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MuseumRulesofBehaviorandEtiquetteThe purpose of these rules is to ensure that all students, visitors, teachers, and patrons of the American Museum of Ceramic Art facilities have access to and use of the museum facility in an orderly, peaceful, safe, and educational atmosphere.
A student/visitor engaged in the following behaviors will be asked to stop the behavior and may be reprimanded by museum staff or be asked to leave the museum. The museum asks all teachers or group leaders to go over the following rules and etiquette procedures with their students, staff, and chaperones before their scheduled visit to the museum.
We request a two‐week advance notice on all tours. We suggest having one adult chaperone for every 10 students. Having name tags for
each member of your group helps us get to know you. Regardless of the number of adults, we expect all classes to be orderly and well‐behaved.
Students and visitors should not engage in disorderly conduct, harassing, or annoying behavior. Please keep your hands and feet to yourself at all times especially within the gallery area of the museum.
Touching or handling any art piece or artifact without permission or assistance from the museum staff or authorized volunteer is strictly prohibited.
Making noises such as talking loudly to others or in monologues, shouting, singing, or engaging in boisterous behavior during tours is not allowed. Students and visitors should be encouraged to listen and follow the directions of museum staff and volunteers during their visit to the museum.
Misuse of the museum’s furniture or equipment is strictly prohibited in all areas. Teachers, students, and chaperones are not to remove, relocate, or reposition museum equipment or facilities such as tables, bookshelves, benches or other permanently placed equipment without permission of museum staff and volunteers.
The use of audible equipment, such as radios, portable gaming devices, i‐pods, portable televisions or similar sound‐producing devices is strictly prohibited in gallery areas during any tour. Cellular telephone users are asked to be considerate of others and to confine their calls to the museum entry area, no text messaging is allowed during a docent led tour.
Bringing food or beverages into the museum unless authorized and scheduled with museum staff as part of your museum visit is strictly prohibited. Absolutely no food beverages, candy or gum is allowed in gallery areas during museum visits.
Making use of the restrooms for any purpose for which they were not intended is strictly prohibited. Students should be chaperoned in restroom areas and under the supervision of teachers and chaperones at all times during their visit to the museum.
Photography is allowed during your visit!
NotetoTeachers:
The American Museum of Ceramic Art is honored to present Honoring the Past, Embracing the
Future: AMOCA’s 10th Anniversary. The masterworks present the high points in the history of
ceramics, with a focus on the nineteenth century to the present. This showcase includes the big,
bold, and daring conjoined with the intimate, refined, and pristine; the handcrafted opposed with
the industrial; the abstract counterpoised with the figurative; and the vessel juxtaposed with the
sculptural.
The exhibition will give a view to the aesthetic horizon of the ceramics landscape, revealing the
achievements of the past and positing possibilities for the future. Visitors will experience the
fascinating story of three centuries of ceramic production, narrated through exemplar objects
that connect the traditional with the contemporary, transverse borders and civilizations,
embrace experimentation, and intersect, reflect, and interpret diverse cultures. This visual feast
will be told in thematic groupings that include monumental figures, over‐the‐top baroque
vessels, a parade of cups and teapots, and a circus of animalia sculptures, among other delights.
This packet includes:
The Language of the Ceramic Arts
Elements of Art
Learning to Look at Art
Viewing Art Work – General principals
Visual Elements within the art piece & Composition of the art piece
Art Literature Resources
Gallery Activities (Museum will provide enough for your class during your
tour)
Back in the Classroom Art Lessons
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Ceramic Vocabulary
These are some general key terms to know when discussing Ceramic Art.
Air pockets: Enclosed air spaces within clay that must be removed for they may cause ceramic
work to explode or crack.
Bisque ware: Clay that has been fired once, at a low temperature. Clay is hard but porous and
absorbent.
Bone dry: No visible moisture and no dampness to the touch. Clay is ready to be fired.
Ceramics: Objects made of clay fired to a high temperature, over 1550 degrees F.
Clay: Fine grained earth materials formed by the decomposition of igneous rocks; plastic when
wet; strong when dry; and rock hard when exposed to red heat (fired).
Coils: Rolled, snake-like ropes of clay, joined together to build pots.
Embossment: Raised surface design on a clay piece.
Firing: To heat in a kiln (brick oven). Firing is a term used for “cooking” the clay.
Form: Three-dimensional shape and structure of an object.
Glaze: A combination of miniscule clay and glass particles mixed with water; applied to bisque
ware before firing. During the firing process this applied mixture adheres to the form, giving it a
hard, durable surface. Glazes can be colored, opaque, clear, translucent, or matte.
Greenware: Unfired clay ready or nearly ready for firing.
Hand-building: Construction processes that include pinching, coiling or building with slabs.
Incising: Surface decoration made by scratching, cutting, or carving lines into clay at various
depths.
Inlay: Surface decoration created by filling an impression in a clay surface with another clay or
slip.
Kiln: A furnace or oven built of heat-resistant materials for firing pottery. Heat is produced by
electricity, propane, natural gas or wood.
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Leather Hard: Clay is too firm to bend yet soft enough to carve. It is the consistency of cheddar
cheese.
Pinch Pots: Starting with a ball of clay, the potter opens a hole with his thumb. Pinching the clay
between his thumb on the inside and fingers on the outside, a bowl shape is formed.
Plastic stage: Moist and elastic to the touch; clay that is easily manipulated.
Porcelain: A translucent, nonabsorbent body fired at high temperature. White and hard, it was
first developed in China during the 8th century.
Pottery: Pottery is one of the oldest art forms explored by mankind. There are many now-extinct
cultures throughout the world that did not use written language. For some of these civilizations
the only evidence of their daily lives comes in the form of pottery, which when left behind
provides important archeological records.
Scoring: Scratching or roughing-up the clay surface; used in combination with brushed-on slip,
scoring is a preparation step for joining two or more separate clay pieces together.
Seam: The crack formed where two pieces of clay are joined.
Slabs: Rolled flat sections of clay. Wet slabs can be draped over or into forms or rolled around
cylindrical or square forms. Slabs may be cut into shapes and joined together using the score and
slip method. This is most successful when slabs are dried to the leather-hard state.
Slip: Finely ground clay particles mixed with water. 1) Used for joining two pieces of clay; 2)
Brushed on (also called underglaze) for decorating purposes (3) May be squeezed or extruded
onto the surface for a raised effect. Slip may be colored.
Texture: The quality of a surface.
Three-dimensional: when all three dimensions (length, height, and width) can be touched and
felt.
Underglazes: Colored slip or liquid stain applied to leather hard clay or bisque ware, then coated
with a clear glaze.
Ware: Pottery pieces in the raw, bisque, or glazed state.
Wedging: A kneading process, manipulating the clay to remove air bubbles, lumps, and excess
water.
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The Language of Ceramic Art
What are pottery and ceramics? Is there a difference? Is everything that is
made out of clay pottery? Are all ceramics made out of clay? Pottery and ceramics have been an important part of human culture for thousands of years. From
prehistoric storage jars to tiles on the space shuttles, pottery and ceramics have played a key role in
innumerable human endeavors. But how do we define them?
What Are Ceramics?
Technically, ceramics are some of the things made from materials which are permanently changed when
heated. For example, clay has chemically-bonded water in it which will cause it to disintegrate when a
dried clay object is put in water. Once fired (heated) to between 660⁰ and 1470⁰F (350⁰ and 800⁰C), the
clay is converted to ceramic and will never dissolve again.
All clay is a ceramic material, but there are other ceramic materials, as well. Glazes are also ceramic
materials, because they permanently change during firing. Industrial ceramics include a range of materials
such as silica carbide and zirconium oxide.
What Is Pottery?
Pottery is generally considered to be containers made from clay. "Pot" is a term used for any number of
container forms. Both words derive from the Old English potian, "to push". When we consider how the
potter pushes as they throw the clay on the wheel, it is easy to see how the process got its name. The
term "pottery" may also be used as an adjective with some objects, such as small figurines.
In industrialized countries, modern pottery can be classified two ways. There is commercial pottery or
ceramics which are produced in factories, and there is studio pottery which is produced by individual
craftsmen. You may also hear of "art pottery," which may be either produced commercially or by an
individual craftsman.
Studio pottery (studio ceramics) can be quite diverse. Production potters are most active in making large
quantities of ceramic wares such as plates, platters, dishes, bowls, and so on. Production potters can sit
down with a hundred pounds of clay and throw the same form all day. The technique of throwing off the
mound is often employed by production potters because it reduces time spent centering the clay and
moving bats on and off the wheel head.
Studio potters are more concerned with creating forms for their uniqueness and beauty. These "art"
pieces might still retain full functionality, or they may move toward being more sculptural. Many of these
are "one-off" pieces, meaning they are one-of-a-kind.
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Potter, Ceramic Artist, or What?
There is not a singular term for those who work with clay. Rather the opposite is true. Some of the most
common terms are:
potter: a general term for an individual craftsman working in clay
production potter: these folk make large numbers of functional pots as their main employment
studio potters: often those who create one-off pieces but may also do production pottery
ceramic artists: those who create clay artwork
clay artist: same as a ceramic artist, but may not fire their pieces (i.e. they are working as a
designer for a commercial pottery)
ceramist: anyone who works with ceramic materials either industrially or as an individual, and
ceramic engineer: those who work (often in industry) with the chemistry and physics of ceramic
materials
A Historical Perspective of Pottery Aesthetic Throughout the ages, even before history began, pottery has been used as a medium for expression. The
earliest pottery and clay objects we have found show a true sense of artistry and aesthetic. Pottery has
been used to tell stories or emphasize them. Clay has been used to supplicate gods and kings. It has been
used to express social and religious ideals.
Beginning in the late 19th century, the Arts and Crafts movement changed the concept of pottery and
ceramics. What had been often seen as purely utilitarian became infused with an understanding of and
focus on the interaction between the potter and the clay. Art Pottery, which emphasized pottery to be
valued for its own artistic sake, was born. During the 1950’s, ceramic art took an even further digression
from the utilitarian, as studio potters reacted to and explored the ideas presented by artists working in
the abstract expressionist movement.
Ceramicists today, have the understanding that clay can be either art, or craft, or (ultimately) the marriage
of both. Artistic merit and technical expertise meld in the current world of studio pottery. Many
production potters (those who make hundreds and thousands of matching dishes for utilitarian usage)
are also engaged in making one-of-a-kind pieces that are primarily artistic and aesthetic expression.
Clay as a Sculpting Medium From prehistoric times to the present, clay has not only been used to create utilitarian items like bowls
and storage jars, but also rich works of three-dimensional art. Clay artists may work as designers for
commercial potteries, they may do sculptural work as part of their studio pottery, or they may work
exclusively as sculptors in clay.
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What is three-dimensional artwork? Three-dimensional (3-D) objects have a height, width, and depth. Such works may be carved, modeled,
cast or otherwise constructed or assembled using a variety of materials. Creating ceramics is creating
three-dimensional forms. Even tiles have height, width and depth. Beyond the actual measurements of
these three dimensions, however, there are even more elements which make up the three dimensional
form. For 3-D objects, there are three elements which raised them into art, and upon which all 3-D art is
built. These foundations are subject matter, content, and form.
Subject Matter
Subject matter is the starting point for art. What will the artist "talk" about in the piece? Subject matter
is the broad theme or topic of a piece.
Content
Content is very closely related to the subject matter, and often we slide from one to the other without
being aware of it. Content can be seen as a refinement of subject matter. Once an artist has determined
the subject matter, now it is time to define what they want to say on that topic.
Content is the element of art in which an artist clearly defines what it is they are attempting to
communicate about the subject matter. What concept or set of interrelated concepts will an artist be
working to impart?
Form
Form is the culminating element in 3-D art. Without form, there is no
expression of subject or of content. Form is the physical manifestation of an
artistic vision, expression, and communication. For 3-D artists, form is much
more involved than for 2-D artists, such as painters. In this context, form allows
us as viewers to mentally capture the work and understand it.
Unlike a 2-D artwork, the 3-D artwork must serve the subject matter and the
content from a multiplicity of viewpoints. No matter how the audience moves
around the form, the artwork needs to continue to do its job of speaking to
that audience.
Form is an element of art. At its most basic, a form is a geometrical figure (i.e.: sphere, cube, cylinder,
cone, etc.) or naturalistic (meaning found in nature i.e. leaf, whale, apple, etc). Form has the ability to
become an even richer medium for the artist and experience for the audience. Not only do we as potters
and ceramists work with the 3-D form, but also the 2-D possibilities that exist in decorating or enhancing
the work’s surface. When developing the piece, the surface is an integral part of the overall piece. Surface
treatments need to mirror all the details in order to present a unified, complete three dimensional
artwork, including functional ceramic work.
Describe the characteristics of a teapot. What are teapots used for? Have the students look at an abstract
teapot. Does this still qualify as a teapot? Why or why not? Are all ceramic items functional?
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Gladding McBean Factory, Tea Set, n.d.
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Pick one of the images or artworks provided by AMOCA. Identify the following items:
Subject Matter (What is the artist "talking" about in the piece?):
Content (What concept or set of interrelated concepts has the artist presented?):
Form (What is the object? What is its purpose? Is it geometric or naturalistic? Describe the surface.):
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Janis Mars Wunderlich, Wearing a Pretty Dress, n.d.
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Peter Vandenberge, Bus Driver, 2006
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Geoffrey Swindell, Vase, 1999-2004
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The Elements of Art and Principles of Design
Shape
Shape pertains to the use of areas in two-dimensional space that can be defined
by edges, setting one flat specific space apart from another. Shapes can be
geometric (e.g.: square, circle, hexagon, etc.) or organic (such as the shape of a
puddle, blob, leaf, boomerang, etc.) A three dimensional object's shape can be
defined as the totality of its mass, as defined by its silhouette. Contours include
the outer silhouette of the shape, which will change as the object or the
observer moves. There are also secondary contours, which further define the
shape but are not the outer edge that is observed.
Ask the students to look at the vase from various angles. The 3-D shape of the
vase does not change. But depending on the different angles the silhouette will change. Explain to them
what a geometric shape is and what a naturalistic shape is. Can they find examples of each in nearby
cases?
Value
Value is the quality of light (tint) and dark (tone). Adding tints and tones
creates the illusion of highlights and shadows. Tint is a variety of a particular
color when white is added, while tone is a variety of a particular color when
black is added. In 3-D in particular, the value is the amount of light that is
coming to the viewer. Through the use of secondary contours, the form can
be made to create its own shadows, which are then a part of its aesthetic,
as well as sculptural, form. The greater the projections and the sharper the
edges are, the more value contrast will be created.
Use a flashlight to produce shadows so that students can view how shadows
can change the emphasis of a teapot.
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Space
Broadly, space is the limitless area bounding and surrounding the shape of
the form. These are usually boundaries that are made by the artist or
craftsman and can be pushed inward and outward by simple curvatures or
planes. The greatest part of the element of space is how the piece is released
from its boundaries, whether it be in bas-relief, medium relief, high relief or
free standing (in the round). The convergence of shape and space can result
in negative space. Negative space is any open area which is surrounded or
defined by the solid physical form of the piece. Negative spaces are integral
to the form and should be considered as important as the physical shape.
Look at the cut outs in the teapot. How does the artist decide where to cut
out the clay? How does the negative space add balance to the art piece?
Texture
The texture is the quality of a surface or what may be sensed by touch.
Texture may be used, for example, in portraying fabrics. It can be explicitly
rendered, or implied with other artistic elements such as lines, shading, and
variation of color.
Describe the texture on this vessel. Explain to students how impressions are
made on clay and how everyday objects can be used to make impressions
such as buttons, screws, Starbucks coffee sleeves.
Line
A line is an identifiable path created by a point moving in
space. It is one-dimensional and can vary in width, direction,
and length. Lines often define the edges of a form. Lines can
be horizontal, vertical, or diagonal, straight or curved, thick
or thin. They lead your eye around the composition and can
communicate information through their character and
direction.
Describe the lines in this piece. How do they complement the
tea set? What do the running lines remind the students of?
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Color
The primary colors are red, yellow, and blue. The secondary colors
are orange, green, and purple. Tertiary colors occur by mixing
secondary colors, or a secondary color with a primary color, or black,
or white. Color pertains to the use of hue in artwork and design. Tint
and Shade occur by adding variations in value; other tertiary colors
are derived by mixing either a primary or secondary color with a
neutral color. e.g. Red + White = Pink. Color is the quality of an object
or substance reflected to the viewer’s eyes, and usually determined
visually by measurement of hue, saturation and brightness of the
reflected light. In simple form, when light strikes an object with color, then, the color reflects back to your
eye. More light means a higher intensity level of the color. The value and hue vary when light darkens or
brightens.
Explain glazing versus painting. What happens inside a kiln when a piece has been dipped in clay? Show
an example of a piece of bisque with glaze, one fired and the other not fired. Why don’t we see a lot of
true red in ceramic works? Ask the students to find pieces in the show that are really dull in color or really
shiny. Explain the different between the glazes.
Principles of Design The principles of design describe the ways that artists use the elements of art in a work of art.
Balance
Balance is the distribution of the visual weight of objects,
colors, texture, and space. If the design has a scale, these
elements should be balanced to make a design feel stable.
In symmetrical balance, the elements used on one side of
the design are similar to those on the other side; in
asymmetrical balance, the sides are different but still look
balanced. In radial balance, the elements are arranged
around a central point and may be similar. Visual balance
can impart feelings or stability and peacefulness.
Ask the students how they think this piece was made. Does it look like it may fall over? Define symmetry
and asymmetry. Which is this? Can they find examples of each?
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Proportion
Proportion is the feeling of unity created when all parts (sizes, amounts, or
number) relate well with each other. When drawing the human figure, proportion
can refer to the size of the head compared to the rest of the body. Human Body
Proportions: The Greek statutes have regulated and determined the standard of
beauty in art. These proportions, however, vary in individual cases. Nevertheless,
they are valuable as a foundation from which modifications may be made. In the
Greek statues, the height of a developed man was usually equivalent to eight
heads. In other words, the head was 1/8th of the length of the body. The height of
a woman, Greek standard, was about seven heads. For the average pot,
proportional ratios are 1:2 or 1:3, either vertically or horizontally.
Have students imagine that this piece is a functional jar. What would happen to the handle if it were used?
If the handle can’t be used, explain decorative versus functional. Can you find another piece that is meant
to be decorative?
Rhythm
Rhythm is created when one or more elements of design are used repeatedly
to create a feeling of organized movement. Rhythm creates a mood like music
or dancing. To keep rhythm exciting and active, variety is essential.
This vessel has different lines. If you compare it to music, it’s organized music.
Give the example of one child counting 1, 2, 3, and 4 and then repeat. Have
another child clap on even numbers and then a third child stomp on every 4
numbers. That is the same concept as what is happening on the line patterns in
the pot.
Emphasis
Emphasis is the part of the design that catches the viewer’s attention. Usually the
artist will make one area stand out by contrasting it with other areas. The area
could be different in size, color, texture, shape, etc. Unlike the graphic arts (two-
dimensional arts), most three dimensional objects cannot be fully seen from only
one position. In order to fully encompass a three dimensional form, students must
move around it and see it from all sides.
Ask students to describe this piece. What part of the vessel catches their eyes?
Why do they think the artist emphasized that part of the vessel?
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Movement
Movement is the path the viewer’s eye takes through the work of
art, often to focal areas. Such movement can be directed along
lines, edges, shape, or color within the work of art.
Describe how the piece was made. Describe the subject in the vase
and how the artist was able to use a tool to create the lines. What
feeling do the students get when looking at it? And why?
Pattern
Pattern is the repeating of an
object or symbol all over the work of art. Repetition works with pattern
to make the work of art seem active. The repetition of elements of
design creates unity within the work of art.
Note the pattern on this bowl. How do the student think it was made? Is
the pattern random or regular? Can they find examples of each? How are they similar and how are they
different?
Variety
Variety refers to the use of several elements of design to
hold the viewer’s attention and to guide the viewer’s eye
through and around the work of art.
Have the students describe the sculpture. This sculpture
uses a variety of elements in it such as color and lines to
create a variety of patterns. Does the sculpture look
balanced?
Unity
Unity is the feeling of harmony between all parts of the work of art, which
creates a sense of completeness. When nothing competes or distracts from
the entire piece that is when unity is created.
Have the students describe an art piece. Look at the design. How does it make
them feel? Do the lines look chaotic or harmonious? Are the lines random or
regular? Does the color of the art piece distract from the form?
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Art Criticism Principles Art criticism is the discussion or evaluation of visual art whether it is 2-D or 3-D. In order to fully
understand the symbols, subjects and themes affiliated with an artwork and how the work relates to the
culture and times in which it was produced, one must be familiar with its heritage; seeking answers to the
who, where, when, what and why questions. These are issues associated with art history. But in order to
appreciate the significance of this work, one must be able to identify, describe and interpret what is
actually in the work in terms of its expressive properties, and to assess, or make judgments about, the
work's personal and social values.
Critiques help students with their persuasive oral, written, information-gathering, and justification skills.
Providing direction and guidance with a critique will ensure that students stay on task and address the
purpose and objectives of the lesson.
Below is a sample set of focus questions for an art critique related to four major areas of art criticism:
description, analysis, interpretation, judgment.
Description The first step to an art critique is to describe the art piece; this is a pure description of the object
without value judgments, analysis, or interpretation. In essence, it answers the basic question, "What do
you see?" The various elements that constitute a description include:
1. Form of art whether architecture, sculpture, painting, etc.
2. Medium of work whether clay, stone, steel, paint, etc., and technique
3. Size and scale of work (relationship to person and/or frame and/or context)
4. Elements or general shapes within the composition
5. Description of axis whether vertical, diagonal, horizontal, etc.
6. Description of line, including contour as soft, planar, jagged, etc.
7. Description of how line describes shape and space (volume); distinguish between lines of
objects and lines of composition, e.g., thick, thin, variable, irregular, intermittent, indistinct, etc.
8. Relationships between shapes, e.g., large and small, overlapping, etc.
9. Description of color and color scheme = palette
10. Texture of surface or other comments about execution of work
11. Context of object: original location and date
Analysis
In this step the viewer determines what the features suggest and decides why the artist used such
features to convey specific ideas. It answers the big question, "How did the artist do it?" Teachers can
use the following example questions:
1. Are visual qualities arranged primarily symmetrically or asymmetrically?
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2. Are there colors, textures or shapes that are clearly dominant because of their relative size or
repeated use?
3. What kind of implied or actual movements can be identified?
4. Determination of subject matter through naming iconographic elements, e.g., historical event,
allegory, mythology, etc.
5. Selection of most distinctive features or characteristics whether line, shape, color, texture, etc.
6. Analysis of the principles of design or composition, e.g., stable, repetitious, rhythmic, unified,
symmetrical, harmonious, geometric, varied, chaotic, horizontal or vertically oriented, etc.
7. Discussion of how elements or structural system contribute to appearance of image or function
8. Analysis of use of light and role of color, e.g., contrast, shadowing, illogical, warm, cool,
symbolic, etc.
9. Treatment of space and landscape, both real and illusionary (including use of perspective), e.g.,
compact, deep, shallow, naturalistic, random
10. Portrayal of movement and how it is achieved
11. Effect of particular medium(s) used
12. Your perceptions of balance, proportion and scale (relationships of each part of the composition
to the whole and to each other part)
13. Your emotional reaction to object or monument
Interpretation
Interpretation makes an assessment of the formal "objective" qualities in works of art. It is critical to
discerning what the work expresses. The emotions and thoughts evoked by our contemplation of the
work should be based upon what can actually be observed. If we say we are saddened by the work or
that we experience a sense of tranquility, we ought to be able to identify the sources in the work for
these responses. Interpretation answers the question, "Why did the artist create it and what does it
mean?” The various elements that constitute interpretation include:
1. Main idea, overall meaning of the work.
2. Why might these visual compositional elements have been chosen?
3. What do you think the artist is trying to achieve?
4. Can I express what I think the artwork is about in one sentence?
5. What evidence inside or outside the artwork supports my interpretation?
Judgment Judging a piece of work means giving it rank in relation to other works and of course considering a very
important aspect of the visual arts; its originality. It answers the question, “Is it a good artwork?” The
various elements that constitute interpretation include:
1. What criteria do I think are most appropriate for judging the artwork?
2. Do you like this artwork? Why or why not?
3. Where do you think this artwork belongs?
4. What value do you find in this artwork?
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5. Does it convey beauty, a message, idea, or feeling?
6. Does it make an insightful connection?
7. What evidence inside or outside the artwork relates to each criterion?
8. Based on the criteria and evidence, what is my judgment about the quality of the artwork?
9. What was your first reaction to the piece?
10. After you spend some time describing, analyzing and interpreting the piece, how do you feel
now?
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Art Literacy Resources
General Reference Materials for Ceramics and Art B, Pixie. "Clay Pottery Craft Projects." Making a Coil Mug. DeerLake Designs L L C, n.d. Web. 12 Sept.
2012. <http://www.pottery-magic.com/pottery/clay_projects/coil-mug.htm>.
Careers in Focus. New York: Ferguson, 2008. Print.
Children's Book of Art. New York, NY: DK, 2009. Print.
Ellis, Mary. Ceramics for Kids: Creative Clay Projects to Pinch, Roll, Coil, Slam & Twist. New York: Lark,
2002. Print.
Gonen, Rivka. Fired Up!: Making Pottery in Ancient times. Minneapolis: Runestone, 1993. Print.
Kong, Ellen. The Great Clay Adventure: Creative Handbuilding for Young Artists. Worcester, MA:
Davis Publications, 1999. Print.
Mittler, Gene A. Introducing Art. New York: Glencoe McGraw-Hill, 1999. Print.
Raczka, Bob. Artful Reading. N.p.: Lerner Group, 2009. Print.
Renshaw, Amanda, and Gilda Williams. The Art Book for Children. New York, NY: Phaidon, 2005.
Print.
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