http://www.facebook.com/l/27bdaFBtImot_2_H52hiHOzCQ-g;www.youtube.com/watch?v=0V3ivMieCyc
http://www.facebook.com/l/27bdaGZ0X5kPeC0bEksHrnSTfrQ;www.youtube.com/watch?v=xPSI1wUOBnk&NR=1
http://www.facebook.com/l/27bdaR-qjoKsrdZcyX1p0crUEEQ;www.youtube.com/watch?v=LSH19G_6Yeo&feature=related
http://www.facebook.com/l/27bdaZDYviNvB1IL0eJ2FNAuX0Q;www.youtube.com/watch?v=hKFt-RMkmxc&feature=related
The first one I sent: http://www.facebook.com/l/27bdaqvpFDntW0sm0WApCO0m5rw;www.youtube.com/watch?v=Vs4OglBxsgQ&feature=related
Wednesday, January 12, 2011
Sunday, January 2, 2011
Details
Spring, 2011 – Class meets Mondays and Wednesdays periods 5-7, room B-14
3 Credit Hours
Instructor: Nan Smith. Professor UF Ceramics
Office: B - 15 FAC, Hours: 3:00 pm – 4:00 pm on Wednesdays and by appointment on Fridays 12:00- 2:00 (do come and see me if you have any questions)
Office Phone: 352. 273.3083
E-mail: nan@ufl.edu Website: www.nansmith.com
Class blog : nansceramicsculpture2.blogspot.com
About this Course
Course Description: This intermediate level sculpture class will study sculptural form with a focus on the conceptual, aesthetic, and technical processes involved in developing expressive sculptural form through ceramic processes. Sculptures will be colored with slips and glazes, and completed by firing. The course will incorporate historic highlights and contemporary examples, through Power Point image presentations and readings. There will be a strong technical focus on plaster mold-making and methods of developing color and surface variety in glazes that are appropriate for sculpture. All students will be responsible for individual and group "lab work": loading, firing, and unloading electric and gas kilns.
The course is composed of four projects; two are conceptually based and two are designed to build your technical skills in sculpting. Two conceptual projects will challenge you to develop a personal outlook and societal perspective. These projects provide options for focus, but you will select a direction within a theme that will allow you to create personally vital artwork. One sculpture will require multiples placed within a setting, the other will challenge you to work at larger scale. Each project will allow you to use the technical research you are doing for this course within the artwork.
Model duplication using computers is an exciting option today with 3D scanners and printers. Plaster mold making is the original technique sculptors used to create multiple forms. Mold making is a valuable process that is being used creatively by contemporary ceramic artists. It is a low cost studio technique that you will learn in this course. Color and surface can make or break a ceramic sculpture. The history of decorative glazes does not always supply the answer for surface treatments in ceramic sculpture. Specialized glaze surfaces will be developed through testing and use of materials in more advanced ways.
The entire syllabus with projects is discussed during our first class meeting so that you can begin considering the ideas you might want to work with to create artwork that fulfills project guidelines. This course is paperless so you can access the syllabus, projects, calendar, and technical handouts on the class blog address: nansceramicsculpture2.blogspot.com. It is far easier to digest and idea and to consider your options over time than to decide overnight. This course is fast paced so please plan ahead!
Course Goals:
(1) To explore sculpting techniques that reach beyond the fundamental building, surfacing, and firing processes used for ceramics.
(2) To further develop personal imaging and conceptualization skills that relate to a personal aesthetic.
(3) To apply design skills to sculptural form and surface considerations to promote the selected sculptural concept.
(4) To develop skills in plaster mold making including: model making, sectioning a three-dimensional form, mold design and use as a press-mold and/or slip cast mold.
(5) To learn to slip cast ceramic forms.
(6) To learn to press-mold sculptural ceramic forms.
(7) To learn more about color and glaze for ceramic sculpture.
(8) To learn about glaze materials and coloring oxides by gaining practical experience through specific testing techniques that can result in personal surface treatments for sculpture.
The course is composed of four projects; two are conceptually based and two are designed to build your technical skills in sculpting. Two conceptual projects will challenge you to develop a personal outlook and societal perspective. These projects provide options for focus, but you will select a direction within a theme that will allow you to create personally vital artwork. One sculpture will require multiples placed within a setting, the other will challenge you to work at larger scale. Each project will allow you to use the technical research you are doing for this course within the artwork.
Model duplication using computers is an exciting option today with 3D scanners and printers. Plaster mold making is the original technique sculptors used to create multiple forms. Mold making is a valuable process that is being used creatively by contemporary ceramic artists. It is a low cost studio technique that you will learn in this course. Color and surface can make or break a ceramic sculpture. The history of decorative glazes does not always supply the answer for surface treatments in ceramic sculpture. Specialized glaze surfaces will be developed through testing and use of materials in more advanced ways.
The entire syllabus with projects is discussed during our first class meeting so that you can begin considering the ideas you might want to work with to create artwork that fulfills project guidelines. This course is paperless so you can access the syllabus, projects, calendar, and technical handouts on the class blog address: nansceramicsculpture2.blogspot.com. It is far easier to digest and idea and to consider your options over time than to decide overnight. This course is fast paced so please plan ahead!
Course Goals:
(1) To explore sculpting techniques that reach beyond the fundamental building, surfacing, and firing processes used for ceramics.
(2) To further develop personal imaging and conceptualization skills that relate to a personal aesthetic.
(3) To apply design skills to sculptural form and surface considerations to promote the selected sculptural concept.
(4) To develop skills in plaster mold making including: model making, sectioning a three-dimensional form, mold design and use as a press-mold and/or slip cast mold.
(5) To learn to slip cast ceramic forms.
(6) To learn to press-mold sculptural ceramic forms.
(7) To learn more about color and glaze for ceramic sculpture.
(8) To learn about glaze materials and coloring oxides by gaining practical experience through specific testing techniques that can result in personal surface treatments for sculpture.
What is expected.....
Attendance Policy:
Class begins promptly at noon. Please be on time.
Attendance will be taken at the beginning of each class session. Your class attendance is central to your learning process and to your success in the course. It is expected that you will attend regularly and be punctual. Everyone will value this courtesy to the group. Group demonstrations and lectures, roving critiques, tutorials, and discussions will be scheduled for many class periods. Ceramic Sculpture is an exacting endeavor. The ceramic process is one which cannot be rushed or neglected without consequences. Sculptural clay works often require an indirect process, where pre-planning the project is the first step in making a successful art work. Information will be given during specified class periods to show a variety of techniques; new and diverse options. Students who are absent due to illness should contact me at 273-3083 or via e-mail at nan@ulf.edu. If you see a doctor, please bring an official excuse and this will be noted. More than three absences will result in a grade drop. However, please do not assume that three absences are allotted as part of the course.
The university recognizes the right of the individual professor to make attendance mandatory. After due warning, professors may prohibit further attendance and subsequently assign a failing grade for excessive absences. Students are responsible for satisfying all academic objectives as defined by the instructor. Students who do not attend at least one of the first two class meetings of a course or laboratory in which they are registered, and who have not contacted the department to indicate their intent, may be dropped from the course.
Class begins promptly at noon. Please be on time.
Attendance will be taken at the beginning of each class session. Your class attendance is central to your learning process and to your success in the course. It is expected that you will attend regularly and be punctual. Everyone will value this courtesy to the group. Group demonstrations and lectures, roving critiques, tutorials, and discussions will be scheduled for many class periods. Ceramic Sculpture is an exacting endeavor. The ceramic process is one which cannot be rushed or neglected without consequences. Sculptural clay works often require an indirect process, where pre-planning the project is the first step in making a successful art work. Information will be given during specified class periods to show a variety of techniques; new and diverse options. Students who are absent due to illness should contact me at 273-3083 or via e-mail at nan@ulf.edu. If you see a doctor, please bring an official excuse and this will be noted. More than three absences will result in a grade drop. However, please do not assume that three absences are allotted as part of the course.
The university recognizes the right of the individual professor to make attendance mandatory. After due warning, professors may prohibit further attendance and subsequently assign a failing grade for excessive absences. Students are responsible for satisfying all academic objectives as defined by the instructor. Students who do not attend at least one of the first two class meetings of a course or laboratory in which they are registered, and who have not contacted the department to indicate their intent, may be dropped from the course.
Evaluation and Grades
Methods of Grading:
You are responsible for completing four projects: two technical projects and two aesthetic projects. It is your responsibility follow the calendar and to manage the controlled drying of each project so that you can fire your greenware and glazeware in scheduled group firings. It is also your job to help plan firings plus load, fire, and unload group kilns
Each technical project will be graded for evident craftsmanship, scope, completeness, and degree of difficulty.
Each sculpture will be graded for craftsmanship/execution, design/individuality, concept/expression, technical difficulty, research and planning (library research, maquettes), and completeness of presentation. Project grades will comprise 80% of your final grade. Your individual development in the technical areas: research skills and firing skills will be evaluated for 10% of your grade. Your consistency, persistence and participation in critiques will be recorded. These areas of performance will be considered for the remaining 10% of the grade. Attendance will be noted when grading, with more than three absences resulting in a grade drop.
The first two projects will be completed by and due at midterm (see course calendar). Projects #3 and #4 will be graded at the end of the semester. Separate greenware deadlines are established all projects and are noted on the course calendar.
Your cumulative final grade will be an evaluation of the following criteria; project grades, conceptual development, research, glaze testing, firing competency and participation, pre-planning through maquettes. The timely completion of all aspects of assigned projects will be very much a part of your grade. If you do not make the deadlines for any part of the assignment you will accrue late grades and create a limit for receiving an excellent grade.
I view you all as young professionals and wish to assist you in building habits that will allow you to be most successful. As professional artists planning your time and meeting deadlines for a gallery or museum exhibitions will be the norm.
Grades – methods by which students will be evaluated
40% of final grade comes from > 2 aesthetic studio project requirements: craftsmanship/execution, design/individuality, concept/expression, technical difficulty, research and planning (library research, maquettes), and completeness of presentation. 20 % each)
40% of final grade comes from > 2 technical studio project requirements (evident craftsmanship, scope, completeness, and degree of difficulty.(20 % each)
10% of final grade comes from > Participation requirements: in group critiques and an evaluation of your ability to critically analyze and state ideas about visual art.
10% of final grade comes from > Kiln firing requirements: loading, firing, unloading group and individual kilns plus an evaluation of your skills in this technical area.
Attendance will be considered into your grade with more than three absences resulting in a grade drop. Please keep in mind that an outstanding student attends class regularly, is on time, keeps the course work schedule, participates fully in kiln firing activities as well as producing great art work.
A = excellent, distinguished use of concepts, materials, and execution
B = good use of concepts, materials, execution
C = average
D = marginal
F = unacceptable, failure. No credit.
A+ 100%-97 B+ 89%-87 C+ 79%-77 D+ 69%-67 F 0
A 96-94 B 86-84 C 76-74 D 66-64
A- 93-90 B- 83-80 C- 73-70 D- 63-60
• Please note: A grade of C- will not count toward major requirements.
UF grading policy website: http://www.registrar.ufl.edu/catalog/policies/regulationgrades.html
LATE WORK:
All projects must be completed on time to receive full credit. Specific due dates are stated on the class calendar posted in the classroom and on the class blog. Failure to complete any project on time will result in a drop of one full letter grade
The ceramic process requires that green ware be completely fabricated and detailed, then dried for an average of 7 – 10 days, depending upon scale and complexity. Please finish building all wet work on time for greenware due dates and manage the careful drying of your work so that you can meet all deadlines. Clay requires your regular attention to achieve good results. It cannot be rushed or neglected.
You must have work finished and installed before the start of class on critique days. It is the student’s responsibility to turn in all work on time. Full participation by showing completed work during all critiques is required along with active participation through shared ideas and commentary.
A semester grade of incomplete will not be given for late work unless there is an excused absence involved. To be approved for an incomplete:
1. Students must have completed the major portion of the class with a passing grade of C or better.
2. The student is unable to complete course requirements because of documented circumstances
beyond his or her control.
3. The student and instructor have discussed the situation prior to the final critique (except under
emergency conditions).
4. The student will fill out the College of Fine Arts incomplete grade contract, which will be signed by the instructor and the chair and will detail the work to be completed and the date by which this must be done.
You are responsible for completing four projects: two technical projects and two aesthetic projects. It is your responsibility follow the calendar and to manage the controlled drying of each project so that you can fire your greenware and glazeware in scheduled group firings. It is also your job to help plan firings plus load, fire, and unload group kilns
Each technical project will be graded for evident craftsmanship, scope, completeness, and degree of difficulty.
Each sculpture will be graded for craftsmanship/execution, design/individuality, concept/expression, technical difficulty, research and planning (library research, maquettes), and completeness of presentation. Project grades will comprise 80% of your final grade. Your individual development in the technical areas: research skills and firing skills will be evaluated for 10% of your grade. Your consistency, persistence and participation in critiques will be recorded. These areas of performance will be considered for the remaining 10% of the grade. Attendance will be noted when grading, with more than three absences resulting in a grade drop.
The first two projects will be completed by and due at midterm (see course calendar). Projects #3 and #4 will be graded at the end of the semester. Separate greenware deadlines are established all projects and are noted on the course calendar.
Your cumulative final grade will be an evaluation of the following criteria; project grades, conceptual development, research, glaze testing, firing competency and participation, pre-planning through maquettes. The timely completion of all aspects of assigned projects will be very much a part of your grade. If you do not make the deadlines for any part of the assignment you will accrue late grades and create a limit for receiving an excellent grade.
I view you all as young professionals and wish to assist you in building habits that will allow you to be most successful. As professional artists planning your time and meeting deadlines for a gallery or museum exhibitions will be the norm.
Grades – methods by which students will be evaluated
40% of final grade comes from > 2 aesthetic studio project requirements: craftsmanship/execution, design/individuality, concept/expression, technical difficulty, research and planning (library research, maquettes), and completeness of presentation. 20 % each)
40% of final grade comes from > 2 technical studio project requirements (evident craftsmanship, scope, completeness, and degree of difficulty.(20 % each)
10% of final grade comes from > Participation requirements: in group critiques and an evaluation of your ability to critically analyze and state ideas about visual art.
10% of final grade comes from > Kiln firing requirements: loading, firing, unloading group and individual kilns plus an evaluation of your skills in this technical area.
Attendance will be considered into your grade with more than three absences resulting in a grade drop. Please keep in mind that an outstanding student attends class regularly, is on time, keeps the course work schedule, participates fully in kiln firing activities as well as producing great art work.
A = excellent, distinguished use of concepts, materials, and execution
B = good use of concepts, materials, execution
C = average
D = marginal
F = unacceptable, failure. No credit.
A+ 100%-97 B+ 89%-87 C+ 79%-77 D+ 69%-67 F 0
A 96-94 B 86-84 C 76-74 D 66-64
A- 93-90 B- 83-80 C- 73-70 D- 63-60
• Please note: A grade of C- will not count toward major requirements.
UF grading policy website: http://www.registrar.ufl.edu/catalog/policies/regulationgrades.html
LATE WORK:
All projects must be completed on time to receive full credit. Specific due dates are stated on the class calendar posted in the classroom and on the class blog. Failure to complete any project on time will result in a drop of one full letter grade
The ceramic process requires that green ware be completely fabricated and detailed, then dried for an average of 7 – 10 days, depending upon scale and complexity. Please finish building all wet work on time for greenware due dates and manage the careful drying of your work so that you can meet all deadlines. Clay requires your regular attention to achieve good results. It cannot be rushed or neglected.
You must have work finished and installed before the start of class on critique days. It is the student’s responsibility to turn in all work on time. Full participation by showing completed work during all critiques is required along with active participation through shared ideas and commentary.
A semester grade of incomplete will not be given for late work unless there is an excused absence involved. To be approved for an incomplete:
1. Students must have completed the major portion of the class with a passing grade of C or better.
2. The student is unable to complete course requirements because of documented circumstances
beyond his or her control.
3. The student and instructor have discussed the situation prior to the final critique (except under
emergency conditions).
4. The student will fill out the College of Fine Arts incomplete grade contract, which will be signed by the instructor and the chair and will detail the work to be completed and the date by which this must be done.
Research: Texts, Periodicals, the Web
Texts and Reading List:
The technical text book for the course titled “Plaster Mold and Model Making”, authors Chaney and Skee is on room reserve at the Fine Arts and Architecture Library. It may also be found on line through amazon.com used books. A technical course packet is required and will be listed and available under Art 3768 C at Target Copy located at 1412 W. University Avenue. Additional reading is required for each assignment and those chapters will be on reserve in the Fine Arts and Architecture Library under the course number and my name. It is expected that you use the reading materials regardless of in-class coverage. They are required to build your expertise and to aid in your technical and conceptual growth.
I would also suggest two new books which appeared on the market in this spring of 2000. They are from A&C Black’s Ceramic Handbook Series: “Large-Scale Ceramics”, author Jim Robison ($26.00), and “Mould Making”, author John Colclough ($21.95).
Required reading:
Project #1 – “Plaster Mold and Model Making”, Chapters 1 through 6 and “Mold Making for Ceramics”, author Donald Frith, Chapter 19
Required reading:
Project #3 – “Handbook of Sculpture Recipes”
Required readings:
Project #4 –
“Confrontational Clay”, a catalogue essay by Judith Schwartz
“Post Modern Ceramics”, author Mark Del Vecchio, Chapter 12, “Post Industrialism”
Suggested reading:
“The Decline and Fall and Magical Resurrection of the Body”, an essay by Donald Kuspit (this will be copied and placed in the library for your access.)
Other Technical and Historical Resources - "Sculpting Clay", By Leon Nigrosh, "Images in Clay Sculpture", by Charolette F. Speight, "Sculptural Ceramics", by Ian Gregory, "Plaster Mold and Model Making", by Charles Chaney and Stanley Skee, "Moldmaking", by Donald Frith, "PaperClay for Ceramic Sculptors; Studio Companion", by Rosette Gault, U.S. Gypsum Industrial Plasters & Gypsum Cements", "An Atlas of Anatomy For Artists", by Fritz Schider, "Low-fire Ceramics", by Susan Wechsler, and "Modelling the Head in Clay", by Bruno Lucchesi, and "Modelling the Figure in Clay", also by Lucchesi. Two videotapes will be used as informational resources in the classroom: "Sculpting the Portrait: Male Head in Terra Cotta", and "Sculpting the Reclining Figure". Both films document the methods used by sculptor Bruno Lucchesi.
Periodicals - American Ceramics, Ceramics Art and Perception, Sculpture, Ceramics Monthly, Studio Potter, Ceramics: Technical. All of the following magazines have very interesting ideas and information pertaining to sculpture.
Library Homepage http://www.uflib.ufl.edu/ (for all library services and collections)
Course Reserves https://ares.uflib.ufl.edu/ (for hard copy and/or electronic reserves)
Ask-A-Librarian http://www.uflib.ufl.edu/ask/ (direct email or online chat for assistance)
IR @ UF http://ufdcweb1.uflib.ufl.edu/ufdc/?g=ufirg (to access the UF digital Institutional Repository)
Library Tools and Mobile Apps http://www.uflib.ufl.edu/tools/ (smart phone apps, RSS feeds, and much more)
Subject Guides/Specialists http://apps.uflib.ufl.edu/staffdir/SubjectSpecialist.aspx (by discipline and/or course)
The technical text book for the course titled “Plaster Mold and Model Making”, authors Chaney and Skee is on room reserve at the Fine Arts and Architecture Library. It may also be found on line through amazon.com used books. A technical course packet is required and will be listed and available under Art 3768 C at Target Copy located at 1412 W. University Avenue. Additional reading is required for each assignment and those chapters will be on reserve in the Fine Arts and Architecture Library under the course number and my name. It is expected that you use the reading materials regardless of in-class coverage. They are required to build your expertise and to aid in your technical and conceptual growth.
I would also suggest two new books which appeared on the market in this spring of 2000. They are from A&C Black’s Ceramic Handbook Series: “Large-Scale Ceramics”, author Jim Robison ($26.00), and “Mould Making”, author John Colclough ($21.95).
Required reading:
Project #1 – “Plaster Mold and Model Making”, Chapters 1 through 6 and “Mold Making for Ceramics”, author Donald Frith, Chapter 19
Required reading:
Project #3 – “Handbook of Sculpture Recipes”
Required readings:
Project #4 –
“Confrontational Clay”, a catalogue essay by Judith Schwartz
“Post Modern Ceramics”, author Mark Del Vecchio, Chapter 12, “Post Industrialism”
Suggested reading:
“The Decline and Fall and Magical Resurrection of the Body”, an essay by Donald Kuspit (this will be copied and placed in the library for your access.)
Other Technical and Historical Resources - "Sculpting Clay", By Leon Nigrosh, "Images in Clay Sculpture", by Charolette F. Speight, "Sculptural Ceramics", by Ian Gregory, "Plaster Mold and Model Making", by Charles Chaney and Stanley Skee, "Moldmaking", by Donald Frith, "PaperClay for Ceramic Sculptors; Studio Companion", by Rosette Gault, U.S. Gypsum Industrial Plasters & Gypsum Cements", "An Atlas of Anatomy For Artists", by Fritz Schider, "Low-fire Ceramics", by Susan Wechsler, and "Modelling the Head in Clay", by Bruno Lucchesi, and "Modelling the Figure in Clay", also by Lucchesi. Two videotapes will be used as informational resources in the classroom: "Sculpting the Portrait: Male Head in Terra Cotta", and "Sculpting the Reclining Figure". Both films document the methods used by sculptor Bruno Lucchesi.
Periodicals - American Ceramics, Ceramics Art and Perception, Sculpture, Ceramics Monthly, Studio Potter, Ceramics: Technical. All of the following magazines have very interesting ideas and information pertaining to sculpture.
Library Homepage http://www.uflib.ufl.edu/ (for all library services and collections)
Course Reserves https://ares.uflib.ufl.edu/ (for hard copy and/or electronic reserves)
Ask-A-Librarian http://www.uflib.ufl.edu/ask/ (direct email or online chat for assistance)
IR @ UF http://ufdcweb1.uflib.ufl.edu/ufdc/?g=ufirg (to access the UF digital Institutional Repository)
Library Tools and Mobile Apps http://www.uflib.ufl.edu/tools/ (smart phone apps, RSS feeds, and much more)
Subject Guides/Specialists http://apps.uflib.ufl.edu/staffdir/SubjectSpecialist.aspx (by discipline and/or course)
Materials, Supplies, and Safety
Supplies:
The Basics:
Bound sketchbook, plasticine or fine water based clay of any temperature for maquettes, serrated metal rib and serrated wooden modeling tool, clay shapers, trimming tool, calipers, light plastic (launderers' plastic), misting bottle, small bucket, cut-off wire, needle tool, fork, small sponge, clean up sponge, fabric (uncoated canvas or cotton polyester blend, or muslin (try Goodwill for remnant or old bed sheets), small container for slip, brushes for finishing and decorating, sur-form rasp, exacto knife, Heat Gun or blow dryer and * turntable as work surface (Home Depot or Lowes). * Cover with 2' x 2' piece of 3/4" sealed plywood (required) dust mask and respirator to filter organic vapors (recommended) (try Axner/Laguna Clay or Bennett Pottery or Home Depot).
Specialty Tools (are needed and can be ordered on-line):
1. Kemper Ribbon Sculpting tools (set of 6), available thru Laguna/Axner’s in Florida – 1-800-843-7057, approximately $8.99
2. Sculpture House Wax Modeling tool
Wax Modeling Tool
Item No. SH153 - $14.00 plus shipping
The SH153 wax modeling tool is hand forged and was specifically designed and constructed for use in the delicate art of wax modeling. Also useful for clay modeling and plaster work. Length - 6" is approximate.
http://www.sculpturehouse.com
3. Michael Sherrill red rib, SMT-R1, $6.00 (also suggest yellow rib same price)
http://www.highwaterclays.com/handtools/cooltools2.html#smt
As required for slip casting:
1. Casting slip – Frasier’s Ceramics
2. Large plastic pitcher - Wallmart
3. Larger slotted mixing spoon - Wallmart
4. Kitchen Sieve - Wallmart
5. Large bucket – Wallmart
6. Wooden slats to support molds while draining – found 1.2 x 14” stick will do.
As required for individual projects:
1. Algi-safe ($12.38/ 1lb.from Your Clay Store),
2. Moulding plaster ($.51/ 1lb. from Your Clay Store),
3. Amaco Underglazes – Creative Ceramics in Ocala, website: creativeceramics@embarqmail.com or 352-237-3562
4. Low fire casting slip, Duncan or Mayco Underglazes, vintage decals – Frazier Ceramics in Gainesville, 372-1506
Health and Safety:
Please wear shoes and proper attire, tie back hair and loose clothing when working around shop equipment.
The ceramics program recommends that you wear a respirator when mixing clay and glaze materials and applying glaze with a spray gun. Fowlett’s Bookstore has ordered N95 Filtering Face piece Respirators. Tight fitting respirators can be ordered from Grainger’s or a similar lab safety supply company.
The link for information regarding the SA+AH H&S policy and handbook on health and safety is:. http://www.arts.ufl.edu/art/healthandsafety
2) Each student must complete a H&S STUDENT WAIVER FORM (available next to the copier in the SAAH office) and on-line (see address above). Waivers must be turned into the SAAH Director of Operations before the end of the 2nd week of classes. Please staple the course sheets together.
University of Florida Environmental Health and Safety (EH&S) has determined that the use of respiratory protection is not required for projects and activities typically performed in the School of Art + Art History. It is against the School of Art + Art History policy for any instructor to require students to wear respiratory protection however, you may recommend it, and you may voluntarily choose to wear respiratory protection: either an N95 filtering face piece, commonly known as a dust mask, or a tight fitting half or full-face respirator. Any user who chooses to wear such respiratory protection is therefore said to be a voluntary user. Environmental Health and Safety follows or exceeds OSHA 29CFR1910.132-137 standards for Personal Protective Equipment. Any voluntary user: student, faculty, or staff is required to follow all Environmental Health and Safety policy which can be found at: http://www.ehs.ufl.edu/General/resppol.pdf.
For simplicity, the regulations are outlined below. You must follow each step in order:
1. I want to wear an N95 dust mask. a. Complete “Request for Respirator Use” form (http://www.ehs.ufl.edu/OCCMED/respreq.pdf).
Mail to: Environmental Health & Safety
attn: OCCMED
PO Box 112195
Gainesville, FL 32611
b. Complete “Medical History Questionnaire for N95 Filtering Face piece Respirators” form (http://www.ehs.ufl.edu/OCCMED/N95.pdf) and “UF Voluntary Use Respirator Supplementary Information Memo” (Below) Mail to:
SHCC OCCMED
Box 100148
Gainesville, FL 32611
c. Include Payment: i. There is a $5 charge for the review and processing of this form. 1. Graduate student payment options: a. Enclose a $5 check with drivers license number written on the check
b. Bill to Gator Grad Care by filling out enclosed UF Graduate Student Voluntary Use Respirator Payment Memo
2. Undergraduates must make payment in person. Go to:
Health Science Center
Dental tower, second floor Room D2-49
On the corner of Archer Road and center drive
West entrance
ii. Contact SHCC OCCMED at 352.392.0627 with questions.
The Basics:
Bound sketchbook, plasticine or fine water based clay of any temperature for maquettes, serrated metal rib and serrated wooden modeling tool, clay shapers, trimming tool, calipers, light plastic (launderers' plastic), misting bottle, small bucket, cut-off wire, needle tool, fork, small sponge, clean up sponge, fabric (uncoated canvas or cotton polyester blend, or muslin (try Goodwill for remnant or old bed sheets), small container for slip, brushes for finishing and decorating, sur-form rasp, exacto knife, Heat Gun or blow dryer and * turntable as work surface (Home Depot or Lowes). * Cover with 2' x 2' piece of 3/4" sealed plywood (required) dust mask and respirator to filter organic vapors (recommended) (try Axner/Laguna Clay or Bennett Pottery or Home Depot).
Specialty Tools (are needed and can be ordered on-line):
1. Kemper Ribbon Sculpting tools (set of 6), available thru Laguna/Axner’s in Florida – 1-800-843-7057, approximately $8.99
2. Sculpture House Wax Modeling tool
Wax Modeling Tool
Item No. SH153 - $14.00 plus shipping
The SH153 wax modeling tool is hand forged and was specifically designed and constructed for use in the delicate art of wax modeling. Also useful for clay modeling and plaster work. Length - 6" is approximate.
http://www.sculpturehouse.com
3. Michael Sherrill red rib, SMT-R1, $6.00 (also suggest yellow rib same price)
http://www.highwaterclays.com/handtools/cooltools2.html#smt
As required for slip casting:
1. Casting slip – Frasier’s Ceramics
2. Large plastic pitcher - Wallmart
3. Larger slotted mixing spoon - Wallmart
4. Kitchen Sieve - Wallmart
5. Large bucket – Wallmart
6. Wooden slats to support molds while draining – found 1.2 x 14” stick will do.
As required for individual projects:
1. Algi-safe ($12.38/ 1lb.from Your Clay Store),
2. Moulding plaster ($.51/ 1lb. from Your Clay Store),
3. Amaco Underglazes – Creative Ceramics in Ocala, website: creativeceramics@embarqmail.com or 352-237-3562
4. Low fire casting slip, Duncan or Mayco Underglazes, vintage decals – Frazier Ceramics in Gainesville, 372-1506
Health and Safety:
Please wear shoes and proper attire, tie back hair and loose clothing when working around shop equipment.
The ceramics program recommends that you wear a respirator when mixing clay and glaze materials and applying glaze with a spray gun. Fowlett’s Bookstore has ordered N95 Filtering Face piece Respirators. Tight fitting respirators can be ordered from Grainger’s or a similar lab safety supply company.
The link for information regarding the SA+AH H&S policy and handbook on health and safety is:. http://www.arts.ufl.edu/art/healthandsafety
2) Each student must complete a H&S STUDENT WAIVER FORM (available next to the copier in the SAAH office) and on-line (see address above). Waivers must be turned into the SAAH Director of Operations before the end of the 2nd week of classes. Please staple the course sheets together.
University of Florida Environmental Health and Safety (EH&S) has determined that the use of respiratory protection is not required for projects and activities typically performed in the School of Art + Art History. It is against the School of Art + Art History policy for any instructor to require students to wear respiratory protection however, you may recommend it, and you may voluntarily choose to wear respiratory protection: either an N95 filtering face piece, commonly known as a dust mask, or a tight fitting half or full-face respirator. Any user who chooses to wear such respiratory protection is therefore said to be a voluntary user. Environmental Health and Safety follows or exceeds OSHA 29CFR1910.132-137 standards for Personal Protective Equipment. Any voluntary user: student, faculty, or staff is required to follow all Environmental Health and Safety policy which can be found at: http://www.ehs.ufl.edu/General/resppol.pdf.
For simplicity, the regulations are outlined below. You must follow each step in order:
1. I want to wear an N95 dust mask. a. Complete “Request for Respirator Use” form (http://www.ehs.ufl.edu/OCCMED/respreq.pdf).
Mail to: Environmental Health & Safety
attn: OCCMED
PO Box 112195
Gainesville, FL 32611
b. Complete “Medical History Questionnaire for N95 Filtering Face piece Respirators” form (http://www.ehs.ufl.edu/OCCMED/N95.pdf) and “UF Voluntary Use Respirator Supplementary Information Memo” (Below) Mail to:
SHCC OCCMED
Box 100148
Gainesville, FL 32611
c. Include Payment: i. There is a $5 charge for the review and processing of this form. 1. Graduate student payment options: a. Enclose a $5 check with drivers license number written on the check
b. Bill to Gator Grad Care by filling out enclosed UF Graduate Student Voluntary Use Respirator Payment Memo
2. Undergraduates must make payment in person. Go to:
Health Science Center
Dental tower, second floor Room D2-49
On the corner of Archer Road and center drive
West entrance
ii. Contact SHCC OCCMED at 352.392.0627 with questions.
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