Color, Fire, Shift
Over View:
It is fun to play with fire. In this project we are going to do just that. We are going to engage the dynamic element of heat and its transformational effect on the surfaces of our work. We are going to play with materials and engage the surface in a fashion that will be transformation to the how we view glaze and the glassy skin of our ceramic art. By asking questions and testing materials we are going to play with mass, melt, color and interaction in alchemic fashion; creating treasure from dust and clay.
The Project:
In this projects student will be asked to rethink the forms of their sculptural works. Rethink them with the intended purpose of using the form to hang color and glaze upon. How might you choose to make shapes if you know that you will build up materials only to have them melt and flow like a river of colorful molten glass. Will you want a smooth surface or a mottled and dynamic surface? How will the flow or massing of materials change on one form or another? In may ways we might think of the forms we are going to make as skeletons for the glaze. Armatures designed to hold color and direct flow. These questions and possibilities will be addressed through the creation of two (2) sculptural vessel forms. Upon these forms we will experiment and fire repeatedly building surface, color, texture, history and corrective measures, all of which make for curious works.
Requirements:
2 (two) small scale vessels
2 (two) support forms that are designed for a specific vessel and its orientation in the firing.
These support forms must be designed with the intention of hold the work securely and have a means of catching any dripping or falling materials
that may shed from your form in the firing!
Test Tiles for testing materials
Each vessel must be no larger that 8" in height and no smaller than 5" in height. (think large and or extra large coffee cups)
Each piece must be fired in 3 glaze firing cycles
Areas of focus:
Glaze application
Glaze modification
Systems for firing (armature, spill catch)
Methodology and Process
Experimentalism
Goals:
Gain a beginning level understanding of surface development.
Lean about firing orientation and glaze effect from non conventional firing procedures.
Gain an introductory level of knowledge about fluxes and glaze modifiers.
Gain an understanding on the role of experimentalism in the development of ones artistic works.
Artist Resources:
Tony Marsh
Vince Palacios
Morten Espersen
Brian Rochefort
It is fun to play with fire. In this project we are going to do just that. We are going to engage the dynamic element of heat and its transformational effect on the surfaces of our work. We are going to play with materials and engage the surface in a fashion that will be transformation to the how we view glaze and the glassy skin of our ceramic art. By asking questions and testing materials we are going to play with mass, melt, color and interaction in alchemic fashion; creating treasure from dust and clay.
The Project:
In this projects student will be asked to rethink the forms of their sculptural works. Rethink them with the intended purpose of using the form to hang color and glaze upon. How might you choose to make shapes if you know that you will build up materials only to have them melt and flow like a river of colorful molten glass. Will you want a smooth surface or a mottled and dynamic surface? How will the flow or massing of materials change on one form or another? In may ways we might think of the forms we are going to make as skeletons for the glaze. Armatures designed to hold color and direct flow. These questions and possibilities will be addressed through the creation of two (2) sculptural vessel forms. Upon these forms we will experiment and fire repeatedly building surface, color, texture, history and corrective measures, all of which make for curious works.
Requirements:
2 (two) small scale vessels
2 (two) support forms that are designed for a specific vessel and its orientation in the firing.
These support forms must be designed with the intention of hold the work securely and have a means of catching any dripping or falling materials
that may shed from your form in the firing!
Test Tiles for testing materials
Each vessel must be no larger that 8" in height and no smaller than 5" in height. (think large and or extra large coffee cups)
Each piece must be fired in 3 glaze firing cycles
Areas of focus:
Glaze application
Glaze modification
Systems for firing (armature, spill catch)
Methodology and Process
Experimentalism
Goals:
Gain a beginning level understanding of surface development.
Lean about firing orientation and glaze effect from non conventional firing procedures.
Gain an introductory level of knowledge about fluxes and glaze modifiers.
Gain an understanding on the role of experimentalism in the development of ones artistic works.
Artist Resources:
Tony Marsh
Vince Palacios
Morten Espersen
Brian Rochefort
Its a rope, its a snake, its a worm..... no its a 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 can 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 form that will be decorated in a limited pallet (black and white glaze) format. While vessel forms are endless in possibility, students will be tasked with creating shapes that have a specific purpose in mind. The purpose is very simple, but very specific, and has the possibility of being accomplished in a variety of ways. 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 representational (animals, flowers, people, logos, etc.). Please just use line to create patterns, polka-dots, checkerboards and or similar types of patterns. This project will be focusing on the high contrast of black on white, and will utilize glazes that will move and shift. Complex drawing, text and representational imagery will move and shift, creating what will most likely become unappealing images. Keep it simple and create dynamic marks.
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 built entirely constructed form coils.
Surfaces should be relatively smooth and receptive to decoration and pattern.
Vessels must be glazed.
Non-representational imagery only.
Black and White color only.
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 the dynamic shift of glaze can and will effect surface decoration. (melt, shift and movement)
Learn how to use limited colors to create dynamic surface decoration and pattern. Pattern vs. Chroma
Engage in critical dialog about sculpture and class projects.
Artist Resources:
Brittany Mojo
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 can 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 form that will be decorated in a limited pallet (black and white glaze) format. While vessel forms are endless in possibility, students will be tasked with creating shapes that have a specific purpose in mind. The purpose is very simple, but very specific, and has the possibility of being accomplished in a variety of ways. 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 representational (animals, flowers, people, logos, etc.). Please just use line to create patterns, polka-dots, checkerboards and or similar types of patterns. This project will be focusing on the high contrast of black on white, and will utilize glazes that will move and shift. Complex drawing, text and representational imagery will move and shift, creating what will most likely become unappealing images. Keep it simple and create dynamic marks.
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 built entirely constructed form coils.
Surfaces should be relatively smooth and receptive to decoration and pattern.
Vessels must be glazed.
Non-representational imagery only.
Black and White color only.
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 the dynamic shift of glaze can and will effect surface decoration. (melt, shift and movement)
Learn how to use limited colors to create dynamic surface decoration and pattern. Pattern vs. Chroma
Engage in critical dialog about sculpture and class projects.
Artist Resources:
Brittany Mojo
Image Search:
Black and white pottery
Black and White Sculpture
Black and White Patterns
Slabs..... and stuff made from slabs.
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 perspective you look at things from. 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 formal shapes and objects must begin from slabs.
The Project:
Each student will be tasked with creating 3 small scale sculptures. These sculpture should be an opportunity to explore composition and slab methodology. Sculpture made should be nonrepresentaional (not a person, place or thing, but rather a collection of form and shapes) and explore how formal elements come together to create visually stimulating compositions. 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.
Requirements:
3 ceramic sculptures
Each sculpture should be between 5-8" in height
Slabs are to be the only means of production
Students should incorporate into each of the 3 sculpture elements of both hard and soft slabs
Students must design sculptures that are in a vertical format (tall rather than wide)
Each sculpture must be glazed
Students must include the mentioned elements of design into their sculptures
1 must be Symmetrical
1 must be Asymmetrical
1 must incorporate background and foreground elements
Areas of Focus:
Students should focus on the discussed elements of design in their sculptures.
Students should focus on compositional design using nonrepresentational elements
Students should pay attention to the way clay behaves when wet and soft as well as how it behaves when dry and stiff.
Goals:
Learn basic fundamentals of design and how to utilize them in the production of ceramic sculptures.
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.
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.
Ron Nagle
Ruth Duckworth
Anabeth Rosen
John Mason
Design Elements:
Rythym.
Rhythm in design refers to interval-repeating elements. An agreed elements location creates a sound structure. Rhythm can unite, direct, highlight and set the dynamics. There is a repetition of shape, color, tone, texture, accents, direction and dynamic.
Background.
Backgrounds are the foundation of a successful composition. Background elements help to create depth and contrast, allowing elements to stand out and get noticed. Well-composed backgrounds can help create space for you to overlay objects and elements of your sculpture.
Foreground.
The element of the composition closest to you makes up the foreground. The furthest element away from you is the background, while the middle ground makes up the area in between.
Symmetry.
Symmetry is when elements are arranged in the same way on both sides of an axis.
Negative space.
Negative space in sculpture refers to the space around the piece, or to openings within the piece that emphasize the form.
Positive Space.
Positive Space is essentially the action in your art, or the subject matter, or the sculpture itself.
Asymmetry.
Asymmetry is the absence of symmetry of any kind. Whenever we make a design that consists of elements that we've distributed unevenly around a central point or axis, we'll consequently have an asymmetrical design
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Visuals
