- (Read Ch. 6). Using your hands, plaster stamps, "found" objects, clay tools, create as many interesting patterns and textures as you can in clay. Turn in at least five (5) experimental texture tiles (1' x 3", curved) and one finished textured flat piece.

PROBLEM II -- Forming from the Solid: Pinched and hollowed forms. (Read pp. 47-56; 213-217). Two pinch pots (one open, one closed) and a third hollowed form are required.

1. Create 2 smooth thin symmetrical pots using the techniques of Paulus Berensen as demonstrated in class. One should be open, one closed.

2. Create a third pot of your choice:

a. Create one piece using the dowel method (p. 52) .

b. Shape a solid lump of clay into an interesting form. Use cut-off wire to separate into 2 sections, "lid" and a "base." This can be an organic and flowing separation, an angular one, or the more traditional straight one. Let open edges dry somewhat, then carefully hollow out and smooth the interior. Add coils and/or paddle the piece (with paper between top and bottom) to re-align edges.

c. Make a multi-pinch pot by joining 2 (or more) individual pinch pots together, either at the opening (to make a closed form which may then be altered in a number of ways) or at the base to form a multiple candle/flower holding centerpiece, etc.

d. Create a sculptural form using the hollowing out method described in the text (p.55)

PROBLEM III -- Forming with small units: Coil. (Read pp. 57-76); 143-157; 203-211). After learning to roll clay coils that are solid and even, develop a coil form (either sculptural or functional).

Coils may be thin and fragile or thick and massive, smooth or rough, rolled or cut from slabs. They may be smoothed inside or out (i.e., coils may show as part of the design of the pot or not); the "join marks" may be used as a surface pattern. They may wind symmetrically around the piece or may be used to build up one area and then another.

Although coils may be formed over a support, note the precautions in the text. It is helpful to allow bottom coils to firm up a bit before adding on to help prevent sagging. This is especially true with larger pieces.

PROBLEM IV -- Forming with large units: Soft Slab / Sculpture. (Read pp. 77-106; 121-132; 189-193).

When clay is moist, it is very flexible, as you have discovered. Using the following techniques, form a basic slab of clay into a three dimensional form. While the clay is soft, the surface may be decorated with one of the textures you have developed. As soon as the clay is stiff enough to hold its form, remove it from the "mold." Add feet if desired. When it is leather hard, use a hacksaw blade to smooth and define the edges. They should be clean, even, and interesting. They may be sharp and square or leveled and round, inside and outside. Allow the piece to dry slowly to avoid warping and cracking.

A. ALTERED CYLINDER -- Using techniques shown in class create a clay cylinder and then shape and alter it into a form of your choice. It may be functional (pitcher, vase, etc.) or sculptural

B. SIMPLE DRAPE -- In addition to those in the text, here are some other techniques you can use.

1. Cover any rounded form (such as beach ball) with a piece of damp tee shirt. Smooth out the wrinkles. Secure this with a rubber band. Arrange a support for the ball, etc. (an old can works well). Drape your clay slab over this form. Cut off any excess with a drape stick. Now, using your fingers, slowly and carefully begin to compress the edges of the slab until it fits to the form beneath. Cut the edges

2. Crush newspaper and drape the clay slab over it. Form the clay and trim the edges with a drape stick. Finish as described above.

3. Make a large coil of clay (2" - 3" in diameter). Form it into the desired shape for the rim of your object. Cover it with strips of paper towel (dry). Drape the clay slab over the coil "mold." Trim the edges. Finish as described above.

4. Take any shallow form, such as cake pan or bowl, or plastic meat tray. Cover the inside with strips of dry paper towel or newspaper. Drape the clay slab into it. Gently press to fit with your fingers. Trim the edges. Finish as described above.

5. Take a large rectangle of stretchy cloth (tee shirt, knitted fabric). Tie the four corners to four chair legs or other supports. Drape the clay slab into it. Press the center of the slab gently with a jar top until it is at least an inch deep and would hold a good bit of water. Trim the edges. Finish as described above.

PROBLEM V – ANIMAL SCULPTURE -- (Read pp. 159-169; 176-183). Using the theme of animal / fish, create a sculptural form using any combination of techniques learned. Interpret the theme as liberally as you wish. Do research online (click Google/images and type in animal) in the library (photos, other artists’ interpretations, etc.) look in galleries / museums in the area. Bring to class Xeroxes, sketchbooks, magazines, etc. you plan to use. Your sculpture should also reflect something of you: who you are, where you’re from, etc. Your final piece should be three dimensional, aesthetically pleasing from all sides.

PROBLEM VI – HOUSE/HOME (Read pp. 169-176, 183-201).

Develop a piece using the theme of house / home, interpreted as liberally as you wish. Your piece may be either functional or sculptural. It should be at least 9” in one dimension and three-dimensional. Parts of it should be created by joining stiff slabs.

STAGES OF PLASTICITY IN CLAY

LIQUID - When clay has enough water to allow it to pour or flow, it is called "slip." When white or light slips are colored with stains, they are frequently used as decorating media to cover the surface of the base clay.

SEMI-LIQUID - (Jell-o pudding consistency). In this stage, clay is easily passed through a fine screen to remove coarse or foreign particles.

MEDIUM-PLASTIC - This stage is ideal for wedging, developing structural units, organizing the larger shapes, adding slabs, coils, throwing techniques, etc. It is not sticky. It will stand an eighth inch thick wall at a height of two to three inches. Joints may be welded easily with a little scratching and wetting of the joints with water. The additions may be expanded or compressed within reasonable limits without cracking or pleating. Large shapes MUST be established in this stage.

STIFF PLASTIC - Only small changes in shape can be made by moving the clay. Small additions of medium-plastic clay may be made by scratching the joint deeply and by wetting the stiff-plastic clay side of the joint with water. Walls can be softened WITH CARE to the Medium-Plastic stage.

LEATHER-HARD - (rigid) - Clay cannot be moved without breaking. Ribbon tool will take clay off in a curl as from a chocolate bar. It has a solid sound when lightly tapped. The surface begins to show a lighter color as the drying continues. THERE IS STILL SOME MOISTURE PRESENT. Trimming, finishing, carving, piercing are best done in this stage. Two pieces of equally stiff, leather hard clay may be joined by scoring both sides of the joint and using liquid clay slip as a "glue." Walls can still be softened with EXTREME CARE. All finishing of surfaces and edges - all detailed work - should be completed before the clay shows much change in color--i.e. becomes drier.

BONE-DRY - No atmospheric water remains. NO CONSTRUCTION OR FINISHING should be done during this stage, as the clay is very brittle and easily chipped or broken. If this happens, the piece cannot be fixed as it is virtually impossible to soften up bond dry clay and moist clay of any stage will not adhere as a patch on dry clay. The use of sandpaper and steel wool to correct sloppy construction and finish is strongly discouraged as it is dangerous. Using these tools usually results in clay assuming the look of wood or metal.

CERAMICS JOURNAL

The standard end of class reflection is:

How did I feel about today's studio session?

· Was I prepared for class? How did this affect my work?

· What do I like about my work today? (Be as specific as possible.) How did I do this?

· What problems (If any) did I encounter today? What did I gain from observing the work of others in class? Is there anything specific I need to ask for help with?

· What needs improving in my work? How might I accomplish this?

REFLECTION PAPERS

The reflection papers should be 2-3 pages, typed. The primary source for them is your journal written throughout the semester. The exact approach of your reflection papers is up to you. There

is no one correct format to follow. The better papers will be written in such a way as to synthesize and record in a more complete manner the accumulated thoughts, feelings, and reactions you have had to the experience of artmaking.

REFLECTION PAPER I – DUE SEPTEMBER 28

This is an opportunity for you to reflect on your own work in a thoughtful manner. Perhaps the question "What have I gained so far in this process of artmaking?" will help you focus your thoughts. Some other suggestions as to how you might organize your thoughts follow:

· Identify and explain the top three, four, five (whatever the number) of things you have learned about artmaking so far in this course.

· Recall significant moments in the course of your studio and homework experiences. There may be emotions and/or events outside of the artwork that stimulated your artmaking.

· In addition, I would like you to use the enclosed evaluation sheet as a guide (no need to fill it out) to evaluate your work so far this semester. You needn’t discuss each and every work, but hit the high points of a small number of your works in a summary paragraph or two. You may also wish to recall what is significant about each of these pieces in terms of your own progress in artmaking.

Finally, comment on the amount of time/work you have spent outside of class so far and give yourself a midterm grade reflecting your progress so far.

__________ Approximate number of hours outside of class

__________ Grade have you have earned at this point? (Refer to the grading policy.)