Reedley College
Art 15 & 38A Ceramics
Course Projects
Foreground & Background
In this project you will be thinking about the relationship between your hand built ceramic sculptures and the way they interact with the spaces around them. To do this I will be asking you to consider the relationships of the foreground and the background space in which your work lives and occupies. How does a sculpture relate to a wall, to a painting, to a landscape, and vice versa, how does a painting relate to a sculpture, a wall and or a landscape. It is classical situation of building a dialog of visual conversation between elements. The power of juxtaposed elements and the contrast created that translates into visual energy is going to be the focus of this assignment. This project will push us as a class into this conversation of foreground and background as well as the relationships that develop between the two.
The assignments:
Create three sculptures that interact with a background. These backgrounds must be created using materials other than ceramic. The objects of the foreground must be made using ceramic materials and use the building method of pinch. Each sculpture must be connected to the background in some fashion that illustrates the intentional pairing of the two. Not a piece set infant of something, but rather a architectural or structural element that links the two and sets the stage for the interaction of them.
Requirements:
Each student must create 3 (three) sculptures with background element.
Each ceramic sculpture should be no larger than 12" in height.
Each background must be larger than the sculpture in front of it.
Each sculpture must have a means of connecting foreground object to the background element.
Students will be firing the ceramic elements to bisque only.
All color elements in this project must be made through the use of acrylic paint. (I will provide to all)
All ceramic elements must be made using pinch techniques (no wheel, slab or rolled coils)
Areas of focus:
Students will focus on the relationships that develop thought the juxtaposition of object and imagery (foreground and background).
Students will practice the building methodology of pinch.
Explore the use of room temperature surfaces for color (non fired surfaces).
Students will explored the use of non tradition materials in building ceramic works as well as the incorporation of multiple media to their practice.
Goals:
Learn basic pinching techniques.
Gain an understanding of the use of non fired surfaces and how they can be incorporated into their ceramic practice.
Gain an understanding of how to install sculptural works on the wall or in spaces that are non reliant on tables or pedestals.
Gain basic abilities to address a viewer of their work and explain their artistic rational used in the creation of their works.
References
Fancie Bishop Good
Adam Silverman
The assignments:
Create three sculptures that interact with a background. These backgrounds must be created using materials other than ceramic. The objects of the foreground must be made using ceramic materials and use the building method of pinch. Each sculpture must be connected to the background in some fashion that illustrates the intentional pairing of the two. Not a piece set infant of something, but rather a architectural or structural element that links the two and sets the stage for the interaction of them.
Requirements:
Each student must create 3 (three) sculptures with background element.
Each ceramic sculpture should be no larger than 12" in height.
Each background must be larger than the sculpture in front of it.
Each sculpture must have a means of connecting foreground object to the background element.
Students will be firing the ceramic elements to bisque only.
All color elements in this project must be made through the use of acrylic paint. (I will provide to all)
All ceramic elements must be made using pinch techniques (no wheel, slab or rolled coils)
Areas of focus:
Students will focus on the relationships that develop thought the juxtaposition of object and imagery (foreground and background).
Students will practice the building methodology of pinch.
Explore the use of room temperature surfaces for color (non fired surfaces).
Students will explored the use of non tradition materials in building ceramic works as well as the incorporation of multiple media to their practice.
Goals:
Learn basic pinching techniques.
Gain an understanding of the use of non fired surfaces and how they can be incorporated into their ceramic practice.
Gain an understanding of how to install sculptural works on the wall or in spaces that are non reliant on tables or pedestals.
Gain basic abilities to address a viewer of their work and explain their artistic rational used in the creation of their works.
References
Fancie Bishop Good
Adam Silverman
Coil.....Cabesa.
Cristina Cardova
In this project assignment you will be playing with fundamental building techniques associated with child building. Simple straight forward methods of construction will be the focus of this assignment. While the technique focus is coil, the conceptual direction will be the head.... or Cabesa. Please remember to be loose, have fun and let the work develop as you go. Don't be to rigid in your ideas and allow yourself the freedom to evolve and change as you work, after all this is a fun, introduction to coils.
The Project:
Each student is required to use coils as the main building method of their sculpture. Coils will be rolled by hand and will be joined with a slip and wiggle, followed by leutting and smoothing. The techniques will be demonstrated in class and can be reviewed at any time needed, just please ask for further assistance. Sculptural focus will be on the head, or portraiture. In this particular case I would like you to focus on building from you imagination rather than from real life reference. This is to allow for playful abstraction and freedom to add, remove or modify in any artistic mode or direction as you see fit.
Requirements:
Each student must follow the these guidelines to successfully complete this assignment:
Produce one sculptural head/portraiture.
Use coils as their main building methodology.
Produce a sculpture that is between 12-18" in height.
Glaze their head with a poly-chomatic surface.
Goals:
Leave the basic construction technique of coil.
Learn time management with construction of sculptural forms made from clay.
Learn to manage moisture content of clay to dry and stiffen clay to produce structural sound sculpture.
Gain a beginning level understanding of glaze application.
Begin to understand the firing process and the transformation process clay goes through when fired.
Time line:
Each student will have two weeks to build and construct their sculptures and have them ready for the first firing. (bisque)
Resources:
Central Cal Clay.com
Matt Wedel
Akio Takamori
Cristina Cardova
Sunk Yuh
Viola Frey
Xavier Toubes
Jean Pierre Laracque
Visual References:
The Project:
Each student is required to use coils as the main building method of their sculpture. Coils will be rolled by hand and will be joined with a slip and wiggle, followed by leutting and smoothing. The techniques will be demonstrated in class and can be reviewed at any time needed, just please ask for further assistance. Sculptural focus will be on the head, or portraiture. In this particular case I would like you to focus on building from you imagination rather than from real life reference. This is to allow for playful abstraction and freedom to add, remove or modify in any artistic mode or direction as you see fit.
Requirements:
Each student must follow the these guidelines to successfully complete this assignment:
Produce one sculptural head/portraiture.
Use coils as their main building methodology.
Produce a sculpture that is between 12-18" in height.
Glaze their head with a poly-chomatic surface.
Goals:
Leave the basic construction technique of coil.
Learn time management with construction of sculptural forms made from clay.
Learn to manage moisture content of clay to dry and stiffen clay to produce structural sound sculpture.
Gain a beginning level understanding of glaze application.
Begin to understand the firing process and the transformation process clay goes through when fired.
Time line:
Each student will have two weeks to build and construct their sculptures and have them ready for the first firing. (bisque)
Resources:
Central Cal Clay.com
Matt Wedel
Akio Takamori
Cristina Cardova
Sunk Yuh
Viola Frey
Xavier Toubes
Jean Pierre Laracque
Visual References:
Picture/ Image Vessel Assemblage
Independent small compositions can be added for variationI this project we will explore the areas where image, vessel and assemblage converge. Through the creation of a wall mounted composition of ceramics and the imagery created upon them, student will push the boundaries of what ceramics and images are and how they intertwine.
The Project:
Students will be tasked with constructing a wall composition that is made of multiple objects that when combined create a visual experience that is greater than the sum of its parts. Working through the creation of hump molds of various shapes and sizes, students will create ceramic plate forms to be used as the grounds for decoration. With the use of slabs students will build using their molds and employ other techniques such as coil and pinch in the project.
In the course of this project the subject of imagery, vessel and assemblage will be the main focus of conversation. Additionally technical methods of simple mold making will be discussed and demonstrated as the primary mean of construction.
Composition:
Each composition should consist of at least 9 separate plate forms.
Each plate form must have as part of its ceramic construction an means of hanging on the wall (hook, hole, key).
Work should cover at lease 5 swore feel in total.
Main imagery must be spread across the entire composition ( not one image per piece but one image over all pieces)
Independent images on singular objects can be added for variation, but this should not be the main method of image developments for the composition.
Goals:
Develop an understanding on how to re-contextualize the vessel beyond its role of utilitarianism.
Develop an understanding on how to break down imagining and project it across multiple planes, ground, and objects.
Learn how to produce slabs both by hand and with a slab roller.
Gain experience in constructing simple hump molds to reproduce forms.
Explore glazing and the process of over glazing to create imagery, line, pattern and other visual marks to create imagery.
Explore basic methods of ceramic construction such as could, pinch and slab.
Gain a basic understanding of moisture content in clay and how to manage it through the construction process.
Gain experience in creating a wall installation or composition made of multiple objects.
Time Line:
Students will have two weeks to construct their molds and produce a variety of hump molded ceramic vessels.
Upon completion of the ceramic object all works will be bisque fired.
After this students will have one week to complete their overglaze decoration.
Point Value:
100 Points
Reference Artists:
Molly Hatch
Instagram. Fractured Goods
Images:
Color Play
Vince Palacios
In this assignment students will begin to explore ceramics at the surface level, the glaze. Surface is the playground for color, texture and experimentation. Let the alchemy begin.
The Project:
Students will be asked to construct two forms/vessels that will be the foundation for glaze exploration. One vessel will serve as the final project and the other, smaller vessel will serve as the testing vessel. These vessels should be made using the coil and pinch techniques demonstrated in class. In addition to the creation of these objects students will also be asked to create catch tiles/cookies for their vessels. These catch tiles/cookies will be used to catch runoff glaze and any other items that may fall of of their pieces in the firing process. Knowledge of the effects of glaze and glaze material will first explored through testing and experimentation. The tests will precede the firing of the final projects and the test results will be used to determine possible effects and glaze outcomes.Students will be required to produce 5 tester tiles.
Vessels:
The vessels should be no taller than 18" in height and no wider than 10"
Slabs are encourages to create your catch tiles and cookies.
Catch tiles must be slightly larger that the objects they intent to work work for so runs off will land on the catch tile and not the kiln shelf.
Catch tiles and cooked can be engineered for upside down firing of your vessels.
Goals:
Understand the nature of glaze and how it plays an important roll in ceramic arts.
Begin to understand that glaze itself can be the focus of ceramic work.
Gain understanding of ceramic glaze and the nature of the chemicals used to make glazes.
Gain beginning level experience in manipulating clay though varied techniques (coil, slab and pinch)
Explore the possibilities for glaze to act in a pictorial fashion.
Time line:
Students will be afforded 2 Weeks to produce the vessels and catch tiles/cookies.
Students will then have 1 week to glaze objects and produce their experiments for firing.
Point Value:
100 points (major project)
Reference Artists:
Tony Marsh
Brian Rochefort
Cary Esser
Takuro Kuwata
Lauren Mabry
Vince Palacios
Students will be asked to construct two forms/vessels that will be the foundation for glaze exploration. One vessel will serve as the final project and the other, smaller vessel will serve as the testing vessel. These vessels should be made using the coil and pinch techniques demonstrated in class. In addition to the creation of these objects students will also be asked to create catch tiles/cookies for their vessels. These catch tiles/cookies will be used to catch runoff glaze and any other items that may fall of of their pieces in the firing process. Knowledge of the effects of glaze and glaze material will first explored through testing and experimentation. The tests will precede the firing of the final projects and the test results will be used to determine possible effects and glaze outcomes.Students will be required to produce 5 tester tiles.
Vessels:
The vessels should be no taller than 18" in height and no wider than 10"
Slabs are encourages to create your catch tiles and cookies.
Catch tiles must be slightly larger that the objects they intent to work work for so runs off will land on the catch tile and not the kiln shelf.
Catch tiles and cooked can be engineered for upside down firing of your vessels.
Goals:
Understand the nature of glaze and how it plays an important roll in ceramic arts.
Begin to understand that glaze itself can be the focus of ceramic work.
Gain understanding of ceramic glaze and the nature of the chemicals used to make glazes.
Gain beginning level experience in manipulating clay though varied techniques (coil, slab and pinch)
Explore the possibilities for glaze to act in a pictorial fashion.
Time line:
Students will be afforded 2 Weeks to produce the vessels and catch tiles/cookies.
Students will then have 1 week to glaze objects and produce their experiments for firing.
Point Value:
100 points (major project)
Reference Artists:
Tony Marsh
Brian Rochefort
Cary Esser
Takuro Kuwata
Lauren Mabry
Vince Palacios
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If I had a Sprit Animal it would be a...
For this project students will be investigating the sculptural forms of the animal world. Through the basic building techniques of coil, slab and pinch, students will construct sculptures of an animal. Why an animal you might ask, well firstly it has a reference point you can study and work from, secondly....everyone loves animals right? From a subject of art perspective, animals are timeless and have many textures, shapes and forms to work from.
The Project:
Students will be asked to consider their animal and find a way to bring it into a sculptural form. These sculptures should be dynamic. They are not limited to complete physical sculptures but can be busts, parts, sections or what ever else you can think of. I must add that they must be respectful of the animal.After all they are you spirit animal. ; )
Requirements:
Each student will be asked to create 1 sculpture of their animal.
The animal must be your SPIRIT Animal.
Sculpture must be made of Clay and utilize glaze.
Sculptures must be no larger that 18" in height and no smaller that 12" in height.
Goals:
Learn firsthand how to use the fundamentals hand-building methods to create sculptural forms. (3 Dimensional)
Gain experience in the timing needed to maintain moisture and control drying of clay sculptures in construction progress.
Learn how to develop and execute complex forms in clay.
Learn how to develop concepts and forms that are generated from a single subject source.
Learn how to apply glaze to create finished surfaces on sculptural forms.
Gain experience in working through the medium of ceramic and understand its limitations and strengths. (color / engineering)
Experience the challenges of creating a interest in randomly assigned tasks and subjects.
Time Line:
Students will have 3 Weeks to complete the wet work phase of this project before we load a bisque firing.
Source:
Spirit Animal Finder
https://whatismyspiritanimal.com/spirit-animal-quiz/
References:
The Project:
Students will be asked to consider their animal and find a way to bring it into a sculptural form. These sculptures should be dynamic. They are not limited to complete physical sculptures but can be busts, parts, sections or what ever else you can think of. I must add that they must be respectful of the animal.After all they are you spirit animal. ; )
Requirements:
Each student will be asked to create 1 sculpture of their animal.
The animal must be your SPIRIT Animal.
Sculpture must be made of Clay and utilize glaze.
Sculptures must be no larger that 18" in height and no smaller that 12" in height.
Goals:
Learn firsthand how to use the fundamentals hand-building methods to create sculptural forms. (3 Dimensional)
Gain experience in the timing needed to maintain moisture and control drying of clay sculptures in construction progress.
Learn how to develop and execute complex forms in clay.
Learn how to develop concepts and forms that are generated from a single subject source.
Learn how to apply glaze to create finished surfaces on sculptural forms.
Gain experience in working through the medium of ceramic and understand its limitations and strengths. (color / engineering)
Experience the challenges of creating a interest in randomly assigned tasks and subjects.
Time Line:
Students will have 3 Weeks to complete the wet work phase of this project before we load a bisque firing.
Source:
Spirit Animal Finder
https://whatismyspiritanimal.com/spirit-animal-quiz/
References:
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.
Requirements:
Each student will be tasked with producing three (2) bowls.
Bowls should must be in a nesting fashion and stack within each other.
Bowls must be constructed with in a scale range of 18"-21" (largest not to exceed 18" or be no smaller than 12").
Works must decorated with underglaze only.
All works will must include a mounting hole in the foot ring (all works will be hung and displayed for critique).
Bowls must be decorated in a design that is either a Pattern, a Portrait or a Place.
Work to create a dialog about / between the pieces.
All works must be hand build using coil 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 the use of vessels as grounds for imagery and artistic dialog
Build experiences working with slips.
Management of moisture and timing in the construction of ceramic object.
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.
Requirements:
Each student will be tasked with producing three (2) bowls.
Bowls should must be in a nesting fashion and stack within each other.
Bowls must be constructed with in a scale range of 18"-21" (largest not to exceed 18" or be no smaller than 12").
Works must decorated with underglaze only.
All works will must include a mounting hole in the foot ring (all works will be hung and displayed for critique).
Bowls must be decorated in a design that is either a Pattern, a Portrait or a Place.
Work to create a dialog about / between the pieces.
All works must be hand build using coil 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 the use of vessels as grounds for imagery and artistic dialog
Build experiences working with slips.
Management of moisture and timing in the construction of ceramic object.
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.
1st: word response
example.... Hot:Cold
Hot
Sharp
Smooth
Black
Grow
Fall
2nd: Phrase Response
example..... Float I was floating down the river.
Float
Tension
Fat
Dangle
Balance
Dead
3rd: Drawing response
example.... Float : Drawing of a ballon.
Float
Up
Anger
Attraction
Melt
Danger
example.... Hot:Cold
Hot
Sharp
Smooth
Black
Grow
Fall
2nd: Phrase Response
example..... Float I was floating down the river.
Float
Tension
Fat
Dangle
Balance
Dead
3rd: Drawing response
example.... Float : Drawing of a ballon.
Float
Up
Anger
Attraction
Melt
Danger
Methods & MaterialOverview:
As we are pushing further into the possibilities of creating sculptures, you should start to take notice of the ways in which material interactions happen. These material interactions are varied and wide open in terms of the construction methods and forming techniques. Clay can be modeled soft from the bag, it can be carved when its leather hard and it can be glazed and illustrated upon to change its appearance. In this project I would like to expose the class to yet another possibility in ceramic sculpture production; the Ready Made.The Ready Made is is a way of describing a piece or object that has been made by someone else and is in a finished state. In terms of ceramic Ready Mades, we might describe them as objects made of clay that have already been fired.You may already be wondering how we are going to get all of these Ready Made ceramics for us to build with? The answer is you will be making them. There will be multiple parts to this assignment, but the core focus of the project will be to experience the process of constructing objects, assemblies or structures from pre made and already fired ceramic objects. This process will shed further light into the possibilities of ceramic sculpture as well as start to raise questions about the perceived boundaries that define a ceramic sculpture. Often young artists believe that they must make all aspects of the sculpture to call it theirs own work, believing that their hands and their hands alone are responsible for the creation of a work of art. I would like to challenge this notion and through the process and the experimentation of the project an opportunity to rethink these perceived boundaries should come to light. I would like to prime the discussion a bit with a few questions for you to think about. Does a painter have to make their own paints and weave their own canvas in order to create a painting? Does an illustrator need to create their pens and pencils to call their drawing their own? Does a collage artists need to create the images they cut and paste, or can they source from the world at large? Does the carpenter have to grown their own trees to make their works? |
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The Project: Creating a sculpture from pre fired objects.
1st.
Students will be asked to each produce a bags worth of ceramic objects (about 25 Lbs.). These objects will be used as building blocks for the projects construction phase. Students do not need to purchase clay, but rather will be shown and tasked with making clay for themselves. Everyone will be provided with a Demonstration that will instruct you how to make this clay through the use of the studios Clay Mixer and recyclable clay scraps. This process is a easy but messy one. (make sure to remove any rings and brackets as they tend to come off and get stuck in the mixer)
2nd.
The objects you make will be produced using using the studios clay extruders and a variety of custom made extruder dies designed by students in the class. (see Photoshop Die Demo Video and reference notes from the in class demo). All Studio dies are available for use, but students are required to each produce a dies that they will contribute to the production of the Ready Made Ceramics.
3rd.
The objects produced will be loaded into KILNS as they are made. As a class we will be loading the Large Gas Kiln for the firing of these objects. This process of production and loading will happen rather rapidly or the course of two class sessions. All clay objects (extrusions) will be dried in the kiln and fired once to the target temperature of 2150 degrees F. (also known as Cone 5 in terms of Ceramic Temperature reference). Students are encouraged to be delicate in terms of how they handle the works being extruded.
4th.
As a class we will unload the kiln and begin to construct our sculptures. All objects will be collected onto a few mobile carts for storage. All objects are up for grabs and can be used by any students participating in the project. Students are encouraged to explore all available pieces and forms for the construction of their final sculpture. Construction will happen with the use of epoxy putty and or Hot Glue.
Requirements:
Produce a custom Extruder Die to create extruded objects.
Produce 25 Lbs of objects (keep them small in diameter, not too big!)
Produce a sculpture from many Ready Made ceramic objects.
Assemble the objects using either or both Epoxy Putty and or Hot Glue (high temp).
Sculptures should be a minimum of 24" in height.
Goals:
Explore new methods of producing sculpture from ceramic materials.
Explore the limits of concept of what defines ceramic sculptures.
Gain experience in designing digital tools for use in the studio.
Explore new methods of construction (adhesives, assemblage, constructivism, found and assembled)
Push conceptual boundaries of sculptural production.
Gain team work experience in producing objects, dies and assisting each other in construction challenges.
References:
Google search these artists for inspiration and reference.
Bean Finneran
Linda Sormin
Ryan Labarr
Nathan Craven
Anthony Gormley
Deborah Butterfield
Tony Cragg
Digital Files:
Please Email final files to me at David.hicks@reedleycollege.edu Files should be saved in .OBJ format (object format). If there are any questions please ask, don't wait and guess, just ask and Ill make sure we all are on the same page.
Reference Images:
1st.
Students will be asked to each produce a bags worth of ceramic objects (about 25 Lbs.). These objects will be used as building blocks for the projects construction phase. Students do not need to purchase clay, but rather will be shown and tasked with making clay for themselves. Everyone will be provided with a Demonstration that will instruct you how to make this clay through the use of the studios Clay Mixer and recyclable clay scraps. This process is a easy but messy one. (make sure to remove any rings and brackets as they tend to come off and get stuck in the mixer)
2nd.
The objects you make will be produced using using the studios clay extruders and a variety of custom made extruder dies designed by students in the class. (see Photoshop Die Demo Video and reference notes from the in class demo). All Studio dies are available for use, but students are required to each produce a dies that they will contribute to the production of the Ready Made Ceramics.
3rd.
The objects produced will be loaded into KILNS as they are made. As a class we will be loading the Large Gas Kiln for the firing of these objects. This process of production and loading will happen rather rapidly or the course of two class sessions. All clay objects (extrusions) will be dried in the kiln and fired once to the target temperature of 2150 degrees F. (also known as Cone 5 in terms of Ceramic Temperature reference). Students are encouraged to be delicate in terms of how they handle the works being extruded.
4th.
As a class we will unload the kiln and begin to construct our sculptures. All objects will be collected onto a few mobile carts for storage. All objects are up for grabs and can be used by any students participating in the project. Students are encouraged to explore all available pieces and forms for the construction of their final sculpture. Construction will happen with the use of epoxy putty and or Hot Glue.
Requirements:
Produce a custom Extruder Die to create extruded objects.
Produce 25 Lbs of objects (keep them small in diameter, not too big!)
Produce a sculpture from many Ready Made ceramic objects.
Assemble the objects using either or both Epoxy Putty and or Hot Glue (high temp).
Sculptures should be a minimum of 24" in height.
Goals:
Explore new methods of producing sculpture from ceramic materials.
Explore the limits of concept of what defines ceramic sculptures.
Gain experience in designing digital tools for use in the studio.
Explore new methods of construction (adhesives, assemblage, constructivism, found and assembled)
Push conceptual boundaries of sculptural production.
Gain team work experience in producing objects, dies and assisting each other in construction challenges.
References:
Google search these artists for inspiration and reference.
Bean Finneran
Linda Sormin
Ryan Labarr
Nathan Craven
Anthony Gormley
Deborah Butterfield
Tony Cragg
Digital Files:
Please Email final files to me at David.hicks@reedleycollege.edu Files should be saved in .OBJ format (object format). If there are any questions please ask, don't wait and guess, just ask and Ill make sure we all are on the same page.
Reference Images:
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 |
