Art 2704C
Instructor: Nan Smith, Professor
UF Ceramics, School of Art + Art History
Fall, 2012 Monday and Wednesday/ periods 5-7, Meeting from 11:45-2:25 in room B-14
Office: FAC B - 15, Hours 10:00 am -12:00 pm on Friday and by appointment
Office Phone: 352. 273.3083
E-mail: nan@ufl.edu
Website : www.nansmith.com
Course Blog : http://ufceramicfigure.blogspot.com/
Credit hours – 3
Thursday, August 23, 2012
Syllabus
Course Description:
This course is a perceptually based introduction to figure sculpture using fired clay as the medium. The class will include a study the human body and options for its representation in three dimensions. An orientation to building, surfacing, and firing ceramics and processes of hand-forming clay including: pinching, coil-building, slab building, modeling, and carving will be introduced. The class format will include image (Powerpoint) and video presentations, two life model sequences, demonstrations, critiques, and team firings. The course includes three themes, each differing in focus: the “perceptual”, the “gestural”, and the “interpretive”. Group “lab work;” loading, firing, and unloading class kiln firings is required and integrated into the structure of the course.
This course is a perceptually based introduction to figure sculpture using fired clay as the medium. The class will include a study the human body and options for its representation in three dimensions. An orientation to building, surfacing, and firing ceramics and processes of hand-forming clay including: pinching, coil-building, slab building, modeling, and carving will be introduced. The class format will include image (Powerpoint) and video presentations, two life model sequences, demonstrations, critiques, and team firings. The course includes three themes, each differing in focus: the “perceptual”, the “gestural”, and the “interpretive”. Group “lab work;” loading, firing, and unloading class kiln firings is required and integrated into the structure of the course.
Course Goals:
1. The course is designed to teach ceramic figure sculpting techniques including the fundamentals of modeling, carving, coil, pinch, and slab building.
2. Students will be taught technical skills including: listed forming techniques, glaze application and firing techniques for ceramic sculpture.
3. Students will enhance their perceptual skills through modeling from life and from life casts.
4. The course will provide experiences with contemporary concepts in ceramic figure sculpture.
5. The course presents opportunities to analyze, discuss and critique ceramic figure sculpture.
2. Students will be taught technical skills including: listed forming techniques, glaze application and firing techniques for ceramic sculpture.
3. Students will enhance their perceptual skills through modeling from life and from life casts.
4. The course will provide experiences with contemporary concepts in ceramic figure sculpture.
5. The course presents opportunities to analyze, discuss and critique ceramic figure sculpture.
Books, Videos, Required Reading:
Textbooks:
(1) Portrait Sculpting: Anatomy and Expressions in Clay (Required)
Author: Philippe and Charisse Farault, Publisher: PCF Studios, Inc., 2004, Edition: 1, ISBN: 0975506501. New Retail Price: $54.95 Used Retail Price: $41.25. Available at the UF Bookstore.
(2) Anatomy for the Artist, (Recommended)
Author Sarah Simblet, Publisher: DK Publishing, Edition: Copyright, ISBN: 9780789480453 . New Retail Price: $40.00 Used Retail Price: $30.00 New Rental Fee: $26.00 Used Rental Fee: $19.20.
Available at the UF Bookstore.
This is an excellent anatomy book, one that will be very helpful to you thus highly recommended for the class.
(3) Modeling the Figure in Clay, (Recommended)
Author Bruno Luchessi. Available on Reserve for this course in the FAA Library. It is strongly suggested that you review this book prior to beginning the figure modeling projects.
Required reading:
Chapter 5 of Make it in Clay,
Authors: Toki and Speight. This chapter presents an overview of construction techniques applicable to your projects. This book will be placed on room reserve in the FAA Library.
Additional resources on ceramic techniques:
The following books have been placed on room reserve under the course number in the Fine Art and Architecture Library.
The Craft and Art of Clay, Author Susan Peterson ; an excellent text for information for building and glaze techniques).
Hands in Clay, Author Charlotte Speight; an excellent text for information for building and glaze techniques.
Ceramic Figures: A Directory of Artists, author Michael Flynn, Rutgers Press is an excellent overview of international contemporary ceramic sculptors who work with the human figure.
Modeling the Head in Clay, by Bruno Lucchesi
Videotapes –
Two videos will be used as informational resources in the classroom: Sculpting the Portrait: Male Head in Terra Cotta, and Sculpting the Reclining Figure. Both films document the methods used by sculptor Bruno Lucchesi.
Periodicals –
American Ceramics, Ceramics Art and Perception, Sculpture, Ceramics Monthly, Studio Potter, Ceramics: Technical. All of the following magazines have very interesting ideas and information pertaining to sculpture.
Online visual resources-
www.ArtAxis.org, Access Ceramics: http://accessceramics.org/index.php?state=result_set&field=artist&field_id=21, Ceramic Database: http://www.flickr.com/photos/gusstiffpottery/sets/72157600047044355/
(1) Portrait Sculpting: Anatomy and Expressions in Clay (Required)
Author: Philippe and Charisse Farault, Publisher: PCF Studios, Inc., 2004, Edition: 1, ISBN: 0975506501. New Retail Price: $54.95 Used Retail Price: $41.25. Available at the UF Bookstore.
(2) Anatomy for the Artist, (Recommended)
Author Sarah Simblet, Publisher: DK Publishing, Edition: Copyright, ISBN: 9780789480453 . New Retail Price: $40.00 Used Retail Price: $30.00 New Rental Fee: $26.00 Used Rental Fee: $19.20.
Available at the UF Bookstore.
This is an excellent anatomy book, one that will be very helpful to you thus highly recommended for the class.
(3) Modeling the Figure in Clay, (Recommended)
Author Bruno Luchessi. Available on Reserve for this course in the FAA Library. It is strongly suggested that you review this book prior to beginning the figure modeling projects.
Required reading:
Chapter 5 of Make it in Clay,
Authors: Toki and Speight. This chapter presents an overview of construction techniques applicable to your projects. This book will be placed on room reserve in the FAA Library.
Additional resources on ceramic techniques:
The following books have been placed on room reserve under the course number in the Fine Art and Architecture Library.
The Craft and Art of Clay, Author Susan Peterson ; an excellent text for information for building and glaze techniques).
Hands in Clay, Author Charlotte Speight; an excellent text for information for building and glaze techniques.
Ceramic Figures: A Directory of Artists, author Michael Flynn, Rutgers Press is an excellent overview of international contemporary ceramic sculptors who work with the human figure.
Modeling the Head in Clay, by Bruno Lucchesi
Videotapes –
Two videos will be used as informational resources in the classroom: Sculpting the Portrait: Male Head in Terra Cotta, and Sculpting the Reclining Figure. Both films document the methods used by sculptor Bruno Lucchesi.
Periodicals –
American Ceramics, Ceramics Art and Perception, Sculpture, Ceramics Monthly, Studio Potter, Ceramics: Technical. All of the following magazines have very interesting ideas and information pertaining to sculpture.
Online visual resources-
www.ArtAxis.org, Access Ceramics: http://accessceramics.org/index.php?state=result_set&field=artist&field_id=21, Ceramic Database: http://www.flickr.com/photos/gusstiffpottery/sets/72157600047044355/
General Information:
Course work will consist of 3 projects supported by assigned readings, web and library research. Maquettes are required for each project.
I strongly suggest that you read all project statements at the beginning of the semester. The entire course is presented during our first meeting so that you can begin thinking about ideas you wish to undertake for each of the projects. Course material is available for your ease and convenience on the course blog site: nansfiguresculpture@blogspot.com.
This course is fast paced so please plan ahead!
I strongly suggest that you read all project statements at the beginning of the semester. The entire course is presented during our first meeting so that you can begin thinking about ideas you wish to undertake for each of the projects. Course material is available for your ease and convenience on the course blog site: nansfiguresculpture@blogspot.com.
This course is fast paced so please plan ahead!
Attendance Policy:
Plan to arrive promptly at 11:45 pm and set up to begin working. Attendance will be taken right at the beginning of each class; lateness will be noted and will affect your grade. If you arrive 10 minutes after class begins you will be considered late.
Tardiness, leaving early and absences will result in grade reduction. Three late arrivals will equal one absence. After the third absence, the final course grade will be lowered one full letter grade.
Class attendance is central to the learning process and to your success in the course. It is expected that you will attend regularly and be punctual. Everyone will value this courtesy to the group. During many classes we will be working from a life model and this time is very valuable and cannot be replaced. In addition, group demonstrations and lectures, roving critiques, individual tutorials, and discussions will be scheduled for many class periods. Students who are absent due to illness should contact me at 273-3083 and bring me a doctor’s note if possilbe. Without a medical excuse documenting an illness, absence for illness, may not be accepted.
The university recognizes the right of the individual professor to make attendance mandatory. After due warning, professors may prohibit further attendance and subsequently assign a failing grade for excessive absences. Students are responsible for satisfying all academic objectives as defined by the instructor. Students who do not attend at least one of the first two class meetings of a course or laboratory in which they are registered, and who have not contacted the department to indicate their intent, may be dropped from the course.
Tardiness, leaving early and absences will result in grade reduction. Three late arrivals will equal one absence. After the third absence, the final course grade will be lowered one full letter grade.
Class attendance is central to the learning process and to your success in the course. It is expected that you will attend regularly and be punctual. Everyone will value this courtesy to the group. During many classes we will be working from a life model and this time is very valuable and cannot be replaced. In addition, group demonstrations and lectures, roving critiques, individual tutorials, and discussions will be scheduled for many class periods. Students who are absent due to illness should contact me at 273-3083 and bring me a doctor’s note if possilbe. Without a medical excuse documenting an illness, absence for illness, may not be accepted.
The university recognizes the right of the individual professor to make attendance mandatory. After due warning, professors may prohibit further attendance and subsequently assign a failing grade for excessive absences. Students are responsible for satisfying all academic objectives as defined by the instructor. Students who do not attend at least one of the first two class meetings of a course or laboratory in which they are registered, and who have not contacted the department to indicate their intent, may be dropped from the course.
Course Structure:
Methods of Instruction:
This class meets twice a week for a period of 3 hours each session. It encompasses brief lectures, projects, group discussion / critique, reading / writing exercises, and group presentation(s). Participation is required and is imperative to your final grade.
Ceramics is an exacting endeavor. Success in working with clay is skill based on and can be mastered through regular practice. The ceramic process is one which cannot be rushed or neglected without consequences. Sculptural clay works often require an indirect process, where pre-planning the project is the first step in making a successful art work. Information will be given during specified class periods to show a variety of techniques.
This class meets twice a week for a period of 3 hours each session. It encompasses brief lectures, projects, group discussion / critique, reading / writing exercises, and group presentation(s). Participation is required and is imperative to your final grade.
Ceramics is an exacting endeavor. Success in working with clay is skill based on and can be mastered through regular practice. The ceramic process is one which cannot be rushed or neglected without consequences. Sculptural clay works often require an indirect process, where pre-planning the project is the first step in making a successful art work. Information will be given during specified class periods to show a variety of techniques.
Evaluating Your Work:
Methods of Grading:
Project grades will evaluate: craftsmanship/execution, design/individuality, concept/expression, technical difficulty, research and planning (library and web research, maquettes), and completeness of presentation. Your individual development in the technical areas: research skills and firing skills will be evaluated. Your consistency, persistence and participation in critiques will be recorded.
Cumulative grades will be an evaluation of the following criteria; project grades, conceptual development, research, glaze testing, firing competency and participation, pre-planning (maquettes and sketches). The timely completion of all aspects of assigned projects will be very much a part of your grade. If you do not make the deadlines for any part of the assignment you will accrue late grades and create a limit for receiving an excellent grade. You are being treated as young professionals. Professional artists you will not have the luxury of missing an established deadline for a gallery or museum exhibition or any professional commitment.
You are responsible for completing 3 projects resulting in four sculptures and supporting maquettes along with required supplementary glaze testing. It is your responsibility to manage the controlled drying of each project to meet set class deadlines for bisque and glaze kilns.
In addition to specific criteria defined by individual project goals, all projects will be graded on their success in the following areas: concept development, use of design decisions to support your concepts, craftsmanship, and meeting deadlines for building, firing and critique. As previously mentioned, a sketchbook is required for recording notes and ideas and the work must be finished within the specified deadlines.
Concept / Idea: This pertains to the ability to discover and define design problems and issues in a clear and consistent language.
Solution: This pertains to the quality of your Visual and Conceptual Solution. Factors such as composition, inventiveness, originality, layout and craft will be considered in grading.
Class work: You are required to keep all information related to this class in your sketch book and should photocopy the pages to create a presentation for the process of each project. Quantity (yes, sometimes over quality) and innovation are important factors. The more you do, the better your design will be.
Craft: I will not accept work that does not meet the required presentation standards (which are listed on each individual project sheet). Also important in considering project grades: Failure to meet deadlines will result in a zero. For situations that are called to my attention in advance, something can be arranged. You should always plan ahead.
Grades will also be influenced by the following criteria: evolution from proposal to finished work, aesthetic concerns, and adherence to assignments, craftsmanship, skills development, conceptual rigor, experimentation, inventiveness, risk-taking, personal investment, and critical discussions.
Project grades will evaluate: craftsmanship/execution, design/individuality, concept/expression, technical difficulty, research and planning (library and web research, maquettes), and completeness of presentation. Your individual development in the technical areas: research skills and firing skills will be evaluated. Your consistency, persistence and participation in critiques will be recorded.
Cumulative grades will be an evaluation of the following criteria; project grades, conceptual development, research, glaze testing, firing competency and participation, pre-planning (maquettes and sketches). The timely completion of all aspects of assigned projects will be very much a part of your grade. If you do not make the deadlines for any part of the assignment you will accrue late grades and create a limit for receiving an excellent grade. You are being treated as young professionals. Professional artists you will not have the luxury of missing an established deadline for a gallery or museum exhibition or any professional commitment.
You are responsible for completing 3 projects resulting in four sculptures and supporting maquettes along with required supplementary glaze testing. It is your responsibility to manage the controlled drying of each project to meet set class deadlines for bisque and glaze kilns.
In addition to specific criteria defined by individual project goals, all projects will be graded on their success in the following areas: concept development, use of design decisions to support your concepts, craftsmanship, and meeting deadlines for building, firing and critique. As previously mentioned, a sketchbook is required for recording notes and ideas and the work must be finished within the specified deadlines.
Concept / Idea: This pertains to the ability to discover and define design problems and issues in a clear and consistent language.
Solution: This pertains to the quality of your Visual and Conceptual Solution. Factors such as composition, inventiveness, originality, layout and craft will be considered in grading.
Class work: You are required to keep all information related to this class in your sketch book and should photocopy the pages to create a presentation for the process of each project. Quantity (yes, sometimes over quality) and innovation are important factors. The more you do, the better your design will be.
Craft: I will not accept work that does not meet the required presentation standards (which are listed on each individual project sheet). Also important in considering project grades: Failure to meet deadlines will result in a zero. For situations that are called to my attention in advance, something can be arranged. You should always plan ahead.
Grades will also be influenced by the following criteria: evolution from proposal to finished work, aesthetic concerns, and adherence to assignments, craftsmanship, skills development, conceptual rigor, experimentation, inventiveness, risk-taking, personal investment, and critical discussions.
Grading:
Grades
85% 3 studio projects (including research, preparatory reading and maquettes (Project #1 is 25 % , Project #2 is 30%, Project #3 is 30%)
5%
5% Glaze testing requirement (5%)
Participation in kiln loading, firing, and unloading
5% Participation and contributions to group critiques
Attendance will be considered into your grade with more than three absences resulting in a grade drop.
Please keep in mind that an outstanding student attends class regularly, is on time, keeps the course work schedule, participates, fully in kiln firing activities as well as producing great art work.
A = excellent, distinguished use of concepts, materials, and execution
B = good use of concepts, materials, execution
C = average
D = marginal
F = unacceptable, failure. No credit.
A+ 100%-97 B+ 89%-87 C+ 79%-77 D+ 69%-67 F 0
A 96-94 B 86-84 C 76-74 D 66-64
A- 93-90 B- 83-80 C- 73-70 D- 63-60
UF online information about undergraduate grading: http://www.registrar.ufl.edu/catalog/policies/regulationgrades.html
Grading: Your grade will result from an evaluation of the following criteria: project grades, a cumulative glazing grade, participation in team firings, and participation in group critiques. Each project will be graded for technical execution, aesthetics, expression/concept, degree of difficulty. Attendance will be considered into your grade with more than three absences resulting in a grade drop.
GRADING FORMAT:
A = 100 – 90: Excellent work, work meets the requirements and goes above and beyond expectations.
B = 89 – 80: Work meets all requirements to a high degree, and is presented in a meaningful fashion.
C = 79 – 70: Work is average, meets all requirements minimally, presentation is “satisfactory.”
D = 69 – 60: Work is below average, concepts are missing or not fulfilled, presentation lacks quality.
F = 59 – 50: “F” Work receives a failing grade, unacceptable and insufficient work.
Grade Values for Conversion
Letter Grade A A- B+ B B- C+ C C- D+ D D- E, I, NG, S-U, WF
Grade Points 4.0 3.67 3.33 3.00 2.67 2.33 2.00 1.67 1.33 1.00 .67 0.00
85% 3 studio projects (including research, preparatory reading and maquettes (Project #1 is 25 % , Project #2 is 30%, Project #3 is 30%)
5%
5% Glaze testing requirement (5%)
Participation in kiln loading, firing, and unloading
5% Participation and contributions to group critiques
Attendance will be considered into your grade with more than three absences resulting in a grade drop.
Please keep in mind that an outstanding student attends class regularly, is on time, keeps the course work schedule, participates, fully in kiln firing activities as well as producing great art work.
A = excellent, distinguished use of concepts, materials, and execution
B = good use of concepts, materials, execution
C = average
D = marginal
F = unacceptable, failure. No credit.
A+ 100%-97 B+ 89%-87 C+ 79%-77 D+ 69%-67 F 0
A 96-94 B 86-84 C 76-74 D 66-64
A- 93-90 B- 83-80 C- 73-70 D- 63-60
UF online information about undergraduate grading: http://www.registrar.ufl.edu/catalog/policies/regulationgrades.html
Grading: Your grade will result from an evaluation of the following criteria: project grades, a cumulative glazing grade, participation in team firings, and participation in group critiques. Each project will be graded for technical execution, aesthetics, expression/concept, degree of difficulty. Attendance will be considered into your grade with more than three absences resulting in a grade drop.
GRADING FORMAT:
A = 100 – 90: Excellent work, work meets the requirements and goes above and beyond expectations.
B = 89 – 80: Work meets all requirements to a high degree, and is presented in a meaningful fashion.
C = 79 – 70: Work is average, meets all requirements minimally, presentation is “satisfactory.”
D = 69 – 60: Work is below average, concepts are missing or not fulfilled, presentation lacks quality.
F = 59 – 50: “F” Work receives a failing grade, unacceptable and insufficient work.
Grade Values for Conversion
Letter Grade A A- B+ B B- C+ C C- D+ D D- E, I, NG, S-U, WF
Grade Points 4.0 3.67 3.33 3.00 2.67 2.33 2.00 1.67 1.33 1.00 .67 0.00
LATE WORK:
All projects, reading responses, and research projects must be completed on time for full credit. Specific due dates are stated on each project sheet and are announced in class. Failure to complete any project on time will result in a drop of one full letter grade, and failure to complete any other assignment, such as response papers, in-class exercises, or other class work, on time will result in a drop of ½ letter grade for each day it is late. If the time line states that a project is due at the beginning of class, turning it in at the end or after class is considered late. You must have work finished and installed before the start of class on critique days or your work will not be critiqued and your project grade will be lowered. It is the student’s responsibility to turn in all work on time. The ceramic process requires that green ware be completely fabricated and detailed, then dried for several days, depending upon scale and complexity. Please finish building all wet work on time for green ware due dates and manage the careful drying of your work so that you can meet all deadlines. Clay requires your regular attention to achieve good results. It cannot be rushed or neglected. Full participation by showing completed work during all critiques is required along with active participation through shared ideas and commentary.
Clay and Glaze Materials:
The clays we are using in this course can be purchased through Ceramics by paying for tickets at UF’s Fowlett’s Bookstore. Resolute Terra Cotta is $11.50 for 25 lbs (one blue clay ticket)., Nan’s Sculpture Clay is $11.50 for 25 lbs. (one blue clay ticket). Glaze materials including, slips, wax resist, stains, patinas and pyrometric costs are covered by one materials fee. The payment of a one-time materials fee of $45.00 is to be made during the first week of classes at Fowlett’s Bookstore. The plaster and other mold making materials (alja-safe – you are entitled to 1 lb. through the fees for this class) are sold separately and can be purchased by the pound through the bookstore.
I will collect tickets during the second class meeting and dispense clay to you to start the first project. Additional clay will be available during class and can be gotten from our Ceramics tech, Ray Gonzalez during scheduled hours posted on his office door. Please arrange to pick up your clay during these hours. It is suggested that you keep any additional clay locked in your locker and that you recycle your used clay for future use. Please ask me if you do not know how to recondition your clay so that you can use it again.
I will collect tickets during the second class meeting and dispense clay to you to start the first project. Additional clay will be available during class and can be gotten from our Ceramics tech, Ray Gonzalez during scheduled hours posted on his office door. Please arrange to pick up your clay during these hours. It is suggested that you keep any additional clay locked in your locker and that you recycle your used clay for future use. Please ask me if you do not know how to recondition your clay so that you can use it again.
Class Materials and Supplies:
The Basics:
Bound sketchbook, plasticine for maquettes (recommended but optional), serrated metal rib and serrated wooden modeling tool, clay shapers, trimming tool, calipers, light plastic (launderers' plastic), misting bottle, small bucket, cut-off wire, needle tool, fork, small sponge, clean up sponge, fabric (uncoated canvas or cotton polyester blend, or muslin (try Goodwill for remnant or old bed sheets), small container for slip, brushes for finishing and decorating, sur-form rasp, exacto knife, Heat Gun or blow dryer
and * turntable as work surface (Home Depot or Lowes). * Cover with 2' x 2' piece of 3/4" sealed plywood (required) dust mask and respirator to filter organic vapors (try Axner/Laguna Clay or Bennett Pottery or Home Depot).
Specialty Tools (are needed and can be ordered on-line):
1. Kemper Ribbon Sculpting tools (set of 6), available thru Laguna/Axner’s in Florida – 1-800-843-7057, approximately $8.99
2. Sculpture House Wax Modeling tool
Wax Modeling Tool
Item No. SH153 - $14.00 plus shipping
The SH153 wax modeling tool is hand forged and was specifically designed and constructed for use in the delicate art of wax modeling. Also useful for clay modeling and plaster work. Length - 6" is approximate.
http://www.sculpturehouse.com
3. Michael Sherrill red rib, SMT-R1, $6.00 (also suggest yellow rib same price)
http://www.highwaterclays.com/handtools/cooltools2.html#smt
As required for individual projects:
1. Algi-safe ($11.88/ 1lb.from Your Clay Store),
2. Moulding plaster ($.46 / 1lb. from Your Clay Store),
3. Amaco Underglazes – Creative Ceramics in Ocala, website: creativeceramics@embarqmail.com or 352-237-3562
4. Duncan or Mayco Underglazes, vintage decals – Frazier Ceramics in Gainsville, 372-1506
All tools listed above should be available at the CFOP, Bookstore on campus. If you would like to order through a Ceramic materials vendor please feel free to contact: Bennett Pottery Supply (1-800-432-0074), or Axner/Laguna Clay Company (1-800-843-7057).
The clay used during this course will be red earthenware also know as terra cotta or Nan Smith Sculpture Clay. Clay, algi-safe and plaster will be available for purchase in 25 pound increments at the UF Bookstore. Bring the circus ticket that you will receive when you pay at the Reitz Union Bookstore to me and I will dispense the clay. Glazes and miscellaneous shop materials are included in the costs of the clay to an extent. Ray Gonzalez can provide a detailed pricing sheet for all other materials and supplies.
Bound sketchbook, plasticine for maquettes (recommended but optional), serrated metal rib and serrated wooden modeling tool, clay shapers, trimming tool, calipers, light plastic (launderers' plastic), misting bottle, small bucket, cut-off wire, needle tool, fork, small sponge, clean up sponge, fabric (uncoated canvas or cotton polyester blend, or muslin (try Goodwill for remnant or old bed sheets), small container for slip, brushes for finishing and decorating, sur-form rasp, exacto knife, Heat Gun or blow dryer
and * turntable as work surface (Home Depot or Lowes). * Cover with 2' x 2' piece of 3/4" sealed plywood (required) dust mask and respirator to filter organic vapors (try Axner/Laguna Clay or Bennett Pottery or Home Depot).
Specialty Tools (are needed and can be ordered on-line):
1. Kemper Ribbon Sculpting tools (set of 6), available thru Laguna/Axner’s in Florida – 1-800-843-7057, approximately $8.99
2. Sculpture House Wax Modeling tool
Wax Modeling Tool
Item No. SH153 - $14.00 plus shipping
The SH153 wax modeling tool is hand forged and was specifically designed and constructed for use in the delicate art of wax modeling. Also useful for clay modeling and plaster work. Length - 6" is approximate.
http://www.sculpturehouse.com
3. Michael Sherrill red rib, SMT-R1, $6.00 (also suggest yellow rib same price)
http://www.highwaterclays.com/handtools/cooltools2.html#smt
As required for individual projects:
1. Algi-safe ($11.88/ 1lb.from Your Clay Store),
2. Moulding plaster ($.46 / 1lb. from Your Clay Store),
3. Amaco Underglazes – Creative Ceramics in Ocala, website: creativeceramics@embarqmail.com or 352-237-3562
4. Duncan or Mayco Underglazes, vintage decals – Frazier Ceramics in Gainsville, 372-1506
All tools listed above should be available at the CFOP, Bookstore on campus. If you would like to order through a Ceramic materials vendor please feel free to contact: Bennett Pottery Supply (1-800-432-0074), or Axner/Laguna Clay Company (1-800-843-7057).
The clay used during this course will be red earthenware also know as terra cotta or Nan Smith Sculpture Clay. Clay, algi-safe and plaster will be available for purchase in 25 pound increments at the UF Bookstore. Bring the circus ticket that you will receive when you pay at the Reitz Union Bookstore to me and I will dispense the clay. Glazes and miscellaneous shop materials are included in the costs of the clay to an extent. Ray Gonzalez can provide a detailed pricing sheet for all other materials and supplies.
Health and Safety - UF Guidelines:
Health and Safety:
Please wear shoes and proper attire, tie back hair and loose clothing when working around shop equipment.
The ceramics program recommends that you wear a respirator when mixing clay and glaze materials and applying glaze with a spray gun. Fowlett’s Bookstore has ordered N95 Filtering Face piece Respirators. Tight fitting respirators can be ordered from Grainger’s or a similar lab safety supply company.
The link for information regarding the SA+AH H&S policy and handbook on health and safety is:. http://www.arts.ufl.edu/art/healthandsafety
2) Each student must complete a H&S STUDENT WAIVER FORM (available next to the copier in the SAAH office) and on-line (see address above). Waivers must be turned into the SAAH Director of Operations before the end of the 2nd week of classes. Please staple the course sheets together.
University of Florida Environmental Health and Safety (EH&S) has determined that the use of respiratory protection is not required for projects and activities typically performed in the School of Art + Art History. It is against the School of Art + Art History policy for any instructor to require students to wear respiratory protection however, you may recommend it, and you may voluntarily choose to wear respiratory protection: either an N95 filtering face piece, commonly known as a dust mask, or a tight fitting half or full-face respirator. Any user who chooses to wear such respiratory protection is therefore said to be a voluntary user. Environmental Health and Safety follows or exceeds OSHA 29CFR1910.132-137 standards for Personal Protective Equipment. Any voluntary user: student, faculty, or staff is required to follow all Environmental Health and Safety policy which can be found at: http://www.ehs.ufl.edu/General/resppol.pdf.
For simplicity, the regulations are outlined below. You must follow each step in order:
1. I want to wear an N95 dust mask. a. Complete “Request for Respirator Use” form (http://www.ehs.ufl.edu/OCCMED/respreq.pdf).
Mail to: Environmental Health & Safety
attn: OCCMED
PO Box 112195
Gainesville, FL 32611
b. Complete “Medical History Questionnaire for N95 Filtering Face piece Respirators” form (http://www.ehs.ufl.edu/OCCMED/N95.pdf) and “UF Voluntary Use Respirator Supplementary Information Memo” (Below) Mail to:
SHCC OCCMED
Box 100148
Gainesville, FL 32611
c. Include Payment: i. There is a $5 charge for the review and processing of this form. 1. Graduate student payment options: a. Enclose a $5 check with drivers license number written on the check
b. Bill to Gator Grad Care by filling out enclosed UF Graduate Student Voluntary Use Respirator Payment Memo
2. Undergraduates must make payment in person. Go to:
Health Science Center
Dental tower, second floor Room D2-49
On the corner of Archer Road and center drive
West entrance
ii. Contact SHCC OCCMED at 352.392.0627 with questions.
Please wear shoes and proper attire, tie back hair and loose clothing when working around shop equipment.
The ceramics program recommends that you wear a respirator when mixing clay and glaze materials and applying glaze with a spray gun. Fowlett’s Bookstore has ordered N95 Filtering Face piece Respirators. Tight fitting respirators can be ordered from Grainger’s or a similar lab safety supply company.
The link for information regarding the SA+AH H&S policy and handbook on health and safety is:. http://www.arts.ufl.edu/art/healthandsafety
2) Each student must complete a H&S STUDENT WAIVER FORM (available next to the copier in the SAAH office) and on-line (see address above). Waivers must be turned into the SAAH Director of Operations before the end of the 2nd week of classes. Please staple the course sheets together.
University of Florida Environmental Health and Safety (EH&S) has determined that the use of respiratory protection is not required for projects and activities typically performed in the School of Art + Art History. It is against the School of Art + Art History policy for any instructor to require students to wear respiratory protection however, you may recommend it, and you may voluntarily choose to wear respiratory protection: either an N95 filtering face piece, commonly known as a dust mask, or a tight fitting half or full-face respirator. Any user who chooses to wear such respiratory protection is therefore said to be a voluntary user. Environmental Health and Safety follows or exceeds OSHA 29CFR1910.132-137 standards for Personal Protective Equipment. Any voluntary user: student, faculty, or staff is required to follow all Environmental Health and Safety policy which can be found at: http://www.ehs.ufl.edu/General/resppol.pdf.
For simplicity, the regulations are outlined below. You must follow each step in order:
1. I want to wear an N95 dust mask. a. Complete “Request for Respirator Use” form (http://www.ehs.ufl.edu/OCCMED/respreq.pdf).
Mail to: Environmental Health & Safety
attn: OCCMED
PO Box 112195
Gainesville, FL 32611
b. Complete “Medical History Questionnaire for N95 Filtering Face piece Respirators” form (http://www.ehs.ufl.edu/OCCMED/N95.pdf) and “UF Voluntary Use Respirator Supplementary Information Memo” (Below) Mail to:
SHCC OCCMED
Box 100148
Gainesville, FL 32611
c. Include Payment: i. There is a $5 charge for the review and processing of this form. 1. Graduate student payment options: a. Enclose a $5 check with drivers license number written on the check
b. Bill to Gator Grad Care by filling out enclosed UF Graduate Student Voluntary Use Respirator Payment Memo
2. Undergraduates must make payment in person. Go to:
Health Science Center
Dental tower, second floor Room D2-49
On the corner of Archer Road and center drive
West entrance
ii. Contact SHCC OCCMED at 352.392.0627 with questions.
Health and Safety - Ceramics:
Specific Area information for Ceramics
Area Rules:
• Follow all SA+AH Health and Safety handbook guidelines.
• Alcohol is forbidden in studios.
• No smoking in the building or within 50 feet of any entrance.
• No eating or drinking in the glaze or mixing areas.
• Shoes must be worn at all times.
• It is recommended that protective equipment be worn at all times: safety glasses when grinding, chipping shelves, etc., protective lenses for kiln viewing, gloves for hot objects, heat resistant aprons for raku, ear protection for grinding and sawing, rubber gloves for mixing hazardous materials
• Do not block aisles, halls, doors
• Do not bring children or pets into the studios
• Do not store things on the floor
• Do not park bikes in the building
• Clean up spills immediately
• Scoop up dry materials, mop up liquids, do not replace spilled materials in original source if spilled for they are contaminated
• Carry heavy and large trash bags loaded with trash to dumpster
• Place materials containing Barium and Chrome in the hazardous waste disposal area
• Do not sweep for this puts hazardous materials into the air; rather scrape up chunks and wet-clean area.
Area Rules:
• Follow all SA+AH Health and Safety handbook guidelines.
• Alcohol is forbidden in studios.
• No smoking in the building or within 50 feet of any entrance.
• No eating or drinking in the glaze or mixing areas.
• Shoes must be worn at all times.
• It is recommended that protective equipment be worn at all times: safety glasses when grinding, chipping shelves, etc., protective lenses for kiln viewing, gloves for hot objects, heat resistant aprons for raku, ear protection for grinding and sawing, rubber gloves for mixing hazardous materials
• Do not block aisles, halls, doors
• Do not bring children or pets into the studios
• Do not store things on the floor
• Do not park bikes in the building
• Clean up spills immediately
• Scoop up dry materials, mop up liquids, do not replace spilled materials in original source if spilled for they are contaminated
• Carry heavy and large trash bags loaded with trash to dumpster
• Place materials containing Barium and Chrome in the hazardous waste disposal area
• Do not sweep for this puts hazardous materials into the air; rather scrape up chunks and wet-clean area.
The Work Space:
Lockers:
Please sign up for a locker to be used to store tools and personal belongings. The list is adjacent to Room B-14. Lockers must be cleaned out and locks removed by the end of finals week, or the contents will be considered abandoned. If you are returning please note this on the door of the locker and your belongings will not be disturbed.
Studio Courtesy: Please leave the studio clean. Regardless of the condition you find it in, we request that you leave it clean for the next person. Remember to place all work in progress on the storage shelves. Leave the work tables clear and clean. This is a group studio, and we all need to pitch in to keep it a safe and healthy functioning work environment.
Please sign up for a locker to be used to store tools and personal belongings. The list is adjacent to Room B-14. Lockers must be cleaned out and locks removed by the end of finals week, or the contents will be considered abandoned. If you are returning please note this on the door of the locker and your belongings will not be disturbed.
Studio Courtesy: Please leave the studio clean. Regardless of the condition you find it in, we request that you leave it clean for the next person. Remember to place all work in progress on the storage shelves. Leave the work tables clear and clean. This is a group studio, and we all need to pitch in to keep it a safe and healthy functioning work environment.
Our Studios:
Studio etc.:
Each student is responsible for ensuring that his/her projects and materials are safely stored, displayed, installed, and removed from the classroom and critique space. Projects must be set up and removed from the critique space at the times and spaces designated for each project.
The instructor, the School of Art and Art History, and the Ceramics Department are not responsible for student work left in workspaces, installation spaces, the critique space, the shops, or the classrooms. Projects/materials are not to be stored in the group working space.
Please address any concerns, problems, and questions regarding this class to the instructor as they arise. The instructor is available during office hours, and by making an appointment for a special meeting time.
Always be open-minded when considering new ideas and constructive criticism. Critique ideas; not people.
The SAAH studios are designated for student use. Please be advised that visitors are not permitted without approval. The SAAH has an official policy for those not currently taking classes. The following form is required for access.
Each student is responsible for ensuring that his/her projects and materials are safely stored, displayed, installed, and removed from the classroom and critique space. Projects must be set up and removed from the critique space at the times and spaces designated for each project.
The instructor, the School of Art and Art History, and the Ceramics Department are not responsible for student work left in workspaces, installation spaces, the critique space, the shops, or the classrooms. Projects/materials are not to be stored in the group working space.
Please address any concerns, problems, and questions regarding this class to the instructor as they arise. The instructor is available during office hours, and by making an appointment for a special meeting time.
Always be open-minded when considering new ideas and constructive criticism. Critique ideas; not people.
The SAAH studios are designated for student use. Please be advised that visitors are not permitted without approval. The SAAH has an official policy for those not currently taking classes. The following form is required for access.
University and Policies
University Policies:
Philosophy: The University of Florida is an institution which encourages the intellectual and personal growth of its students as scholars and citizens. As an educational institution, the University recognizes that the transmission of knowledge, the pursuit of truth, and the development of individuals requires the free exchange of ideas, self-expression, and the challenging of beliefs and customs. In order to maintain an environment where these goals can be achieved safely and equitably, the University promotes civility, respect and integrity among all members of the community. As stated in the Standard of Ethical Conduct, students are expected to exhibit high standards of behavior and concern for others.
Academic Honesty: As a result of completing the registration form at the University of Florida, every student has signed the following statement: “I understand that the University of Florida expects its students to be honest in all of their academic endeavors and understand that my failure to comply with this commitment may result in disciplinary action up to and including expulsion from the University. Detailed Academic Honesty Guidelines may be found at: http://www.aa.ufl.edu/aa/Rules/4017.htm Cheating and illegal use of copyrighted material is not tolerated.
ACCOMMODATIONS FOR STUDENTS WITH DISABILITIES: I will make every attempt to accommodate students with disabilities. At the same time, anyone requesting classroom accommodation must first register with the Dean of Students Office. The Dean of Students Office will provide you with the necessary documentation, which you must then provide to me when requesting accommodation.
“Students requesting classroom accommodation must first register with the Dean of Students Office. The Dean of Students Office will provide documentation to the student who must then provide this documentation to the Instructor when requesting accommodation.”
The Dean of Students Office can be contacted at: 352-392-1261. Information is also available on their website, at http://www.dso.ufl.edu/drp. Please speak with the instructor about any concerns.
OTHER GUIDELINES: The instructor, the School of Art and Art History, and the Ceramics Department are not responsible for student work left in workspaces, installation spaces, the critique space, the shops, or the classrooms. Projects/materials are not to be stored in the group working space. Each student is responsible for ensuring that his/her projects and materials are safely stored, displayed, installed, and removed from the classroom and critique space. Projects must be set up and removed from the critique space at the times and spaces designated for each project.
Students must check their school email accounts regularly. Students are responsible for any information, deadlines, and updates emailed to their webmail accounts.
Students should check with the instructor or another student outside of class time when they miss a class (prior to missing the class if possible), as in- and out-of-class exercises are spontaneously assigned. Students should bring a doctor’s note for any class from which they expect to be excused.
Please address any concerns, problems, and questions regarding this class to the instructor as they arise. Outside class, the instructor is available during office hours, by making an appointment for another time, or through email. Students can expect a response to email within 24 hours.
Always be open-minded when considering new ideas and constructive criticism. Critique ideas; not people. No side conversations during presentations or critiques.
Do not use cell phones or iPods (or other headphones) during class time. No text messaging. Also please turn cell phones off or ringers off during class time, before you arrive to class.
Disruptive Behavior: Be advised that you can and will be dismissed from class if you engage in disruptive behavior. Students who intentionally act to impair, interfere with, or obstruct the mission, purposes, order, operations, processes, and functions of the University shall be subject to appropriate disciplinary action by University authorities for misconduct, as set forth in the applicable rules of the Board of Regents and the University and state law governing such actions. A detailed list of disruptive conducts and actions may be found at http://www.aa.ufl.edu/aa/Rules/1008.htm
Counseling Services: Resources are available on campus for students experiencing personal problems or lacking clear career and academic goals, which interfere with their academic performance. You can find out more about counseling services here: http://www.counsel.ufl.edu
University Counseling Services/ Counseling Center
301 Peabody Hall
P.O. Box 114100, University of Florida
Gainesville, FL 32611-4100
Phone: 352-392-1575
Web: www.counsel.ufl.edu
Critical Dates on the university calendar may be viewed at –
http://www.reg.ufl.edu/dates-critical.html
Philosophy: The University of Florida is an institution which encourages the intellectual and personal growth of its students as scholars and citizens. As an educational institution, the University recognizes that the transmission of knowledge, the pursuit of truth, and the development of individuals requires the free exchange of ideas, self-expression, and the challenging of beliefs and customs. In order to maintain an environment where these goals can be achieved safely and equitably, the University promotes civility, respect and integrity among all members of the community. As stated in the Standard of Ethical Conduct, students are expected to exhibit high standards of behavior and concern for others.
Academic Honesty: As a result of completing the registration form at the University of Florida, every student has signed the following statement: “I understand that the University of Florida expects its students to be honest in all of their academic endeavors and understand that my failure to comply with this commitment may result in disciplinary action up to and including expulsion from the University. Detailed Academic Honesty Guidelines may be found at: http://www.aa.ufl.edu/aa/Rules/4017.htm Cheating and illegal use of copyrighted material is not tolerated.
ACCOMMODATIONS FOR STUDENTS WITH DISABILITIES: I will make every attempt to accommodate students with disabilities. At the same time, anyone requesting classroom accommodation must first register with the Dean of Students Office. The Dean of Students Office will provide you with the necessary documentation, which you must then provide to me when requesting accommodation.
“Students requesting classroom accommodation must first register with the Dean of Students Office. The Dean of Students Office will provide documentation to the student who must then provide this documentation to the Instructor when requesting accommodation.”
The Dean of Students Office can be contacted at: 352-392-1261. Information is also available on their website, at http://www.dso.ufl.edu/drp. Please speak with the instructor about any concerns.
OTHER GUIDELINES: The instructor, the School of Art and Art History, and the Ceramics Department are not responsible for student work left in workspaces, installation spaces, the critique space, the shops, or the classrooms. Projects/materials are not to be stored in the group working space. Each student is responsible for ensuring that his/her projects and materials are safely stored, displayed, installed, and removed from the classroom and critique space. Projects must be set up and removed from the critique space at the times and spaces designated for each project.
Students must check their school email accounts regularly. Students are responsible for any information, deadlines, and updates emailed to their webmail accounts.
Students should check with the instructor or another student outside of class time when they miss a class (prior to missing the class if possible), as in- and out-of-class exercises are spontaneously assigned. Students should bring a doctor’s note for any class from which they expect to be excused.
Please address any concerns, problems, and questions regarding this class to the instructor as they arise. Outside class, the instructor is available during office hours, by making an appointment for another time, or through email. Students can expect a response to email within 24 hours.
Always be open-minded when considering new ideas and constructive criticism. Critique ideas; not people. No side conversations during presentations or critiques.
Do not use cell phones or iPods (or other headphones) during class time. No text messaging. Also please turn cell phones off or ringers off during class time, before you arrive to class.
Disruptive Behavior: Be advised that you can and will be dismissed from class if you engage in disruptive behavior. Students who intentionally act to impair, interfere with, or obstruct the mission, purposes, order, operations, processes, and functions of the University shall be subject to appropriate disciplinary action by University authorities for misconduct, as set forth in the applicable rules of the Board of Regents and the University and state law governing such actions. A detailed list of disruptive conducts and actions may be found at http://www.aa.ufl.edu/aa/Rules/1008.htm
Counseling Services: Resources are available on campus for students experiencing personal problems or lacking clear career and academic goals, which interfere with their academic performance. You can find out more about counseling services here: http://www.counsel.ufl.edu
University Counseling Services/ Counseling Center
301 Peabody Hall
P.O. Box 114100, University of Florida
Gainesville, FL 32611-4100
Phone: 352-392-1575
Web: www.counsel.ufl.edu
Critical Dates on the university calendar may be viewed at –
http://www.reg.ufl.edu/dates-critical.html
CALENDAR
*note: all kiln firings are subject to kiln availability and overall scheduling for all classes
____________________________________________________________________________
August
Week 1
Wednesday August 22 Classes begin; Intro and Course Overview (blog, image presentation of the state of ceramic figure sculpture today, tools, books) Set Up Studio (lockers, cubbies), Assign Project #1, Bring container for casting hand(s) or foot (feet)
Week 2
Monday August 27 Demo casting with Alja-safe, Work Day – create Alja-safe castings
HOMEWORK: Reading on Ceramic techniques Chapter 5 of Make it in Clay
Wednesday August 29 Building Demo, Work Day – Cut away Alga-safe waste molds, Seal molds with superseal or fixative
HOMEWORK: Make life scale maquette of hand or foot
Week 3
Monday September 3 LABOR DAY– No Classes
*Wednesday September5 Critique of Maquettes, Demo: test tiles (Yixing mallet, slab roller),
Workday – Begin building Perceptual Sculpture
HOMEWORK: Make 25 test tiles for the semester’s glaze testing
Week 4
Monday September 10 Workday- Build Hand/Foot, Tutorials with Nan
HOMEWORK: Continue building sculpture, dry test tiles
Wednesday September 12 Demo: kiln loading, cone packs, load test tiles (plan firing), Workday
HOMEWORK: Continue building sculpture, Fire and unload kiln
Thursday September 13 Firing team fire test tiles
Friday September 13 Firing team unload test tiles
Week 5
Monday September 17 Workday
HOMEWORK: Complete Project #1 for Crit on Wednesday
Wednesday September 19 GROUP CRITIQUE FOR PROJECT #1; Greenware Critique
HOMEWORK: Wrap sculptures under bath towels to dry slowly, Bring camera phone or digital cameras to class for photo session for Project #2
Week 6
Monday September 24 Assign Project #2, Session on Sketching the Head with Clay – Pinched heads, Demo – The Gauze Head – Planar discovery, 360 degree photo session
HOMEWORK: Create photos of your head, Sketches for your portrait head/What is a portrait? What do you want to convey along with the physical likeness?
Wednesday September 26 Session on the Skull and anatomy of the Head with Video (Farault) and demo
Workday, Gauze molds? Maquette of your Head Sculpture
HOMEWORK: Read Textbook pages 38-69
Friday September 28 Special Studio Day with Nan – Tutorials for Project #2 – Time: TBA, Location: Handbuilding Lab
October
Week 7
*Monday October 1 Demo: Building the life scale Head, Videos- Farault, Bova, Workday– Start building your form
HOMEWORK: Read Textbook pages 102-125 and 130-141
Continue working on Project #2
Wednesday October 3 VISITING ARTIST WORKSHOP–Molly Hatch Lecture and Demo (http://www.mollyhatch.com) Attendance at the workshop demonstration and evening lecture is required for the course.
HOMEWORK: Continue working on Project #2
HOMEWORK: Glaze Testing Project #1; Mix glazes/apply to test tiles using terra sigilatas, patinas, underglaze and glaze
Friday October 5 Special Studio Day with Nan – Tutorials on the Head TBA
Week 8
Monday October 8 Workday; Tutorials with Nan, Load Bisque - Project #1
Workday, Load Glaze test kiln (fire tomorrow – set up firing team)
HOMEWORK: Continue working on Project #2
Tuesday October 9 Fire Bisque Project #1, Fire glaze test kilns
Wednesday October 10 Workday; Tutorials with Nan, Unload kilns
HOMEWORK: Work on developing Project #2
Week 9 – Mid-term
Monday October 15 Workday; tutorials with Nan – Last in class session for Project #2
HOMEWORK: Complete Project #2 for Critique
*Wednesday October 17 GROUP CRITIQUE FOR PROJECT #2
Homework: Glaze Project #1, Begin Drying Project #2
Friday October 19 Load Glaze Kilns in am
Saturday October 20 Firing team Fire glaze kilns
Sunday October 21 Unload glaze kilns in morning… vacuum kilns and clean shelves (This will be done by the firing team)
Week 10
* Monday October 22 Project #3 Part 1 – Female LIFE MODEL 1 – Select pose and make maquette, Take photos of pose to record gesture for out of class work on sculpture – Hand in Project #1 for Grading
HOMEWORK: Color studies for Project #2, drawings
Wednesday October 24 Project #3 Part 1 – Female LIFE MODEL- Part 1-2 – Tutorials and meetings about color plan for Project #2
HOMEWORK: Glaze tests for Project #2 must be completed to load in kiln on Friday
Friday October 26 Project #3 Part 1 – Female Out of Class Model Session #3 - Continue Individual Tutorials with Nan, Load Glaze Test Kiln
HOMEWORK: Fire and unload kiln
Saturday October 27 Fire GlazeTest kilns
Sunday October 28 Unload GlazeTest kilns
November
Week 11
Monday October 29 Project #3 Part 2 – Male LIFE MODEL-4 Workday, Individual tutorials, Load bisque Project #2 Homework: Continue working, Fire Bisque
Tuesday October 20 Fire Bisque Project #2
Wednesday October 31 Project #3 Part 2 – Male LIFE MODEL-5, Unload Bisque Project #2
Friday November 2 Project #3 Part 2 – Male Out of Class Model Session #6 - Continue Individual Tutorials with Nan
Week 12
Monday November 5 Project #3 Part 2 – Male LIFE MODEL-7, Workday, Individual tutorials
HOMEWORK: Glaze Project #2
Wednesday November 7 Project #3 Part 2 – Male LIFE MODEL-8. Load Glaze kilns Project #2
Thursday November 8 Fire Glaze Kilns Project #2
Project #3 Part 2 – Male Out of Class Model Session #9
Friday November 9 HOMECOMING – NO CLASSES
Saturday November 10 or Unload Glaze Kilns Project #2
Sunday November 11
Week 13
Monday November 12 VETERAN’S DAY – No Class
Homework:
Tuesday November 13 Out of Class Model Session #10
Wednesday November 14 LIFE MODEL-11- Last Day of Wet Work, Hand in Project #2 for Grading
Individual Tutorials for color designs Project #2,
Load Glaze Test tiles in kilns
HOMEWORK: Glaze Project #2 for Monday’s Kilns
Friday November 15 Art Bash – Set up display for class using Project #1
Week 14
Monday November 19 In Class Glaze testing for Project #3, Load Glaze test kilns for Project #3
Tuesday November 20 Fire Glaze Kilns
Wednesday November 21 THANKSGIVING HOLIDAY – No Class (travel day)
Kilns will cool
Thursday November 22 THANKSGIVING HOLIDAY – No Class (travel day)
Kilns will cool
Friday November 23 THANKSGIVING HOLIDAY- No Class
Kilns will cool
Saturday November 24 Firing Team Unload Glaze Kilns
Week 15
Monday November 26 Load Bisque Kilns for Project #3, Individual Tutorials for color designs Project #3
Tuesday November 27 Fire Bisque Kiln Project #3
Wednesday November 28 Workday – Glaze Project #3
Thursday November 29 Load and Fire Glaze Kilns for Project #3 (load in am)
Friday November 30 Cool Kilns
Saturday November 31 Unload Kilns
Week 16
December
Monday December 3 FINAL CRITIQUE – Project 1, Clean up Studio
Wednesday December 5 FINAL CRITIQUE Project 2 and 3, Last Day of Class
Pot luck Lunch
Wednesday December 9 Classes End
Thursday December 6 and Friday December 7 Reading Days
December 8, 10-14 Final Examinations
December 17-18 Commencement
____________________________________________________________________________
August
Week 1
Wednesday August 22 Classes begin; Intro and Course Overview (blog, image presentation of the state of ceramic figure sculpture today, tools, books) Set Up Studio (lockers, cubbies), Assign Project #1, Bring container for casting hand(s) or foot (feet)
Week 2
Monday August 27 Demo casting with Alja-safe, Work Day – create Alja-safe castings
HOMEWORK: Reading on Ceramic techniques Chapter 5 of Make it in Clay
Wednesday August 29 Building Demo, Work Day – Cut away Alga-safe waste molds, Seal molds with superseal or fixative
HOMEWORK: Make life scale maquette of hand or foot
Week 3
Monday September 3 LABOR DAY– No Classes
*Wednesday September5 Critique of Maquettes, Demo: test tiles (Yixing mallet, slab roller),
Workday – Begin building Perceptual Sculpture
HOMEWORK: Make 25 test tiles for the semester’s glaze testing
Week 4
Monday September 10 Workday- Build Hand/Foot, Tutorials with Nan
HOMEWORK: Continue building sculpture, dry test tiles
Wednesday September 12 Demo: kiln loading, cone packs, load test tiles (plan firing), Workday
HOMEWORK: Continue building sculpture, Fire and unload kiln
Thursday September 13 Firing team fire test tiles
Friday September 13 Firing team unload test tiles
Week 5
Monday September 17 Workday
HOMEWORK: Complete Project #1 for Crit on Wednesday
Wednesday September 19 GROUP CRITIQUE FOR PROJECT #1; Greenware Critique
HOMEWORK: Wrap sculptures under bath towels to dry slowly, Bring camera phone or digital cameras to class for photo session for Project #2
Week 6
Monday September 24 Assign Project #2, Session on Sketching the Head with Clay – Pinched heads, Demo – The Gauze Head – Planar discovery, 360 degree photo session
HOMEWORK: Create photos of your head, Sketches for your portrait head/What is a portrait? What do you want to convey along with the physical likeness?
Wednesday September 26 Session on the Skull and anatomy of the Head with Video (Farault) and demo
Workday, Gauze molds? Maquette of your Head Sculpture
HOMEWORK: Read Textbook pages 38-69
Friday September 28 Special Studio Day with Nan – Tutorials for Project #2 – Time: TBA, Location: Handbuilding Lab
October
Week 7
*Monday October 1 Demo: Building the life scale Head, Videos- Farault, Bova, Workday– Start building your form
HOMEWORK: Read Textbook pages 102-125 and 130-141
Continue working on Project #2
Wednesday October 3 VISITING ARTIST WORKSHOP–Molly Hatch Lecture and Demo (http://www.mollyhatch.com) Attendance at the workshop demonstration and evening lecture is required for the course.
HOMEWORK: Continue working on Project #2
HOMEWORK: Glaze Testing Project #1; Mix glazes/apply to test tiles using terra sigilatas, patinas, underglaze and glaze
Friday October 5 Special Studio Day with Nan – Tutorials on the Head TBA
Week 8
Monday October 8 Workday; Tutorials with Nan, Load Bisque - Project #1
Workday, Load Glaze test kiln (fire tomorrow – set up firing team)
HOMEWORK: Continue working on Project #2
Tuesday October 9 Fire Bisque Project #1, Fire glaze test kilns
Wednesday October 10 Workday; Tutorials with Nan, Unload kilns
HOMEWORK: Work on developing Project #2
Week 9 – Mid-term
Monday October 15 Workday; tutorials with Nan – Last in class session for Project #2
HOMEWORK: Complete Project #2 for Critique
*Wednesday October 17 GROUP CRITIQUE FOR PROJECT #2
Homework: Glaze Project #1, Begin Drying Project #2
Friday October 19 Load Glaze Kilns in am
Saturday October 20 Firing team Fire glaze kilns
Sunday October 21 Unload glaze kilns in morning… vacuum kilns and clean shelves (This will be done by the firing team)
Week 10
* Monday October 22 Project #3 Part 1 – Female LIFE MODEL 1 – Select pose and make maquette, Take photos of pose to record gesture for out of class work on sculpture – Hand in Project #1 for Grading
HOMEWORK: Color studies for Project #2, drawings
Wednesday October 24 Project #3 Part 1 – Female LIFE MODEL- Part 1-2 – Tutorials and meetings about color plan for Project #2
HOMEWORK: Glaze tests for Project #2 must be completed to load in kiln on Friday
Friday October 26 Project #3 Part 1 – Female Out of Class Model Session #3 - Continue Individual Tutorials with Nan, Load Glaze Test Kiln
HOMEWORK: Fire and unload kiln
Saturday October 27 Fire GlazeTest kilns
Sunday October 28 Unload GlazeTest kilns
November
Week 11
Monday October 29 Project #3 Part 2 – Male LIFE MODEL-4 Workday, Individual tutorials, Load bisque Project #2 Homework: Continue working, Fire Bisque
Tuesday October 20 Fire Bisque Project #2
Wednesday October 31 Project #3 Part 2 – Male LIFE MODEL-5, Unload Bisque Project #2
Friday November 2 Project #3 Part 2 – Male Out of Class Model Session #6 - Continue Individual Tutorials with Nan
Week 12
Monday November 5 Project #3 Part 2 – Male LIFE MODEL-7, Workday, Individual tutorials
HOMEWORK: Glaze Project #2
Wednesday November 7 Project #3 Part 2 – Male LIFE MODEL-8. Load Glaze kilns Project #2
Thursday November 8 Fire Glaze Kilns Project #2
Project #3 Part 2 – Male Out of Class Model Session #9
Friday November 9 HOMECOMING – NO CLASSES
Saturday November 10 or Unload Glaze Kilns Project #2
Sunday November 11
Week 13
Monday November 12 VETERAN’S DAY – No Class
Homework:
Tuesday November 13 Out of Class Model Session #10
Wednesday November 14 LIFE MODEL-11- Last Day of Wet Work, Hand in Project #2 for Grading
Individual Tutorials for color designs Project #2,
Load Glaze Test tiles in kilns
HOMEWORK: Glaze Project #2 for Monday’s Kilns
Friday November 15 Art Bash – Set up display for class using Project #1
Week 14
Monday November 19 In Class Glaze testing for Project #3, Load Glaze test kilns for Project #3
Tuesday November 20 Fire Glaze Kilns
Wednesday November 21 THANKSGIVING HOLIDAY – No Class (travel day)
Kilns will cool
Thursday November 22 THANKSGIVING HOLIDAY – No Class (travel day)
Kilns will cool
Friday November 23 THANKSGIVING HOLIDAY- No Class
Kilns will cool
Saturday November 24 Firing Team Unload Glaze Kilns
Week 15
Monday November 26 Load Bisque Kilns for Project #3, Individual Tutorials for color designs Project #3
Tuesday November 27 Fire Bisque Kiln Project #3
Wednesday November 28 Workday – Glaze Project #3
Thursday November 29 Load and Fire Glaze Kilns for Project #3 (load in am)
Friday November 30 Cool Kilns
Saturday November 31 Unload Kilns
Week 16
December
Monday December 3 FINAL CRITIQUE – Project 1, Clean up Studio
Wednesday December 5 FINAL CRITIQUE Project 2 and 3, Last Day of Class
Pot luck Lunch
Wednesday December 9 Classes End
Thursday December 6 and Friday December 7 Reading Days
December 8, 10-14 Final Examinations
December 17-18 Commencement
Project #1: “The Perceptual “
Visual References: Ovidio Giberga, Ketih Smith, Nan Smith
Assigned Reading:
Chapter 5 of Make it in Clay
Video: Smooth-on life casting with alja-safe, available on-line for more information beyond the class demo.
Assignment:
This project focuses on the direct study of the human figure using a personalized plaster cast.
Personalized Body Cast of Hand(s) or Feet:
In this project, you will sculpt from life using a plaster cast of your body and will triple the size (at minimum) of the original casting and replicate it in clay. Each student will create a life-cast or his/her hands or feet. Consider the pose and gesture carefully. If you are doing two hands or both feet please pose them together to be cast as one compositional unit. The body casting will be done with alja-safe, a silica free alginate designed for sculptors. The alginate mold will be cast in #1 molding plaster to create the plaster model. Alja-safe a non-permanent mold–making material that is cut away (wasted) when the plaster model cures. The result will be a personalized plaster cast.
When the life casting is completed you are to sculpt a life-scale maquette (sketch in clay) to practice modeling and fine-tune your perceptual skills. Look for relative proportions, composition in the round, effects on volumes in the round. With this study model complete you will move to the large sculpture.
The final sculpture will be modeled solid and then hollowed at the leather-hard state. This is a traditional technique for life modeling used to create many of the terra cotta sculptures in the Renaissance. The technique of working solid allows the use of both additive and subtractive methods of sculpting. Detail will be developed as the sculpture becomes leather hard. After detail is completed, the sculpture will be sectioned to hollow it before firing. Terra sigillata will be applied to the sculpture at the bone-dry state. The piece will be bisque-fired and glaze patinas will be rubbed into the surface after which the sculpture will be glaze-fired.
Size:
14”-16” or 2 times life scale. Scaling the larger sculpture accurately will be discussed in class
Materials:
Some special materials are required for this project: alginate (a non-permanent and gelatin-like casting material often used in Dental Offices), plastic container of appropriate size to be used as a rigid holder for the alginate, and #1 molding plaster. The #1 molding plaster will be provided through the bookstore and will be available to you in the ceramics lab for a competitive price. It is to be purchased at the UF Bookstore and the receipt brought to the lab for dispensing.
Goals:
This project will be evaluated for accuracy in representing the dimensional relationships present in the original plaster model, proportions, depth, and transitions. The realism, articulation of form, detailing and anatomical structure will be evaluated. The finished sculpture should best reflect your perceptual skills and ability to model the form before you with detailed accuracy.
Assigned Reading:
Chapter 5 of Make it in Clay
Video: Smooth-on life casting with alja-safe, available on-line for more information beyond the class demo.
Assignment:
This project focuses on the direct study of the human figure using a personalized plaster cast.
Personalized Body Cast of Hand(s) or Feet:
In this project, you will sculpt from life using a plaster cast of your body and will triple the size (at minimum) of the original casting and replicate it in clay. Each student will create a life-cast or his/her hands or feet. Consider the pose and gesture carefully. If you are doing two hands or both feet please pose them together to be cast as one compositional unit. The body casting will be done with alja-safe, a silica free alginate designed for sculptors. The alginate mold will be cast in #1 molding plaster to create the plaster model. Alja-safe a non-permanent mold–making material that is cut away (wasted) when the plaster model cures. The result will be a personalized plaster cast.
When the life casting is completed you are to sculpt a life-scale maquette (sketch in clay) to practice modeling and fine-tune your perceptual skills. Look for relative proportions, composition in the round, effects on volumes in the round. With this study model complete you will move to the large sculpture.
The final sculpture will be modeled solid and then hollowed at the leather-hard state. This is a traditional technique for life modeling used to create many of the terra cotta sculptures in the Renaissance. The technique of working solid allows the use of both additive and subtractive methods of sculpting. Detail will be developed as the sculpture becomes leather hard. After detail is completed, the sculpture will be sectioned to hollow it before firing. Terra sigillata will be applied to the sculpture at the bone-dry state. The piece will be bisque-fired and glaze patinas will be rubbed into the surface after which the sculpture will be glaze-fired.
Size:
14”-16” or 2 times life scale. Scaling the larger sculpture accurately will be discussed in class
Materials:
Some special materials are required for this project: alginate (a non-permanent and gelatin-like casting material often used in Dental Offices), plastic container of appropriate size to be used as a rigid holder for the alginate, and #1 molding plaster. The #1 molding plaster will be provided through the bookstore and will be available to you in the ceramics lab for a competitive price. It is to be purchased at the UF Bookstore and the receipt brought to the lab for dispensing.
Goals:
This project will be evaluated for accuracy in representing the dimensional relationships present in the original plaster model, proportions, depth, and transitions. The realism, articulation of form, detailing and anatomical structure will be evaluated. The finished sculpture should best reflect your perceptual skills and ability to model the form before you with detailed accuracy.
Project #2: “The Portrait Head”
Exercise 1: Human Skull Study
Read Textbook pages 10-30, Faraut. Video will be shown in class.
You will begin your sculpting experience by reading and studying the illustrations for the technique used by Philippe Faraut to sculpt the human skull and muscle structure of the human head. A supplementary video showing this process will be shown in class. This objective of this study is to learn the human anatomy so that you fully understand what creates the structure of the human head and neck and why we move as we do. In this study you will be using the Faraut technique of solid modeling the skull. Skulls will be modeled at one-half of life size.
Exercise 2: Pinched Portraits Study
Read Textbook pages 38-69. Video will be shown in class, Bova and Faraut – the features. (Artists of reference are Joe Bova, Arthur Gonzales and Judy Moonelis).
A portrait will be done of a selected classmate as an “in class” project. An orientation to thinking in the third dimension will be practiced by pinching the form and moving the clay wall in and out like a skin. Your understanding of the skeletal and muscle structures learned in the last sculpture will inform your use of this new technique. The portrait studies will be modeled at one-half of life size. 3-5” in size
SLAB-BUILT SELF PORTRAIT PROJECT:
Read Textbook pages 102-125 and 130-141. Video will be shown in class, Faraut on creating a likeness and common mistakes.
These Portrait sculptures are to be modeled at life-size scale. This project will be evaluated for likeness, proportions, sculptural depth and mass conveyed, and smoothness within volumetric transitions. You will be asked to provide photos of your head in the round and a mirror. Photos should include a shot of each profile, ¾, front, back and top views of your head. Put all photos on a reference board to bring to class. These will be your perceptual resources for the project.
A demonstration of how to build using stacked slabs will be shown in class. You will be working hollow and bending the clay in and out by pinching the walls. The two previous exercises will lead you to understand structure and working hollow. This project will center upon developing perceptual skills. You are also being asked to consider the idea of portraiture as a reflection of more than likeness. Posture, gaze, gesture of shoulders and head, dress, hair styling, and facial expression should reflect an idea of who you are.
The sculpture can be surfaced by underglaze or staining and covered with a shop glaze. The sculptures will be plychromed using ceramic underglaze and glaze materials. Tutorials will be offered. Glaze testing will be required. To start you off test tiles are available for view in the glaze lab. Low fire metallic or stone glaze are also suggested. A glaze demonstration will be done in class.
Read Textbook pages 10-30, Faraut. Video will be shown in class.
You will begin your sculpting experience by reading and studying the illustrations for the technique used by Philippe Faraut to sculpt the human skull and muscle structure of the human head. A supplementary video showing this process will be shown in class. This objective of this study is to learn the human anatomy so that you fully understand what creates the structure of the human head and neck and why we move as we do. In this study you will be using the Faraut technique of solid modeling the skull. Skulls will be modeled at one-half of life size.
Exercise 2: Pinched Portraits Study
Read Textbook pages 38-69. Video will be shown in class, Bova and Faraut – the features. (Artists of reference are Joe Bova, Arthur Gonzales and Judy Moonelis).
A portrait will be done of a selected classmate as an “in class” project. An orientation to thinking in the third dimension will be practiced by pinching the form and moving the clay wall in and out like a skin. Your understanding of the skeletal and muscle structures learned in the last sculpture will inform your use of this new technique. The portrait studies will be modeled at one-half of life size. 3-5” in size
SLAB-BUILT SELF PORTRAIT PROJECT:
Read Textbook pages 102-125 and 130-141. Video will be shown in class, Faraut on creating a likeness and common mistakes.
These Portrait sculptures are to be modeled at life-size scale. This project will be evaluated for likeness, proportions, sculptural depth and mass conveyed, and smoothness within volumetric transitions. You will be asked to provide photos of your head in the round and a mirror. Photos should include a shot of each profile, ¾, front, back and top views of your head. Put all photos on a reference board to bring to class. These will be your perceptual resources for the project.
A demonstration of how to build using stacked slabs will be shown in class. You will be working hollow and bending the clay in and out by pinching the walls. The two previous exercises will lead you to understand structure and working hollow. This project will center upon developing perceptual skills. You are also being asked to consider the idea of portraiture as a reflection of more than likeness. Posture, gaze, gesture of shoulders and head, dress, hair styling, and facial expression should reflect an idea of who you are.
The sculpture can be surfaced by underglaze or staining and covered with a shop glaze. The sculptures will be plychromed using ceramic underglaze and glaze materials. Tutorials will be offered. Glaze testing will be required. To start you off test tiles are available for view in the glaze lab. Low fire metallic or stone glaze are also suggested. A glaze demonstration will be done in class.
Project 3: “The Full Figure”
A life model will pose for class as the subject of your sculpture. The modeling sessions will be scheduled during all class periods as well as required out of class sessions. You will create two figure sculptures for this project.
Part 1 - Female: You will create a quick but completed figure study to be done during two class sessions – one week. The goal will be to learn to block out the figure to convey gesture and anatomical observations. This figure will be in a reclining pose to limit considerations of gravity. You will be working with a female model.
• Building Method:
Modeled solid and hollowed.
• Size:
The size limitation on the figure is 24" across.
• Resources:
A videotape showing the sculpting process of contemporary Italian sculptor Bruno Luchessi will be shown to offer a demonstration of tools and methods. You are required to review the illustrated books by Luchessi (on reserve for this class in the FAA library) - modeling the figure and the terra cotta portrait.
• Materials:
Please find or purchase a flat board 1/2" or 5/8" in thickness to be used for a surface to build on. Thinner boards will warp. It is suggested that the board is sealed with Thompson’s Water Seal and/or covered with canvas (either will keep the board flat). A turntable or lazy susan is required. You also might find wood carving tools interesting to experiment with at this time (reference the Lucchesi video).
• Surfacing:
You can use terra sig and patinas or underglazes and stain with an overglaze or glaze.
• Criterion for grading:
Anatomical accuracy, proportion, and gesture will be evaluated and discussed as you work.
Part 2 - Male: You will create a more comprehensive figure sculpture of a male model complete with detailed modeling of face, hands and feet. This sculpture is to reflect the modeling style of a sculptor you admire.
During this second figure modeling sequence the group will have a voice in the pose selected (perhaps seated or standing). The model scheduled is to be male, to offer an experience with a different figure type and anatomical articulation. This project will focus on developing modeling style and increasing the size of the sculpture.
• Building Method:
Option to work solid or with slabs and pinch.
• Size:
The size of this vertical figure will be increased to 20”- 30” H.
• Resources:
Slides will be shown in class of ceramic figure sculptors who work within an academy style or with evident anatomical consideration including: Doug Jeck, Ron Meuch, Joseph Chinard, August Rodin and others.
Choose a figurative sculptor (realist) whose aesthetic style captures your interest. The artist can be from any period in Art History or a contemporary figurative sculptor. The sculptor does not have to work exclusively in clay.
• Goals:
This assignment requires that you research the style of the sculptor by looking at, at least ten sculptural pieces by the artist. Choose one piece and do a drawing where you note proportions and body type. Analyze it and list the elements of the sculptural style including; massiveness, gesture, articulation (hair, eyes, hands) simplification, posture, draped/nude, facial expression, etc.
Incorporate this “sculptural style” into the life sculpture of the male figure. The sculpture is to remain anatomically correct and as life-like and “realistic” as your skills and perception will permit. The style for modeling, however, might emulate Rodin, loose and flowing, might reflect Donatello’s style tight and linear (compare to Ingres in drawing) or like Michelangelo’s muscular articulations; massive hard and robust.
• Surfacing:
You can use terra sig and patinas or underglazes and stain with an overglaze.
Part 1 - Female: You will create a quick but completed figure study to be done during two class sessions – one week. The goal will be to learn to block out the figure to convey gesture and anatomical observations. This figure will be in a reclining pose to limit considerations of gravity. You will be working with a female model.
• Building Method:
Modeled solid and hollowed.
• Size:
The size limitation on the figure is 24" across.
• Resources:
A videotape showing the sculpting process of contemporary Italian sculptor Bruno Luchessi will be shown to offer a demonstration of tools and methods. You are required to review the illustrated books by Luchessi (on reserve for this class in the FAA library) - modeling the figure and the terra cotta portrait.
• Materials:
Please find or purchase a flat board 1/2" or 5/8" in thickness to be used for a surface to build on. Thinner boards will warp. It is suggested that the board is sealed with Thompson’s Water Seal and/or covered with canvas (either will keep the board flat). A turntable or lazy susan is required. You also might find wood carving tools interesting to experiment with at this time (reference the Lucchesi video).
• Surfacing:
You can use terra sig and patinas or underglazes and stain with an overglaze or glaze.
• Criterion for grading:
Anatomical accuracy, proportion, and gesture will be evaluated and discussed as you work.
Part 2 - Male: You will create a more comprehensive figure sculpture of a male model complete with detailed modeling of face, hands and feet. This sculpture is to reflect the modeling style of a sculptor you admire.
During this second figure modeling sequence the group will have a voice in the pose selected (perhaps seated or standing). The model scheduled is to be male, to offer an experience with a different figure type and anatomical articulation. This project will focus on developing modeling style and increasing the size of the sculpture.
• Building Method:
Option to work solid or with slabs and pinch.
• Size:
The size of this vertical figure will be increased to 20”- 30” H.
• Resources:
Slides will be shown in class of ceramic figure sculptors who work within an academy style or with evident anatomical consideration including: Doug Jeck, Ron Meuch, Joseph Chinard, August Rodin and others.
Choose a figurative sculptor (realist) whose aesthetic style captures your interest. The artist can be from any period in Art History or a contemporary figurative sculptor. The sculptor does not have to work exclusively in clay.
• Goals:
This assignment requires that you research the style of the sculptor by looking at, at least ten sculptural pieces by the artist. Choose one piece and do a drawing where you note proportions and body type. Analyze it and list the elements of the sculptural style including; massiveness, gesture, articulation (hair, eyes, hands) simplification, posture, draped/nude, facial expression, etc.
Incorporate this “sculptural style” into the life sculpture of the male figure. The sculpture is to remain anatomically correct and as life-like and “realistic” as your skills and perception will permit. The style for modeling, however, might emulate Rodin, loose and flowing, might reflect Donatello’s style tight and linear (compare to Ingres in drawing) or like Michelangelo’s muscular articulations; massive hard and robust.
• Surfacing:
You can use terra sig and patinas or underglazes and stain with an overglaze.
Helpful Technical Infornation:
Technical Handout
How to dry your sculpture
Controlled drying using a cloth bath towel over the leather hard clay and covering this with light weight plastic will permit slow and even drying. An even dry out will prohibit cracking. It is up to you to control the dry out for the classroom has variable drafts and airflow.
Vinegar Paper Clay Patch/ Repair method.
Crush ½ cup of dried clay using a hammer. Use the clay you built with as the clay component for this recipe.
Take one sheet of toilet paper and rip into 1/4 inch X ¼ inch very small pieces. Soak in hot water until paper become pulp like. This can take 10 minutes. Remove water from pulp by squeezing and making paper into a little ball.
Add vinegar to the paper pulp. Then add clay and mix to a stiff paste. Add more dry clay to get really stuff but workable.
Mix ¾ of this patch with plastic clay. The patch needs to be stiff so add dry clay to make it stiffer if needed.
Wet crack with vinegar and sore until soupy. Compress patch into crevice . Pack it in well. Smooth out. Finally smooth with vinegar and a paint brush. Rib over area. Wrap and slowly dry. This may need to be repeated 2 -3 time depending upon nature of crack, and dryness of clay.
Some notes about Glaze
Glaze, is basically a clay and glass coating applied to bisque ware and fired to create the color and surface effects which complete your art work. The compatibility of form and surface color and design is a constant consideration in the Ceramic Arts. The options for use of glaze application techniques and glaze types are infinite and provide the completed aesthetic to the ceramic form.
Glaze application can be done by dipping, pouring, spraying, brushing (not recommended for most of our shop glazes), and or sponging onto the bisque clay surface. You will be taught how to achieve a good application using the spray gun.
It has been said there are no "bad' glazes. Poor results occur only through poor application of the glaze being used. Eighty per cent of the success rate in glazing is due to application. It is important to have an adequate thickness of the coating of glaze applied to the piece. On the average the glaze coating should be the thickness of a three by five card or approximately 1/32 of an inch. Thickness of applied glaze can be checked when the glaze dries completely
(an average time of about five minutes) by scratching through the glaze with your fingernail. This will reveal the thickness of the wall of glaze.
Glaze melts in the heat of the firing and flattens in a molten surface that clings to the clay form. Not an air temperature pigment, fired color and surface samples are necessary to practice and learn what application works best. Test tile samples are available to you in our glaze lab to aid in selecting surface, color and textures. However, it is best to test to see how your application works for the result might be different depending upon wall thickness, time within the glaze bucket, or thickness of the glaze itself.
The thickness of the glaze, itself, as well as the length of time that the ware is dipped or poured into or over the ware are two very important factors to notice. The thicker the walls of the clay form, the more glaze it will absorb. Conversely, thin walled pieces can become over saturated with the liquid glaze. This will cause thinner application and problems in drying the glaze on the surface. This information will be discussed in lecture in class. (Please take notes when this is described for each of the glazes you will be using).
Reference materials Glaze Videos by Robin Hopper (If requested these will be shown in class. Videos are available for overnight check out from the Fine Arts and Architecture library)
How to dry your sculpture
Controlled drying using a cloth bath towel over the leather hard clay and covering this with light weight plastic will permit slow and even drying. An even dry out will prohibit cracking. It is up to you to control the dry out for the classroom has variable drafts and airflow.
Vinegar Paper Clay Patch/ Repair method.
Crush ½ cup of dried clay using a hammer. Use the clay you built with as the clay component for this recipe.
Take one sheet of toilet paper and rip into 1/4 inch X ¼ inch very small pieces. Soak in hot water until paper become pulp like. This can take 10 minutes. Remove water from pulp by squeezing and making paper into a little ball.
Add vinegar to the paper pulp. Then add clay and mix to a stiff paste. Add more dry clay to get really stuff but workable.
Mix ¾ of this patch with plastic clay. The patch needs to be stiff so add dry clay to make it stiffer if needed.
Wet crack with vinegar and sore until soupy. Compress patch into crevice . Pack it in well. Smooth out. Finally smooth with vinegar and a paint brush. Rib over area. Wrap and slowly dry. This may need to be repeated 2 -3 time depending upon nature of crack, and dryness of clay.
Some notes about Glaze
Glaze, is basically a clay and glass coating applied to bisque ware and fired to create the color and surface effects which complete your art work. The compatibility of form and surface color and design is a constant consideration in the Ceramic Arts. The options for use of glaze application techniques and glaze types are infinite and provide the completed aesthetic to the ceramic form.
Glaze application can be done by dipping, pouring, spraying, brushing (not recommended for most of our shop glazes), and or sponging onto the bisque clay surface. You will be taught how to achieve a good application using the spray gun.
It has been said there are no "bad' glazes. Poor results occur only through poor application of the glaze being used. Eighty per cent of the success rate in glazing is due to application. It is important to have an adequate thickness of the coating of glaze applied to the piece. On the average the glaze coating should be the thickness of a three by five card or approximately 1/32 of an inch. Thickness of applied glaze can be checked when the glaze dries completely
(an average time of about five minutes) by scratching through the glaze with your fingernail. This will reveal the thickness of the wall of glaze.
Glaze melts in the heat of the firing and flattens in a molten surface that clings to the clay form. Not an air temperature pigment, fired color and surface samples are necessary to practice and learn what application works best. Test tile samples are available to you in our glaze lab to aid in selecting surface, color and textures. However, it is best to test to see how your application works for the result might be different depending upon wall thickness, time within the glaze bucket, or thickness of the glaze itself.
The thickness of the glaze, itself, as well as the length of time that the ware is dipped or poured into or over the ware are two very important factors to notice. The thicker the walls of the clay form, the more glaze it will absorb. Conversely, thin walled pieces can become over saturated with the liquid glaze. This will cause thinner application and problems in drying the glaze on the surface. This information will be discussed in lecture in class. (Please take notes when this is described for each of the glazes you will be using).
Reference materials Glaze Videos by Robin Hopper (If requested these will be shown in class. Videos are available for overnight check out from the Fine Arts and Architecture library)
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