ART111: CERAMICS II SYLLABUS LECTURE HOURS/STUDIO HOURS/CREDITS: 2/2/3

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1 ART111: CERAMICS II SYLLABUS LECTURE HOURS/STUDIO HOURS/CREDITS: 2/2/3 CATALOG DESCRIPTION Prerequisite: ART110 Ceramics I This course offers a more thorough investigation of ceramics form. Experimentation with porcelain and glaze techniques is made to develop construction skills. (Some tools are to be supplied by the student.) TEXTBOOK AND COURSE MATERIALS It is the responsibility of the student to confirm with the bookstore and/or their instructor the textbook, handbook and other materials required for their specific course and section. Please see current textbook prices at EVALUATION AND ASSESSMENT Grading Distribution Individual instructors may include the following assessment(s): Exams Quizzes Projects Aesthetic Merit o Originality and Ideas Research Class Discussions Effort, Concentration, Attitude and Energy Attendance and Participation Grading to be determined by individual instructors Grading Scale The grading scale for each course and section will be determined by the instructor and distributed the first day of class.

2 2 ROWAN COLLEGE AT GLOUCESTER COUNTY CORE COMPETENCIES (Based on the NJCC General Education Foundation - August 15, 2007; Revised 2011) This comprehensive list reflects the core competencies that are essential for all RCGC graduates; however, each program varies regarding competencies required for a specific degree. Critical thinking is embedded in all courses, while teamwork and personal skills are embedded in many courses. RCGC Core Competencies Written and Oral Communication Students will communicate effectively in both speech and writing. Quantitative Knowledge and Skills Students will use appropriate mathematical and statistical concepts and operations to interpret data and to solve problems. Scientific Knowledge and Reasoning Students will use the scientific method of inquiry, through the acquisition of scientific knowledge. Technological Competency Students will use computer systems or other appropriate forms of technology to achieve educational and personal goals. Society and Human Behavior Students will use social science theories and concepts to analyze human behavior and social and political institutions and to act as responsible citizens. Humanistic Perspective Students will analyze works in the fields of art, history, music, or theater; literature; philosophy and/or religious studies; and/or will gain competence in the use of a foreign language Historical Perspective Students will understand historical events and movements in World, Western, non-western or American societies and assess their subsequent significance. Global and Cultural Awareness Students will understand the importance of a global perspective and culturally diverse peoples. Ethical Reasoning and Action Students will understand ethical issues and situations. Information Literacy Students will address an information need by locating, evaluating, and effectively using information ART111 CORE COMPETENCIES This course focuses on two of RCGC s Core Competencies: Written and Oral Communication Humanistic Perspective

3 3 STUDENT LEARNING OUTCOMES: CERAMICS II (Revised 2011) Successful completion of ART111 will help students: 1. Understand art, its nature and development as it is realized in ceramics 2. Demonstrate the basic forming methods of clay: hand building methods/extruder and throwing skills 3. Develop a sense of threedimensional form and space 4. Understand the skills and demands of craftsmanship 5. Demonstrate a basic understanding of basic ceramic technology: clay bodies and characteristics, glaze materials and applications, kilns and firing techniques 6. Identify and analyze ceramic forms both ancient and contemporary 7. Develop a better sense of critical analysis RCGC Core Competencies Evaluation / Assessment (Additional means of evaluation may be included by individual instructors) Instructor s lecture Ceramic text Ceramic magazines Art books Visual information on walls of studio/lab Books on pattern and nature Any influence whether visual, literary or aural Cooking/food connections Develop form ideas in a sketchbook Clay roller design Clay tiles (tray) Clay box form Clay cups (slump mold) Coil pots (vase form) Teapot form Coloring in a sketch book Painting color on forms Glazing clay forms Instructor s lecture Preparing pieces for a bisque firing Cleaning pieces of a glaze firing Observation Peer discussion Instructor / student review Instructor s lecture Studio or Museum visit Instructor/Peer Discussion

4 4 TOPICAL OUTLINE Wheel Work Design and Create a Set of Forms for Various Projects Coil Construction Greenware Glazing Create Slabs for Box Design and Construction Create and Work on Cones, Spheres and Cylinders Evaluate Finished Work

5 5 STUDIO REQUIREMENTS: This course consists of lecture/demonstration and studio time in which students work under the instructor s supervision receiving individual attention. Students are expected to arrive on time and remain until the end of the class as scheduled. Projects listed are subject to change at the discretion of the instructor. RULES OF THE CERAMIC STUDIO: 1. No smoking or eating in class 2. No earphones may be worn 3. All work must be signed with full last name or it will not be placed in the kiln. No initials! 4. Any unused clay, wet or dry, should be placed in the recycling barrels near the sink. Never put clay back into the fresh clay barrel. 5. No clay in sink 6. Do not put your work anywhere but on the shelves reserved for your class. If there is a problem, check with your instructor. 7. You are responsible for the proper storage and preservation of your work at the correct moisture content. Bring plastic for emergencies and keep it with your tools. 8. Unfired pottery is very fragile. Do Not Touch or Move another student s work. Ask for help if necessary. 9. Do not, under any circumstances, attempt to remove work from the kilns or open the kilns. 10. Clean up your work areas!

6 6 TIPS ON GLAZING: 1. Bisque pots have a habit of picking up dirt and dust from the air and from handling to and from the kiln, and from sitting on the shelf. Before glazing, make sure you wipe your pot off with a damp sponge (not wet). Do not put it under running water. 2. Waxing the bottom of your pot is helpful in cleaning the pot later. Remember, even though your pot is waxed, it still must be cleaned spotless on the bottom and in the lip and lid areas. Otherwise, your pot might stick to the shelf in the kiln or your lid will stick to the lip part of your pot. Be neat and careful not to get wax on your fingers as you will leave finger marks on your pot. Try to make the bottom edge of your pot neat, sharp, and crisp, as this is part of the design of your pot and can add or subtract from your total design. If you get wax in a certain place where you do not want it, you may: sandpaper it off, burn it off, or have it rebisque fired. 3. Underglazes or slips go under the glaze. That is why they are called underglazes! Therefore, they go on the pot first. Underglazes are merely chemical colorants mixed with some liquid clay (slip) to change the color of your glaze. If you put underglazes on the pot with no glaze on top, they will appear as dull, lifeless colors on your pot. When a glaze is applied on top of an underglaze, the chemical in the underglaze unites with the chemical in the glaze and produces a certain color. That is why we have two tiles on the test tile board for each glaze: one tile is showing what the glaze looks like by itself and the other tile is showing what the glaze looks like over the underglazes. 4. There are different ways to glaze. Once your underglaze decoration is put on, you are ready to apply a glaze. For very small pots, it is usual to use glaze tongs to dip your pot into the glaze. For larger pots you can pour the glaze on your work. For very large pots you may have to brush the glaze on your work. (Please ask your instructor or your tutor if you are not sure.) Under no circumstances are you to touch your pot with your fingers while it is still wet. Do not dip the pot in the glaze using only your fingers. Use glazing tongs. 5. Make sure you stir the glazes before each use. Do not use a ruler to do this. Use your hand! Only by using your hand can you feel lumps of glaze sitting on the bottom of the container. 6. Once you start to glaze a pot, finish it in the same session. You cannot put underglaze on one day and come back a few days later to put a glaze on. When the underglaze dries, it acts as a layer of dust, and glaze simply rolls off your pot. Allow yourself enough time to glaze. 7. Make sure you are keeping detailed notes of what you are putting on your work. If you get a winner you can repeat it, and if you get a loser, you can avoid making the same mistake. Don t trust your memory as some pots are not fired for weeks.

7 7 CERAMICS VOCABULARY: Banding Wheel - a small portable turntable for rotating pottery while being worked on or decorated Bat - a disk or slab of plaster or wood used for drying clay or transporting clay forms; also used on the potter s wheel to facilitate removal of thrown forms Bisque - clay that has been fired once and is unglazed; it has gone through a chemical change in the kiln and can no longer be returned to the plastic state Bisque Fire - the name for the first firing of clay to a low temperature of around 1900EF Blowout - the explosion of clay in the kiln during firing caused by the sudden escape of steam resulting from rapid heating; also caused by air bubbles in improperly wedged clay or hollow ceramic forms without an opening for the air to escape Bone Dry - the condition of unfired clay that has no absorbed moisture other than natural humidity; only after reaching this stage can ceramic objects be fired Burnish - the sealing and smoothing of a clay surface to a shine when leather-hard by rubbing with a smooth, hard object such as the back of a spoon Carving - decorating by cutting into leather-hard clay and removing portions of the clay Clay - in theory - A1 0.2Si0.2H 0. Hydrous silicate of alumina; actually materials formed by the decomposition of felspathic rock (granite) Coil - a rope-line roll of clay used in hand building Coil Method - a technique of building a ceramic form with connecting coils of clay Crawling - separating of the glaze coat during firing; exposing areas of unglazed clay; this can be caused by dust on bisqueware and too thick application of glaze or underglaze. Damp Box (or room) - an area kept humid where unfinished clay objects are stored to retard their drying Dipping - coating bisque pottery by immersing it in glaze Earthenware - low firing clay with many impurities - opaque red to black in color, and porous; it matures around 1900E F (cone 06-04). Firing - the heating of clay and glaze to a specific temperature Foot - the base of a ceramic piece Glaze - a glass-like coating bonded to a ceramic piece by heat; made from a suspension of glass-forming materials in water and usually applied by dipping, pouring or spraying or sometimes with a brush SUMMER 2013 July 2014

8 8 CERAMICS VOCABULARY (CONTINUED): Glaze Fire - firing cycle during which glaze materials are heated sufficiently to melt and form a glossy surface coating Greenware - unfired clay objects Grog - fired clay that has been crushed into granules which may be added to a clay recipe to increase strength, control drying, warpage and reduce shrinkage; used mainly when making sculptured forms Impressing - method of decorating by stamping into a soft clay surface Kiln - a furnace made of firebrick and heated by gas, electricity, wood or other fuel; used to fire ceramic objects to high temperatures between 1100E F to 2300E F Leather-Hard - the condition of raw clay when most of the moisture has evaporated leaving it stiff enough to hold its shape and unable to bend without breaking, yet soft enough to carve into or join to other pieces Matt - the non-glossy surface quality of certain fired glazes Maturity - the firing stage at which glaze ingredients have reached complete fusion, or when clay has reached maximum non-porosity and hardness Mold - a plaster or bisque shape from which a clay form an be reproduced Oxide - a compound containing oxygen plus other elements - in ceramics, metallic chemicals used for coloring clays or glazes such as iron, cobalt or chrome oxides Pinch Method - creating forms in clay by manipulating with thumb and fingers Plastic State - raw, powdered clay mixed with water in a soft, workable condition Porcelain - a very white high temperature firing clay that is extremely pure and non porous and usually translucent; it matures at around 2500E F (cone 12) Pyrometric Cones - small pyramids made up of formulated clay-bodies that are calibrated to melt after a certain amount of heat work Porosity - the capacity of an immature or bisque clay body to absorb water and allow the glaze coating to be applied Pouring - method of applying glaze to bisqueware by pouring the liquid over the piece Raw - unfired, in a natural state Rib - any flat tool made of wood, metal or rubber used to shape and smooth clay Scoring - the act of roughening up two pieces of clay in preparation for joining them to avoid air pockets or separation after drying or firing SUMMER 2013 July 2014

9 9 CERAMICS VOCABULARY (CONTINUED): Shrinkage - contraction of the clay in either drying or firing; 10% shrinkage is normal in an earthenware body Slab Method - technique of hand building clay by joining flat pieces of rolled out clay called slabs Slip - a suspension of clay in water; sometimes mixed with colorants and used in decorating; an underglaze Slurry - a creamy, thick paste-like mixture of clay and water sometimes used when joining clay pieces together Stoneware - a high firing clay with some impurities; fires from buff to brown to grey in color; very hard and durable; it matures at about 2300E F (cone 9) Studio Glazes - glazes available in large buckets formulated from glaze recipes and mixed in the studio; they are not artificially colored like the commercial glazes. They are lead free and designed to be applied by dipping, pouring and spraying; not with a brush. Studio Underglaze - liquid clays colored with oxides that are available in large buckets and mixed in the studio; they are used for decorating and may be put on with a brush, sponge, or spray Terra Sigillata - "Sealed Earth ; a special type of clay coating, often burnished and largely waterproof, made by mixing powdered clay in suspension with water. As the mixture settles out, the heavy particles sink to the bottom. Excess water is discarded and only the finest clay particles are reserved for use. Throwing - using the potter s wheel to make symmetrical forms by hand from plastic clay Trimming - a method of paring away excess clay from thrown pots to form a foot; done when the clay is leather-hard Underglaze - a colored decoration made mainly of clay plus water and oxides and applied to raw or bisqueware before the glaze; it goes under the glaze and is applied with a brush or sponge Vitrious - the hard, glassy quality of a clay body or glaze; the non-porous quality of mature clay Warping - distortion of clay shape caused by uneven stresses during shaping, firing or drying Wax Resist - wax emulsion used for decorating with slips or glazes; can also be used to prevent glazes from adhering to bottom surfaces of pots when dipping into the studio glazes Wedging - mixing and kneading plastic clay before using to remove air bubbles and to obtain a uniform consistency SUMMER 2013 July 2014