Reedley College
Art 15 & 38A Ceramics
Course Projects
Spring 2020
Material Nature
In this assignment students will begin to explore ceramics at the surface level, the glaze.Glaze is the materials that first engages the viewer, there for I thought it fitting for it to be the focus of the first project of the semester.
The Project:
Students will be asked to construct three separate forms/objects that will be the foundation for glaze exploration. These forms must be made using three separate techniques, Pinch, Coil and Slab. In addition to the creation of these objects students will also be asked to create catch tiles for the objects. These catch tiles 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.
Objects:
The objects should be no taller than 10" in height and no wider than 10"
Slabs ane encourages to create pictorial forms for exploration.
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.
Test tiles should be 4" square and each student should make 8-10 tiles for testing.
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 1 Week to produce the objects and test tiles.
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
Jun Kaneko
Takuro Kuwata
Lauren Mabry
Students will be asked to construct three separate forms/objects that will be the foundation for glaze exploration. These forms must be made using three separate techniques, Pinch, Coil and Slab. In addition to the creation of these objects students will also be asked to create catch tiles for the objects. These catch tiles 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.
Objects:
The objects should be no taller than 10" in height and no wider than 10"
Slabs ane encourages to create pictorial forms for exploration.
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.
Test tiles should be 4" square and each student should make 8-10 tiles for testing.
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 1 Week to produce the objects and test tiles.
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
Jun Kaneko
Takuro Kuwata
Lauren Mabry
In Plain Sight
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In this assignment students will be jumping in and getting right to material play. The the production of simple objects, conversations about the nature of producing work, releasing work to an audience and challenging material assumptions will begin. Basic stoneware clay will be used for the production, followed with gold leaf. Objects will be installed on the campus grounds in inconspicuous locations. Playing with various installation means, the sculptural works will be placed, installed and hidden for the public to discover. In this process students will discuss the social impact of public artworks as well as the personal impact of producing objects that are destined to be given to the public rather than kept for ones self.
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The Project:
Each Student will be asked to produce a simple objects for a single piece of clay. The objects should be thoughtfully conceived and play into the student concert and drive his or her narrative. Objects should be somewhat simply crafted and play with a scale that fits within the landscape of ones palm. Small, easy to craft, easy to manage. Clay will be the primary construction material. No other materials may be used in the construction of the objects for this project. Students will shout locations suitable for installation. When choosing a location students should think about how they want the work to live and be discovered. Look for places that seem to be natural suited for placing an object ( a buildings nook or ledge, maybe the top of a post or hidden within a natural element such as a trees). At works placed for the public will be left for the public to consume. Students are highly encouraged to let the work be discovered by others and collected by the public. Please do not collect the work yourself as you are part of the project and meant to facilitate the art experience, not participate as the audience.
Objects:
Student will be require to produce 3 identical objects. (do you best to make identical works)
Objects should be small in scale and fit within your palm.
1 Object will be kept for display and you personal collection
2 Objects will be placed/installed on campus for the public to find and collect.
3 TOTAL OBJECTS
Surface:
All student works will be covered in gold leaf.
Students are highly encouraged to completely gold leaf their work.
Gold will be a foundational component of the project and used as a discussion point about materials choice and materials influence in ones art work.
GOLD LEAF
Installation:
Students are required to scout a location on campus that best fits their concept of the installation of their work. Look for a place that could be a SLOW reveal (trees, hidden within a book) or fast reveal (on a post, out in the open, in highly trafficked areas). All installed work is intended for public discovery and should be left undisturbed by class participants. Do not tell of the location or instruct people where to find the works, rather allow the natural process of discovery to happen. The purpose of the project is to encourage observation by the public as well as provide moments of discovery. One the work is installed let its one life and journey begin.
Timeline:
Students will have two class sessions to complete the construction of their objects. They will then be fired in the kiln. Students will have an additional class session to GOLD LEAF them and prepare the works for installation. Students will in the following class session install 2 of the work on campus in an inconspicuous fashion as not to draw attention to the location of the placed objects. The final object (one that has not been installed on campus) will be presented in the display case in the student center along with an explanation of the project. The objects displayed in the case will be returned to the students after the display comes down. This final object will remain the possession of the project and serves as a moment of the experience. Students may do as they wish with the final object. Keep it or again place it for the public to discover.
Goals:
Gain experience moving clay into dimensional shapes of choice.
Discuss concept and how to best facilitate you concept in sculptural object made of clay
Understand material qualities and how material choices affect concept and or narrative of your work.
Explore the role of curator through installation of you work on campus.
Learn to discuss and verbalize your artistic decisions.
Engage critical dialog about your art as well as the art of others through critique and class discussion.
Each Student will be asked to produce a simple objects for a single piece of clay. The objects should be thoughtfully conceived and play into the student concert and drive his or her narrative. Objects should be somewhat simply crafted and play with a scale that fits within the landscape of ones palm. Small, easy to craft, easy to manage. Clay will be the primary construction material. No other materials may be used in the construction of the objects for this project. Students will shout locations suitable for installation. When choosing a location students should think about how they want the work to live and be discovered. Look for places that seem to be natural suited for placing an object ( a buildings nook or ledge, maybe the top of a post or hidden within a natural element such as a trees). At works placed for the public will be left for the public to consume. Students are highly encouraged to let the work be discovered by others and collected by the public. Please do not collect the work yourself as you are part of the project and meant to facilitate the art experience, not participate as the audience.
Objects:
Student will be require to produce 3 identical objects. (do you best to make identical works)
Objects should be small in scale and fit within your palm.
1 Object will be kept for display and you personal collection
2 Objects will be placed/installed on campus for the public to find and collect.
3 TOTAL OBJECTS
Surface:
All student works will be covered in gold leaf.
Students are highly encouraged to completely gold leaf their work.
Gold will be a foundational component of the project and used as a discussion point about materials choice and materials influence in ones art work.
GOLD LEAF
Installation:
Students are required to scout a location on campus that best fits their concept of the installation of their work. Look for a place that could be a SLOW reveal (trees, hidden within a book) or fast reveal (on a post, out in the open, in highly trafficked areas). All installed work is intended for public discovery and should be left undisturbed by class participants. Do not tell of the location or instruct people where to find the works, rather allow the natural process of discovery to happen. The purpose of the project is to encourage observation by the public as well as provide moments of discovery. One the work is installed let its one life and journey begin.
Timeline:
Students will have two class sessions to complete the construction of their objects. They will then be fired in the kiln. Students will have an additional class session to GOLD LEAF them and prepare the works for installation. Students will in the following class session install 2 of the work on campus in an inconspicuous fashion as not to draw attention to the location of the placed objects. The final object (one that has not been installed on campus) will be presented in the display case in the student center along with an explanation of the project. The objects displayed in the case will be returned to the students after the display comes down. This final object will remain the possession of the project and serves as a moment of the experience. Students may do as they wish with the final object. Keep it or again place it for the public to discover.
Goals:
Gain experience moving clay into dimensional shapes of choice.
Discuss concept and how to best facilitate you concept in sculptural object made of clay
Understand material qualities and how material choices affect concept and or narrative of your work.
Explore the role of curator through installation of you work on campus.
Learn to discuss and verbalize your artistic decisions.
Engage critical dialog about your art as well as the art of others through critique and class discussion.
Round Bowls, Straight Lines ,Crooked Thoughts
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 Three P'c, Pattern, Portrait and Place.
Requirements:
Each student will be tasked with producing three (3) bowls.
Bowls should must be in a nesting fashion and stack within each other.
Bowls must be constructed with in a scale range of 12"-18" (largest not to exceed 18" or be no smaller than 12").
Works must decorated with slips 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 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. The source information for this projects will be the Three P'c, Pattern, Portrait and Place.
Requirements:
Each student will be tasked with producing three (3) bowls.
Bowls should must be in a nesting fashion and stack within each other.
Bowls must be constructed with in a scale range of 12"-18" (largest not to exceed 18" or be no smaller than 12").
Works must decorated with slips 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 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 |
