Project 4 Pouring Vessels
Art 2752
Throwing Skills and Concepts
Spring 2010
Many past cultures needed ceramic vessels to hold and serve liquids. In this assignment, your research and analysis of historic works will be the basis for your artistic response and creation of pouring vessels. You are not to re-create historical work, but by studying the rich history of forms, surfaces, and patterns, you are challenged to interpret them for your use today. h
Research: 6 photocopies. Use your notes from the slide presentation on historic pouring vessels. The internet may also be helpful to research ceramic history. Pick at least three differing cultures or movements that inspire you. Photocopy or print six pouring vessels (2 from each culture). In your sketchbook, note the period name, dates, location of the work and distinguishing characteristics of each culture.
Sketches: Create 10 sketches of pouring vessels inspired by your three differing cultures or movements. Consider what aspects of the work you will use in your own vessels. For instance, they might have sculptural spouts that you like or maybe you are attracted to the vessel’s simplicity. You will not be copying the historical vessels, but interpreting them through sketches. Remember to include detail sketches along with surface choices (i.e. color, texture, decoration.) This project requires many steps and decisions so start planning now. Look at the glaze and slip choices; make these decisions early to plan a unified piece.
While interpreting the vessels through sketching, consider and write out answers in your sketchbook to the following questions:
Describe your historic source. What were the conditions within your culture (religious, political, etc?) that influenced the design?
Describe the historic form. What liquid does it hold and pour? How does it use design elements?
What do you want to communicate to the user with your interpretation of this form?
How will your formal choices support your idea? E.g. weight, edge, foot, shape, handles.
What surface will you put on your pouring vessel? –How does this relate to your resource, and how are you using surface choices in your work?
How does your surface (use of color, value, reflectivity, and/or decoration) help organize the reading of the form? For instance, does emphasizing certain features help direct the eye to the spout?
How does your source work technically? Evaluate spout and handle placement. Would the pot be easy to pick up and pour?
Assignment:
6 Pouring Vessels
Of those 6, you must meet these requirements:
1 Teapot (with lid, handle and enclosed spout) large enough to hold three cups of liquid
2 Pouring Vessels large enough to hold four cups of liquid
At least 1 with an enclosed spout and at least 1 with an open spout
Handles and spouts must complement each other to make a cohesive vessel.Design pouring vessels that will use the information in the historic work as a basis for your ideas. Do not copy the historic pots, but rather take inspiration from them. You are to interpret the past through the preferences of a 21st-century person. You will be creating six interpretations of pouring vessels. My suggestion is to make two pouring vessels that are inspired by each of the cultures you researched.(3 cultures x 2 pots each= 6 pots)
Technical goals:
Attachments: Handle is well constructed and joined, and effective for lifting and pouring. Spout is constructed, attached, and placed to pour well.
Throwing skills: Consistent wall thickness creates an appropriate weight when filled with liquid.
Trimming: A well-treated foot supports form of the vessel. No heavy bottoms!
Glazing: Even glaze application creates a clean line of glaze at the foot. Color/surface supports form and concept.
Conceptual goals:
· Use of historic reference is evident.
· Personal design choices interpret the historic inspiration in a way that synthesizes the information and creates a contemporary, personal work of art.
· Choices in formal elements (e.g. scale, edge quality, form, foot treatment, proportion, surface, color…) work cohesively to support the overall concept.
· Placement of handle and spout on the body create a unified aesthetic whole.
Monday, March 15, 2010
Tuesday, February 23, 2010
Brushwork Video
Here's the link to the brushwork video Linda Mentioned in her demo on Tuesday.
Check it out!!
http://www.youtube.com/watch?v=aWkRJ-u9YEc
Check it out!!
http://www.youtube.com/watch?v=aWkRJ-u9YEc
Art 2752
Chris Pickett
Project 3—Containment: Lidded Vessels
Spring 2010
Containment is the theme of this project. You will have an opportunity to build on your technical throwing skills while developing personal concepts. You will use proportion, edge, scale, and surface to make personalized pots about life in the 21st century. You will design lidded pots for a particular use and concept that are descriptive of our time.To begin think about what you would like your pots to contain. You may choose tangible or intangible subject matter. You could design a pot for chocolate truffles or a pot for political power. Your concept should be embodied in your choice of surface, color, and form. Design and make six lidded vessels. The vessels must be different from each other but they may reflect the same concept.
Research:
Look in the library or on the Internet look for lidded vessels from contemporary and historical sources. Look for lidded vessels that reflect their use. Browse the aisle just behind the stairs on the 2nd floor where the NK3 books are located (this aisle is mostly all ceramics). Print out at least 3 examples of lidded vessels that you find relevant to your concept. Tape, staple, or glue the copies into your sketchbooks along with any information you find. Draw 10 sketches in your sketchbook and then choose six of them to create.
You will be sharing your concepts and sketches with your peers in class on Thursday, Feb 25. We will be having an in class discussion and brainstorming session. I expect you to use your sketchbook to work out forms, surfaces, and colors.
Answer the following questions in your sketchbook:
1. What will your lidded vessels contain? What is relevant to a 21st century person? What do you have passion about in your daily life? How is that different today than in the past (i.e., 1920)?
2. What do you want to communicate about your subject to the user?
3. How will your form choices support your idea? E.g. weight, edge, foot, shape, lugs, knob, flange
4. What kind of surface will your pot have? How will you organize the surface treatment and relate it to the form and the concept?
Reading: Chapter 6: The Discipline of Function, Specifically the section on Lids, (pps 84 – 92)
Technical goals:
Make effective functional lids.
Throwing: Consistent wall thickness with vertical form and well formed lips.
Trimming: Well treated feet that support the form of the vessel. No heavy bottoms!
Glazing: Even glaze application of appropriate thickness. Clean line from waxing the foot.
Conceptual goals:
Making appropriate, expressive choice to promote your personal ideas.
How will you express your concept through scale, edge quality, form, foot treatment, and proportion of rim to foot, surface, and color?
Calendar:
February 18: Introduce project 3, Lid Demo, Project 2 and 3 Work Day
February 20 (Sat): Leatherhard/bone dry cups due (Project 2) on class cart
February 23: Project 3 Sketches Due for In Class Discussion, Load Cups (Project 2) into Bisque Kiln, Project 3 Demos and Work Day
February 25: Unload Cups (Project 2), Glaze Project 2, Work on Project 3 (Lidded Vessels)
February 28 (Sat): Glazed Cups (Project 2) Due on Class Cart
March 2: Unload Glazed Cups, Introduce Project 4 (Pouring Vessels)
March 4: Cup Critique (Project 2), Sketches for Proj 4 Due
March 6: Project 3 (6 Lidded Vessels) due on Class Cart to dry.
March 8th-12th: Spring Break ** Have Fun!
March 16th: Work Day Project 3 (Glaze Lidded Vessels) and Project 4 (Make Pouring Vessels)
March 18th: Work Day Project 4
**Sat, Mar 20: Glazed Lidded Vessels (Proj 3) Due on Class Cart by 2pm
March 23rd: Critique Project 3 (Lidded Vessels
AFA Library Resources:
Books on reserve:
Make It In Clay, John Toki, TT 920.S687 2001
Functional Pottery, Robin Hopper, TT 920.H66 2000 106-114 “Lidded Forms;” pgs. 139-144 “Lids and Covers; Chapter 12 “Pots for Storage;” pp. 165-169. Chap. 16 “Considerations”
The Technique of Throwing, John Colbeck, 738.142 C684p
Pottery on the Wheel, Elsbeth Woody, TT 920.W661975
A Potter’s Workbook, Clary Illian, NK 4225.I45 1999
Chris Pickett
Project 3—Containment: Lidded Vessels
Spring 2010
Containment is the theme of this project. You will have an opportunity to build on your technical throwing skills while developing personal concepts. You will use proportion, edge, scale, and surface to make personalized pots about life in the 21st century. You will design lidded pots for a particular use and concept that are descriptive of our time.To begin think about what you would like your pots to contain. You may choose tangible or intangible subject matter. You could design a pot for chocolate truffles or a pot for political power. Your concept should be embodied in your choice of surface, color, and form. Design and make six lidded vessels. The vessels must be different from each other but they may reflect the same concept.
Research:
Look in the library or on the Internet look for lidded vessels from contemporary and historical sources. Look for lidded vessels that reflect their use. Browse the aisle just behind the stairs on the 2nd floor where the NK3 books are located (this aisle is mostly all ceramics). Print out at least 3 examples of lidded vessels that you find relevant to your concept. Tape, staple, or glue the copies into your sketchbooks along with any information you find. Draw 10 sketches in your sketchbook and then choose six of them to create.
You will be sharing your concepts and sketches with your peers in class on Thursday, Feb 25. We will be having an in class discussion and brainstorming session. I expect you to use your sketchbook to work out forms, surfaces, and colors.
Answer the following questions in your sketchbook:
1. What will your lidded vessels contain? What is relevant to a 21st century person? What do you have passion about in your daily life? How is that different today than in the past (i.e., 1920)?
2. What do you want to communicate about your subject to the user?
3. How will your form choices support your idea? E.g. weight, edge, foot, shape, lugs, knob, flange
4. What kind of surface will your pot have? How will you organize the surface treatment and relate it to the form and the concept?
Reading: Chapter 6: The Discipline of Function, Specifically the section on Lids, (pps 84 – 92)
Technical goals:
Make effective functional lids.
Throwing: Consistent wall thickness with vertical form and well formed lips.
Trimming: Well treated feet that support the form of the vessel. No heavy bottoms!
Glazing: Even glaze application of appropriate thickness. Clean line from waxing the foot.
Conceptual goals:
Making appropriate, expressive choice to promote your personal ideas.
How will you express your concept through scale, edge quality, form, foot treatment, and proportion of rim to foot, surface, and color?
Calendar:
February 18: Introduce project 3, Lid Demo, Project 2 and 3 Work Day
February 20 (Sat): Leatherhard/bone dry cups due (Project 2) on class cart
February 23: Project 3 Sketches Due for In Class Discussion, Load Cups (Project 2) into Bisque Kiln, Project 3 Demos and Work Day
February 25: Unload Cups (Project 2), Glaze Project 2, Work on Project 3 (Lidded Vessels)
February 28 (Sat): Glazed Cups (Project 2) Due on Class Cart
March 2: Unload Glazed Cups, Introduce Project 4 (Pouring Vessels)
March 4: Cup Critique (Project 2), Sketches for Proj 4 Due
March 6: Project 3 (6 Lidded Vessels) due on Class Cart to dry.
March 8th-12th: Spring Break ** Have Fun!
March 16th: Work Day Project 3 (Glaze Lidded Vessels) and Project 4 (Make Pouring Vessels)
March 18th: Work Day Project 4
**Sat, Mar 20: Glazed Lidded Vessels (Proj 3) Due on Class Cart by 2pm
March 23rd: Critique Project 3 (Lidded Vessels
AFA Library Resources:
Books on reserve:
Make It In Clay, John Toki, TT 920.S687 2001
Functional Pottery, Robin Hopper, TT 920.H66 2000 106-114 “Lidded Forms;” pgs. 139-144 “Lids and Covers; Chapter 12 “Pots for Storage;” pp. 165-169. Chap. 16 “Considerations”
The Technique of Throwing, John Colbeck, 738.142 C684p
Pottery on the Wheel, Elsbeth Woody, TT 920.W661975
A Potter’s Workbook, Clary Illian, NK 4225.I45 1999
Wednesday, February 10, 2010
Project 2– Narrative Cups
Spring 2008
Cups are some of the earliest vessels we encounter in our lives. Their scale is intimate and approachable. Raising a cup to your mouth engages your sense of sight, touch, taste and sometimes smell. The act of drinking makes cups a forum for the maker to communicate with the user. This assignment is about using cups to tell a personally relevant narrative.
Narration is the telling of a story using a sequence of events, images or visual elements. You can use personally nostalgic imagery to show your narrative (i.e. family members in different rooms of a house) or you can depict a historic event (i.e. 9/11). You should use the surface techniques that you learned in project one (Mishima, trailing, sgraffito, and paper stenciling). You may also use glaze application techniques that were shown in the slide presentation.
Read: The Basics of Throwing p 75, 77-83 on mugs and handles and Chapter 4:
Technical Vocabulary and Visual Vocabulary: The Inseparable Language of Design
(pp 48 -61)
Research: Browse the aisle just behind the stairs on the 2nd floor where the NK3. books are located. Look for 500 Cups, Lark Books , The Art of Contemporary American Pottery Kevin Hluch, and others.
Also, if you go to the library homepage on the Internet, then the Art & Architecture homepage, then the Camio database and do a ceramic cup search, you’ll recover some nice images of historical cups. Do not forget the cups in your own daily life, travel mug, paper cup, or juice glass. Photocopy or print out at least 3 examples of cups that you are interested in. Tape, staple, or glue the copies into your sketchbooks along with the information of where they came from the research and sketches are due on Monday February 9 during class. Remember to plan what kind of narrative you will be telling and include sketches. Do at least 8 sketches in your sketchbook of cup ideas. You may do multiple sketches on one page, but give yourself enough room to work. In the sketch book or on a separate paper answer:
1. What do you want to communicate to the user? Is your story sequential?(see jane run to the store, see jane buy a soda, etc.) Or a collage of information? (Jane is an American, who lives in Harlem, who works at the New York times, etc.)
2. How will you form choices that support your idea? E.g. weight, edge, foot, shape, handle.
3. What information do you want to put on the surface of your cup?
4. How will you organize the surface information and relate it to form? If you were telling a fairy tale or a soap opera what kind of form would fit. Think about color, space, form, etc.
5. Do you have a favorite mug or cup why? Describe it?
Your assignment:
You will make 20 cups.
Ten cups are for you to experiment with form, surface, handle placement, and style. I expect them to all be different. From these diverse forms, you will chose one form that you will repeat 10 more times. On these 10 similar cups, you will explore your narrative.
At least 10 of the overall 20 will have pulled or hand-built handles. I am offering you flexibility in this project so take advantage and be creative.
Technical Goals:
• Throwing: I want to see even wall thickness, effective foot trimming, and appropriate weight for vessels which will hold liquids.
• Decoration: Use the techniques of slip decoration that we have discussed, include brushing, mishima, trailing, sgraffito, and stenciling.
• Glazing: I want to see even glaze application of the appropriate thickness and a clean line from waxing of foot.
• Functional goals: Forms should be appropriate to your chosen use.
• Attachments: I will be looking for appropriate decisions in placement, clean attachments to vessel, skill in assembling pieces, and handles relating to the form and function of the cup.
Aesthetic goals: You are to make expressive choices to promote your personal ideas. Your approach to the narrative should be expressed through scale, edge quality, form, foot treatment, proportions, surface, handles, and color.
Calendar:
Feb2: Introduce project 2, , Glaze demo, Glazing and cup making work day
Feb 4: Cup and handle demo, Glazing work day
*Glazed Bowls (Project 1) due on cart
Feb 9th: Unload Glaze Kiln (Project 1), Scrape Shelves. Sketches due Project 2
Feb 11th: Critique Project 1 **Participation Required, Return Sketchbooks
Feb 16: Project 2 Work Day
Feb 18 Introduce project 3, Work Day, Project 2 on Class Cart Friday, Feb 20 by 5pm to dry
Feb 23 Kiln Loading Demo, Load Project 2 Bisque Kiln, Sketches due Project 3
Feb 25 Kiln Unload Demo, Unload Bisque Kiln Glaze project 2 Project 2 Glazed Work due on Class Cart Feb 28 2:00 pm
March Hand in sketches for project 3
March 4 Critique Project 2 Return Project 3 sketches
Evaluation: Your grade will be determined using the following categories:
Research 10 %
Required number of sketches
Clear statement of function and narrative in the cups
Development of design decisions that support function and concept
Technical concerns 45%
Functional concerns
Weight Distribution and Even wall thickness
Well-trimmed foot
Surface Decoration
Glaze application
Handles
Form
Aesthetic concerns 45%
Exploring ideas about function
Clear and consistent expression of formal elements (edge, line, color, scale, proportion) within each cup
Clearly communicated narrative
Spring 2008
Cups are some of the earliest vessels we encounter in our lives. Their scale is intimate and approachable. Raising a cup to your mouth engages your sense of sight, touch, taste and sometimes smell. The act of drinking makes cups a forum for the maker to communicate with the user. This assignment is about using cups to tell a personally relevant narrative.
Narration is the telling of a story using a sequence of events, images or visual elements. You can use personally nostalgic imagery to show your narrative (i.e. family members in different rooms of a house) or you can depict a historic event (i.e. 9/11). You should use the surface techniques that you learned in project one (Mishima, trailing, sgraffito, and paper stenciling). You may also use glaze application techniques that were shown in the slide presentation.
Read: The Basics of Throwing p 75, 77-83 on mugs and handles and Chapter 4:
Technical Vocabulary and Visual Vocabulary: The Inseparable Language of Design
(pp 48 -61)
Research: Browse the aisle just behind the stairs on the 2nd floor where the NK3. books are located. Look for 500 Cups, Lark Books , The Art of Contemporary American Pottery Kevin Hluch, and others.
Also, if you go to the library homepage on the Internet, then the Art & Architecture homepage, then the Camio database and do a ceramic cup search, you’ll recover some nice images of historical cups. Do not forget the cups in your own daily life, travel mug, paper cup, or juice glass. Photocopy or print out at least 3 examples of cups that you are interested in. Tape, staple, or glue the copies into your sketchbooks along with the information of where they came from the research and sketches are due on Monday February 9 during class. Remember to plan what kind of narrative you will be telling and include sketches. Do at least 8 sketches in your sketchbook of cup ideas. You may do multiple sketches on one page, but give yourself enough room to work. In the sketch book or on a separate paper answer:
1. What do you want to communicate to the user? Is your story sequential?(see jane run to the store, see jane buy a soda, etc.) Or a collage of information? (Jane is an American, who lives in Harlem, who works at the New York times, etc.)
2. How will you form choices that support your idea? E.g. weight, edge, foot, shape, handle.
3. What information do you want to put on the surface of your cup?
4. How will you organize the surface information and relate it to form? If you were telling a fairy tale or a soap opera what kind of form would fit. Think about color, space, form, etc.
5. Do you have a favorite mug or cup why? Describe it?
Your assignment:
You will make 20 cups.
Ten cups are for you to experiment with form, surface, handle placement, and style. I expect them to all be different. From these diverse forms, you will chose one form that you will repeat 10 more times. On these 10 similar cups, you will explore your narrative.
At least 10 of the overall 20 will have pulled or hand-built handles. I am offering you flexibility in this project so take advantage and be creative.
Technical Goals:
• Throwing: I want to see even wall thickness, effective foot trimming, and appropriate weight for vessels which will hold liquids.
• Decoration: Use the techniques of slip decoration that we have discussed, include brushing, mishima, trailing, sgraffito, and stenciling.
• Glazing: I want to see even glaze application of the appropriate thickness and a clean line from waxing of foot.
• Functional goals: Forms should be appropriate to your chosen use.
• Attachments: I will be looking for appropriate decisions in placement, clean attachments to vessel, skill in assembling pieces, and handles relating to the form and function of the cup.
Aesthetic goals: You are to make expressive choices to promote your personal ideas. Your approach to the narrative should be expressed through scale, edge quality, form, foot treatment, proportions, surface, handles, and color.
Calendar:
Feb2: Introduce project 2, , Glaze demo, Glazing and cup making work day
Feb 4: Cup and handle demo, Glazing work day
*Glazed Bowls (Project 1) due on cart
Feb 9th: Unload Glaze Kiln (Project 1), Scrape Shelves. Sketches due Project 2
Feb 11th: Critique Project 1 **Participation Required, Return Sketchbooks
Feb 16: Project 2 Work Day
Feb 18 Introduce project 3, Work Day, Project 2 on Class Cart Friday, Feb 20 by 5pm to dry
Feb 23 Kiln Loading Demo, Load Project 2 Bisque Kiln, Sketches due Project 3
Feb 25 Kiln Unload Demo, Unload Bisque Kiln Glaze project 2 Project 2 Glazed Work due on Class Cart Feb 28 2:00 pm
March Hand in sketches for project 3
March 4 Critique Project 2 Return Project 3 sketches
Evaluation: Your grade will be determined using the following categories:
Research 10 %
Required number of sketches
Clear statement of function and narrative in the cups
Development of design decisions that support function and concept
Technical concerns 45%
Functional concerns
Weight Distribution and Even wall thickness
Well-trimmed foot
Surface Decoration
Glaze application
Handles
Form
Aesthetic concerns 45%
Exploring ideas about function
Clear and consistent expression of formal elements (edge, line, color, scale, proportion) within each cup
Clearly communicated narrative
Tuesday, January 12, 2010
Project 1: BOWLS
ART 2752
Chris Pickett
Project 1 – Bowls
Spring 2010
This project introduces throwing skills. You will choose a specific use and a particular attitude, or concept for your bowls. Your design decisions about proportion, edge, beginning, termination, scale, and surface will be expressive elements in making personalized bowls that are effective for your chosen function. For example, bowls for a hot comfort food, like chili, are intended to be comfortable and casual. They may look different than bowls that are meant to showcase expensive, highly visual finger foods like chocolate truffles.
Reading: Page 65 – 73: Open Forms
Research: You should browse the aisle just behind the stairs on the second floor where the NK3. Books are located (this aisle is mostly all ceramics). In addition, if you go to the library’s homepage on the Internet, click Art & Architecture homepage, then click the Camio database and do a ceramic bowls search. You will recover images of historical bowls. Keep in mind during your searches that our bowls will be low-fire, slip-decorated works with red clay. Photocopy or print out at least three examples of bowls that you would like to study further. Tape, staple, or glue the copies into your sketchbooks along with the information of where they came from.
Do at least eight sketches by January 19th in your sketchbook of potential bowl ideas. We will look at and discuss your sketches in class. You may do multiple sketches on one page, but give yourself enough room to work. Applying color to your sketches and considering surface treatment is strongly encouraged.
Consider the following and note your answers in your sketchbook.
1. What kind of attitude or feeling do you want your bowls to have? How will you use the foot, rim, and curve to establish your idea? For example, a bowl that expresses hearty, comforting sentiments would look different from one that conveys a pristine elegance.
2. What is the function of your bowl, and what considerations are necessary in the form for this? E.g. size, shape of curve (offering, enclosing/containing), etc.? Mixing bowls meant to contain liquid contents during stirring have a different shape than serving bowls that are meant to invite the hand to select something from the bowl.
Your assignment: Make 10 bowls. You may make all 10 about the same function and attitude, or choose two functions and attitudes. The bowls are not meant to be identical, but rather are research about the ideas you choose. Bowls must be at least fist-sized.
The bowls must be slip decorated. Use at least three different slip techniques for leather-hard application: brushing, stencil, mishima, sgraffito, marbling, or trailing. We will talk about these techniques in class January 14.
Technical goals:
--Throwing: Smooth continuous curves from the center to
the rim with even wall thickness.
--Trimming: Effective foot trimming that results in even
walls.
--Slip decoration: Develop techniques of slip decoration that
include brushing, mishima, trailing, sgraffito,
--Glazing: Even glaze application of appropriate thickness
and clean line from waxing of the foot.
Aesthetic goal: The goal is to make appropriate, expressive choices to promote your personal ideas. Your ideas can be expressed through scale, edge quality, form, foot treatment, proportion of bowl to foot, surface, and color.
Calendar:
Jan 12: Introduction of Project 1 Examples of Bowls, Throwing demo.
Jan 14: Trimming demo and Slip/ surface decorating demo. Practice day w/ one-on-one help
Jan 19: Sketchbooks and research due, Practice day w/ one on one help.
Chris Pickett
Project 1 – Bowls
Spring 2010
This project introduces throwing skills. You will choose a specific use and a particular attitude, or concept for your bowls. Your design decisions about proportion, edge, beginning, termination, scale, and surface will be expressive elements in making personalized bowls that are effective for your chosen function. For example, bowls for a hot comfort food, like chili, are intended to be comfortable and casual. They may look different than bowls that are meant to showcase expensive, highly visual finger foods like chocolate truffles.
Reading: Page 65 – 73: Open Forms
Research: You should browse the aisle just behind the stairs on the second floor where the NK3. Books are located (this aisle is mostly all ceramics). In addition, if you go to the library’s homepage on the Internet, click Art & Architecture homepage, then click the Camio database and do a ceramic bowls search. You will recover images of historical bowls. Keep in mind during your searches that our bowls will be low-fire, slip-decorated works with red clay. Photocopy or print out at least three examples of bowls that you would like to study further. Tape, staple, or glue the copies into your sketchbooks along with the information of where they came from.
Do at least eight sketches by January 19th in your sketchbook of potential bowl ideas. We will look at and discuss your sketches in class. You may do multiple sketches on one page, but give yourself enough room to work. Applying color to your sketches and considering surface treatment is strongly encouraged.
Consider the following and note your answers in your sketchbook.
1. What kind of attitude or feeling do you want your bowls to have? How will you use the foot, rim, and curve to establish your idea? For example, a bowl that expresses hearty, comforting sentiments would look different from one that conveys a pristine elegance.
2. What is the function of your bowl, and what considerations are necessary in the form for this? E.g. size, shape of curve (offering, enclosing/containing), etc.? Mixing bowls meant to contain liquid contents during stirring have a different shape than serving bowls that are meant to invite the hand to select something from the bowl.
Your assignment: Make 10 bowls. You may make all 10 about the same function and attitude, or choose two functions and attitudes. The bowls are not meant to be identical, but rather are research about the ideas you choose. Bowls must be at least fist-sized.
The bowls must be slip decorated. Use at least three different slip techniques for leather-hard application: brushing, stencil, mishima, sgraffito, marbling, or trailing. We will talk about these techniques in class January 14.
Technical goals:
--Throwing: Smooth continuous curves from the center to
the rim with even wall thickness.
--Trimming: Effective foot trimming that results in even
walls.
--Slip decoration: Develop techniques of slip decoration that
include brushing, mishima, trailing, sgraffito,
--Glazing: Even glaze application of appropriate thickness
and clean line from waxing of the foot.
Aesthetic goal: The goal is to make appropriate, expressive choices to promote your personal ideas. Your ideas can be expressed through scale, edge quality, form, foot treatment, proportion of bowl to foot, surface, and color.
Calendar:
Jan 12: Introduction of Project 1 Examples of Bowls, Throwing demo.
Jan 14: Trimming demo and Slip/ surface decorating demo. Practice day w/ one-on-one help
Jan 19: Sketchbooks and research due, Practice day w/ one on one help.
Jan 21: Workday (valuable time to practice, produce and ask questions).
Jan 26: Workday (valuable time to practice, produce and ask questions) Bowls on shelf in kiln room on Friday Jan 30.
Jan 28: Kathryn Finnerty Workshop and workday if time allows.
Jan 26: Workday (valuable time to practice, produce and ask questions) Bowls on shelf in kiln room on Friday Jan 30.
Jan 28: Kathryn Finnerty Workshop and workday if time allows.
Saturday, Jan 30 – Mon Feb 1: Firing Kiln
Feb 2: Kiln Unloading Loading. Glaze Demo. Wax Resist and Masking Techniques. Work Day. Glaze Proj 1
Feb 4: Glazing workday and Kiln Loading Demo. Glazed bowls due on rack or in kiln by the end of class.
AFA Library Resources:
Books to look at:
In Functional Pottery, consider Robin Hopper's information on p. 20, Eating; on p.35, Feet; ch. 10, Pots for Eating From pp. 154-158. Also, read ch. 16 183-184 on Considerations, and pp 133-137 on Base Terminations.
Make It in Clay, John Toki, TT 920.S687 2001Functional Pottery, Robin Hopper, TT 920.H66 2000
The Technique of Throwing, John Colbeck, 738.142 C684p Pottery on the Wheel, Elsbeth Woody, TT 920.W661975 A Potter’s Workbook, Clary Illian, NK 4225.I45 1999
Middle Eastern bowlVideos: May be viewed in the library or checked out by students for 3-day loan:
Craft of the Potter, Throwing. Michael Casson. #2 of the series TT920 .C731 1983 #2
Making Pots on the Wheel: Video 2: Throwing and Tooling Bowls and Plates by Tom Rossi, in cooperation
with Jerry Horning and Tom Langdon. TT920 .R671 1993 video 2
Beginning to Throw on the Potters’ Wheel, Robin Hopper. TT920 .H661 1995
Web sites:
Try your own gallery search for contemporary pottery. Akar Design: www.akardesign.com
Evaluation: Your grade will be determined using the following categories:
Research 10 %
Required number of sketches
Clear statement of function and content in the bowls
Development of design decisions that support function and concept
Technical concerns 45%
Even wall thickness
Curve is smooth and continuous
Well-trimmed foot
Form supports the function technically
Good craftsmanship in glazing
Required slip techniques evident in bowls
Aesthetic concerns 45%
Design decisions in form support concept (bowl shape, choice of footing, edge, proportion, et al.)
Surface (slip and glaze) supports concept
Feb 2: Kiln Unloading Loading. Glaze Demo. Wax Resist and Masking Techniques. Work Day. Glaze Proj 1
Feb 4: Glazing workday and Kiln Loading Demo. Glazed bowls due on rack or in kiln by the end of class.
AFA Library Resources:
Books to look at:
In Functional Pottery, consider Robin Hopper's information on p. 20, Eating; on p.35, Feet; ch. 10, Pots for Eating From pp. 154-158. Also, read ch. 16 183-184 on Considerations, and pp 133-137 on Base Terminations.
Make It in Clay, John Toki, TT 920.S687 2001Functional Pottery, Robin Hopper, TT 920.H66 2000
The Technique of Throwing, John Colbeck, 738.142 C684p Pottery on the Wheel, Elsbeth Woody, TT 920.W661975 A Potter’s Workbook, Clary Illian, NK 4225.I45 1999
Middle Eastern bowlVideos: May be viewed in the library or checked out by students for 3-day loan:
Craft of the Potter, Throwing. Michael Casson. #2 of the series TT920 .C731 1983 #2
Making Pots on the Wheel: Video 2: Throwing and Tooling Bowls and Plates by Tom Rossi, in cooperation
with Jerry Horning and Tom Langdon. TT920 .R671 1993 video 2
Beginning to Throw on the Potters’ Wheel, Robin Hopper. TT920 .H661 1995
Web sites:
Try your own gallery search for contemporary pottery. Akar Design: www.akardesign.com
Evaluation: Your grade will be determined using the following categories:
Research 10 %
Required number of sketches
Clear statement of function and content in the bowls
Development of design decisions that support function and concept
Technical concerns 45%
Even wall thickness
Curve is smooth and continuous
Well-trimmed foot
Form supports the function technically
Good craftsmanship in glazing
Required slip techniques evident in bowls
Aesthetic concerns 45%
Design decisions in form support concept (bowl shape, choice of footing, edge, proportion, et al.)
Surface (slip and glaze) supports concept
If anyone is having problems posting coments
You can email me your response to the weekend assignment if you are having problems posting to the blog. See you in class.
Sunday, January 10, 2010
Cylinder exercise
For the cylinder exercise due on Tuesday, you may use up to 2 1/2 lbs of clay to make your six inch cylinders. Don't forget to cover your work so it doesn't dry out.
Thursday, January 7, 2010
For Tuesday Jan 12th
By Tuesday February 12th you should have three 6 inch cylinders completed (I will check these off at the beginning of class). In addition to practicing wedging, centering and throwing your cylinders, your assignment over the weekend is to consider your relationship to the food/drink containers you use and write no less than ten sentences about these containers. Consider the following: How well does the containers you use contain the foods or drinks you eat or drink? Does the container keep the food or drink at the appropriate temperature? What is the material of the container plastic, Styrofoam, ceramic, etc. H0w does the container enhance or detract from your eating or drinking experience? Is there a specific purpose for the container? Will you save it, recycle it or throw it away?
Please post your response in the comments section of this post.
Please post your response in the comments section of this post.
Tuesday, January 5, 2010
For Thursday's Class...
you need to have:
- Joined the blog
- Purchased clay tickets ready to turn in
- Tools, bucket, towel/apron
- Appropriate studio attire
Friday, January 1, 2010
Syllabus
Art 2752 Throwing: Skills and Concepts
Instructor: Chris Pickett
Class Time: Tuesday & Thursday, Period 8 – 10, 3pm – 6pm, Office Hours (FAC B12) Thursday 2-3; or by appointment
Contact: cpickettt@hotmail.com
Instructor: Chris Pickett
Class Time: Tuesday & Thursday, Period 8 – 10, 3pm – 6pm, Office Hours (FAC B12) Thursday 2-3; or by appointment
Contact: cpickettt@hotmail.com
Course Description:
Throwing: Skills and Concepts is an introduction to wheel throwing, pottery form, functional design and aesthetics. Students are challenged to use personal content to make aesthetic judgments in developing functional pottery.
Throwing: Skills and Concepts is an introduction to wheel throwing, pottery form, functional design and aesthetics. Students are challenged to use personal content to make aesthetic judgments in developing functional pottery.
Course objectives:
After completing the course, students will be able to:
• Use the potters wheel to create shapes
• Design and make functional pottery using wheel-thrown forms, including considerations for form as well as surface. This includes the use of slips and glazes
• Load and fire electric kilns
• Evaluate pottery in the areas of form, surface, function, and artistic content
• Use functional pottery as a vehicle for aesthetic expression
• Be familiar with time periods and cultures in ceramic history that used the wheel to create functional ceramic art
After completing the course, students will be able to:
• Use the potters wheel to create shapes
• Design and make functional pottery using wheel-thrown forms, including considerations for form as well as surface. This includes the use of slips and glazes
• Load and fire electric kilns
• Evaluate pottery in the areas of form, surface, function, and artistic content
• Use functional pottery as a vehicle for aesthetic expression
• Be familiar with time periods and cultures in ceramic history that used the wheel to create functional ceramic art
Methods of instruction:
Five projects will increase your skill in using the potter’s wheel to make functional art. Each project will include readings, research, and sketches that help you to develop pottery forms. Students will work in groups to fire kilns. In group critiques, you will discuss and evaluate the concepts, methods, and craftsmanship of each project. Your goal is to learn to talk about art work, and consider the strengths and weakness of the works produced. Students will be tested on materials, vocabulary, and ceramic history.
Five projects will increase your skill in using the potter’s wheel to make functional art. Each project will include readings, research, and sketches that help you to develop pottery forms. Students will work in groups to fire kilns. In group critiques, you will discuss and evaluate the concepts, methods, and craftsmanship of each project. Your goal is to learn to talk about art work, and consider the strengths and weakness of the works produced. Students will be tested on materials, vocabulary, and ceramic history.
Course Requirements:
Final Grades are based on a 100-percentile scale. Grades are based on:
Final Grades are based on a 100-percentile scale. Grades are based on:
75% Five studio projects -Each project includes readings, research, and sketches
15% Tests on materials, vocabulary, process, and ceramic art history
10% Participation in class discussions, presentation of discussion material, loading and firing kilns, communal attitude toward studio
15% Tests on materials, vocabulary, process, and ceramic art history
10% Participation in class discussions, presentation of discussion material, loading and firing kilns, communal attitude toward studio
Materials and supplies:
Students will need to purchase the following:
Sketchbook
Small bucket, Pin/needle tool, flexible metal and/or rubber rib, fettling knife, cut- wire, and sponge.
Trim tools: Pear-shaped, square-edged and round trim tools will be needed.
Bat Pins: 1/4” socket head cap screws with 3/8” head
Brushes for slip, glazing, and wax resist. They do not need to be expensive but several sizes and shapes of soft bristle brushes would be helpful.
Shop towel and apron
Plastic to cover work. Clear plastic painter’s drop cloth is a great source of plastic.
Bulb syringe or squirt bottles. Both infant enema and Miss Clairol bottles from the beauty supply will work well.
EXACTO knife
Clay: Students purchase red earthenware at the cost of $ 9.25 per 25-pound bag. Students will buy clay tickets for $9.25 each at the bookstore. The ticket is filled in and is submitted to your instructor to pick up the purchased clay in the Ceramics department. Please plan so you have clay and are prepared to work in class. Clay will be available during class and during posted hours.
Materials Lab fee: $35. Lab fee covers the cost of consumables, such as wax resist, cones for firing, kiln wash, glaze, and other items needed for student use. Pay $35.00 for ONE lab fee ticket at the bookstore, fill the ticket in, and present to your instructor.
Students will need to purchase the following:
Sketchbook
Small bucket, Pin/needle tool, flexible metal and/or rubber rib, fettling knife, cut- wire, and sponge.
Trim tools: Pear-shaped, square-edged and round trim tools will be needed.
Bat Pins: 1/4” socket head cap screws with 3/8” head
Brushes for slip, glazing, and wax resist. They do not need to be expensive but several sizes and shapes of soft bristle brushes would be helpful.
Shop towel and apron
Plastic to cover work. Clear plastic painter’s drop cloth is a great source of plastic.
Bulb syringe or squirt bottles. Both infant enema and Miss Clairol bottles from the beauty supply will work well.
EXACTO knife
Clay: Students purchase red earthenware at the cost of $ 9.25 per 25-pound bag. Students will buy clay tickets for $9.25 each at the bookstore. The ticket is filled in and is submitted to your instructor to pick up the purchased clay in the Ceramics department. Please plan so you have clay and are prepared to work in class. Clay will be available during class and during posted hours.
Materials Lab fee: $35. Lab fee covers the cost of consumables, such as wax resist, cones for firing, kiln wash, glaze, and other items needed for student use. Pay $35.00 for ONE lab fee ticket at the bookstore, fill the ticket in, and present to your instructor.
Required Text: The Basics of Throwing, a Practical Approach to Form and Design by David Cohen
Firing: We will be oxidation-firing using electric kilns. You are required to help load, fire, and unload work as part of the participation grade.
Please read Welcome to UF Ceramics, online at:http://lindaarbuckle.com/uf_ceramics/welcome_to_uf_ceramics.pdf
This covers studio procedures and policies. A copy is also posted in the classroom.
Please read the class blog online at http://throwingskills.blogspot.com/.
All project assignments will be posted to the blog.
Attendance Policy:
The ceramic process requires time and dedication. On your third unexcused absence, your grade will be lowered by one letter. On your fourth, your grade will be lowered an additional letter grade. If you have five unexcused absences, you automatically fail the class. Three tardies will count as one absence. Being tardy occurs when a student arrives more than 15 minutes late or leaves more than 15 minutes early.
In general, acceptable reasons for absence include illness, serious family emergencies, military obligation, severe weather conditions, religious holidays, jury duty, extra curricular requirements (e.g. field trips or professional conferences), and participation in official university activities such as music performances, athletic competition, or debate. For your absence to be excused for the following reasons you must present me with documentation the day your return to class. See http://www.registrar.ufl.edu/catalog/policies/regulationattendance.html for more detail.
Students who miss work deadlines with excused absence are responsible for submitting the work due to me before the beginning of the next class meeting to avoid being considered late. If an excused absence has affected the student’s ability to work, the student is responsible for discussing this with me before the due date. Unexcused absences will not suspend due dates.
Ceramic work is fragile. Studio accidents or kiln issues may cause work to break. While all due care will be exercised, I must have finished work to assign a grade for a project. Work that blows up or is broken before completion will require re-making for grading. If your work is destroyed in progress, please show this to me and we will discuss what must be done to achieve a finished project for grading. In the case of involved projects where the loss is not the student’s fault, abridged project parameters may be negotiated and due dates adjusted.
Firing: We will be oxidation-firing using electric kilns. You are required to help load, fire, and unload work as part of the participation grade.
Please read Welcome to UF Ceramics, online at:http://lindaarbuckle.com/uf_ceramics/welcome_to_uf_ceramics.pdf
This covers studio procedures and policies. A copy is also posted in the classroom.
Please read the class blog online at http://throwingskills.blogspot.com/.
All project assignments will be posted to the blog.
Attendance Policy:
The ceramic process requires time and dedication. On your third unexcused absence, your grade will be lowered by one letter. On your fourth, your grade will be lowered an additional letter grade. If you have five unexcused absences, you automatically fail the class. Three tardies will count as one absence. Being tardy occurs when a student arrives more than 15 minutes late or leaves more than 15 minutes early.
In general, acceptable reasons for absence include illness, serious family emergencies, military obligation, severe weather conditions, religious holidays, jury duty, extra curricular requirements (e.g. field trips or professional conferences), and participation in official university activities such as music performances, athletic competition, or debate. For your absence to be excused for the following reasons you must present me with documentation the day your return to class. See http://www.registrar.ufl.edu/catalog/policies/regulationattendance.html for more detail.
Students who miss work deadlines with excused absence are responsible for submitting the work due to me before the beginning of the next class meeting to avoid being considered late. If an excused absence has affected the student’s ability to work, the student is responsible for discussing this with me before the due date. Unexcused absences will not suspend due dates.
Ceramic work is fragile. Studio accidents or kiln issues may cause work to break. While all due care will be exercised, I must have finished work to assign a grade for a project. Work that blows up or is broken before completion will require re-making for grading. If your work is destroyed in progress, please show this to me and we will discuss what must be done to achieve a finished project for grading. In the case of involved projects where the loss is not the student’s fault, abridged project parameters may be negotiated and due dates adjusted.
It is part of the assignment to do assigned readings and preparation for the projects. Students are expected to do the readings assigned on the project sheets by the next class meeting from the calendar date assigned, and be prepared to discuss the material. Fulfilling assignments includes research sketches, following the project criteria, presenting the work on the assigned dates, and participating in group critiques and discussions.
Sketchbooks are a necessary tool for artists. Regular use throughout the semester is part of developing ideas. Additionally, a sketchbook may function as an archive for your ideas and a record of thoughts and work produced. It takes regular exercise in using a sketchbook to help you grow as an artist.
Clay is a wonderful material and will do many things, but it cannot be rushed or neglected without consequences. It takes regular practice and attention to develop skills and firing techniques. This will take studio time outside of scheduled class hours. You must make MORE than the required number of works to achieve the appropriate number of successful finished pieces.
Clean up of workspace is required. Please have a proprietary attitude about the shop, and leave it clean, regardless of the condition you find it. This includes cleaning up wheels, table space, sink, and floor, as well as glaze room areas and kiln unloading cleanup. Working in built-up clay dust is a health hazard. We all work on this together, and the added effort and team spirit contributes greatly to the safe, effective, and enjoyable use of the area by a large number of people. Please read and observe shop procedures and rules. If in doubt, please ask me, Linda Arbuckle, Nan Smith, Ray Gonzalez (Ceramics Teaching and Technical Assistant), or any of the very able graduate students in Ceramics. We appreciate your co-operation. Please remove all work and personal equipment from classrooms at the end of the semester. Anything left in the classrooms is considered abandoned and will be discarded.
Academic Honesty policy:
If you are unfamiliar with UF’s Academic Honesty Policy, please refer to the University website http://www.dso.ufl.edu/judicial/honestybrochure.htm. This defines an academic honesty offense as “the act of lying, cheating, or stealing academic information so that one gains academic advantage.” Projects made for this class may NOT be submitted to any other class for credit unless both faculty have given prior approval. Failure to follow this rule will be considered academic dishonesty.
If you are unfamiliar with UF’s Academic Honesty Policy, please refer to the University website http://www.dso.ufl.edu/judicial/honestybrochure.htm. This defines an academic honesty offense as “the act of lying, cheating, or stealing academic information so that one gains academic advantage.” Projects made for this class may NOT be submitted to any other class for credit unless both faculty have given prior approval. Failure to follow this rule will be considered academic dishonesty.
Accommodations:
Students requesting classroom accommodation must first register with the Dean of Students Office. The Dean of Students Office will provide documentation to the student who must then provide this documentation to me when requesting accommodation.
Dean of Students Office Phone: 392-1261 http://www.dso.ufl.edu/drp
Students requesting classroom accommodation must first register with the Dean of Students Office. The Dean of Students Office will provide documentation to the student who must then provide this documentation to me when requesting accommodation.
Dean of Students Office Phone: 392-1261 http://www.dso.ufl.edu/drp
Counseling Services:
The Counseling Center provides counseling and consultation services to currently enrolled undergraduate and graduate students and their spouses/partners. The Center offers brief counseling and therapy to help students confront personal, academic, and career concerns. The primary goal of counseling is to help students develop the personal awareness and skills necessary to overcome problems and to grow and develop in ways that will allow them to take advantage of the educational opportunities at the university. Counseling Center web site: http://www.counsel.ufl.edu
The Counseling Center is located at P301 Peabody Hall (352) 392-1575
The Counseling Center provides counseling and consultation services to currently enrolled undergraduate and graduate students and their spouses/partners. The Center offers brief counseling and therapy to help students confront personal, academic, and career concerns. The primary goal of counseling is to help students develop the personal awareness and skills necessary to overcome problems and to grow and develop in ways that will allow them to take advantage of the educational opportunities at the university. Counseling Center web site: http://www.counsel.ufl.edu
The Counseling Center is located at P301 Peabody Hall (352) 392-1575
Other Notes:
Students are expected to be present, prepared and ready to start class promptly at 3:00pm. Please turn off cell phones and put laptops away during class time.
Students are expected to be present, prepared and ready to start class promptly at 3:00pm. Please turn off cell phones and put laptops away during class time.
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