Reedley College
Art 15 & 38A Ceramics
Course Projects
Fall 2019
Mimbres.
Overview:
In this project we will be working with basic hand building techniques to produce bowls. Bowls that will be used as a foundation for decorative investigation. Pottery can address many requirements, decorative, utilitarian and also sculptural. In this assignment we will be engaging the vessel as a decorative item and a grounds for imagery. The source information for this projects will be the Mimbres Indian. We will be referencing and studying their imagery and unique approach to bowls, both in their design approach but as well as how the pieces lived and died with their owners.
Requirements:
Each student will be tasked with producing three (3) bowls.
Bowls must be in a nesting fashion and stack within each other.
Bowls must be constructed as a set of small, medium and large sizes (largest not to exceed 12" or be smaller than 8").
Works must decorated with slips only (Classical or Neo-Classical Mimbres color palette).
All works will must include a mounting hole in the foot ring (all works will be hung and displayed for critique).
2 of the 3 bowls must be decorated in a design that is either inspired by or a replica of an original Mimbres bowl.
1 bowl must create a contemporary dialog about our current culture, society, politic or what ever subject you want to choose relating to contemporary life. (it must be done in Mimbres STYLE)
All works must be hand build using coil, pinch, slab or combination of techniques.
Areas of Focus:
Craftsmanship and execution of form.
Formal design that supports imagery
Image development
Slip application (line quality and application timing)
Narrative development in imagery choice and creation (selected classical pieces and personal design of contemporary piece)
Point Value: 100 Pts.
Timeline:
3 weeks total time including decoration and image development
DO not wait till the last day to start your slips application. Start it soon and create the image in a slow fashion!!!
Suggestions:
Students should plan out their imagery and test the application of slips. Ceramic materials perform and work in ways that are often unfamiliar to beginning students. I would recommend all student sketch out their design on paper first and consider the differences in how images are created with different media, i.e.. pen and pencil versus slip on a brush. Also make a small test tile of clay to practice you slip application on before you start working on your bowls. Mistakes and missteps with slip on final projects are often VERY difficult to remedy and correct. Test before you start. Careful preparation and practice will ensure you make good work. You application is going to be a area of focus in the assessment of your project. Make clean purposeful decoration and you will be happy with the results both in the work and your grade. Test test test....
Goals:
Explore the ability for the vessel to serve as a pictorial ground.
Work within a limited ceramic palette (black ,white and terracotta slips).
Build the basic skills of hand building with clay.
Gain perspective on North American ceramic history and Native American Ceramics.
Build experiences working with slips.
Management of moisture and timing in the construction of ceramic object.
Resources:
Wikipedia: Mogollon Culture
Smithsonian, National Museum of Natural History
Al Farrow: Mimbres Series
Princeton Museum of Art: Video Mimbres
Archeology Cafe: Mimbres Pottery VIDEO Dr. Pat Gilman
In this project we will be working with basic hand building techniques to produce bowls. Bowls that will be used as a foundation for decorative investigation. Pottery can address many requirements, decorative, utilitarian and also sculptural. In this assignment we will be engaging the vessel as a decorative item and a grounds for imagery. The source information for this projects will be the Mimbres Indian. We will be referencing and studying their imagery and unique approach to bowls, both in their design approach but as well as how the pieces lived and died with their owners.
Requirements:
Each student will be tasked with producing three (3) bowls.
Bowls must be in a nesting fashion and stack within each other.
Bowls must be constructed as a set of small, medium and large sizes (largest not to exceed 12" or be smaller than 8").
Works must decorated with slips only (Classical or Neo-Classical Mimbres color palette).
All works will must include a mounting hole in the foot ring (all works will be hung and displayed for critique).
2 of the 3 bowls must be decorated in a design that is either inspired by or a replica of an original Mimbres bowl.
1 bowl must create a contemporary dialog about our current culture, society, politic or what ever subject you want to choose relating to contemporary life. (it must be done in Mimbres STYLE)
All works must be hand build using coil, pinch, slab or combination of techniques.
Areas of Focus:
Craftsmanship and execution of form.
Formal design that supports imagery
Image development
Slip application (line quality and application timing)
Narrative development in imagery choice and creation (selected classical pieces and personal design of contemporary piece)
Point Value: 100 Pts.
Timeline:
3 weeks total time including decoration and image development
DO not wait till the last day to start your slips application. Start it soon and create the image in a slow fashion!!!
Suggestions:
Students should plan out their imagery and test the application of slips. Ceramic materials perform and work in ways that are often unfamiliar to beginning students. I would recommend all student sketch out their design on paper first and consider the differences in how images are created with different media, i.e.. pen and pencil versus slip on a brush. Also make a small test tile of clay to practice you slip application on before you start working on your bowls. Mistakes and missteps with slip on final projects are often VERY difficult to remedy and correct. Test before you start. Careful preparation and practice will ensure you make good work. You application is going to be a area of focus in the assessment of your project. Make clean purposeful decoration and you will be happy with the results both in the work and your grade. Test test test....
Goals:
Explore the ability for the vessel to serve as a pictorial ground.
Work within a limited ceramic palette (black ,white and terracotta slips).
Build the basic skills of hand building with clay.
Gain perspective on North American ceramic history and Native American Ceramics.
Build experiences working with slips.
Management of moisture and timing in the construction of ceramic object.
Resources:
Wikipedia: Mogollon Culture
Smithsonian, National Museum of Natural History
Al Farrow: Mimbres Series
Princeton Museum of Art: Video Mimbres
Archeology Cafe: Mimbres Pottery VIDEO Dr. Pat Gilman
Condensed History:The Mimbres occupied the somewhat isolated mountain and river valleys of southwestern New Mexico from about 1000 to 1250 AD. Recognized as part of a larger group known as the Mogollon, the Mimbres were concentrated around the Mimbres River, named by early Spanish settlers for the abundance of mimbres or small willows found along its banks. The name Mimbres, or Mimbrenos, was adopted as the official name of the culture at the turn of the century. Known primarily for their exquisite painted pottery, the Mimbres culture is of interest to archaeologists and anthropologists, as well as art historians and collectors.
Contemporary research on the Mimbres culture relies heavily on comparisons with more modern Puebloan pottery and practices, as widespread commercial looting has destroyed many sites over the years (Hegmon 2002). According to such comparisons, as well as the presence of female burial sites complete with pottery-making tools, it is generally accepted that the artists responsible for creating the pottery were women, who received their training from relatives (Hegmon 2002). Although there are no maker’s marks on any of the pottery, Leblanc has argued that the most spectacular designs were created by one or a few painters. Research conducted by Leblanc and Ellis in 2001 suggests that a handful of potters making between 50 and 100 bowls a year could account for all Mimbres black-on-white ceramic production. If Leblanc and Ellis are correct, the Mimbres represent a different model of craft production in which specialists were not concentrated in one area, but spread throughout the society (Hegmon 2002).
The earliest classification of the designs painted on the pottery was set forth by Jesse Walter Fewkes (1850-1930) in Designs on Prehistoric Pottery from the Mimbres Valley, New Mexico (1925). In this work, Fewkes divided the designs into three types; geometric, conventionalized, and realistic. Within these three types, Fewkes also identified a number of themes including: human figures performing various activities; the representation of multiple animals ranging from realistic to whimsical; and varied geometrical designs ranging in complexity. Although more extensive stylistic classificatory systems have been established since Fewkes’ simplistic model, the basic themes of human, animal, and geometric designs are well represented throughout the Natural History Museum’s collection.
Though the images painted on the pottery are identifiable as human, animal, or geometric, their intended meaning remains a mystery. As J.J. Brody notes in Mimbres Painted Pottery (1977), regardless of the difficulty in interpreting the images, it is clear that “the paintings were made at the very least to commemorate the real or imagined existence of a being or thing.” In other words, whether or not the designs simulate reality or fantasy, the fact remains that, in terms of iconography, such images have the potential to illuminate the deceased Mimbres culture.
Woosley and McIntrye note that “the painted pottery seems to voice more of a potter’s individuality and cultural connectedness through graphic expression”—suggesting that the artists creativity “ in terms of approaches to design layout, decorative motifs, and composition” could have largely determined images represented throughout the pottery (Woosley and McIntyre 1996: 205). Though there is no published study analyzing the designs as a whole, research focusing on certain categories of images have been attempted to better understand what is being portrayed. In fact, interpretations by Hopi people have been utilized in an effort to illuminate the significance of this imagery, (Hegmon 2002) In addition, artists and art historians have also offered their interpretations of Mimbres iconography, lending more diverse assumptions as to the significance of such imagery.
Despite conflicting interpretations of the painted designs which exist throughout the archaeological and artistic worlds, the use of the pottery is less controversial. The majority of the bowls and pitchers were most likely made to be used in everyday subsistence activities; however, some archaeologist suggests they served a purely mortuary function (Brody 1977, Bray 1982) As Fewkes would discover in his excavations of the Oldtown and Osborn ruins, the deceased were buried in an upright crouched position with a bowl (often, but not always painted) placed over their heads. The decorated bowls were “killed” through the use of a sharp object, which served to pierce a hole in the bottom of the vessel (Fewkes 1914). Archaeologist J.J. Brody suggests that the act of piercing the bowl and placing it over the head of the deceased allowed the spirit of the dead to escape the body.
Archaeology of the Mimbres
Although Southwestern archaeologists were aware of sites in the Mimbres Valley, none were of particular interest because of the richness of neighboring Pueblo ruins. Nearby sites including Chaco Canyon, Cliff Palace, Mesa Verde, and Pueblo Bonito enticed countless excavations and publications, while the seemingly unimpressive and clearly uninhabited Mimbres sites were, for the most part, neglected. Despite brief publications by Adolph Bandelier, Clement Webster, and Walter Hough, the Mimbres Valley did not interest or inspire archaeologists until the 1920’s and 1930’s — years after Fewkes’ initial excavations at the Osborn and Oldtown ruins.
Considered, perhaps, a precursor to the widespread excavations of the following decades, Fewkes’ trip and subsequent publications undoubtedly drew attention to the artifacts and culture of the Mimbres Valley. During the summer months of 1914, Fewkes toured the vicinity of Deming, New Mexico, the location of E. D. Osborn’s ranch, and the treasured pottery that had prompted his trip. What Fewkes found when he arrived was the aftermath of rudimentary excavations littered with pottery sherds and skeletal remains. Despite the desperate state of the sites, however, the unique designs on Osborn’s reconstructed pottery encouraged Fewkes to conduct his own excavations at Osborn’s ranch (ruin) and Oldtown ruin (Fewkes 1914).
In the years following his first trip to the Mimbres Valley, Fewkes published three volumes: Archaeology of the Lower Mimbres Valley, New Mexico(1914), Designs on Prehistoric Pottery from the Mimbres Valley, New Mexico (1923), and Additional Designs on Prehistoric Mimbres Pottery (1924). Based on his final publication regarding the Mimbres pottery, it is clear that Fewkes returned only once in 1923 for the purpose of purchasing more of Osborn’s collection. Having accomplished the latter without further excavations, it follows that Fewkes’ final two publications were the result of further study and speculation of the collections accessioned by the U.S. National Museum. Although Fewkes passed away only six years after his final publication, never to return to the Mimbres Valley, research on Mimbres culture and pottery has persisted into the 21st century, constantly bringing new life and meaning to Fewkes’ collection here at the National Museum of Natural History.
Text from: Smithsonian, National Museum of Natural History
Condensed History:The Mimbres occupied the somewhat isolated mountain and river valleys of southwestern New Mexico from about 1000 to 1250 AD. Recognized as part of a larger group known as the Mogollon, the Mimbres were concentrated around the Mimbres River, named by early Spanish settlers for the abundance of mimbres or small willows found along its banks. The name Mimbres, or Mimbrenos, was adopted as the official name of the culture at the turn of the century. Known primarily for their exquisite painted pottery, the Mimbres culture is of interest to archaeologists and anthropologists, as well as art historians and collectors.
Contemporary research on the Mimbres culture relies heavily on comparisons with more modern Puebloan pottery and practices, as widespread commercial looting has destroyed many sites over the years (Hegmon 2002). According to such comparisons, as well as the presence of female burial sites complete with pottery-making tools, it is generally accepted that the artists responsible for creating the pottery were women, who received their training from relatives (Hegmon 2002). Although there are no maker’s marks on any of the pottery, Leblanc has argued that the most spectacular designs were created by one or a few painters. Research conducted by Leblanc and Ellis in 2001 suggests that a handful of potters making between 50 and 100 bowls a year could account for all Mimbres black-on-white ceramic production. If Leblanc and Ellis are correct, the Mimbres represent a different model of craft production in which specialists were not concentrated in one area, but spread throughout the society (Hegmon 2002).
The earliest classification of the designs painted on the pottery was set forth by Jesse Walter Fewkes (1850-1930) in Designs on Prehistoric Pottery from the Mimbres Valley, New Mexico (1925). In this work, Fewkes divided the designs into three types; geometric, conventionalized, and realistic. Within these three types, Fewkes also identified a number of themes including: human figures performing various activities; the representation of multiple animals ranging from realistic to whimsical; and varied geometrical designs ranging in complexity. Although more extensive stylistic classificatory systems have been established since Fewkes’ simplistic model, the basic themes of human, animal, and geometric designs are well represented throughout the Natural History Museum’s collection.
Though the images painted on the pottery are identifiable as human, animal, or geometric, their intended meaning remains a mystery. As J.J. Brody notes in Mimbres Painted Pottery (1977), regardless of the difficulty in interpreting the images, it is clear that “the paintings were made at the very least to commemorate the real or imagined existence of a being or thing.” In other words, whether or not the designs simulate reality or fantasy, the fact remains that, in terms of iconography, such images have the potential to illuminate the deceased Mimbres culture.
Woosley and McIntrye note that “the painted pottery seems to voice more of a potter’s individuality and cultural connectedness through graphic expression”—suggesting that the artists creativity “ in terms of approaches to design layout, decorative motifs, and composition” could have largely determined images represented throughout the pottery (Woosley and McIntyre 1996: 205). Though there is no published study analyzing the designs as a whole, research focusing on certain categories of images have been attempted to better understand what is being portrayed. In fact, interpretations by Hopi people have been utilized in an effort to illuminate the significance of this imagery, (Hegmon 2002) In addition, artists and art historians have also offered their interpretations of Mimbres iconography, lending more diverse assumptions as to the significance of such imagery.
Despite conflicting interpretations of the painted designs which exist throughout the archaeological and artistic worlds, the use of the pottery is less controversial. The majority of the bowls and pitchers were most likely made to be used in everyday subsistence activities; however, some archaeologist suggests they served a purely mortuary function (Brody 1977, Bray 1982) As Fewkes would discover in his excavations of the Oldtown and Osborn ruins, the deceased were buried in an upright crouched position with a bowl (often, but not always painted) placed over their heads. The decorated bowls were “killed” through the use of a sharp object, which served to pierce a hole in the bottom of the vessel (Fewkes 1914). Archaeologist J.J. Brody suggests that the act of piercing the bowl and placing it over the head of the deceased allowed the spirit of the dead to escape the body.
Archaeology of the Mimbres
Although Southwestern archaeologists were aware of sites in the Mimbres Valley, none were of particular interest because of the richness of neighboring Pueblo ruins. Nearby sites including Chaco Canyon, Cliff Palace, Mesa Verde, and Pueblo Bonito enticed countless excavations and publications, while the seemingly unimpressive and clearly uninhabited Mimbres sites were, for the most part, neglected. Despite brief publications by Adolph Bandelier, Clement Webster, and Walter Hough, the Mimbres Valley did not interest or inspire archaeologists until the 1920’s and 1930’s — years after Fewkes’ initial excavations at the Osborn and Oldtown ruins.
Considered, perhaps, a precursor to the widespread excavations of the following decades, Fewkes’ trip and subsequent publications undoubtedly drew attention to the artifacts and culture of the Mimbres Valley. During the summer months of 1914, Fewkes toured the vicinity of Deming, New Mexico, the location of E. D. Osborn’s ranch, and the treasured pottery that had prompted his trip. What Fewkes found when he arrived was the aftermath of rudimentary excavations littered with pottery sherds and skeletal remains. Despite the desperate state of the sites, however, the unique designs on Osborn’s reconstructed pottery encouraged Fewkes to conduct his own excavations at Osborn’s ranch (ruin) and Oldtown ruin (Fewkes 1914).
In the years following his first trip to the Mimbres Valley, Fewkes published three volumes: Archaeology of the Lower Mimbres Valley, New Mexico(1914), Designs on Prehistoric Pottery from the Mimbres Valley, New Mexico (1923), and Additional Designs on Prehistoric Mimbres Pottery (1924). Based on his final publication regarding the Mimbres pottery, it is clear that Fewkes returned only once in 1923 for the purpose of purchasing more of Osborn’s collection. Having accomplished the latter without further excavations, it follows that Fewkes’ final two publications were the result of further study and speculation of the collections accessioned by the U.S. National Museum. Although Fewkes passed away only six years after his final publication, never to return to the Mimbres Valley, research on Mimbres culture and pottery has persisted into the 21st century, constantly bringing new life and meaning to Fewkes’ collection here at the National Museum of Natural History.
Text from: Smithsonian, National Museum of Natural History
TriggersHand Building Triggers
We will begin to explore the processes of manipulating clay into various forms, shapes and varied scale. In this projects we will cover the basic fundamentals of hand building techniques. Coil, Slab and Pinch are the basic methods of building we will cover in this introduction to hand building. We will spend the beginning of the project demoing and discussing these processes and techniques. Once the demos are complete we will jump right in and begin to build. Please take notes and ask questions during the opening demos as the techniques will not be the focus of the project, but rather they will be tools for you to complete your ideas. |
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Trigger: something that initiates a process or course of action
Where do you start in creating a sculpture? How do you get an idea or form to work from? What do you make? These questions can often be a difficult aspect of building sculpture. In this projects we will address this issue through the use of trigger words. As the definition above states, a trigger word is a word that initiates a process or course of action. You will be working through a trigger word to find the inspiration for your sculptural work. You will be given a word, this word will be the starting point. What does this word make you formally think of?
For example if you got the word: ELEVATE
You might think of the following forms or items: High heel shoes, a ladder, a ballon etc...
These could be items to work from as a sculptural object, or your starting point for your projects.
Project Requirements:
Construct a sculpture based upon your trigger. Works should not exceed 12" in height.
Utilize at least two of the basic hand building methods in your sculpture (coil, slab, pinch) Utilize sketches to plan your project and to work out ideas before you commit.
Goals: Understand the fundamental processes of hand building and the basic techniques associated with them. Develop ability to handle clay in a efficient focused manner. Begin to understand the transitional process of ideas into formal objects made of clay. Create Sculpture that embodies your conceptual ideas and conveys them to the viewer. Learn to manage moisture levels of sculpture under construction. Further develop your ability to use slips, glaze and other decorative techniques from previous projects.
Where do you start in creating a sculpture? How do you get an idea or form to work from? What do you make? These questions can often be a difficult aspect of building sculpture. In this projects we will address this issue through the use of trigger words. As the definition above states, a trigger word is a word that initiates a process or course of action. You will be working through a trigger word to find the inspiration for your sculptural work. You will be given a word, this word will be the starting point. What does this word make you formally think of?
For example if you got the word: ELEVATE
You might think of the following forms or items: High heel shoes, a ladder, a ballon etc...
These could be items to work from as a sculptural object, or your starting point for your projects.
Project Requirements:
Construct a sculpture based upon your trigger. Works should not exceed 12" in height.
Utilize at least two of the basic hand building methods in your sculpture (coil, slab, pinch) Utilize sketches to plan your project and to work out ideas before you commit.
Goals: Understand the fundamental processes of hand building and the basic techniques associated with them. Develop ability to handle clay in a efficient focused manner. Begin to understand the transitional process of ideas into formal objects made of clay. Create Sculpture that embodies your conceptual ideas and conveys them to the viewer. Learn to manage moisture levels of sculpture under construction. Further develop your ability to use slips, glaze and other decorative techniques from previous projects.
3D Modeled and Hand-Made mashup.
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Assignment:
Each student is required to do the following:
Design one extrusion in Photoshop to be converted into a printed 3D Object (extruder die).
Produce 25lbs of work (one bag of clay)
Make a minimum of 5 separate objects from the 25lbs. (eg. 10 TWO-pound cups and one FIVE-pound bowl, OR 5 FIVE-pound bowls)
The objects made can be of any form , proportion, dimension etc. Just produce forms that utilize your designed extrusions.
All work must be read for bisque firing in 3 weeks.
All works must be made of LOW-FIRE clay (Steves White or Durango)
All Works must be Glazed using Studio Glazes for this particular Assignment (transparent colored base glazes)
Directions:
Digital Designs for Extruder Dies.
Students will be working in groups of 4 (FOUR) to create a digital image to be translated into a 3D object.
Images will be produced in photoshop in class in groups.
Designs must be saves as a .psd (photoshop document and emailed to me for production (david.hicks@reedleycollege.edu)
Please take notes during the class demo of this process. These is also a tutorial in the rescue section below.
Vessel Production.
Students in the Hand-Building section of the course will be required to hand-build their vessels using any hand-building technique the choose (pinch,coil,slab or any combination or technique they like).
Students in the Wheel-Throwing section are required to wheel-throw their vessel forms.
Regardless of the method of production HAND or WHEEL, each student must use 25lbs. of clay and produce a minimum of 5 (FIVE) separate objects. Objects do not need to be similar and or part of a theme. I would encourage you to create a variety of forms to incorporate your 3D designed extrusions.
Glaze Decoration.
We will be exploring low fire transparent glazes for this project. Students using Steves White Clay will not need to prep their surfaces for glaze. Students using Durango Clay (red clay) will need to incorporate white slip onto the surface to best utilize and capitalize on the transparent glaze bases. If no white slip is used on the Durange, the glaze results will be poor and the chromatic values of the glazes will not be visible,
We will be using our studio transparent glaze base for this project. The glaze will be tinted in hues of Green, Blue, Yellow, Purple as well as Clear (un-tinted).
Studio wet pigments will also be demonstrated and available for use in glazes, but are not required in the completion of the project.
All work must incorporate the project glazes. NO UN-GLAZED work is allowed for this project.
Goals:
The goals for this project are:
Understand the practice application and incorporation of digital technology in a ceramics studio.
Gain basic design and editing skills associated with Photoshop software.
Utilize the principals of design in creating images/design for translation into 3D objects.
Build upon basic wheel-throwing and hand-building techniques learned in the into ceramics course.
Understand and build familiarity with various clay bodies.
Gain materiel understnaing on how to select clay bodies for given tasks (transparent colors).
Gain skills associated with using the extruder.
Gain skills associated with constructing objects from various production methods (extrusion, digital, wheel-thrown, hand-built).
Build upon studio time management skills and material processes (maintaining moisture, controlled drying, production deadlines).
Resources:
Studnets will have various in class demonstrations of the processes required to successfully complete this project. In addition to the in class demos, there are video tutorials on the digital aspect of the assignment. Students are encouraged to engage their classmates and instructor with conversation about the nature of the project, possible solutions, and problems encountered as they work though the assignment workload. Dialog and exchange is important when working through new and unfamiliar tasks. Speak up and share your thoughts, we will all benefit from the open exchange of ideas and concerns.
Each student is required to do the following:
Design one extrusion in Photoshop to be converted into a printed 3D Object (extruder die).
Produce 25lbs of work (one bag of clay)
Make a minimum of 5 separate objects from the 25lbs. (eg. 10 TWO-pound cups and one FIVE-pound bowl, OR 5 FIVE-pound bowls)
The objects made can be of any form , proportion, dimension etc. Just produce forms that utilize your designed extrusions.
All work must be read for bisque firing in 3 weeks.
All works must be made of LOW-FIRE clay (Steves White or Durango)
All Works must be Glazed using Studio Glazes for this particular Assignment (transparent colored base glazes)
Directions:
Digital Designs for Extruder Dies.
Students will be working in groups of 4 (FOUR) to create a digital image to be translated into a 3D object.
Images will be produced in photoshop in class in groups.
Designs must be saves as a .psd (photoshop document and emailed to me for production (david.hicks@reedleycollege.edu)
Please take notes during the class demo of this process. These is also a tutorial in the rescue section below.
Vessel Production.
Students in the Hand-Building section of the course will be required to hand-build their vessels using any hand-building technique the choose (pinch,coil,slab or any combination or technique they like).
Students in the Wheel-Throwing section are required to wheel-throw their vessel forms.
Regardless of the method of production HAND or WHEEL, each student must use 25lbs. of clay and produce a minimum of 5 (FIVE) separate objects. Objects do not need to be similar and or part of a theme. I would encourage you to create a variety of forms to incorporate your 3D designed extrusions.
Glaze Decoration.
We will be exploring low fire transparent glazes for this project. Students using Steves White Clay will not need to prep their surfaces for glaze. Students using Durango Clay (red clay) will need to incorporate white slip onto the surface to best utilize and capitalize on the transparent glaze bases. If no white slip is used on the Durange, the glaze results will be poor and the chromatic values of the glazes will not be visible,
We will be using our studio transparent glaze base for this project. The glaze will be tinted in hues of Green, Blue, Yellow, Purple as well as Clear (un-tinted).
Studio wet pigments will also be demonstrated and available for use in glazes, but are not required in the completion of the project.
All work must incorporate the project glazes. NO UN-GLAZED work is allowed for this project.
Goals:
The goals for this project are:
Understand the practice application and incorporation of digital technology in a ceramics studio.
Gain basic design and editing skills associated with Photoshop software.
Utilize the principals of design in creating images/design for translation into 3D objects.
Build upon basic wheel-throwing and hand-building techniques learned in the into ceramics course.
Understand and build familiarity with various clay bodies.
Gain materiel understnaing on how to select clay bodies for given tasks (transparent colors).
Gain skills associated with using the extruder.
Gain skills associated with constructing objects from various production methods (extrusion, digital, wheel-thrown, hand-built).
Build upon studio time management skills and material processes (maintaining moisture, controlled drying, production deadlines).
Resources:
Studnets will have various in class demonstrations of the processes required to successfully complete this project. In addition to the in class demos, there are video tutorials on the digital aspect of the assignment. Students are encouraged to engage their classmates and instructor with conversation about the nature of the project, possible solutions, and problems encountered as they work though the assignment workload. Dialog and exchange is important when working through new and unfamiliar tasks. Speak up and share your thoughts, we will all benefit from the open exchange of ideas and concerns.
Files.
Included are some of the files we will be using for this assignment. IF you already have Photoshop at home or elsewhere feel fret take these files. Play with them, use them, modify them to meet your needs.
| blockout_plate.psd |
| four-section-extruder_tempalte.psd |
| Feet/Rim-4-section-die.psd |
| Handles#1.psd |
| Handles#2.psd |
