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.
Studio Details and Use:
Lockers:
Please sign up for a locker to be used to store tools and personal belongings. The list will be circulated in class and then handed in to the teaching lab specialist. Lockers must be cleaned out and locks removed by the end of finals week, or the contents will be considered abandoned.
Please leave the studio clean. Regardless of the condition you find it in, you are requested to leave it clean for the next person. Leave the work tables clear and clean. This is a group studio, and we all need to pitch in to keep it a safe and healthy functioning work environment.
Firings:
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.
Recycling Clay:
All students are welcome to recycle clay out of the reclaim buckets. Stiff clay may be reclaimed by cutting into slabs, alternating with layers of soft clay or slurry from the reclaim bin, then wedging to an even consistency. Clay too stiff to wedge should be broken into small lumps so that water will penetrate, and slaked down covered by water in a bucket or the reclaim barrel. If you desire, the resulting slurry can be put onto the plaster drying slabs in Studio, turned periodically until dried to a soft clay consistency, and wedged up for use.
Bone dry clay should be slaked down as above. Wet clay can be dried on plaster bats or slabs until some moisture is removed, and wedged for use, or powdered fire clay or stoneware clay (ask your instructor) or grog may be wedged in. Wedging itself also tends to dry clay out. Clay slurry remaining in your bucket after working or clean up should be put in reclaim.
DO NOT POUR SLURRY OR SLIP IN THE SINK; USE THE RECLAIM BARREL. Place contaminated clay in the trash. Thick liquids not going to reclaim should be put in the trash. Keeping studio areas clean of clay helps reduce the dust level and is healthier for all.
Studio:
Each student is responsible for ensuring that his/her projects and materials are safely stored, displayed, installed, and removed from the classroom and critique space. Projects must be set up and removed from the critique space at the times and spaces designated for each project.
The instructor, the School of Art and Art History, and the Ceramics Department are not responsible for student work left in workspaces, installation spaces, the critique space, the shops, or the classrooms. Projects/materials are not to be stored in the group working space.
Please address any concerns, problems, and questions regarding this class to me as they arise. I will be available during office hours, and for appointments for a special meeting time.
Always be open-minded when considering new ideas and constructive criticism. Critique ideas; not people.
Please sign up for a locker to be used to store tools and personal belongings. The list will be circulated in class and then handed in to the teaching lab specialist. Lockers must be cleaned out and locks removed by the end of finals week, or the contents will be considered abandoned.
Please leave the studio clean. Regardless of the condition you find it in, you are requested to leave it clean for the next person. Leave the work tables clear and clean. This is a group studio, and we all need to pitch in to keep it a safe and healthy functioning work environment.
Firings:
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.
Recycling Clay:
All students are welcome to recycle clay out of the reclaim buckets. Stiff clay may be reclaimed by cutting into slabs, alternating with layers of soft clay or slurry from the reclaim bin, then wedging to an even consistency. Clay too stiff to wedge should be broken into small lumps so that water will penetrate, and slaked down covered by water in a bucket or the reclaim barrel. If you desire, the resulting slurry can be put onto the plaster drying slabs in Studio, turned periodically until dried to a soft clay consistency, and wedged up for use.
Bone dry clay should be slaked down as above. Wet clay can be dried on plaster bats or slabs until some moisture is removed, and wedged for use, or powdered fire clay or stoneware clay (ask your instructor) or grog may be wedged in. Wedging itself also tends to dry clay out. Clay slurry remaining in your bucket after working or clean up should be put in reclaim.
DO NOT POUR SLURRY OR SLIP IN THE SINK; USE THE RECLAIM BARREL. Place contaminated clay in the trash. Thick liquids not going to reclaim should be put in the trash. Keeping studio areas clean of clay helps reduce the dust level and is healthier for all.
Studio:
Each student is responsible for ensuring that his/her projects and materials are safely stored, displayed, installed, and removed from the classroom and critique space. Projects must be set up and removed from the critique space at the times and spaces designated for each project.
The instructor, the School of Art and Art History, and the Ceramics Department are not responsible for student work left in workspaces, installation spaces, the critique space, the shops, or the classrooms. Projects/materials are not to be stored in the group working space.
Please address any concerns, problems, and questions regarding this class to me as they arise. I will be available during office hours, and for appointments for a special meeting time.
Always be open-minded when considering new ideas and constructive criticism. Critique ideas; not people.
University Policies:
Students with disabilities - I will make every attempt to accommodate students with disabilities. At the same time, anyone requesting classroom accommodation must first register with the Dean of Students Office. The Dean of Students Office will provide you with the necessary documentation, which you must then provide to me when requesting accommodation.
“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 the Instructor when requesting accommodation.”
Classroom Demeanor – “Students in the School of Art and Art History will not be permitted to have beepers (pagers) and cell phones turned on in the classroom. If such a device beeps, chimes, rings, or makes any type noise, it must be turned off before entering the classroom”.
Disruptive Behavior –Students are expected to assist in maintaining a classroom environment that is conducive to learning. In order to insure that all students have the opportunity to gain from time spent in class, unless otherwise approved by the instructor students are prohibited from engaging in any form of distraction. Inappropriate behavior in the classroom shall result, minimally, in a request to leave class.
The university’s policies regarding academic honesty, the honor code, and student conduct related to the honor code will be strictly enforced. Full information regarding these policies is available at the following links:
Academic Honesty: http://www.registrar.ufl.edu/catalgo/policies/students.html#honesty
Honor Code: http://www.dso.ufl.edu/sccr/honorcodes/honorcode.php
Student Conduct: http://www.dso.ufl.edu/sccr/honorcodes/conductcode.php
“As a result of completing the registration form at the University of Florida, every student has signed the following statement: ”I understand that the University of Florida expects its students to be honest in all of their academic endeavors and understand that my failure to comply with this commitment may result in disciplinary action to and including expulsion from the university.”
Critical Dates on the university calendar may be viewed at –
http://www.reg.ufl.edu/dates-critical.html
University Counseling & Wellness Center
3190 Radio Road
P.O. Box 112662, University of Florida
Gainesville, Florida 32611-4100
Phone: 352.392.1575
Web: http:///www.counseling.ufl.edu/cwc/
“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 the Instructor when requesting accommodation.”
Classroom Demeanor – “Students in the School of Art and Art History will not be permitted to have beepers (pagers) and cell phones turned on in the classroom. If such a device beeps, chimes, rings, or makes any type noise, it must be turned off before entering the classroom”.
Disruptive Behavior –Students are expected to assist in maintaining a classroom environment that is conducive to learning. In order to insure that all students have the opportunity to gain from time spent in class, unless otherwise approved by the instructor students are prohibited from engaging in any form of distraction. Inappropriate behavior in the classroom shall result, minimally, in a request to leave class.
The university’s policies regarding academic honesty, the honor code, and student conduct related to the honor code will be strictly enforced. Full information regarding these policies is available at the following links:
Academic Honesty: http://www.registrar.ufl.edu/catalgo/policies/students.html#honesty
Honor Code: http://www.dso.ufl.edu/sccr/honorcodes/honorcode.php
Student Conduct: http://www.dso.ufl.edu/sccr/honorcodes/conductcode.php
“As a result of completing the registration form at the University of Florida, every student has signed the following statement: ”I understand that the University of Florida expects its students to be honest in all of their academic endeavors and understand that my failure to comply with this commitment may result in disciplinary action to and including expulsion from the university.”
Critical Dates on the university calendar may be viewed at –
http://www.reg.ufl.edu/dates-critical.html
University Counseling & Wellness Center
3190 Radio Road
P.O. Box 112662, University of Florida
Gainesville, Florida 32611-4100
Phone: 352.392.1575
Web: http:///www.counseling.ufl.edu/cwc/
Topical Course Outline
Week 1 –
Wednesday January 5 - Course Overview, Assign Project #1 and Project #2
Homework: Drawings or maquette for Project #2, set up studio, buy supplies, pay clay fee
Reading Assignment: “Plaster Mold and Model Making”, authors Chaney and Skee
Chapters 1-2
Week 2 –
Monday January 10 – Power Point Image Presentation/Chess, Mold-making Demo with image presentation
Homework: Project #2, Select smooth clay to use and begin forming models from which to take molds
Reading Assignment: “Plaster Mold and Model Making”, authors Chaney and Skee
Chapters 3-4
Wednesday January 12 – Individual Meetings to discuss concepts and designs for Project #2
Homework: Make models
Reading: “Plaster Mold and Model Making”, authors Chaney and Skee,Chapters 5-6
“Mold Making for Ceramics, author Donald Frith - Chapter 19
Week 3 –
Monday January 17 - MLK Holiday - No Classes
Homework: Make models
Wednesday January 19 - Mold-making Demos: Building separating planes, Cast section, cut keys, apply separating agent
Homework: Cast first section of your first mold
- cut keys
- build separating plane 2
- bring Vaseline or mold soap
Friday January 21 - Nan presents Workshop for Miami Ceramics League
Week 4 –
Monday January 24 – Studio Work Day Nan presents Workshop for Miami Ceramics League
*** GTA or Ray will help you with mold making
Homework: Start second mold
Wednesday January 26 –, Mold-making Demos: Press-molding and Slip-casting
Homework: Complete Second mold
Week 5 -
Monday January 31 - Demo: Cleaning up your form, Studio Day: Start mold 3
Homework: Start third mold, make test tiles (75 in all)
Wednesday February 2 - Studio Day: Make tile chess board (consider using Nan’s sculpture clay or adding grog to your clay recipe for the ceramic tiled chess board
Homework: Complete third mold, make test tiles
Week 6-
Monday February 7 – Studio Day: Build or cast
Homework: Building or cast, make test tiles
Wednesday February 9 - Studio Day: Build or cast
Homework: Building or cast
Week 7 –
Monday February 14 (Happy Valentine’s Day)– Load Bisque Kilns for Test Tiles
Homework: Finish Building
Tuesday February 15 – Fire bisque kilns
Wednesday February 16 – Unload Bisque Kilns, Assign Project #3 - Discuss the three rounds of glaze testing to be done, Assign 4 glazes to each student, Sign up for kilns WORKDAY (Project #2 Bisque as they dry)
Week 8 -
Monday February 21 - Load Bisque Kiln to fire test tiles and dry chess pieces, WORKDAY (Project #2)
Homework: Mix 4 test glazes for Monday’s kiln, continue slip casting Project #2
Tuesday February 22 – Fire Bisque Kiln
Wednesday February 23 – Unload Bisque Kiln
Week 9 –
Monday February 28 – Load Glaze Kiln for 4 Base glaze tests, WORKDAY (Project #2)
Homework: Continue slip casting Project #2
Tuesday March 1– Fire Glaze Kiln for first round of test tiles
Wednesday March 2 – Unload Glaze Kiln and Discuss Glaze Test Results, Assign Color Run Glaze Tests and Line Blend Tests, Last WORKDAY (Project #2)
Week 10 – Spring Break****************************************************************************************
Monday March 7 – Homework –Color Run Glaze tests
Wednesday March 9 - Homework –Line Blend Glaze tests
Week #11
Monday March 14 -.Load Glaze Kiln (color runs and line blends), Assign Project Project #4/Image Presentation Studio Workday to finish #2 and #3 - glaze testing.
Homework- Complete Project #2 by Wednesday the artwork will be crited at the end of the semester.
Wednesday March 16 - Discuss Glaze results – Color Runs and Line Blends results,
Load Bisque for Project #2, Individual Meetings –Project #4
Homework: Build Project #4, Fire Bisque kiln
Thursday March 17 – Fire Bisque for Project #2
Friday March 18 – Unload Bisque kiln Project #2
Week #12 –
Monday March 21 – Studio Day: Build #4
Homework: Homework: Build #4, Glaze Project #2
Wednesday March 23 – Studio Day: Build #4
Thursday March 24 – Nan in Tampa Installing Resonance fire glaze kiln
Friday March 25 – Nan in Tampa Installing Resonance Unload glaze kiln
Week #13 – UF NCECA Pre-Conference and NCECA Conference (Nan away at national conference W, Th, F, S)
Monday March 27 – UF NCECA Pre-Conference Workshops/ Attendance of one workshop required. This should be done during class time. You are invited to attend the evening lectures and openings.
Wednesday March 29- NCECA Conference Studio Day: Load Optional Glaze Test Kiln
Thursday March 30 – NCECA Conference Fire kilns
Friday April 1 – NCECA Conference Unload kilns
Week #14
Monday April 4- Individual Mtgs: Color Discussions and Airbrush Demo for Project #4,
Tuesday April 5 – Nan in Tampa De-installing Resonance
Wednesday April 6- Last Day to work on Project #4
Homework: Glaze Project #2
Thursday April 7 – Glaze Project #2
Friday April 8 – Load Glaze Kilns Project #2
Saturday – Fire Glaze Kilns Project #2
Week #15
Monday April 11 – Unload glaze kilns Project #2 – Load Bisque #4
Tuesday April 12 – Fire Bisque #4
Wednesday April 13 – Unload Bisque and Glaze Project #4
Thursday April 14 – Load Glaze #4
Friday April 15 – Fire Glaze #4
Saturday April 16 – Unload Glaze #4
Week #16
Monday April 18 – Final Critiques/Project #2 with molds/ class clean up assignments
Wednesday April - Final Critiques/ Project #4 with glaze tests ---last day of classes/Party
Classes End
Thursday April 21 and Friday April 22 – Reading Days
April 23, 25-29 – Finals Week
Wednesday January 5 - Course Overview, Assign Project #1 and Project #2
Homework: Drawings or maquette for Project #2, set up studio, buy supplies, pay clay fee
Reading Assignment: “Plaster Mold and Model Making”, authors Chaney and Skee
Chapters 1-2
Week 2 –
Monday January 10 – Power Point Image Presentation/Chess, Mold-making Demo with image presentation
Homework: Project #2, Select smooth clay to use and begin forming models from which to take molds
Reading Assignment: “Plaster Mold and Model Making”, authors Chaney and Skee
Chapters 3-4
Wednesday January 12 – Individual Meetings to discuss concepts and designs for Project #2
Homework: Make models
Reading: “Plaster Mold and Model Making”, authors Chaney and Skee,Chapters 5-6
“Mold Making for Ceramics, author Donald Frith - Chapter 19
Week 3 –
Monday January 17 - MLK Holiday - No Classes
Homework: Make models
Wednesday January 19 - Mold-making Demos: Building separating planes, Cast section, cut keys, apply separating agent
Homework: Cast first section of your first mold
- cut keys
- build separating plane 2
- bring Vaseline or mold soap
Friday January 21 - Nan presents Workshop for Miami Ceramics League
Week 4 –
Monday January 24 – Studio Work Day Nan presents Workshop for Miami Ceramics League
*** GTA or Ray will help you with mold making
Homework: Start second mold
Wednesday January 26 –, Mold-making Demos: Press-molding and Slip-casting
Homework: Complete Second mold
Week 5 -
Monday January 31 - Demo: Cleaning up your form, Studio Day: Start mold 3
Homework: Start third mold, make test tiles (75 in all)
Wednesday February 2 - Studio Day: Make tile chess board (consider using Nan’s sculpture clay or adding grog to your clay recipe for the ceramic tiled chess board
Homework: Complete third mold, make test tiles
Week 6-
Monday February 7 – Studio Day: Build or cast
Homework: Building or cast, make test tiles
Wednesday February 9 - Studio Day: Build or cast
Homework: Building or cast
Week 7 –
Monday February 14 (Happy Valentine’s Day)– Load Bisque Kilns for Test Tiles
Homework: Finish Building
Tuesday February 15 – Fire bisque kilns
Wednesday February 16 – Unload Bisque Kilns, Assign Project #3 - Discuss the three rounds of glaze testing to be done, Assign 4 glazes to each student, Sign up for kilns WORKDAY (Project #2 Bisque as they dry)
Week 8 -
Monday February 21 - Load Bisque Kiln to fire test tiles and dry chess pieces, WORKDAY (Project #2)
Homework: Mix 4 test glazes for Monday’s kiln, continue slip casting Project #2
Tuesday February 22 – Fire Bisque Kiln
Wednesday February 23 – Unload Bisque Kiln
Week 9 –
Monday February 28 – Load Glaze Kiln for 4 Base glaze tests, WORKDAY (Project #2)
Homework: Continue slip casting Project #2
Tuesday March 1– Fire Glaze Kiln for first round of test tiles
Wednesday March 2 – Unload Glaze Kiln and Discuss Glaze Test Results, Assign Color Run Glaze Tests and Line Blend Tests, Last WORKDAY (Project #2)
Week 10 – Spring Break****************************************************************************************
Monday March 7 – Homework –Color Run Glaze tests
Wednesday March 9 - Homework –Line Blend Glaze tests
Week #11
Monday March 14 -.Load Glaze Kiln (color runs and line blends), Assign Project Project #4/Image Presentation Studio Workday to finish #2 and #3 - glaze testing.
Homework- Complete Project #2 by Wednesday the artwork will be crited at the end of the semester.
Wednesday March 16 - Discuss Glaze results – Color Runs and Line Blends results,
Load Bisque for Project #2, Individual Meetings –Project #4
Homework: Build Project #4, Fire Bisque kiln
Thursday March 17 – Fire Bisque for Project #2
Friday March 18 – Unload Bisque kiln Project #2
Week #12 –
Monday March 21 – Studio Day: Build #4
Homework: Homework: Build #4, Glaze Project #2
Wednesday March 23 – Studio Day: Build #4
Thursday March 24 – Nan in Tampa Installing Resonance fire glaze kiln
Friday March 25 – Nan in Tampa Installing Resonance Unload glaze kiln
Week #13 – UF NCECA Pre-Conference and NCECA Conference (Nan away at national conference W, Th, F, S)
Monday March 27 – UF NCECA Pre-Conference Workshops/ Attendance of one workshop required. This should be done during class time. You are invited to attend the evening lectures and openings.
Wednesday March 29- NCECA Conference Studio Day: Load Optional Glaze Test Kiln
Thursday March 30 – NCECA Conference Fire kilns
Friday April 1 – NCECA Conference Unload kilns
Week #14
Monday April 4- Individual Mtgs: Color Discussions and Airbrush Demo for Project #4,
Tuesday April 5 – Nan in Tampa De-installing Resonance
Wednesday April 6- Last Day to work on Project #4
Homework: Glaze Project #2
Thursday April 7 – Glaze Project #2
Friday April 8 – Load Glaze Kilns Project #2
Saturday – Fire Glaze Kilns Project #2
Week #15
Monday April 11 – Unload glaze kilns Project #2 – Load Bisque #4
Tuesday April 12 – Fire Bisque #4
Wednesday April 13 – Unload Bisque and Glaze Project #4
Thursday April 14 – Load Glaze #4
Friday April 15 – Fire Glaze #4
Saturday April 16 – Unload Glaze #4
Week #16
Monday April 18 – Final Critiques/Project #2 with molds/ class clean up assignments
Wednesday April - Final Critiques/ Project #4 with glaze tests ---last day of classes/Party
Classes End
Thursday April 21 and Friday April 22 – Reading Days
April 23, 25-29 – Finals Week
UF NCECA Pre-Conference /Exhibitions Schedule Spring 2011
Spring Break is - March 5-14
Anna Calluori Holcombe – UF Pre-Conference Program Chair
Nan Smith – UF Pre-Conference Exhibitions Chair
Eric Lewis – Workshop Demonstration Coordinator Nicole Guggliotti – Pre-Conference Program Coordinator
Exhibition Exhibition Dates Install Dates De-Install Dates
Oak Hall Gallery – Intersection: UF Undergraduate Candidates March 9 - March 29, 2011 By Oak Team – leader
Lindsey, Dandee, Donna, Autumn Higgins, Jocelyn Howard, Ashley Roberts, Sarah Marrafino
February 28 – March 4 By Oak Team – leader Lindsey
April 5-7
Focus Gallery – Intersection: UF Post Bacc and Graduate Student Exhibition March 21- April 1, 2011
(contact Amy about de-installing after NCECA) By Focus Team – leader Rhonda Brian, Chris, Kaitlyn Brennan, Courtney Cummins, Divka Curtis
March 5-10 By Focus Team – leader Rhonda
April 4
Thomas Center Gallery – Currents Past and Present March 26- May 31, 2011
By Thomas Team – leader Galen, Jon Burns, Forest Gard, Eric Lewis, Lauren Faust, Sarah Tancred
March 4-5 By Thomas Team – leader Galen (plan this with the group)
May 31– June 5
Dean’s Atrium-
King, Smith, Snipes: Workshop Leaders Exhibit March 10-April 4 By Focus Team – leader Rhonda Kaitlyn Brennan, Courtney Cummins , Jeni Hansen, Divka Curtis (Inform Piper about dates)
March 7-10 By Focus Team – leader Rhonda
April 4
Showcase Displays- (3) Ground and First Floor March 10 – April 4 By Focus Team – leader Rhonda Kaitlyn Brennan, Courtney Cummins, Divka Curtis
March 7-10 By Focus Team – leader Rhonda
April 4
Studio @ 620 – Resonance - Faculty and Alumni NCECA Exhibition March 26 -April 4th, 2011 By Team 620 – leaders Nan and Ray Andrea Ziemnicki, Marah Gaiti, Jeffrey Sincich, Josh Stover, Jeni Hansen, Chloe Rothwell??
March 24-25 By Team 620 – leaders Nan and Ray
April 5
Harn Museum of Art –
Alchemy: Clay National March 1- September 11, 2011 By Harn Preparator By Harn Preparator
Anna Calluori Holcombe – UF Pre-Conference Program Chair
Nan Smith – UF Pre-Conference Exhibitions Chair
Eric Lewis – Workshop Demonstration Coordinator Nicole Guggliotti – Pre-Conference Program Coordinator
Exhibition Exhibition Dates Install Dates De-Install Dates
Oak Hall Gallery – Intersection: UF Undergraduate Candidates March 9 - March 29, 2011 By Oak Team – leader
Lindsey, Dandee, Donna, Autumn Higgins, Jocelyn Howard, Ashley Roberts, Sarah Marrafino
February 28 – March 4 By Oak Team – leader Lindsey
April 5-7
Focus Gallery – Intersection: UF Post Bacc and Graduate Student Exhibition March 21- April 1, 2011
(contact Amy about de-installing after NCECA) By Focus Team – leader Rhonda Brian, Chris, Kaitlyn Brennan, Courtney Cummins, Divka Curtis
March 5-10 By Focus Team – leader Rhonda
April 4
Thomas Center Gallery – Currents Past and Present March 26- May 31, 2011
By Thomas Team – leader Galen, Jon Burns, Forest Gard, Eric Lewis, Lauren Faust, Sarah Tancred
March 4-5 By Thomas Team – leader Galen (plan this with the group)
May 31– June 5
Dean’s Atrium-
King, Smith, Snipes: Workshop Leaders Exhibit March 10-April 4 By Focus Team – leader Rhonda Kaitlyn Brennan, Courtney Cummins , Jeni Hansen, Divka Curtis (Inform Piper about dates)
March 7-10 By Focus Team – leader Rhonda
April 4
Showcase Displays- (3) Ground and First Floor March 10 – April 4 By Focus Team – leader Rhonda Kaitlyn Brennan, Courtney Cummins, Divka Curtis
March 7-10 By Focus Team – leader Rhonda
April 4
Studio @ 620 – Resonance - Faculty and Alumni NCECA Exhibition March 26 -April 4th, 2011 By Team 620 – leaders Nan and Ray Andrea Ziemnicki, Marah Gaiti, Jeffrey Sincich, Josh Stover, Jeni Hansen, Chloe Rothwell??
March 24-25 By Team 620 – leaders Nan and Ray
April 5
Harn Museum of Art –
Alchemy: Clay National March 1- September 11, 2011 By Harn Preparator By Harn Preparator
Project #1 Sectional Plaster Molds: for slipcasting or press-molding
Objective: To use the sculptural models created for project #2 to produce three or four sectional plaster molds, either for slip-casting or press molding to create the final sculptures. These molds are to be well designed and to exhibit craftsman-like mold-making. The processes you will use to section the sculptural form, define and create a separating plane and keys will be taught through sequenced class demonstrations. Making a mold is like thinking inside out or about a three dimensional puzzle. The technical reading that follows is required for it will explain how to make a sectional mold and will supplement the demonstrations and technical discussions.
Supporting Technical Reading:
“Plaster Mold and Model Making”, authors Chaney and Skee
Chapters 1-2
Chapters 3-4
Chapters 5-6
“Mold Making for Ceramics, author Donald Frith
Chapter 19
Project #2: Chess Set and Playing Board, Toy Multiples, Multiple Installation
Objective:
Option 1- Chess Set:
To design and create a chess set and a playing board. The set can be a partial or total unit depending upon the complexity of the design, however the final sculpture must appear to be a chess set. A chess set usually has 52 pieces (you can do 26) and will need a modular clay tile chess board to fit your full or partial set. Chess pieces are to be no smaller than 5” H and no lager than 8” H.
Option 2- Toy Multiples:
To design and create your own toy. The design should consider how this toy would appear in multiples and consider connections and or assembly - like leggos, tinker toys or building blocks. Toys are for play as well as education. What does your toy do or teach? Is it for an adult or child, or both? The design can also consider a more complex original toy and its display. The complex toy must be also made as multiples. As in the chess set, the toy option considers design relationships and display of multiple parts to create the aesthetic effect. This option was inspired by Ray Gonzalez’s sculpture, www.gonzalezstudio.com. Also recommended are the sculptural works of Boomer Moore. Please note: Be original --- Do not copy a Gonzalez Sculpture, do not use found toys or Barbie for this project option.
Option 3: Multiples Installation: To create a sited installation composed of molded multiples. The installation is to be a social commentary that is related to the site of the installation, the site must be a 4x4’ space. The installation must include 40 multiples.
Form Type:
Option 1- Chess Set:
Open to choice and to be related to the concept you choose. The form can be representational, non-objective, abstracted or a combination of styles. Each form must be a sculpture, expressed fully in the round, and clearly readable as a chess piece. One basic form design can be the basis for all chess pieces since the press-molded form can be adapted through modeled additions.
Option 2- Toys Multiple:
Open to choice and to be related to the concept you choose. The form can be representational, non-objective, abstracted or a combination of styles. Each form must be sculptural and expressed fully in the round.
Option 2- Multiples Installation:
Open to choice and to be related to the concept you choose and the site.
The scale is to be oversized with a minimum vertical measurement of 8 inches. The sculpture must be visually detailed and compelling.
Note: When deciding upon the scale, consider the design and how it can be sectioned to make a plaster mold. Streamlined forms can work well at smaller scale.
Technique:
Plasticine or Amaco Versa Clay No. 20, Vincent’s Cadillac or any smooth clay for Models, Alginate Casts for detailing surface, Sectional Plaster Molds, slip cast or press molded final forms. We will make models and take molds from the models. The final chess pieces/sculptures will be press-molded or slip-cast depending upon the visual design. You will be using your mold to create multiples. Think about the design carefully to see how one basic chess form can be used to generate others. Detail can be applied individually to pieces. Think about the Chinese warrior army which was made from basic molds and further developed beyond the mold. Thus you can easily make more than two pieces; perhaps a king and queen from each side which are glazed differently. Or perhaps more knights to give a sense of the area of the board.
Conceptual Key: The Interpretation of Chess Pieces and how dichotomy or opposition relates to our culture.
Conceptual Resource Information
In 1968 the Metropolitan Museum of Art featured an exhibition with catalogue that centered upon chess as a universally played game; one that crosses cultures and time periods.
Charles K. Wilkinson, Curator Emeritus of Near Eastern Art in his catalogue essay states (about Chess):
“In Europe and America it is known as an intellectual game with precise rules played with thirty-two pieces on a board of sixty-four squares. In the representational sets we have almost a miniature world of fashion. They (referring to chess pieces/sets) also reflect all sorts of historical events, reminding us especially of wars, both foreign and domestic, and of revolutions and uprisings. Some were made for purposes of propaganda: to further a favorite cause or to express disagreement with international arrangements. Conflicting ideologies, both political and religious, are shown, and even frivolous oppositions are embodied in these small objects, such as that presumed to exist between blondes and brunettes. In fact, all kinds of confrontations are manifest in chessman, some whimsical, some meaningless, almost all reflecting the artistic fashions of the age in which they were made. They thus form a running commentary on decorative art as it changes from century to century.”
YOUR CHALLENGE IS TO CONTINUE THIS COMMENTARY through your design of chess pieces.
In his description Wilkinson offers the following historical background:
“Chess is a game of war played on a marked surface between symbolic armies of a certain composition, usually but not always, two in number. Although there are other games of a warlike nature, with pieces being besieged or captured, in chess the opposing sides represent the four main branches of a military force once used in a certain part of the ancient world: chariotry, elephant corps, cavalry, and infantry. It was an army of this kind that Alexander the Great encountered when he invaded northwest India in 326 B.C. Originally in chess each army had, in addition to these four branches, a king and a counselor or minister. Pieces were captured, pieces could be promoted. The game came to an end by checkmate (where a king rendered vulnerable, was unable to move or screen himself) by stalemate (when the side whose turn it was to move could not do so), or by bare king (when a king was the sole survivor of one side).
Despite the changes the game has undergone, with the loss of many of it original symbolic meanings, ca continuity can be established. They was variety even in the early days of chess, and there is today. The inventions of new forms has never ceased.”
PLEASE CONSIDER THE FOLLOWING OPTIONS WHEN DEVELOPING YOUR IDEA. Answering these questions will help you clarify your idea. Specificity will lend power to your sculpture.
How will you relate the chess pieces to our time and to contemporary aesthetics?
How will you make a contemporary design? Will you consider an artistic style like post-modernism, cubism, or an artist like Brancusi’s work to consider a reductive vision?
Do you wish to reflect a social, political, or autobiographical event?
Chess portrayed battle often war, how do you choose to relate this; as a serious dichotomy, as duality, as opposition (i.e. good versus evil), as war?
Other references: (these are the books used for the visual presentation)
June/Jul American Craft magazine p. 40, “Checkmate! Design Students Reimagine the Chess Set.”
“The Imagery of Chess Revisited”, Edited by: Larry List, Introduction by Ingrid Schaffner, George Braziller Publishers, New York, 2005, NK4696.163 2005
“Chess: East and West, Past and Present”, Introduction by Charles K. Wilkinson, Curator Emeritus of Near Eastern Art, The Metropolitan Museum of Art, 731.89794140411C, (on reserve at the FAA Library)
“The Connisseur”, Jan.-April 1987, Chessmen: Their History is Ancient, their Appeal Universal, by
Robin Duthy, pages 120-124. 705C752
“Architectural Digest”, Sept. – Dec. 1992, Antiques: Chess Sets, by Richard Coniff, pages 154-157. 724.979405A673
“Art and Antiques”, Jan.- May 1995, Chess: It’s Your Move, by Maura Sheely, pages 39-41. N6505A551
Websites:
Chess sets have been repopularized.
http://www.thechesspiece.com/categories.asp?id=81
http://www.thechesspiece.com/products.asp?id=84
http://eyelevel.si.edu/2005/11/game_of_kings_a.html (there is a list of artist links on this site follow them).
http://image.guardian.co.uk/sys-images/Guardian/Pix/gallery/2003/06/17/MaxErnstset_chess.jpg
http://www.chesshouse.com/Art_Chess_Pieces_p/6361.htm (The Art of Chess Pieces – author Linder)
http://www.chesshouse.com/chess_sets_and_boards_s/1.htm
http://unique-gifts.novica.com/gifts-for-him/auto-part-chess-set-rustic-warriors/103619/ auot part chess sets a bit mainstream kitsche)
http://www.emuseumstore.com/category/53
Technical Demonstrations - (these are designed to parallel project content and to present materials that will expand your skill base)
Model making: tips on use of plasticine, or water based modeling clay to be bisque fired
Alginate Lecture and demo
Plaster Lecture and demo
Sectional Molds; how and where to section, separating planes, sequencing sections
Press molding; tamping slabs, Xixing malletts
I will work with you to establish a safe firing schedule and will teach you how to operate the
equipment. All kilns must be filled so it will be important for you to work together with other
students.
Technical Information Project #1 - Molds
Sealant for Slip Cast Molds
When mixing mold soap use a 1:1 ratio of the concentrated gell-like soap (Axner/Laguna’s) to water. So you can mix a container ½ full of soap concentrate and then add the other half of water. Use warm water, stir well and let the solution dissolve for a couple of hours.
Do not use Vaseline as a resist for plaster to plaster on a slip mold… it seals the mold and it will not absorb the water from the slip
1. After the first section is cast clean the plaster surface and cut the keys.
2. Add liquid slip to the perimeter of the model to be sure the model is completely sealed along the seam line. Sponge off the excess and look at the seam between the plaster and the model for tiny opening and air holes. Leave what remains there to seal the model tight so that you have no plaster leakage when you cast the second piece of the mold.
3. Add three coats of liquid mold soap. The first coat is the most important for it will fill the pores of the plaster. Brush the soap on generously and wipe dry with a soft brush. Add a second coat and then a third in the same manner.
4. You are ready to cast the second section. Attach you coddle boards. Add clay coils to seam lines. Weight plaster and water ratio. Mix and pour.
Sealant and resist for plaster press-molds:
Smooth-on super seal sprayed as per product instructions. Three coasts of mold soap, let dry between coats then buff with a soft cloth.
Measuring Volumes for plaster
Measure the L x W x H within coddle boards and then subtract the estimated space displaced by the model and this will give the Quarts of Water. Then match this number with the plaster ratios listed on the chart.
You now have the amount of water in ounces and the amount of plaster in pounds.
454 gms. = 1 pound
28 gms. = 1 ounce
Websites:
Fractions to Decimals – www.med.wayne.edu/biomedcom/fraction.htm
Quarts to Ounces – www.asknumbers.com/QuartsToOuncesConversion.aspx
Project #3
Objective: To create a palette of new sculpture glazes and to through practical experience learn about metallic oxides and stains and ceramic raw materials. To learn how to apply layered color for more varied and dimensional effects.
This is assigned to support creating and selecting the surface treatment for Project #4. The information you gather can be used to spark further testing.
Research new low fire slip, underglaze and glaze treatments. Please document this research by doing test tiles and by keeping records of recipes you have tested.
Required Reading and dates assigned:
“Handbook of Sculpture Recipes” (required) – This book has excellent contemporary sculpture glazes and will be used to gather recipes to test. It also has information about color testing and tri-axial blends. You are expected to review the recipes in this book to select those you wish to test. In some cases the glazes have descriptive information listed above the recipe. We will discuss chemicals and color and how you can tell from the recipe a bit about the glaze.
How to begin:
Create 75 test tiles. (Note you were asked to do this in advance of beginning the project. If you have not, or need more tiles please do this right away).
Smaller test tiles 3" X 5" in size will serve well for your initial tests. A few larger tiles which relate in form and texture to your sculpture should be used to practice application and gain more specific test results. Bisque fire your tiles.
Review the low fire sculpture glazes listed in the course book from Target Copy.
Make a selection of 5 glazes. Prepare this and your color studies for a group and/or individual discussion with me.
Round 1
1. Mix 100 gram batches of each glaze recipe.
Wet mix and place in closed labeled containers. You will be able to use these test batches to do additional tests: layering underglaze, slips, and other glazes.
2. Apply glazes to small test tiles and fire.
Use the application method you plan for the large sculpture (spraying or brushing may be best depending upon size).
3. Do layer tests (one dip, two dips and three dips) on small tiles and fire.
Round 2
1. Do color runs on your two favorite glazes.
Round 3
1. Create a line blend using you two favorite glazes that have contrasting color and or surface qualities. (See handout for line blend instructions).
Round 4
1. Paint 10 underglaze colors on the bisque tiles and dip in two of the glazes originally tested.
2. Paint 6 slip colors on the bisque tiles and dip in two of the glazes originally tested
Create color study drawings for Project #4.
A glazed surface provides color, surface texture, light reflectivity (shiny, satin, waxy, matte), and transparency or opacity. Think about, all of the surface qualities in addition to color that you desire to research. Also consider color layering using color slips or underglaze, under a glaze of color.
Research provides the best information through frequent firing and planned tests. Please ask for advice and show me your results as they occur.
Technical Information Project #3 - Glaze Testing
Glaze Testing/Line Blends
Select two glazes with contrasting color, opacity, and or texture.
Dry mix 1000 grams of each glaze. Mix all fry materials thoroughly. Then weight out batches in the increments listed below.
You are going to create a 10 step line blend using both glazes to blend a series on new mixes.
___________________________________________________________________________________
Glaze A
10% 20% 30% 40% 50% 60% 70% 80% 90%
Glaze B
90% 80% 70% 60% 50% 40% 30% 20% 10%
____________________________________________________________________________________
Label your test tiles with black ink wash noting the percentage of each glaze.
Keep careful records in your notebook, for you will likely create an exciting new glaze.
Create thickness variation on each tile, dipping them with single, double, and triple thicknesses of each new glaze.
Art 3768C, Ceramic Sculpture 2
Glaze Testing/Lecture Highlights
Nan Smith, Professor
Spring 2011
What is glaze?
Glass former/Silica
Flux/Melter (feldspar, frits, gerstley borate)
Alumina/Clay
What is Slip/Engobe?
Glaze Testing:
How to use gram scales
Glaze Lab Orientation
Health and Safety (respirator strongly suggested)
Tile Samples; Our Glaze Tile Library
Test tile Design
Flat tiles
Hanging Tiles
Standing Tiles
Labeling and Record keeping
How to use Test tiles to generate more testing ideas
What to Test?
8 Coloring Oxides of combination oxides; metallic oxides what are they, math to figure percentages
8 glazes of your choice
favorite test results re-tested over slips, underglazes, washes
A System for Weighing out Tests
Supplies include: zip lock baggies, plastic drinking cups, magic marker, spoon
Layering Color (glaze and slip, glaze over glaze)
Multiple Firings
Firing down; overglazes and luster
Reference Books:
The Ceramic Spectrum, author - Robin Hopper
Low-Fire Ceramics, author - Susan Weschler
Select two glazes with contrasting color, opacity, and or texture.
Dry mix 1000 grams of each glaze. Mix all fry materials thoroughly. Then weight out batches in the increments listed below.
You are going to create a 10 step line blend using both glazes to blend a series on new mixes.
___________________________________________________________________________________
Glaze A
10% 20% 30% 40% 50% 60% 70% 80% 90%
Glaze B
90% 80% 70% 60% 50% 40% 30% 20% 10%
____________________________________________________________________________________
Label your test tiles with black ink wash noting the percentage of each glaze.
Keep careful records in your notebook, for you will likely create an exciting new glaze.
Create thickness variation on each tile, dipping them with single, double, and triple thicknesses of each new glaze.
Art 3768C, Ceramic Sculpture 2
Glaze Testing/Lecture Highlights
Nan Smith, Professor
Spring 2011
What is glaze?
Glass former/Silica
Flux/Melter (feldspar, frits, gerstley borate)
Alumina/Clay
What is Slip/Engobe?
Glaze Testing:
How to use gram scales
Glaze Lab Orientation
Health and Safety (respirator strongly suggested)
Tile Samples; Our Glaze Tile Library
Test tile Design
Flat tiles
Hanging Tiles
Standing Tiles
Labeling and Record keeping
How to use Test tiles to generate more testing ideas
What to Test?
8 Coloring Oxides of combination oxides; metallic oxides what are they, math to figure percentages
8 glazes of your choice
favorite test results re-tested over slips, underglazes, washes
A System for Weighing out Tests
Supplies include: zip lock baggies, plastic drinking cups, magic marker, spoon
Layering Color (glaze and slip, glaze over glaze)
Multiple Firings
Firing down; overglazes and luster
Reference Books:
The Ceramic Spectrum, author - Robin Hopper
Low-Fire Ceramics, author - Susan Weschler
Project #4 Option -1 The Human Body
The Human Body
Project #4 This sculpture is to be larger scale and is to use the glazes developed in Project #3 as surface treatments.
Objective: To create a large scale figurative sculpture in a context. The concepts should reflect a personal idea about contemporary culture.
Required Reading:
“Confrontational Clay”, a catalogue essay by Judith Schwartz
Supplementary Reading (suggested):
“The Decline and Fall and Magical Resurrection of the Body”, an essay by Donald Kuspit
Form Type: The Human Figure; interior or exterior form
The human form has fascinated people throughout the ages; audiences and artists alike. It's resurgence as a vital means of expression in contemporary sculpture has served to broaden the historical vocabulary. Contemporary Ceramic Sculptors in vast numbers choose the human body/form as a vehicle for ideas both personal and universal.
Technique: modeling, carving, coil, slab, molds and altered life casts
The style of modeling and articulating the figure should support your central idea, and will be a primary criterion for evaluation.
Conceptual Key: Consider issues of Health, Cleansing, Heroes, Consumption, and Gender
Step 1: One of the above topics will resonate and have meaning for you. Choose one issue and do library research to gather information and ideas about the topic. Reading about a topic will clarify your ideas. You will gather more insight and inevitably understand more about your own ideas.
For instance you might be interested in answering this question: What is our cultural stance on health? Or .... Does contemporary culture have heroes? How are they established? How have heroes been established in past societies? What substance did these heroes possess and how do these qualities relate to those of contemporary heroes? Or .... Are we, as a culture, over consuming? What are our values today? Or .... How does our society respond to gender? Have we achieved sexual equality? How are gender roles taught? What are the gender roles today?
Step 2: After finalizing you idea and be specific about what you want to say; which means narrow it down to one sentence that you can easily tell your classmates. Your figure should be readable as a human form.
Realism and interpretive realism are the parameters.
Make sketches using the human form to communicate your idea. You can employ the human figure as a full or partial figure. You can use a body part; for instance, a hand, foot, or torso to communicate your idea. You can use an internal organ. Ideas about stance, gesture, apparel and draping are options to consider.
How do you interpret emotion? Is this important to your figure and concept? What age and body type is the figure? Modeling style can be thought of like mark making in drawing or painting. The expressive quality of modeling style should be harnessed to express your idea.
Step 3: Consider how the viewer will relate to your sculpture beyond the fact that it is a human form or part of the body. Think about the first impression or what I call the “Point of Entry”. You can employ any of the following tools to set the tone for reading your work: Myth, humor, wit, sarcasm, irony. Aesthetics can enhance the impression or tone you set. Think about how to create diverse visual tones like; quiet, beauty, gore?? Is the figure in a context? What scale do you choose to work at? What is the optimal scale for your art work? Is this the same? What is the overall mood of the work?
Step 4: Make a clearly visualized maquette to finalize your idea in 3 dimensions.
Step 5: Plan your building process. Further clarify your ideas about how to build your sculpture through discussion and critique.
Artists of Reference -
Adrian Arelo, Chris Federighi, Judy Moonelis, Tim Taunton, Robert Brady, Stephen DeSteabler, Anne Perrigo, Susan Banks, Michael Lucero, Mark Burns, Akio Takamori, Jack Earl, Viola Frey, Marilyn Lysohir, Patti Warashina, Peter Vandenberg, Robert Arneson, Nan Smith, Nancy Carmen, Donna Polseno, Arthur Gonzales, Elaine Carhartt, Mary Frank, Sumni Jung, Beverly Mayeri, Elisa Nappa, Richard Shaw, Jack Earl, Elyse Saperstein, Judy Fox, Ovidio Giberga. Also: Gina Bobrowski, Treisch Voelker and others.
Optional Technical Demonstrations:
Modeling/Moldmaking
a. Bruno Lucchesi Videos (2)
b. armatures traditional and invented
c. scaling and the use of calipers/handouts facial proportions
d. Supplementary Books: Anatomy for the Artist, Modeling the Head in Clay
e materials lecture; plaster, alginate, moulage
Forming process, scale, and glaze choice are open to your artistic discretion.
Project #4 This sculpture is to be larger scale and is to use the glazes developed in Project #3 as surface treatments.
Objective: To create a large scale figurative sculpture in a context. The concepts should reflect a personal idea about contemporary culture.
Required Reading:
“Confrontational Clay”, a catalogue essay by Judith Schwartz
Supplementary Reading (suggested):
“The Decline and Fall and Magical Resurrection of the Body”, an essay by Donald Kuspit
Form Type: The Human Figure; interior or exterior form
The human form has fascinated people throughout the ages; audiences and artists alike. It's resurgence as a vital means of expression in contemporary sculpture has served to broaden the historical vocabulary. Contemporary Ceramic Sculptors in vast numbers choose the human body/form as a vehicle for ideas both personal and universal.
Technique: modeling, carving, coil, slab, molds and altered life casts
The style of modeling and articulating the figure should support your central idea, and will be a primary criterion for evaluation.
Conceptual Key: Consider issues of Health, Cleansing, Heroes, Consumption, and Gender
Step 1: One of the above topics will resonate and have meaning for you. Choose one issue and do library research to gather information and ideas about the topic. Reading about a topic will clarify your ideas. You will gather more insight and inevitably understand more about your own ideas.
For instance you might be interested in answering this question: What is our cultural stance on health? Or .... Does contemporary culture have heroes? How are they established? How have heroes been established in past societies? What substance did these heroes possess and how do these qualities relate to those of contemporary heroes? Or .... Are we, as a culture, over consuming? What are our values today? Or .... How does our society respond to gender? Have we achieved sexual equality? How are gender roles taught? What are the gender roles today?
Step 2: After finalizing you idea and be specific about what you want to say; which means narrow it down to one sentence that you can easily tell your classmates. Your figure should be readable as a human form.
Realism and interpretive realism are the parameters.
Make sketches using the human form to communicate your idea. You can employ the human figure as a full or partial figure. You can use a body part; for instance, a hand, foot, or torso to communicate your idea. You can use an internal organ. Ideas about stance, gesture, apparel and draping are options to consider.
How do you interpret emotion? Is this important to your figure and concept? What age and body type is the figure? Modeling style can be thought of like mark making in drawing or painting. The expressive quality of modeling style should be harnessed to express your idea.
Step 3: Consider how the viewer will relate to your sculpture beyond the fact that it is a human form or part of the body. Think about the first impression or what I call the “Point of Entry”. You can employ any of the following tools to set the tone for reading your work: Myth, humor, wit, sarcasm, irony. Aesthetics can enhance the impression or tone you set. Think about how to create diverse visual tones like; quiet, beauty, gore?? Is the figure in a context? What scale do you choose to work at? What is the optimal scale for your art work? Is this the same? What is the overall mood of the work?
Step 4: Make a clearly visualized maquette to finalize your idea in 3 dimensions.
Step 5: Plan your building process. Further clarify your ideas about how to build your sculpture through discussion and critique.
Artists of Reference -
Adrian Arelo, Chris Federighi, Judy Moonelis, Tim Taunton, Robert Brady, Stephen DeSteabler, Anne Perrigo, Susan Banks, Michael Lucero, Mark Burns, Akio Takamori, Jack Earl, Viola Frey, Marilyn Lysohir, Patti Warashina, Peter Vandenberg, Robert Arneson, Nan Smith, Nancy Carmen, Donna Polseno, Arthur Gonzales, Elaine Carhartt, Mary Frank, Sumni Jung, Beverly Mayeri, Elisa Nappa, Richard Shaw, Jack Earl, Elyse Saperstein, Judy Fox, Ovidio Giberga. Also: Gina Bobrowski, Treisch Voelker and others.
Optional Technical Demonstrations:
Modeling/Moldmaking
a. Bruno Lucchesi Videos (2)
b. armatures traditional and invented
c. scaling and the use of calipers/handouts facial proportions
d. Supplementary Books: Anatomy for the Artist, Modeling the Head in Clay
e materials lecture; plaster, alginate, moulage
Forming process, scale, and glaze choice are open to your artistic discretion.
Project #4 - Option 2 The Post-Industrial
Objective: To create a large scale sculpture which can be defined as post-industrial; through use of an architectural and/or machine-like composite form (possibly invented) which reflects a nostalgic view of the industrial age past. To further explore and use mold-making as a technique to produce part of the sculpture.
Required reading:
“Postmodern Ceramics”, author Mark Del Vecchio, Chapter 12, “Post Industrialism”
You will be responsible for participating in the class discussion of the chapter.
Artists of Reference:
Paul Astbury, Raymon Elozua, Dan Anderson, Steven Montgomery, Steven Welch, Kevin Waller, Hideo Matsumoto, Eric Van Eimeren, Keiko Fukazawa, Barbara Schmidt, Margaretha Daepp, Marek Cecula, Lynn Duryea, Jeremy Jernegan.
Conceptual Key: Post Industrialism is defined by Del Vecchio in the following ways:
“The blue collar world, that traditional bridge from the working -class to middle-class prosperity, is shrinking as we focus less on making products and more on selling intelligence.
This means that younger artists in the post-industrial countries are looking at industry in a very
different way to their modernist predecessors.
In the nineteenth century the Industrial Revolution was viewed with fear and distrust by the art world. (i.e. the arts and crafts movement and William Morris)
Now, nearly a half a century later, younger artists feel an altogether different emotion, namely a nostalgia for an era that is in its twilight”.
Form Type: Architectural or Mechanical Construction and/or Assemblage
Architectural design can be described as design essentially based on forms of geometry like the cube, the cone, the sphere. Mechanical and machine parts often include forms of geometry which are made to be linked, bolted, hooked etc. joined in an apparent physical fashion. You are to express your ideas and perceptions through the organization of architectural and/ or mechanical forms or parts. These elements will be formed or constructed and assembled into one sculpture. The organization of architectural and/or mechanical elements which reference the industrial; for instance, columns, machine parts, pediments, windows, their relative scale and placement will allude to your ideas about you point of nostalgia and the Post Industrial.
OptionalTechnical Demonstrations -
Removable Armatures; Internal and External
1. exterior planar foldout; Rhonda Thweatt
2. form expanded through dies
3. stuffables; battening, sand, sewn forms, pantyhose
4. found objects; tires, mailing tubes
Rubber Molds and more on plaster sectional molds
How to begin
Step 1: Listing ... an excellent method of developing the idea is to create a "free associative" listing of words that indicate architecture/architectural forms, mechanical and industrial forms. My architectural list includes: caryatid, threshold, corridor, banister, flying buttress, cornice, gable, vaulting. An industrial list might include: silo, stack, factory. And a list of machinery might include: turbine, engine etc.
Step 2: Library research ... Please the FAA library and the web as resources for visual images as well as books which illustrate and given information about the industrial revolution and historic scenery of the time period.
Step 3: Make a clearly visualized model that is 6"-8" in size. Balsa wood and Oil clay can be used in addition to pottery clay for the maquette. A maquette is required prior to beginning. A planning critique will be required prior to building.
Molds from found objects ... there are many plastic toys, cake ornaments, dolls house accessories that might be purchased and cast in molds. The molds will permit multiples of an element to be made quickly and used within the assemblage.
Required reading:
“Postmodern Ceramics”, author Mark Del Vecchio, Chapter 12, “Post Industrialism”
You will be responsible for participating in the class discussion of the chapter.
Artists of Reference:
Paul Astbury, Raymon Elozua, Dan Anderson, Steven Montgomery, Steven Welch, Kevin Waller, Hideo Matsumoto, Eric Van Eimeren, Keiko Fukazawa, Barbara Schmidt, Margaretha Daepp, Marek Cecula, Lynn Duryea, Jeremy Jernegan.
Conceptual Key: Post Industrialism is defined by Del Vecchio in the following ways:
“The blue collar world, that traditional bridge from the working -class to middle-class prosperity, is shrinking as we focus less on making products and more on selling intelligence.
This means that younger artists in the post-industrial countries are looking at industry in a very
different way to their modernist predecessors.
In the nineteenth century the Industrial Revolution was viewed with fear and distrust by the art world. (i.e. the arts and crafts movement and William Morris)
Now, nearly a half a century later, younger artists feel an altogether different emotion, namely a nostalgia for an era that is in its twilight”.
Form Type: Architectural or Mechanical Construction and/or Assemblage
Architectural design can be described as design essentially based on forms of geometry like the cube, the cone, the sphere. Mechanical and machine parts often include forms of geometry which are made to be linked, bolted, hooked etc. joined in an apparent physical fashion. You are to express your ideas and perceptions through the organization of architectural and/ or mechanical forms or parts. These elements will be formed or constructed and assembled into one sculpture. The organization of architectural and/or mechanical elements which reference the industrial; for instance, columns, machine parts, pediments, windows, their relative scale and placement will allude to your ideas about you point of nostalgia and the Post Industrial.
OptionalTechnical Demonstrations -
Removable Armatures; Internal and External
1. exterior planar foldout; Rhonda Thweatt
2. form expanded through dies
3. stuffables; battening, sand, sewn forms, pantyhose
4. found objects; tires, mailing tubes
Rubber Molds and more on plaster sectional molds
How to begin
Step 1: Listing ... an excellent method of developing the idea is to create a "free associative" listing of words that indicate architecture/architectural forms, mechanical and industrial forms. My architectural list includes: caryatid, threshold, corridor, banister, flying buttress, cornice, gable, vaulting. An industrial list might include: silo, stack, factory. And a list of machinery might include: turbine, engine etc.
Step 2: Library research ... Please the FAA library and the web as resources for visual images as well as books which illustrate and given information about the industrial revolution and historic scenery of the time period.
Step 3: Make a clearly visualized model that is 6"-8" in size. Balsa wood and Oil clay can be used in addition to pottery clay for the maquette. A maquette is required prior to beginning. A planning critique will be required prior to building.
Molds from found objects ... there are many plastic toys, cake ornaments, dolls house accessories that might be purchased and cast in molds. The molds will permit multiples of an element to be made quickly and used within the assemblage.
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