Art
243 Intermediate Ceramics: Hand building
Instructor:
Jennifer Owen Office: Ka Lama 133 and Ceramics Studio
Phone:
Office hours: Mon.:
Tues. & Thurs.:
A. Course Description:
Art 243 develops vessel and
sculptural concepts using hand-building techniques. The course introduces the elements of art
through the making of ceramic form. The
class progresses beyond basic hand building techniques to advanced skills: various forming and embellishing techniques,
work with plaster and molds, colored slip, glaze work, and the firing of
kilns. Students work towards development
of individual creative expression.
B. Course Credits and Contact Hours per Week:
Three credits, and six lecture/lab
contact hours.
C. Prerequisites:
Art 105, or consent.
D. Learner Outcomes:
Students completing this course will be able to:
1. Demonstrate a proficiency
in hand building techniques and an effort to develop a personal
style.
2. Demonstrate knowledge of
different clay bodies and the relationship of geology to the origin and
characteristics of clay.
3. Demonstrate knowledge of
the varieties of materials and techniques of the glazing and firing processes,
including the basic chemical compositions of glazes, oxidation and reduction
firing, low temperature and high temperature firing, and proper kiln care and
safety.
4. Demonstrate an understanding
of color and surface as it relates to three-dimensional form in the use of
glazes and oxides.
5. Demonstrate an ability to
fire a kiln, and an understanding of the chemical changes that transform clay
and glaze at each stage of the firing process.
6. Demonstrate knowledge of
historic and contemporary examples of hand built ceramics.
E. Course Requirements:
1. Completion of 15-20 hand
built projects in clay, some being very specific assignments, and others being
chosen by the student, following assignment guidelines.
2. Three quizzes, which will
test the students' understanding of vocabulary, concepts and techniques of
ceramics.
3. Active participation in
loading of at least one bisque firing and one glaze firing.
4. Mixing of at least one
glaze from a recipe, and the making of at least one colored slip.
5. Keeping a notebook that
records every clay project, with glaze notes for each piece, as well as lecture
notes and notes on glaze tests.
F. Evaluation and Grading:
Letter grades will be given
based on 90-100% = A, 80-89% = B, 70-79%=C, 55-69%=D.
The course requirements will be weighted as follows:
Projects and assignments in clay: 50%(graded for
technical ability[based on each student’s progress], originality, form,
surface, glaze, and expression)
¨
Note: Project grades are based on each student’s
progress during the class. Projects are
graded on craftsmanship, creativity, vitality, form, surface, glaze,
expression, and effort.
Participation in class: 15%
Three quizzes: 15%
Mixing glaze and slip: 5%
Notebook
5%
Loading/firing kilns 10%
Note: This is a studio course and therefore more
emphasis is given to projects than written exams.
G. Course Content:
Week 1&2:
Introduction to clay
Wedging and recycling clay
Advanced pinching techniques
Originality
Surface treatment
Working in a series
Working large
Lecture: science of clay: plasticity, particle size, grog, cracking,
drying, shrinking
Week 3&4:
Quiz on clay
Advanced coil techniques
Shape development and
aesthetics of proportions
Working large
Historical examples: slides and discussion
Week 5&6:
Advanced slab techniques
Working large
Planning: drawing and pattern making
Armatures
Mixing colored slip
Sgraffito, mishima, wax
mishima, layered slip, trailed slip, wet on wet, graduated slip, stencils,
dotting, and painting slip
Slides and discussion
Week 7&8:
Bisque firing, kiln loading
and firing, and kiln care and safety (lecture and demonstration). Lecture topics: atmospheric water, chemical water, quartz
inversion, red heat, vitrification, low fire vs. high fire, gas kilns vs.
electric kilns, oxidation vs. reduction
Quiz on kiln loading and
firing
Week 9 &10:
Glazing: paint, dip, pour, spray, waxing, etc.
(lecture and demonstration)
Lecture on the science of glaze
(chemical composition, effects of temperature and atmosphere of firing on
coloring oxides)
Health and safety in relation
to glazes
Overlapping glazes and special
effects
Techniques for very large
forms: functional and sculptural
applications
Staining techniques
Quiz on glaze science and
application
Week 11&12:
Plaster work: plaster mold making
Using mold for press-molding
Hump molds with added foot
Week 13&14:
More glazing
Continued firing instruction
Videos
Week 15&16:
Final firings
End of class critique
Check notebooks
Clean up of studio
H. Attendance
Attendance and punctuality is extremely important if you
wish to do well in this class. If you
have a legitimate emergency (health, work or family crisis) you must call ext.
229
I. Supplies
§
By September 4, you will be expected to have:
¨
notebook (You
must record glaze notes for every piece you glaze. You will also be expected to take notes
during lectures. Handouts should be
filed in notebook.)
¨
a tool kit or the equivalent (available at the
¨
clay (a 25 pound bag, available at the
¨
dry cleaner plastic or several kitchen size
plastic garbage bags
¨
small and medium paint brush (kind that comes to
a point)
¨
rubber gloves (surgical or kitchen type)
¨
green scrubby pad for sanding unfired clay
¨
sheet of 80 or 120 grit sand paper for sanding
fired clay
¨
optional:
¨
water spray bottle (spritzer)
¨
plastic triangle square
¨
spoon or polished stone
¨
ruler
¨
apron or smock to keep your clothes clean
¨
small towel for cleaning up or drying hands
J. Safety:
Throughout the course, safety will be stressed, with particular attention given to safety in kiln firing procedures, glaze mixing and handling, and the prevention and hazards of dust throughout the entire studio and in every stage of working with clay and glaze. Each student will be expected to leave the course with a clear understanding of the health hazards associated with ceramics, and well-developed habits in the safe handling of ceramic materials. Any deviance from safety procedures will not be tolerated and will be corrected immediately.
“Assumption of Risk and
Release Forms” are required from all students.
Before using the equipment for a class project, your instructor will
review safety procedures. It is also
your responsibility to review those procedures before using the equipment.
Activities that create dust
from clay or other silica-bearing materials require the use of an OSHA-approved
particle mask. These activities
include: 1) scraping kiln shelves
(protective Eyewear is also required); 2) mixing dry glazes; 3) using the dry
glaze room; 4) grinding or sanding clay; and 5) sanding glaze. Please ask for a dust mask or respirator when
needed, and perform these activities outside the classroom, away from other
students. Manipulating clay involves
some repetitive motion, which can put students at risk for carpal tunnel syndrome
and other disorders. Students are to
inform the instructor immediately if they experience any pain or discomfort in
or after class.
Instead of the research assignment(written report, oral report, and ceramic piece
inspired by research) and one other assignment of your choosing, or instead
of taking the three quizzes, a student may elect to volunteer for a
non-profit arts organization for 20 hours during the semester. Possible
organizations include the Maui Arts and Cultural Center Exhibit Program
(helping with the installation of shows in the gallery), and the Hui No`eau
Service Learning is a learning
method that connects meaningful community service experiences with academic
learning, personal growth, and civic responsibility. It enhances what is taught by extending
students’ learning beyond the classroom and providing opportunities to acquire
skills and knowledge in real-life situations in the community.
Your instructor has already arranged
for certain non-profit agencies to participate with MCC and our class in
Service Learning. Students make their
own contacts with the volunteer coordinator or director at an agency of their
choice. Students arrange their own
schedules, keep a time log and have it signed by a supervisor, record their
experiences in a reflective journal, share their experiences with their
classmates, and submit a two-page paper at the end of the semester.
L. Extra Credit Opportunities
There are 3 quizzes. If a student wants to raise any quiz grade by a full grade point, they may take advantage of several extra credit opportunities.
There are three videos on ceramic artists on reserve in the library, for viewing in the library only. If any student views a video and hands in a one-paragraph summary or notes taken while viewing the video, they will raise one quiz grade by a full grade point.
There will be a free slide lecture by nationally acclaimed ceramic artist, Tom Kerrigan, on Thursday, September 19, at 7:00 pm, at the Hui No`eau Visual Arts Center near Makawao. Any student who attends will raise one quiz grade by a full grade point.
There will probably be some other opportunities
to earn extra credit by viewing art exhibitions and writing a 3-6 sentence response
to the exhibit. The instructor will
announce these opportunities as they arise.
M. Library Resources
There are two periodicals in our MCC library
devoted to ceramics: Ceramics Monthly
and Studio Potter. There are also
many books on ceramics with call numbers in the range of TT 900-950 and NK
3600-4500.
Three videos have been placed on reserve for your
use. They are:
Toshiko
Takaezu: Portrait of an Artist
Randy
Johnston: The Nourishable Accident
Betty
Woodman: Thinking Out Loud
Ceramics Studio Procedures
Use of Facilities
§
Only students currently registered in ceramics
may use facilities; children, family or friends are not allowed in the studio.
§
Excessive production of ceramic works will not be
allowed, and the interpretation of the word “excessive” is entirely at the
discretion of the instructor. The
instructor reserves the right to refuse to fire any work, either because it is
inappropriate for the college environment, because it is too large, or because
it poses a risk to other work or to the kilns or other equipment.
Music
§
Radios and other music may not be used during
class time, except by permission of the instructor.
Smoking
§
Smoking is not allowed in or near the studio.
Footwear
§
Footwear is mandatory at all times.
Work Space
§
Please make it your responsibility to help keep
the studio clean. Your contribution to
studio chores will figure in to the “attendance” portion of your grade. Work habits and effort are an important part
of the evaluation process of your grade.
If you come late, leave early, sit around the studio when kilns need to
be stacked, shelves need to be organized, etc., you
will be losing grade credit towards your final grade in the course. Helping in the studio is mandatory and is
part of the course.
Phones
§
Cell phones and beepers should be turned off
during class. Only in an emergency
should phone calls be made or received during class time.
Special Accommodation
§
Please talk to
me at any time (after class, before class, during office hours, or by
telephone) if you need special accommodation.
The College also has wonderful free counseling, tutoring, etc. that I
can connect you with.
My goal as your teacher is:
Note: Projects are graded when they are unloaded
from their final firing. If a piece is
damaged or broken before it can be completed, show the instructor what remains
of it, for partial credit.
1) Pinched piece (pot or sculpture) of your original
design, with particular attention given to three aspects: the overall form, the top or rim, and the
bottom or foot.
For the following
assignments, you may choose to work with coils, slabs, pinching, or wheel
thrown components (or a combination of methods). You must, however, make at least one piece
that is over 15” tall (when wet) in the coil method and at least one piece that
is over 15” tall (when wet) in the slab method, and
each piece must be constructed in more than one day. Since this is a hand building class, no piece
may be entirely wheel thrown to earn credit for a project, but may have wheel
thrown components, since the wheel can be a very fast and convenient way to
create shapes and ingredients.
2) Make a teapot or complex sculptural form, designing
it first by doing drawings in your notebook.
The drawings should be available for the instructor to view.
3) Make a three-tiered piece (sculptural or functional)
where each section has a different shape or form. You could design the piece as if it were
three very different elements stacked in an interesting and dynamic balance, or
you could go for a more organic flowing of related forms (like the way branches
grow from a tree trunk, or the way the neck and head of a bird emerge from its
body). Or you could make the piece look
like architecture, as if it were a building with three different sections or
levels.
4) Texture a slab or several slabs and use them to
build a piece where only some of the elements are textured (some elements are
smooth clay). The piece does not have to
be built entirely out of slabs, but could use coils, pinched, or thrown as
well.
5) Render in clay a sculpture that presents personal
elements of your own life.
6) Mix a colored slip.
7) Mix a glaze.
8) Research a style of ceramics or a ceramic
artist or a historical period, xerox or print out some images to show the
class, make a brief written report on your research, make an oral report to the
class, and make a ceramic piece inspired by the artist or period you
researched. You will find two
periodicals, Studio Potter and Ceramics Monthly in our MCC
library, as well as some good books. The
public libraries or the Internet are also sources.
9) Find an object, either from
nature or man-made, and use it as inspiration for a piece. Make sure you have the object or a photo of
it to present with your finished piece.
10) Hand build in any scale a
trophy / monument / tombstone / reliquary that pays homage to something that
normally would not receive commemorative attention, or to something or someone
you seriously want to commemorate. Write
a few sentences in your notebook about the ideas or feelings that go into the
piece. This piece can be very humorous
and playful and "light" or very serious and heartfelt.
11) Keep a class notebook with
glaze notes, lecture notes, and notes on research and projects.
12) It is required that you assist in the loading and firing (during class time) of at least one bisque and one glaze firing. You will also be required to participate in the regular maintenance of the kiln shelves (chiseling, grinding, and repairing kiln wash). If you choose to fire pieces in raku firings, you must assist in setting up and putting away the kiln, as well as cleaning up after each firing your work is included in.
13) Make a simple plaster press mold (1 piece mold) for a chopstick holder for the Class Act Restaurant run by the Culinary Arts Program at MCC, using the banana or banana leaf theme.
14) Make 10 clay chopstick holders for the Class Act, utilizing your plaster mold, and glaze them with forest green glaze.
15) Using a plaster mold made by your instructor, make four square condiment dishes for the Class Act, and glaze them with the forest green glaze.
16) Create a piece where there is an opening pierced all the way through the work, that is a main focal point in the design. This opening should become part of the exterior wall of the piece; that is, you should not be able to see inside the piece because the opening is completely walled off.
OPTIONAL
ASSIGNMENTS
1) Make a piece that appears
as if it were machine made, not hand-built.
2) Make a piece that looks
like it is made of a material (or object) other than clay.
3) Make six small studies
(maquettes) for sculptures, with each exploring one of the following styles:
a)
Realistic (looks like something we would
recognize)
b)
Organic (based on the form of a living plant or
animal)
c)
Geometric (based on geometric forms)
d)
Architectonic (like architecture or buildings)
e)
Abstract (not looking like anything we would
recognize)
f)
Expressionistic (expressive of emotions)
4) Research the fine art
painting of one of the following artists:
Matisse, Gauguin, van Gogh, Bonnard, Kandinsky, Klee, O’Keeffe, Miro,
Mondrian, Pollock, Rothko, Frank Stella, Lichtenstein, or de Kooning, and copy
the painting style of one of these artists on a piece made for this project.
5) Make a form that is constructed in piecework, expressionist fashion, like the work of Peter Voulkos.
NOTE: You may create your own
assignments or variations of these assignments as substitutions, as long as you
get prior approval of the instructor, before initiating the project. Likewise, you may substitute assignments from
the “optional” choices for certain required assignments, but only if you obtain
permission from the instructor in advance.