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Wayne State University

College of Education

Course Syllabus

Ceramics Education I

Division: Art Education

Course: AED 5230 or AED 6230

CRN: 15511/

Credit: 3

Term Year: Winter 2017

Course Location: Community Arts Bldg. Rm. 60.0

Time: Saturday – 12:00 pm to 3:00 pm

Instructor: Dr. Eileen Finnegan

Office Hours: Saturday 11:00 am to 12:00 pm or by appointment

Office Phone: 1(248) 342-5022

E-mail: aa1826@wayne.edu

Course Description

“Ceramics Education I” provides a hands-on practical introduction to traditional and

contemporary methods and materials integral to the study of ceramics. This course will

also explore and research design concepts and historical developments relative to

teaching ceramics K-12. The course will provide a basic introduction to hand-building

(pinch, coil, slab, press-molds) and wheel-throwing techniques used in both functional

and non-functional ceramic objects. This course will also provide multiple decorative

processes including: staining, slip decoration, and low and high-fire glazing. Firing

methods will include oxidation and raku. Emphasis in the studio will be “learning to

design and teach” in the 3-dimensional medium of clay. Emphasis in research will be

an exploration of historical and contemporary developments influencing the field of

ceramics today.

Course Procedure

A typical class structure will include introductory lecture/demonstration/class

discussion of the specific process, concept and assignment under consideration

accompanied by DVD, power point or slides, videos, and/ or print images related to the

process/project under discussion. This introductory material will be followed by

demonstration of new processes and techniques to be explored in the assignment that

follows. Time will then be allotted for students to individually explore the processes

discussed in a series of hands-on exercises, provide for expressive experimentation,

and execute the major project assigned. This will be followed by class

critiques/discussion and self-reflection and self-evaluation of the completed work.

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Course Objectives

• Introduce the different clay bodies (low-fire/high-fire), learn clay preparation and

reclamation, learn the tools for construction, building techniques, glazing and

decoration.

• Study and practice the key ceramic techniques for hand-built work: pinch, coil,

and slab.

• Learn the process for using both hollow press and drape molds.

• Learn the process of wheel-throwing.

• Explore surface design through engraving and embossing, impressed textures,

carved relief, burnishing, stenciling, printing, stains, slips and glazes.

• Explore various functional and non-functional shapes/forms: bowl, jug, mug, etc.

• Learn the function of kilns, firing processes, kiln equipment and be able to utilize

(through class practice) in their own classroom.

• Explore and apply the formal elements and principles of 3-dimensional design in

ceramics production.

• Research conceptual, contemporary and aesthetic perspectives in functional

and non-functional ceramic design.

• Develop a unit lesson plans for ceramics with appropriate adaptations to grade

level.

• Develop a teacher resource portfolio compiling research, class notes and hand-

outs, lesson plans and images related to ceramics lessons.

Course Requirements

Four Major Work Projects: A series of experiments/projects will be explained and

demonstrated during the term. Students will be responsible to complete all introductory

experiments for each technique and 4 major projects (2 completed each half of the

semester). These works are to apply the techniques explored and must be completely

finished on the following dates: the first work will explore and employ pinch and hand-

building techniques; this project and experiments; the second of these works will employ

and utilize slab-building techniques; this project and accompanying experiments; the

third work will explore contemporary expressions and experiments, will demonstrate

a synthesis of processes and images explored and the final work and experiments will

explore wheel-throwing and will evidence student learning to date. Due dates for

projects will be announced during class.

Students should work on the experiments and assigned projects both in and out of the

studio and have them completed by the date they are due.

Students are expected to keep all work until the end of the semester.

Unit Lesson Plans: The Unit Lesson Plans will be related to the 4 major projects and

will be due at the same time the 4 projects are due. The first lesson plan will focus on

the introduction of ceramics processes, materials and methods. The second lesson

plan will be experimental, will incorporate one process and include 2 formal design

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elements and 2 design principles as part of the assignment. The third plan will

incorporate one process and include a historical/cultural ceramic concept. The final

lesson should be experimental, combine one or more of the ceramic processes and

emanate a contemporary concept/expression. Information for these lesson plans will

be given with each of the major projects, will include requirements for individual

research as well as requirements for acquiring information and images for the lesson.

Requirements and format will follow the Wayne State University Student Teacher

format, will include visuals and will reflect significant research as spelled out in the

lesson plan assignment.

Required Text*

Warshaw, J. (2003). The practical potter: A step by step handbook. London: Hermes

House.

Birks, T. (1998). The Complete Potter’s Companion. Boston: Bulfinch Press.

Scott, M. (2006). The potter’s bible. New York: Chartwell Books.

*Both books are available at Amazon.com

Suggested Periodicals

American Ceramics Quarterly

9 East Street, N.Y., N.Y. 10017

Ceramic Review Bi-Monthly

www.cera,oc-review.co.uk/

Ceramics Art and Perception Quarterly

35 William Street, Paddinton NSW Australia

www.ceramicart.com.au

Ceramics Monthly

735 Ceramic Place, PO Box 6102

Westervill, OH 43086

Other Reference Texts

Lane, P. (2003). Ceramic form: Design and decoration (rev.ed.). New York: Rizzoli

International Pub.

Hopper, R. (2001). The Ceramic Spectrum (2nd ed.). Iola, WI: Krause Publisher.

Peterson, S. (2003). The craft and art of clay (4th ed.). London, Lawrence King

Publishers, LTD.

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Speight, C., & Toki, J. (2004). Hands in clay (5th ed.). Columbus, OH: McGraw Hill.

Rhodes, D. (2015). Clay and glazes for the potter. New York: Ravenio Books.

Suggested Books on Design Theory

Zelanski, P., & Fisher, M. P. (2003). Color, Upper Saddle River, NJ: Prentice Hall, Inc.

Koenig, B. (2003). Color workbook, Upper Saddle River, NJ: Prentice Hall Inc.

Stewart, M., Paul, R., & Kelley, M. (2002). Launching the imagination. New York:

McGraw-Hill

Wong, W., (1993). Principles of form and design. New York: Van Nostrand

Wiley.

Hannah, G. G. (2002). Elements of design: Rowena Reed Kostellow and the structure of

visual relationships. New York: Princeton Architectural Press.

Hargittai, I., & Hargittai, M. (1994). Symmetry: Unifying concept . Bolinas, CA: Shelter

Publications.

Grading

Students will be graded on their interest, attendance, participation, desire and

willingness to learn and experiment as well as the quality and completion of

assignments. There will be a review of work at mid-term and at the end of the term.

Students are expected to keep all work until the end of the semester. Three absences

and excessive tardies will result in the student receiving no credit for the class. Miss

class only because of extenuating circumstances.

Final Grades will be based on the following 60% grade = completion of the four projects

30% grade = notebook/lesson plans, etc.

10% grade = meaningful participation in critiques

100%

I use Wayne State’s Grading scale:

93-100% = A 80-82% = B- 67-69% = D+

90-92% = A- 77-79% = C+ 63-66% = D

87-89% = B+ 73-76% = C 60-62% = D-

83-86% = B 70-72% = C- Below 60% = Failure of Course

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A Final Grade of A means: Consistently excellent work, progress from assignment to assignment, demonstrating a

high level of understanding, critical judgment and effort, excellent class participation, no absences.

A Final Grade of B means: Consistently good work, semester long progress, demonstrating above average

understanding, good critical judgment and effort, regular class participation.

A Final Grade of C means: Some consistency, basic understanding of concepts and processes, average class

participation, attendance marginal.

A Final Grade of D means: Poor or incomplete work, no appreciable progress, marginal understanding, unacceptable

class participation, significant absences.

A Final Grade of E means: Poor, incomplete, missing work, lack of understanding or attempt to understand, poor

effort, unacceptable class participation, extreme number of tardies and absences.

Critiques:

All critiques are mandatory. Critiques are essential for becoming a professional

artist/teacher. They present an excellent opportunity for self-evaluation and self-

reflection. Critiques also provide and opportunity for students to view their work with

their peers and to learn to assess both growth and creativity in art. Failure to attend

critiques may result in failure of the course.

Attendance

This is lab based course. Attendance is a must! You are required to attend all class

sessions, critiques, and the final clean-up period. It is very difficult to make up class

demonstrations and in-class work time.

• Attendance will be taken at the beginning of each class session.

• Students who arrive 10-20 minutes late for any class session or after a break are

considered tardy.

• Excessive tardies will become unexcused absences. Three unexcused absences

equal the reduction of one whole grade from the earned grade.

• There will be a “sign-out” sheet to verify your attendance in my class. Please take

the time to sign out after the clean-up period.

• An absence may be excused if there is a medical reason, family emergency or

extenuating circumstances beyond the student’s control. Students seeking an

excused absence should bring documentation to class.

PLEASE NOTE: It is the policy of the College of Education to fail any student

who has more than 3 unexcused absences.

Classroom Etiquette

No cell phones are permitted. They are distracting and disrespectful to both your

instructor and fellow students. Constructive conversation and normal studio noise is

okay.

Other technological accessories are not permitted as they may interfere with intra-

personal communication with fellow students. The ability to work with and

communicate with your peers is essential to learning to work professionally with your

future peers in education.

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RESPECT for all students in class regardless of age, race or nationality is absolutely

essential in my class. Rudeness or other similar types of behavior are unacceptable

behaviors for education students. Inability to accept and respect others, interact

politely with instructors, your peers, or any visitor demonstrates a personal

disposition lacking in the professionalism necessary to become a teacher.

Finally, be respectful of other instructors books, samples, materials and supplies. Return

them to their proper storage and in the condition you found them. Be respectful of other

students’ work and materials.

Health and Safety

Health and safety issues are extremely important in working with all aspects of Ceramic

Production. Silica dusts, fumes in firing, glazing chemicals are the most hazardous.

CLEAN STUDIO SPACES ARE A MUST FOR HEALTH REASONS.

At the end of class you will be expected to CLEAN YOUR WORK SPACE. You are future teachers and will be responsible for the rooms and spaces you teach in. Learn to be aware of this now.

Supplies

Assorted balsa and loop tools lg. bucket (reclaim clay)

Fettling knife sm. Plastic container/bucket

Trimming tool plastic trash bags (lg and sm)

Rubber kidney lg. sponge for cleaning

Needle tool spray bottle

Wire for cutting clay rags or towels

Soft sponge for clay Vaseline (for molds)

*Dust masks REQUIRED Old shirt/apron

Roller (optional) hand lotion (optional)

Supply Sources

Utrecht 8878 N. Woodward Royal Oak 1.248.548.7679 Dick Blick 14339 Michigan Ave. Dearborn 1.313.581.7063 College for Creative Studies 201 E. Kirby (and John R) Detroit 1.313.644.7440

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Course Calendar

WEEK ONE HAND-BUILT SERIES Introduction ceramics: syllabi, course materials and tools, grading and attendance. Introduction clay preparation: recycling/wedging; Discussion: pinch/coil pot hand-built learning series: the process. Studio Assignment:. Project One: Pinch/Coil Project (see assignment sheet for specifics.) Project Due Saturday, January 28, 2017

WEEK TWO Continued Pinch/Coil Project Pinch/Coil Series due Saturday, January 28, 2017 Introduction: Raku Glazes/Firing.

Unit Lesson Plan #1(due Saturday, January 28, 2017) (see assignment sheet for specifics.)

WEEK THREE Continued Pinch/Coil Project Introduction: Burnishing technique Pinch/Coil Series Project Due January 28, 2017

Discussion Progress Lesson Plan #1

WEEK FOUR CRITIQUE: PINCH/COIL PROJECT and LESSON PLAN #1 NEW: SLAB SERIES

Introduction Slab Methods: Soft slab and Leather Hard methods. Assignment: 2 Experiments using slab methods; experiment with etched or carved imagery. (see assignment sheet for specifics.) Slab Assignment due Saturday, February 18, 2017.

WEEK FIVE Continue SLAB SERIES Slab Assignment due Saturday, February 18, 2017.

Introduction: etching/carving. (see assignment sheet for specifics.)

WEEK SIX Continue SLAB SERIES

Slab Assignment due Saturday, February 18, 2017. Lesson Plan for Slab Assignment due Saturday, February 18,

Introduction: Glazing Experiments; Low-fire Glazes (see assignment sheet for specifics.)

CRITIQUE: SLAB PROJECTS and LESSON PLAN #2 DISCUSSION: LESSON PLAN #2. WEEK SEVEN NEW: WHEEL-THROWING SERIES-RAKU CLAY

Introduction to wheel-throwing techniques. (see assignment sheet for specifics.) Throwing Project due Saturday, March 25, 2017

Continue Glazing Experiments; Low-fire Glazes (see assignment sheet for specifics.)

WEEK EIGHT No Class – Continue to work on assignments

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WEEK NINE CONTINUE WHEEL-THROWING SERIES (see assignment sheet for specifics.) Continue work on Glazes Throwing Project and Unit Lesson Plan #3 (due Saturday,

March 25, 2017)

WEEK TEN SPRING BREAK – NO CLASS

WEEK ELEVEN CONTINUE WHEEL-THROWING SERIES (see assignment sheet for specifics.) Continue work on Glazes Throwing Project and Unit Lesson Plan #3 due Saturday, March

25, 2017) WEEK TWELVE CRITIQUE: WHEEL-THROWING PROJECTS

and LESSON PLAN #3 DISCUSSION: LESSON PLAN #3. WEEK THIRTEEN NEW: FINAL PROJECT: CONTEMPORARY WORK-

METHOD OF CHOICE. (see assignment sheet for specifics.) Contemporary Work and Unit Lesson Plan #4 (due

last day of class!) (see assignment sheet for specifics.)

WEEK FOURTEEN CONTINUE FINAL PROJECT (see assignment sheet for specifics.)

CONTINUE GLAZING PROJECTS Contemporary Project and Unit Lesson Plan #4 (due last day of class!)

WEEK FIFTEEN CONTINUE FINAL PROJECT (see assignment sheet for specifics.) CONTINUE GLAZING PROJECTS

Contemporary project and Unit Lesson Plan #4 (due last day of class!)

WEEK SIXTEEN FINAL CRITIQUES-ALL WORK

(Instructor reserves the right to make changes to the course assignments and due

dates as deemed necessary.)

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LEARNING UNITS #1 – PINCH/COIL PROJECT

“The Practical Potter” or read Pots by Hand in the “Complete Potter’s

Companion”

PRE-PROJECT EXERCISE:

Using the pinch method create a small 10 step metamorphosis of a

found object to learn the processes of wedging and pinch

construction.

To complete this exercise:

1. Wedge clay and create 10 small lime-size balls of clay.

2. Find a small object such as a walnut.

3. Using the pinch method of creating with clay, morph the

original form from its original shape into a new form in ten

steps.

4. Example: see attached.

PROCEDURE: PREPARING CLAY: WEDGING

1. Cut clay into manageable amounts: (approx. size soccer ball).

2. Check for even moisture. If some of the clay is drier, slice the clay into

bread size pieces. Alternate dry with moister pieces. Repeat until clay is

relatively even in moisture. 3. Knead the clay as you would bread, rotating the mass each time to shift

the clay with pressure, forcing the particles together. This accomplishes

two goals: gets rid of air pockets which can explode in the kiln as well as

mixing the dry + moister clay. 4. Cut the clay mass in half with wire to check for even consistency and air

bubbles. If there are no air bubbles and the clay is fairly consistent in

moisture and softness, your clay is ready to work.

PROCEDURE for PINCH TECHNIQUE

1. Cut a small segment of clay about the size of a lemon.

2. Press you thumb into the center to create a hole.

3. Gently press your thumb and fingers together at the bottom of this

depression. Slowly rotate the clay in a complete circle while you continue

to pinch. Continue this process until you reach the top.

4. Repeat this process as many times as needed to achieve a uniform

thickness approximately 1/8” to ¼”.

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5. When you have achieved the correct thickness, begin to manipulate the

form (pressing in and folding over to make smaller, pushing out to make

larger) until you have replicated the fruit or vegetable you are making.

6. Use a flat object (wood or tool) and gently tap the outside of your form to

firm up the walls and smooth out the shape.

7. When you have achieved good construction, add in details or create a

texture that finishes the fruit or vegetable.

8. Continue in the same fashion with all the fruit or vegetables that will be a

part of your still life.

9. When you have completed these fruits/vegetables, take a needle file or

small drill bit and force a hole into the bottom of the pieces to permit air

to vent. This is crucial to the firing process!

10. Finally, decide on the shape of the vessel that will hold your fruit.

(Samples for processes to make these will be provided.)

PROCEDURE for COILING TECHNIQUE

1. Start by squeezing out a length of prepared/wedged clay.

2. Place clay on table surface. Roll the coil toward you as you flair out your

fingers. Repeat the rolling and flaring of the fingers over and over until

the coil reaches the desired size.

3. You may complete coils in bulk and store until you are ready to use or

roll them out as you progress with the work.

4. Cut a base to the size and shape of the desired design. Usually this is

done using a rolled slab of clay.

5. Apply slip and score the area needed to apply the first coil. To score use

a tool with a rough edge, needle tool or knife. Smooth slip over the

roughened surface, then press the coil in place. Scoring and slipping the

surface before applying the coil will create a firm bond between the top

coil and the clay below it.

6. Continue applying slip and scoring each layer before building each layer.

Apply pressure to each coil as you join to the previous layer. You can use

a wooden spoon, fingers or other flat tool to do this.

7. To join coils, smear down clay from the upper coil onto the base or coil

below it, covering the seam line completely. A serrated kidney will work

well for this procedure. Alter the direction of the serrated kidney on the

wall to strengthen the coil joints and even out the thickness of the wall.

8. Join the coils around the entire circumference of the interior wall only, if

you would like the coil seams to show on the exterior. Complete this

process on exterior as well, if you do not wish the coil seams to show.

Make sure you support the clay wall with your other hand so that the

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pressure exerted in this process does not move the wall out of alignment

from the desired form.

9. Every time you add a coil, check the shape and direction of the work.

Closely inspect the entire side profile making sure it follows exactly the

form desired. Continue building until the form reaches the desired

height and shape.

10. When the form is complete trim down the top edge until the width is the

same along its entire length. Then using a kidney or other tool, form a

rim for the top edge.

11. Again, using a kidney or other tool, form a foot at the base of the form.

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STUDIO PROJECT #1: CONSTRUCT a “non-functional” FORM.

Using a combination of the pinch and coil methods create a unique

form to express a personal concept. Size range is minimum of 12” in

height. Clay walls should range between ¼” and 3/8” in thickness.

To complete this project:

➢ Find a natural object that has interest and unique form: shells, pods, bark,

fruit, etc.

➢ Observe the forms. What are the visual characteristics that draw you to

those forms? Are they elongated, rounded, composed of more than one

segment? Are they textured?

➢ Borrow from these characteristics of its physical character: texture,

form, etc., and design a new, unique design.

➢ This piece can be functional or purely sculptural. Determine which. Can

you make it “feel” like Nature.

Be thinking of a possible lesson plan to develop for either of these

techniques. Have in mind a grade level: early elementary (1-3), elementary

(4-5), middle school 6-8), secondary (9-12). Collect images and research

that would fit the level you select.

Objectives for this Lesson

➢ Learn the traditional hand-built methods of pinch and coil.

➢ Explore the potential of both pinching and coiling as an extended method

of creating the ceramic object.

➢ Learn how to teach the pinch and coil methods.

➢ Apply one or more of the formal elements and principles of design as part

of the conceptual aspect of the object.

➢ Acquire a base of images to use in teaching these 2 methods

➢ Learn to explore the conceptual/personal aspects that are integral to

creating.

Michigan Benchmarks:

ART.1.VA.: Select materials, techniques and processes to effectively

communicate ideas.

ART.2.VA.: Students will use subjects, themes, and symbols that

communicated intended meaning in their work.

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ART.3.VA.: Students will observe and compare works of Art that were

created for different purposes.

ART.4.VA.: Students will describe and place art objects in historical and

cultural context.

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LEARNING UNITS #2 - SLAB PROJECT #1

Create a work using the leather hard slab method. Size range is minimum of 12”

to maximum 18” in height. Width and depth must be no smaller than 4”

minimum to maximum 12” in either direction. Clay walls should be minimum 1/4”

thick (width of the slab roller); bottom or any area that you intend to use carving

methods should be at least 3/8” in thickness.

To complete this project:

➢ Find several man-made object that have flat planes, are unusually

interesting and have a unique form: contemporary architecture, unusual

perfume bottles or similar product forms, multiple geometric forms, etc.

Bring photos to class Tuesday. ➢ Borrow from the characteristics of its physical character: multiple planes,

abutting geometric forms, negative voids, texture, form, etc, and design a new

unique design.

➢ Make this piece N0N-functional or purely sculptural. Utilize aspects of

contemporary architecture to inspire your form. Or, abstract a form from

nature and transform it into geometric planes. Think futuristic, push the

box.

➢ Incorporate one of the following decorative methods as part of your

finished work: inscribing, scraffitto on oxides, impressing, open work,

fluting, or faceting.

➢ Develop personal concept: think in terms of “architectural or mechanical”

and environmental sculpture; observe the way these types of objects are

constructed.

➢ Consider positioning the object off the table: use legs, nesting elements,

etc.

Objectives

➢ Learn the slab-built method using leather-hard slabs.

➢ Explore the potential of slab building as an extended method of creating

the ceramic object and to build large-scale objects.

➢ Learn how to teach the slab-built method.

➢ Apply the formal elements and principles of design as part of the

conceptual aspect of the object; emphasis: line, plane, void.

➢ Observe “form” as an interesting 3-dimensional object: exterior contours,

relief or raised surface contours on large flat surface, voids as part of a

design.

➢ Learn one of the decorative devices used to create interest on surfaces: :

inscribing, scraffitto on oxides, impressing, open work, fluting, or faceting

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Steps in Design Plan for this project

➢ Make 5-10 thumbnail sketches of possible ideas for this project.

➢ Research/download images for research segment. Observe forms.

➢ Draw a final version for your slab project: Make this ACTUAL SIZE (include

more than one view, include requirements above + decoration).

➢ Make a cardboard or foam core model for this project.

➢ Now, begin construction in clay using the slab method

Develop a lesson plan for this learning unit.

Research the Michigan Benchmarks that would apply to this project and

add these to your portfolio.

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LEARNING UNITS #3 – Press Molds

ASSIGNMENT: Create TWO FORMS using HOLLOW PRESS MOLDS.

FORM # 1: To complete this project: Use a combination of slabs and coils to create an interesting patterned

functional form. Size is relative to hollow forms available. Add handles,

foot, and designed edge to the final form.

Objectives:

The primary goal of this exercise is to learn the press mold method.

The secondary goal is to learn how to attach external elements (handles, foot,

etc) to the main form.

The final goal of this exercise is to observe how the method influences form;

how the linear patterns and planes created by the process affect the surface; and

how these aspects of design are integral to the beauty of the form.

FORM #2: To complete this project: Create and interesting form that uses two hollow press elements connected by a

1” to 3” decorative band created from coils or slabs. Complete this form with a

‘base’ (or foot) and a ‘top’. This may be a non-functional, design piece.

Size is relative to hollow forms available.

The emphasis for this piece is a creative NEW form composed of various

interesting parts that unify into a whole.

Objectives:

The primary goal of this exercise is to explore form.

The secondary goal of this exercise is to observe how the method of

construction influences the final form; how to control the linear patterns and

planes created by the process in order to integrate with the overall beauty of the

form.

The final goal is to learn how to attach multiple elements in order to build larger

forms.

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Develop a lesson plan for for ONE of the forms above. Select an interesting

theme that would relate to the process to be used.

Research the Michigan Benchmarks that would apply to this project and add

these to your portfolio.

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LEARNING UNITS #4 – INTRODUCTION TO WHEEL-THROWING

ASSIGNMENT #1WHEEL-THROWING

Throwing by the Clock

Step One: In the first half of class practice step one and two of this method by

centering, opening, re-centering your clay. Save 10 samples for step

two and the second half of class. You may actually throw 20 to 25

samples and select the 10 best.

Step Two: When you have successfully completed 10 samples of the first two

steps of this method, practice creating a foot with assorted loop

and balsa tools. Try to utilize the shape of the tool to create

"different" foot shapes.

Step Three: On at least 5 of the samples create a border at the top using the

point and one or two of the balsa tools.

Objectives:

1. Learn the wheel-thrown method that uses the clock.

2. Learn the first 2 steps to throw a pot.

3. Learn how to create a foot to enhance the appearance of a thrown

pot.

4. Learn to apply aspects of design to the form by observing the

silhouette created by the edges of the form.

ASSIGNMENT #2 WHEEL-THROWING

Throwing by the Clock

Step One: In the first half of class throw 5 examples of cylinders using the first

3 steps of throwing: centering, opening, raising.

Step Two: When you have successfully completed 5 samples of the first three

steps of this method, cut your best 3 cylinders in half to determine

the following:

➢ Consistent width of the side walls

➢ Correct depth for the bottom

➢ Perfectly straight/parallel sides

Step Three: On the remaining 2 cylinders create a foot with loop and/or balsa

tools. Try to utilize the shape of the tool to create "different" foot

shapes. We will check these for an interesting profile form and for

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the successful use of tools.

Objectives:

✓ Check to see your progress in the wheel-thrown method.

✓ Check the appearance of a basic pot form by observing the silhouette

created by the edges of the form.

FINAL ASSIGNMENT: PROJECT #4 – INTRO TO WHEEL-THROWING

If time allows, complete one of the following for this 4th

project:

Option A:

Complete a wheel-thrown piece approximately 9-12” high.

This may consist of one large wheel-thrown piece or 2 wheel-thrown

pieces joined by a hand-built method. Determine and create

decorative style/method for this piece.

Objectives:

1. Reinforce the wheel-thrown method that uses the clock.

2. Learn to apply aspects of design to the form by observing

the silhouette created by the edges of the form.

3. Reinforce the aesthetic aspect of a work/form.

Option B:

Using slips, low-fire or raku glazes decorate your best 5

wheel thrown forms for firing and the final critique.

▪ Develop a lesson plan for this learning unit.

▪ Explain the Wheel Throwing Method:

▪ Research the Michigan Benchmarks that would apply to this project and

add these to your portfolio.

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Decorating Methods In between the 4 major assignments, we will be doing several decorating and finishing techniques. You will need to keep a log of these experiments and their results. The first 2 decorating experiments include the slip method of decorating. The last set of experiments includes a wide range of decorating methods which you may want to incorporate as part of your designs for your 3 projects. To facilitate these experiments you need to complete the following; Experiment #1: SLIPS

1. Make 6-10 two inch tiles. On these tiles paint a sample of each slip color and write its number and/or name (using the black stain) on the back of each of the tiles. After the tiles dry check to see if the slip is thick enough to cover the clay. Re-paint if necessary.

2. When the slip is thoroughly dry, cover approximately 2/3 of the slip with our clear transparent glaze so that you can see the effect and contrast of a glaze over a portion of the tile. You should have a sample of each slip when you finish.

3. Select 2 or 3 pre-formed and fired small bowl forms from the shelf by the kilns. Wax the bottoms of each one. Dip the bowls into the low-fire white gloss glaze.

4. When these bowls are dry, paint them using 3 or more slips. Leave some areas of white glaze for contrast.

Experiment #3: DECORATING METHODS: Using a small hollow-press mold, simple pinch method, rolled slab method, or wheel-thrown method, create 3-5 small objects to test variations of the following methods of decoration:

➢ wax resist ➢ scraffitto ➢ stencil ➢ geometric pattern ➢ abstract design ➢ painting ➢ trailing

You should try at least 3 of these methods with slips.

Finnegan Page 21

FINAL ASSIGNMENT DECORATING METHODS

Apply decorating techniques to projects from Learning units 1-3 for final

firing and final critiques.