UNIT OR PROJECT TITLE Finding, processing, and forming local clays using ancient methods

Transcription

1 UNIT OR PROJECT TITLE Finding, processing, and forming local clays using ancient methods GRADE LEVEL AND CONTENT 9-12, Beginning Pottery AREA AUTHOR NAME AND SCHOOL Gwenda Copeland, Cannon Co High School SETTING WherelWhen does this unit fit into your larger curriculum map? At the beginning - 1st week of semester What skills and knowledge will students need before beginning this unit? None What are the unit goals? To become familiar with the properties of clay and begin basic handbuilding techniques What is the timeframe? minute class periods UNIT SCAFFOLD Enduring Understanding(s): This unit is grounded in what big idea(s)? What is clay and how does it differ from dirt? Essential Questions: What questions frame this unit and guide student inquiry? What are important properties of clay as a medium? STUDENT LEARNING OBJECTIVES What will students know? How to find, process, and handle clay What skills will students demonstrate? Experimentation, follow directions, forming and finish clay mug, personal choice, design, reflection What performance standards are addressed? From TN State Standards in Visual Arts: :1 Media, Techniques, and Processes - demonstrate the use of knowledge and technical skills in at least on specific medium 2:3 Structures and Functions - Evaluate the function of artworks as to utilitarian or intrinsic purposes 2:4 Apply problem-solving skills to create solutions to specific visual arts tasks 3: 1 Evaluation - demonstrate critical thinking in selection and content 4:2 Historical and Cultural Relationships - interpret the function and explore the meaning of specific art objects within varied cultures 5: 1 Reflection and Assessment - assess visual artworks and their meanings by using a variety of criteria and techniques 5:2 Reflect on and evaluate artworks in order to understand various interpretations 9

2 6: 1 Interdisciplinary Connections - examine the materials, technologies, process, and terminology used in the visual and performing arts 6:2 Integrate ideas... from other subject areas EVIDENCE OF LEARNING: How will student learning objectives be measured? Additional tables can be added by using "cut and paste" functions. Knowledge: What makes clay sticky? Skill: differentiate between clay and dirt 1. test 3 locations from possible clay excavation on school site take small sample, wet, roll, coil preferred clay will form a coil around the little finger preferred clay will not crack or crumble when dried Materials per Class: shovel, squirt bottle filled with water Materials per Student: half-gallon plastic container with lid, tape & maker to label Differentiation Strategy: outdoor group discussion, individual testing 2. dig, grind and clean clay choose site to excavate preferred clay grind and clean on matate and mana (large ceramic tile and creek rock) as you grind, clean organic materials and foreign minerals(rocks) from clay; impurities, especially limestone, may cause final object to explode or crack in the kiln finely ground clay is more plastic Knowledge: structure of clay, matate and mana, plastic Skill: differentiate between organic and inorganic, persistence, quality work Materials per Class: none Materials per Student: excavated clay, large ceramic tile and creek rock Differentiation Strategy: demonstration and individual production 3. mix and age clay grog, usually crushed ceramics, acts as a temper to allow rapid expansion and contraction in the clay body and protect it from thermal shock Sand and ground pottery shards may also be used as temper. mix 17 handfuls of ground clay with 4 handfuls of grog on matate (large ceramic tile) add water and mix until "squishy" - extra water will be absorbed as clay ages cover & let set until needed - aging improves plasticity Knowledge: grog, temper, shards, aging Skill: mixing and aging clay Materials per Class: 5# commercial grog, 10

3 Materials per Student: container of ground clay, large ceramic tile, water, lid for plastic container Differentiation Strategy: demonstration, work in pairs 4. design and build mug have an understand the beginning of ceramic production in America view examples of ancient American pottery specifically from the Southwest focus on the different mug forms produce only by the pueblos of Mesa Verde choose a form to replicate follow demonstrations from forming mug using the coil and pinch method use shard from the Ceramics Typology Kit from the Anasazi Heritage Center, Cortez, CO to help understand form thickness and finish Handles; Riveting for strength Proportions of handle to mug; what is it used for? Knowledge: history of ceramic production in Americas: when, how, why Southwest pottery tradition, Mesa Verde mugs, replicate, proportions Skill: coil & pinch technique, riveting handle Materials per Class: Power Point with images, books, poster Materials per Student: aged clay, small ceramic tile to work on, ribs Differentiation Strategy: lecture, notes, samples, demonstration 5. decorate mug, view examples from resources to choose a best suited for your mug; books, poster, CD consider balance up and down, repetition beginning and end, unity through balance of white and black areas, variety with addition of hatched lines, record possible plans these in notebook apply white slip when mug is leather hard lightly burnish using polished stone when slip will allow final burnish when bone dry using polished stone and rag layout design using charcoal paint design using liner brush and black slip allow to dry 1 week before kiln firing at cone 2 or 1100 degrees Knowledge: Design properties; balance, repetition, unity, and variety. Stages of clay; slip, leather hard, bone dry Skill: layout, how to use a liner Materials per Class: CD or overhead projector, examples of historic pottery, Yz gallon commercial white slip, 4 hakes, 1 qt. black slip, electric kiln Materials per Student: polished stone, small rag, charcoal stick, liner brush, small container for slip II

4 Differentiation Strategy: demonstration, lecture with visuals, individual and group instruction 6. reflect of your work and the work of others Is it waterproof? Why or why not? Whole class: Successes and failures investigated forming techniques design Personal Reflection; How might your work improve? forming techniques design Knowledge: aesthetic judgments, critics Skill: reflection Materials per Class: final fired pottery Materials per Student: paper and pencil Differentiation Strategy: discussion and written reflection LEARNING PLAN: Learning about Pottery from our Ancestors 1. test 3 locations from possible clay excavation on school site 1. take small sample, wet, roll, coil 2. preferred clay will form a coil around the little finger 3. preferred clay will not crack or crumble when dried 2. dig, grind and clean clay ~ D. choose site to excavate preferred clay E. grind and clean on matate and mano (large ceramic tile and creek rock) F. as you grind, clean organic materials andforeign minerals(rocks) from clay; impurities, especially limestone, may cause final object to explode or crack in the kiln G. finely ground clay is more plastic 3. mix and age clay, H. grog, usually crushed ceramics, acts as a temper to allow rapid expansion and contraction in the clay body and protect it from thermal shock I. Sand and ground pottery shards may also be used as temper. J. mix 17 handfuls of ground clay with 4 handfuls of grog on matate (large ceramic tile) K. add water and mix until "squishy" - extra water will be absorbed as clay ages L. cover & let set until needed - aging improves plasticity 4. design and build mug M. have an understand the beginning of ceramic production in America N. view examples of ancient American pottery specifically from the Southwest O. focus on the different mug forms produce only by the pueblos of Mesa Verde 12

5 P. choose a form to replicate Q. follow demonstrations from forming mug using the coil and pinch method R. use shard from the Ceramics Typology Kit from the Anasazi Heritage Center, Cortez, CO to help understand form thickness and finish S. Handles; 1. Riveting for strength 2. Proportions of handle to mug; what is it used for? 5. decorate mug T. view examples from resources to choose a best suited for your mug; books, poster, CD 1. consider balance up and down, 2. repetition beginning and end, 3. unity through balance of white and black areas, 4. variety with addition of hatched lines, U. record possible plans these in notebook V. apply white slip when mug is leather hard W. lightly burnish using polished stone when slip will allow X. final burnish when bone dry using polished stone and rag Y. layout design using charcoal Z. paint design using liner brush and black slip AA. allow to dry 1 week before kiln firing at cone 2 or 1100 degrees 6. reflect on your work and the work of others BB. Is it waterproof? Why or why not? CC. Whole class: Successes and failures investigated 1. forming techniques 2. design DD. Personal Reflection; How might your work improve? 1. forming techniques 2. design MATERIALS AND RESOURCES per Class: shovel, squirt bottle filled with water, 5# commercial grog, Power Point with images, books, poster, CD or overhead projector, examples of historic pottery, 12 gallon commercial white slip, 4 hakes, 1 qt. black slip, electric kiln, Ceramics Typology kit borrowed from the BLM Anasazi Heritage Center, Dolores, CO per Student: half-gallon plastic container with lid, tape & maker to label, excavated clay, large ceramic tile and creek rock, container of ground clay, large ceramic tile, water, small ceramic tile to work on, ribs, polished stone, small rag, charcoal stick, liner brush, small container for slip, paper and pencil REFERENCES Ancient Culture through Pottery workbook, June 2009, Gregory Wood Messages from the High Desert; The Art, Archaeology and Renaissance of Mesa Verde Pottery, Clint Swink, Redtail Press, 2004 American Indian Pottery, 2 nd Edition, John W. Barry, Books Americana, 1984 The Chappell Collection, Nancy Olsen, Anasazi Historical Society,

6 World Atlatl Magazine: More News From the Archaic Kitchen: The Roots of Ceramic Technology in North America, 1998, Southeastern Prehistory; Woodland Period, Super-Refined Terra Sigillata, 2007, 14