Ceramic Sculpture Projects
Art-15 / Art-38A
Fall 2025
Facial Focus:
a sculptors prerogative
OverView:
In this project we will be working with the process of PINCH. Pinching is a very liberating process as its straight forward and has the closest connection between hands, concepts and materials. There is no need to roll coils, or slabs. We can simply grab the clay and begin to attache and build. Keep in mind there are a few key elements we need to keep in mind. Moisture and clay texture.
The Project:
We will be focusing on the sculptural portraiture. As an artist we have the ability to select our subjects and within that exercise format our response as we see fit. In other word its you prerogative to give as much or as little information as you would like. Keep in mind.... as we add information and or withhold information we inevitably invite the viewer ask questions about our presentation. Keep this idea in your mind as you move forward with the project.
Questions for you:
How much information do you need to provide for the viewer to understand your message?
What happens if you give the viewer the maximum amount of information?
Whats questions o you want to raise in your work?
Who is your subject?
The Project:
In this project you must work within the following guidelines:
Construct 3 icon tests for the project(eye, ear, nose, mouth)
Create 1 sculptural bust that includes the full mass of the head.
You must work form a subject and use your own images to create their likeness.
Works must be made suing sculptural clay (Dixon)
Finished sculpture should be between 12" - 18" in height.
A glazes finish must be used to add color and additional compositional qualities to your work. (reference glaze demos)(no raw clay sculptures)
Goals:
Learn to work with clay using the pinch method.
Engage in thoughtful discussion on your artist plan and direction with class mates (mid process critiques).
Engage in artists composition that allows for omission and embellishment.
Lean how to manage moisture on multi session sculptural works.
Engage in dialogue with classmates as your project develops and use critical feedback sessions to improve in progress works.
Time Line:
You will have three weeks to complete this project and get it ready for BISQUE firing.
This includes your 3 test piece as well as your final sculpture.
Please be present in class for updates and make sure to inform me of any absences. We will be moving quick and steady on this project. Absences will be difficult to overcome.
Visual Resources:
Doug Jeck
Akio Takamori
Xavier Toubes
Christina Cardova
Jun Kaneko
In this project we will be working with the process of PINCH. Pinching is a very liberating process as its straight forward and has the closest connection between hands, concepts and materials. There is no need to roll coils, or slabs. We can simply grab the clay and begin to attache and build. Keep in mind there are a few key elements we need to keep in mind. Moisture and clay texture.
The Project:
We will be focusing on the sculptural portraiture. As an artist we have the ability to select our subjects and within that exercise format our response as we see fit. In other word its you prerogative to give as much or as little information as you would like. Keep in mind.... as we add information and or withhold information we inevitably invite the viewer ask questions about our presentation. Keep this idea in your mind as you move forward with the project.
Questions for you:
How much information do you need to provide for the viewer to understand your message?
What happens if you give the viewer the maximum amount of information?
Whats questions o you want to raise in your work?
Who is your subject?
The Project:
In this project you must work within the following guidelines:
Construct 3 icon tests for the project(eye, ear, nose, mouth)
Create 1 sculptural bust that includes the full mass of the head.
You must work form a subject and use your own images to create their likeness.
Works must be made suing sculptural clay (Dixon)
Finished sculpture should be between 12" - 18" in height.
A glazes finish must be used to add color and additional compositional qualities to your work. (reference glaze demos)(no raw clay sculptures)
Goals:
Learn to work with clay using the pinch method.
Engage in thoughtful discussion on your artist plan and direction with class mates (mid process critiques).
Engage in artists composition that allows for omission and embellishment.
Lean how to manage moisture on multi session sculptural works.
Engage in dialogue with classmates as your project develops and use critical feedback sessions to improve in progress works.
Time Line:
You will have three weeks to complete this project and get it ready for BISQUE firing.
This includes your 3 test piece as well as your final sculpture.
Please be present in class for updates and make sure to inform me of any absences. We will be moving quick and steady on this project. Absences will be difficult to overcome.
Visual Resources:
Doug Jeck
Akio Takamori
Xavier Toubes
Christina Cardova
Jun Kaneko
Mimbres: Pottery, Iconography, Design, Mythology, Ceremony
The Project.
Goals:
Explore the ability for the vessel to serve as a pictorial ground.
Work within a limited ceramic palette (black ,white and terracotta slips).
Further build upon the basic skills of hand building with clay.
Gain perspective on North American ceramic history and Native American Ceramics.
Requirements:
Each student is required to produce two pieces for the assignment.
12 " minimum diameter, 20" maximum diameter
Limited palette of Black, White & Red
One piece must be based on an original Mimbres design
One piece must utilize Mimbres Style while exploring contemporary Iconography. This contemporary piece should illustrate a contemporary issue, utilize modern iconography or geometric pattern. Both pieces should by decorated in the Mimbres style (bold line, limited palette, incorporate a decorative border on the interior rim and utilize geometric pattern.
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
Like a Snake.....
Overview:
In this project we will be working our way through one of the fundamentals building methods; coils. This method of construction is simple and straight forward. There is always a catch to anything and coils has one. Its simplicity comes at a cost. You as the building must pay close attention to the joinery and how the coils come together. If you don't your projects will fall apart and self destruct. As a class we'll discuss this essential focus point of coil construction. Though demos and hands on testing a understanding will develop and your build quality will reflect it. Coils, coils and more coils ahead!
The Project:
Students will asked to work from a point of experimentation and reactionary perspective. We will work with prompts, bot assigned and self directed. We will address the ideas of both non representational and representational work and how given a specific technique, you as an artist can identify its strengths and weaknesses.
Each student wil be asked to create multiple coil works. These coil made works will span a range of timelines. Some works will have a time line of 1 hour, some will have a timeline of 3 hours. Based on these timelines students will execute a plan and a form that addresses a prompt. Prompts will be assigned at random and timeline will start short and increase as we move forward through the project culminating in a 3 hour piece.
Prompts:
Textured
Smooth
Round
Asymmetrical
Apendage
Closed
Animal
Human
Symmetrical
Attention to Line Quality
Requirements:
All works must be maid entirely of coils and nothing else.
Works should reflect the timeline given.
Each student should have 5 completed works for glaze.
Works should reflect the prompts given.
All works must have a student CHOP mark.
All works must be glazed.
Areas of focus:
Formal qualities that lend themselves to one design engagement over another. (open forms, closed forms, vertical forms, textural aspects of surface)
Formal development and maintaining design throughout build.
Joints and Connection points.
Maintaining moisture to allow for multiple work sessions over the course of the project.
Glaze application (dipping, brushing, spraying) what when and why?
Goals:
Gain a beginning level understanding of coil building.
Learn to manage moisture through the build process.
Learn to create strong connection points and joints in ceramic sculpture building.
Gain a beginning level understand in the various methods of glaze application. (brush, dip, spray)
Learn how to engage surface decoration though mixing and applying underglazes.
Learn how to use limited colors to create dynamic surface decoration and pattern. Pattern vs. Chroma
Engage patter and repetition of simple marks that accumulate to complex overall compositions.
Engage in critical dialog about sculpture and class projects.
In this project we will be working our way through one of the fundamentals building methods; coils. This method of construction is simple and straight forward. There is always a catch to anything and coils has one. Its simplicity comes at a cost. You as the building must pay close attention to the joinery and how the coils come together. If you don't your projects will fall apart and self destruct. As a class we'll discuss this essential focus point of coil construction. Though demos and hands on testing a understanding will develop and your build quality will reflect it. Coils, coils and more coils ahead!
The Project:
Students will asked to work from a point of experimentation and reactionary perspective. We will work with prompts, bot assigned and self directed. We will address the ideas of both non representational and representational work and how given a specific technique, you as an artist can identify its strengths and weaknesses.
Each student wil be asked to create multiple coil works. These coil made works will span a range of timelines. Some works will have a time line of 1 hour, some will have a timeline of 3 hours. Based on these timelines students will execute a plan and a form that addresses a prompt. Prompts will be assigned at random and timeline will start short and increase as we move forward through the project culminating in a 3 hour piece.
Prompts:
Textured
Smooth
Round
Asymmetrical
Apendage
Closed
Animal
Human
Symmetrical
Attention to Line Quality
Requirements:
All works must be maid entirely of coils and nothing else.
Works should reflect the timeline given.
Each student should have 5 completed works for glaze.
Works should reflect the prompts given.
All works must have a student CHOP mark.
All works must be glazed.
Areas of focus:
Formal qualities that lend themselves to one design engagement over another. (open forms, closed forms, vertical forms, textural aspects of surface)
Formal development and maintaining design throughout build.
Joints and Connection points.
Maintaining moisture to allow for multiple work sessions over the course of the project.
Glaze application (dipping, brushing, spraying) what when and why?
Goals:
Gain a beginning level understanding of coil building.
Learn to manage moisture through the build process.
Learn to create strong connection points and joints in ceramic sculpture building.
Gain a beginning level understand in the various methods of glaze application. (brush, dip, spray)
Learn how to engage surface decoration though mixing and applying underglazes.
Learn how to use limited colors to create dynamic surface decoration and pattern. Pattern vs. Chroma
Engage patter and repetition of simple marks that accumulate to complex overall compositions.
Engage in critical dialog about sculpture and class projects.
Slabs....Hard & Soft
Overview:
In this project we will be working with slabs. A slab is in its simplest term a sheet of clay. We can make this sheet by pounding it out on the table, by flattening it with a rolling pin or through the use of the studio slab roller. Whichever way you choose to do it is fine, just as long as we keep it limited to slabs. Within in the limited range of slabs we will be working with the various phases of dryness of clay. We often describe the process of working with wet/ soft clay slabs as "soft slab construction". This method usually produces sort contours that are round and have elements that have been "pushed" out of the slabs. Soft Slab Constructions allows you to bend, twist and for the slabs into limitless forms as you take advantage of the clays soft and malleable qualities. "Hard Slab Construction" on the other hand relies on the rigidity of clay that has been dried to a leather hard state. Construction in the phase of slab work is often characterized by flat planes and angular forms. I ofter describe had slab construction with an analogy of working with cardboard or plywood. In this analogy the way we work is often by cutting shapes from rigid clay slabs and then attaching them together with the score and slip process of bonding. To put it simply, soft slabs are worked when the clay is soft and pliable, while hard slabs are worked when the clay is rigid and structural. Bot processes rely on slabs, but the slabs are used at different phases of softness and will produce very different results.
The Project:
In this slab project you will be tasked with producing two objects. These two object will have a relationship in the sense that they will be displayed together. In fact you may think of one of the objects as the display and the other object as the displayed. The theme for the assignment is (FIGURE)Relic and Reliquary. Keeping in mind that the figure is the central core theme. Figure meaning the body, human body.
rel·ic
/ˈrelik/
noun
plural noun: relics
rel·i·quar·y
/ˈreləˌkwerē/
noun
noun: reliquary; plural noun: reliquaries
Requirements:
Produce a (1) sculptural SOFT SLAB figurative object that makes reference to the human body.
Produce a (1) sculptural HARD SLAB object that wil be used to display the soft slab object.
Use slabs as the only construction method for the project.
Soft slab sculpture should be no larger than 12" in any direction.
Areas of focus:
Explore the ability to push and pull form and shape from a thick soft slab.
Take advantage of the rigid qualities of had slabs to build angular and crisp formal objects.
Use defloculated slip as your moisture source when joining slabs.
Rely on soft slabs to produce soft forms that can be articulated in final decoration phase of the project.
Use of black slip for hard lines.
Understanding of the timing needed to make hard slabs from soft slabs (dehydration).
Artist References:
AkioTakamori
Jean Pierre Larocque
In this project we will be working with slabs. A slab is in its simplest term a sheet of clay. We can make this sheet by pounding it out on the table, by flattening it with a rolling pin or through the use of the studio slab roller. Whichever way you choose to do it is fine, just as long as we keep it limited to slabs. Within in the limited range of slabs we will be working with the various phases of dryness of clay. We often describe the process of working with wet/ soft clay slabs as "soft slab construction". This method usually produces sort contours that are round and have elements that have been "pushed" out of the slabs. Soft Slab Constructions allows you to bend, twist and for the slabs into limitless forms as you take advantage of the clays soft and malleable qualities. "Hard Slab Construction" on the other hand relies on the rigidity of clay that has been dried to a leather hard state. Construction in the phase of slab work is often characterized by flat planes and angular forms. I ofter describe had slab construction with an analogy of working with cardboard or plywood. In this analogy the way we work is often by cutting shapes from rigid clay slabs and then attaching them together with the score and slip process of bonding. To put it simply, soft slabs are worked when the clay is soft and pliable, while hard slabs are worked when the clay is rigid and structural. Bot processes rely on slabs, but the slabs are used at different phases of softness and will produce very different results.
The Project:
In this slab project you will be tasked with producing two objects. These two object will have a relationship in the sense that they will be displayed together. In fact you may think of one of the objects as the display and the other object as the displayed. The theme for the assignment is (FIGURE)Relic and Reliquary. Keeping in mind that the figure is the central core theme. Figure meaning the body, human body.
rel·ic
/ˈrelik/
noun
plural noun: relics
- an object surviving from an earlier time, especially one of historical or sentimental interest.
Similar:
artifact
historical object
ancient object
antiquity
antique
heirloom
object of virtu
curio
fossil- a part of a deceased holy person's body or belongings kept as an object of reverence.
"miracles wrought by the relics of St. Stephen"
Similar:
remains
body parts
bones
corpse
dead body
cadaver
holy/sacred objects - reliquiae
- an object, custom, or belief that has survived from an earlier time but is now outmoded.
"individualized computer programming and time-sharing would become expensive relics" - all that is left of something.
"relics of a lost civilization"
- a part of a deceased holy person's body or belongings kept as an object of reverence.
rel·i·quar·y
/ˈreləˌkwerē/
noun
noun: reliquary; plural noun: reliquaries
- a container for holy relics.
Requirements:
Produce a (1) sculptural SOFT SLAB figurative object that makes reference to the human body.
Produce a (1) sculptural HARD SLAB object that wil be used to display the soft slab object.
Use slabs as the only construction method for the project.
Soft slab sculpture should be no larger than 12" in any direction.
Areas of focus:
Explore the ability to push and pull form and shape from a thick soft slab.
Take advantage of the rigid qualities of had slabs to build angular and crisp formal objects.
Use defloculated slip as your moisture source when joining slabs.
Rely on soft slabs to produce soft forms that can be articulated in final decoration phase of the project.
Use of black slip for hard lines.
Understanding of the timing needed to make hard slabs from soft slabs (dehydration).
Artist References:
AkioTakamori
Jean Pierre Larocque
And the winner is.....................Coil
Over View:
In this project we will be working with one of the fundamental clay building methods, COILS. Coils are a simple and manageable method that allows makers to create quick and uniform structures with relative ease. We will be using this method of construction to create form designed for specific, decorative needs. While at first encounter coils are simple and straight forward, there are some areas of attention that require sensitivity and patience. Primarily in the joining and connecting aspect of the build. Follow the demonstrated methods and think about your connects. Coil built work is essentially a long continuous collection of joints that when executed properly hold the work together, but when not done properly you might create problematic structural issues. Take care not to overlook the importance of how you join and connect you coils. This in my opinion is the most important area of focus when building with this simple construction method.
The Project:
Students will be tasked with creating two vessel forms. The vessels must be entirely build using coils. The purpose of these vessels is to create a forms that will be decorated using a limited pallet (black and white glaze) format for one and a polychromatic pallet for the other ( ie. black and white & color). While vessel forms are endless in possibility, students will be tasked with creating shapes that have a specific purpose. The purpose is very simple, but very specific. Create one vessel is meant to have a decoration on the exterior, and one vessel is meant to have decoration on the interior.
What type of shape is better suited for creating a decoration on the exterior, and like wise, what shape of vessel is better suited for creating decoration on the interior? Think vases versus bowls. Vases, or tall vertical forms are better suited to have their exteriors decorated since the forms are more vertical and easier to make marks on. Their exteriors are visually easier to view and project outward. Bowls on the other hand have their interior spaces opened up and exposed while the exteriors are generally downward facing and sheltered from view. There are endless varieties of form and exceptions to these mentioned general characteristics, but in general these descriptions are accurate. Students will be asked to keep this in mind when designing and building their vessels and encouraged to make forms that are more receptive to their skill level and mark making approach.
In terms of imagery for this project students are being asked to limited designs to the basics. No imagery that is overly detailed and requiring fine pinpoint executions of line and detail. Use line to create patterns, polka-dots, checkerboards, grids and or similar types of patterns. This project will be focusing on the high contrast of black on white as well as utilizing color in a simple pixelated fashion. Don't over think it and keep it simple and straight forward. I highly discourage you from creating refined imagery such as portraits, landscape and or representation images. Think shapes, patterns and grids. Complex drawing and representational imagery will create challenges that in my opinion are unnecessary for an introduction to materials. Lets learn the material first and them get more complicated later.
Requirements:
Create one vessel form designed for interior decoration.
Create one vessel form designed for exterior decoration.
Vessels must not be no smaller that 12" wide or tall. Vessels should be no larger than 18" in width or height.
Vessels must be constructed form coils.
Surfaces should be relatively smooth and receptive to decoration and pattern.
Vessels must be decorated appropriately for the project (one in black & white and the other in a color palette)
Areas of focus:
Formal qualities that lend themselves to one design engagement over another. (open forms, closed forms, vertical forms, textural aspects of surface)
Formal development and maintaining design throughout build.
Joints and Connection points.
Maintaining moisture to allow for multiple work sessions over the course of the project.
Glaze application (dipping, brushing, spraying) what when and why?
Goals:
Gain a beginning level understanding of coil building.
Learn to manage moisture through the build process.
Learn to create strong connection points and joints in ceramic sculpture building.
Gain a beginning level understand in the various methods of glaze application. (brush, dip, spray)
Learn how to engage surface decoration though mixing and applying underglazes.
Learn how to use limited colors to create dynamic surface decoration and pattern. Pattern vs. Chroma
Engage patter and repetition of simple marks that accumulate to complex overall compositions.
Engage in critical dialog about sculpture and class projects.
Artist Resources:
Brittany Mojo / Britanny Mojo on instagram
Image Search:
Black and white pottery
Black and White Sculpture
Black and White Patterns
In this project we will be working with one of the fundamental clay building methods, COILS. Coils are a simple and manageable method that allows makers to create quick and uniform structures with relative ease. We will be using this method of construction to create form designed for specific, decorative needs. While at first encounter coils are simple and straight forward, there are some areas of attention that require sensitivity and patience. Primarily in the joining and connecting aspect of the build. Follow the demonstrated methods and think about your connects. Coil built work is essentially a long continuous collection of joints that when executed properly hold the work together, but when not done properly you might create problematic structural issues. Take care not to overlook the importance of how you join and connect you coils. This in my opinion is the most important area of focus when building with this simple construction method.
The Project:
Students will be tasked with creating two vessel forms. The vessels must be entirely build using coils. The purpose of these vessels is to create a forms that will be decorated using a limited pallet (black and white glaze) format for one and a polychromatic pallet for the other ( ie. black and white & color). While vessel forms are endless in possibility, students will be tasked with creating shapes that have a specific purpose. The purpose is very simple, but very specific. Create one vessel is meant to have a decoration on the exterior, and one vessel is meant to have decoration on the interior.
What type of shape is better suited for creating a decoration on the exterior, and like wise, what shape of vessel is better suited for creating decoration on the interior? Think vases versus bowls. Vases, or tall vertical forms are better suited to have their exteriors decorated since the forms are more vertical and easier to make marks on. Their exteriors are visually easier to view and project outward. Bowls on the other hand have their interior spaces opened up and exposed while the exteriors are generally downward facing and sheltered from view. There are endless varieties of form and exceptions to these mentioned general characteristics, but in general these descriptions are accurate. Students will be asked to keep this in mind when designing and building their vessels and encouraged to make forms that are more receptive to their skill level and mark making approach.
In terms of imagery for this project students are being asked to limited designs to the basics. No imagery that is overly detailed and requiring fine pinpoint executions of line and detail. Use line to create patterns, polka-dots, checkerboards, grids and or similar types of patterns. This project will be focusing on the high contrast of black on white as well as utilizing color in a simple pixelated fashion. Don't over think it and keep it simple and straight forward. I highly discourage you from creating refined imagery such as portraits, landscape and or representation images. Think shapes, patterns and grids. Complex drawing and representational imagery will create challenges that in my opinion are unnecessary for an introduction to materials. Lets learn the material first and them get more complicated later.
Requirements:
Create one vessel form designed for interior decoration.
Create one vessel form designed for exterior decoration.
Vessels must not be no smaller that 12" wide or tall. Vessels should be no larger than 18" in width or height.
Vessels must be constructed form coils.
Surfaces should be relatively smooth and receptive to decoration and pattern.
Vessels must be decorated appropriately for the project (one in black & white and the other in a color palette)
Areas of focus:
Formal qualities that lend themselves to one design engagement over another. (open forms, closed forms, vertical forms, textural aspects of surface)
Formal development and maintaining design throughout build.
Joints and Connection points.
Maintaining moisture to allow for multiple work sessions over the course of the project.
Glaze application (dipping, brushing, spraying) what when and why?
Goals:
Gain a beginning level understanding of coil building.
Learn to manage moisture through the build process.
Learn to create strong connection points and joints in ceramic sculpture building.
Gain a beginning level understand in the various methods of glaze application. (brush, dip, spray)
Learn how to engage surface decoration though mixing and applying underglazes.
Learn how to use limited colors to create dynamic surface decoration and pattern. Pattern vs. Chroma
Engage patter and repetition of simple marks that accumulate to complex overall compositions.
Engage in critical dialog about sculpture and class projects.
Artist Resources:
Brittany Mojo / Britanny Mojo on instagram
Image Search:
Black and white pottery
Black and White Sculpture
Black and White Patterns
Slabs_____________ Color...................
Over View:
In this assignment you will be workin with one of the basic and fundamental ways to work with clay, slabs. Slabs are a basic method of taking clay and shaping it into flat sheets of clay and then using those sheets of clay to build with. As you may know clay can be used in various stages of hardness, or wetness depending on the effects you're looking to achieve. In this project you will use slabs in varied levels of moisture (soft and hard slabs) to execute the sculptural project. It's important to keep in mind that slabs are going to be the mode of operation in this assignment. All work must be made for slabs, no coiled or pinched forms. You may refine your slabs, but all of your work must be made of slabs entirely.
In addition to the vessel form as the element of focus, we will use the vessel form as a vehicle for glaze and color play. We will be playing with excessive amounts of glaze and color. You might think of this as an oportunity to let the glaze be wild and free. We will explore the possibilities glaze lends to the ceramic sculptural process. What happens when we over apply glaze? How does molten glaze move over a surface? How do we deal with the realities of fluid materials in the firing process? Problems..... Challenges...... Discovery!
The Project:
Each student will be tasked with creating 1large scale vessel. This vessel should be an opportunity to explore composition and slab methodology. Vessels could be representational a person, place or thing, but I highly encourage you to work with a purely vessel grounded approach rather than going too far down the conceptual pathway. In this project we will discuss basic elements of design such as background, foreground, rhythm, negative and positive space. These basic elements of design will be the foundations for the sculptures produced. Students are encouraged to explore possibilities, take risks in composition and seek out inspirations. Art is not created in a vacuum but rather a response to something. Seek out elements in the world you can respond to. Look at the artists references and understand this is an opportunity to both learn slab construction and to play.
Upon completion of the project students will be engaging the glazing process. Vessels will be glazed with multiple glaze basses and the focus of the glazing will center on the characteristics of glaze ( how it moves, how it melts, how it is colored and how it can be modified to achieve various outcomes.Glaze will be a major element of this project and students are encouraged; instructed, to thing of how the glaze will play out in the firing process.
Project Value:
100 Points (major project)
Timeline:
2 Weeks for wet construction.
1 Week for glaze.
Requirements:
1 ceramic vessel
1 Vessel pedestal designed to catch glaze spill.
Vessels should be between24-36" in height
Slabs are to be the only means of production
Students should incorporate into vessel composition elements of both hard and soft slabs
Students must design sculptures that are in a vertical format (tall rather than wide) do not exceed 12" in width!!!!
Each vessel must be glazed ( glaze will comprise 50 percent of this project )
Areas of Focus:
Students should focus on the discussed methodology of construction (slabs, both hard and soft).
Students should focus on compositional design considering how glaze will interact with the vessels structure.
Students should pay attention to the way clay behaves when wet and soft as well as how it behaves when dry and stiff.
Goals:
Gain a beginning level understanding of how to produce slabs using studio equipment as well as by hand.
Learn to manage ceramic slabs in various states of moisture (hard and soft slab construction).
Learn how to manage the drying and storage of ceramic works while in production.
Gain a foundational understanding of glaze and glaze application.
Gain a beginning level understanding of how glaze interacts with surface and how glazes can be used to create dynamic surfaces though contract, shift and movements of melt.
Resources:
I strongly suggest you look for inspiration and see whats our there that you can respond to, take over, repurpose, borrow from, and plain old fashioned simply take and make your own. Research and searching for inspiration is essential in developing your abilities to both think of ideas and create them in reality. Do yourself a huge favor and see whats our these for you to respond to.
Artist references:
Tony Marsh
Vince Palacios
Elka Sada
John Gill
Andrea Gill
Gareth Mason
Brian Rochefort
In this assignment you will be workin with one of the basic and fundamental ways to work with clay, slabs. Slabs are a basic method of taking clay and shaping it into flat sheets of clay and then using those sheets of clay to build with. As you may know clay can be used in various stages of hardness, or wetness depending on the effects you're looking to achieve. In this project you will use slabs in varied levels of moisture (soft and hard slabs) to execute the sculptural project. It's important to keep in mind that slabs are going to be the mode of operation in this assignment. All work must be made for slabs, no coiled or pinched forms. You may refine your slabs, but all of your work must be made of slabs entirely.
In addition to the vessel form as the element of focus, we will use the vessel form as a vehicle for glaze and color play. We will be playing with excessive amounts of glaze and color. You might think of this as an oportunity to let the glaze be wild and free. We will explore the possibilities glaze lends to the ceramic sculptural process. What happens when we over apply glaze? How does molten glaze move over a surface? How do we deal with the realities of fluid materials in the firing process? Problems..... Challenges...... Discovery!
The Project:
Each student will be tasked with creating 1large scale vessel. This vessel should be an opportunity to explore composition and slab methodology. Vessels could be representational a person, place or thing, but I highly encourage you to work with a purely vessel grounded approach rather than going too far down the conceptual pathway. In this project we will discuss basic elements of design such as background, foreground, rhythm, negative and positive space. These basic elements of design will be the foundations for the sculptures produced. Students are encouraged to explore possibilities, take risks in composition and seek out inspirations. Art is not created in a vacuum but rather a response to something. Seek out elements in the world you can respond to. Look at the artists references and understand this is an opportunity to both learn slab construction and to play.
Upon completion of the project students will be engaging the glazing process. Vessels will be glazed with multiple glaze basses and the focus of the glazing will center on the characteristics of glaze ( how it moves, how it melts, how it is colored and how it can be modified to achieve various outcomes.Glaze will be a major element of this project and students are encouraged; instructed, to thing of how the glaze will play out in the firing process.
Project Value:
100 Points (major project)
Timeline:
2 Weeks for wet construction.
1 Week for glaze.
Requirements:
1 ceramic vessel
1 Vessel pedestal designed to catch glaze spill.
Vessels should be between24-36" in height
Slabs are to be the only means of production
Students should incorporate into vessel composition elements of both hard and soft slabs
Students must design sculptures that are in a vertical format (tall rather than wide) do not exceed 12" in width!!!!
Each vessel must be glazed ( glaze will comprise 50 percent of this project )
Areas of Focus:
Students should focus on the discussed methodology of construction (slabs, both hard and soft).
Students should focus on compositional design considering how glaze will interact with the vessels structure.
Students should pay attention to the way clay behaves when wet and soft as well as how it behaves when dry and stiff.
Goals:
Gain a beginning level understanding of how to produce slabs using studio equipment as well as by hand.
Learn to manage ceramic slabs in various states of moisture (hard and soft slab construction).
Learn how to manage the drying and storage of ceramic works while in production.
Gain a foundational understanding of glaze and glaze application.
Gain a beginning level understanding of how glaze interacts with surface and how glazes can be used to create dynamic surfaces though contract, shift and movements of melt.
Resources:
I strongly suggest you look for inspiration and see whats our there that you can respond to, take over, repurpose, borrow from, and plain old fashioned simply take and make your own. Research and searching for inspiration is essential in developing your abilities to both think of ideas and create them in reality. Do yourself a huge favor and see whats our these for you to respond to.
Artist references:
Tony Marsh
Vince Palacios
Elka Sada
John Gill
Andrea Gill
Gareth Mason
Brian Rochefort
Float.......
