Lesson Pan #17 MI CASA ES TU CASA Creating Sma, Animated Houses by Caroina Pedraza There s no pace ike home! For centuries, the idea of home has been a source of inspiration for numerous artists. The most basic definition for house is that of a buiding in which peope ive. But, isn t it more than that? The andscape around the structure can sometimes fee as much as home as being inside it. Whether you ive in an apartment in the city, or in a house in the suburbs, a house by the beach or a farm in the countryside, your home can be more than just a sheter. It can be a refection of yoursef, created from your own imagination. The Chinese Western Han Dynasty (206 B.C.-25 A.D.) were so connected to their houses, that they created tomb offerings that were cay modes of their tempes and houses, incuding the animas and furnishings that were in them. It was their way of taking a piece of their everyday ife with them in the afterife. In this esson, students wi earn to create houses out of cay and use the was to iustrate the word in which their house exists. House was created with AMACO Versa Cay No. 20, then decorated with AMACO Teacher s Paette gazes.
Lesson Pan Goas and Objectives Students wi earn to make animated houses. Students wi earn to incorporate aesthetics, iustration, symboism and persona expression. Students wi earn ceramic sab buiding techniques, as we as compositiona eements essentia for drawing on a threedimensiona object. Nationa Visua Art and Core Standards Students wi: Generate and conceptuaize artistic ideas and work. Organize and deveop artistic ideas and work. Refine and compete artistic work. Deveop and refine artistic techniques and work for presentation. Convey meaning through the presentation of artistic work. Perceive and anayze artistic work. Interpret intent and meaning in artistic work. Synthesize and reate knowedge and persona experiences to make art. Reate artistic ideas and works with societa, cutura and historica context to deepen understanding. House created with AMACO Terra Cotta Stoneware Cay No. 77, then decorated with AMACO Vevet undergazes. Toos & Materias AMACO Mid/High Fire Terra Cotta Stoneware Cay No. 77 (45143N) or Low Fire Versa Cay No. 20 (45030R) AMACO Undergazes LUG Liquid Undergazes (various coors) V Vevet Undergazes (various coors) AMACO Low Fire Gazes Teacher s Choice Gazes Teacher s Paette Gazes AMACO Wax Resist (41382A) AMACO Hardwood Roing Pin (11196M) or brent Sab Roer AMACO Hardwood Thickness Strips (11190F) AMACO Fetting Knife (11192H) AMACO Scoring Too (11199R) AMACO Wooden Toos AMACO Carving Toos AMACO Gaze Brushes 24" x 24" Canvas Poster board, cardstock or newspaper and soft pencis Sma containers for sip and water Pastic bags Scissors
Background Preparation The student shoud research the history of architecture and the significance and variety of dweings. The student can research the use of the house as a symbo in scupture, painting, drawing and ceramics. Artists whose work coud be presented are: Robert Arneson, Christine Federighi, Han Dynasty tomb figures, Jack Ear, David Stabey, Jan Richardson, Jennifer Bartett and Joe Shapiro, among others. The student coud aso research the use of humor and cartoon-ike iustration in the fine arts showing artists such as Roy Lichtenstein, Caes Odenburg, Keith Haring, Stuart Davis and Red Grooms. The teacher shoud expain to students how to compose imagery on a three-dimensiona surface, as opposed to compositions on a fat surface (i.e. a piece of paper or canvas). The imagery shoud wrap around the piece, instead of students focusing on each pane (or wa) of the house as separate. Concept and Tempate Construction 3. Use sab roer or roing pin with thickness strips to ro a sab of cay 1 /4" thick. 4. Pace tempates on cay sab and cut the cay. Fip the tempates over on another part of the sab and cut the cay for the back, second roof haf and other side of the house. Cut out a base for the house. 5. Layer cut sabs between severa sheets of newspaper, then wrap in pastic. Let sit over night on a fat surface. The newspaper wi aid in puing moisture from the cay, so the sabs wi be firmer for buiding the house. Cay shoud be soft enough to join but firm enough to stand up without support. 6. Miter the sides using a knife or beve cutter so the seams wi be invisibe. 1. Ask students to draw what kind of house structure they want to make. What wi be the shape of the front and back wa and what wi be the shape of the side wa? What does the rooftop ook ike? How many windows does the house have? Does the house have one or two doors? Is the house in the city, the countryside or by the ocean? Are the peope or animas that ive in it there or are they gone for now? 2. Foowing their sketch, have students draw the shape of their front wa and one side wa on poster board (card stock or newspaper). Houses shoud be no more than 8" ta or wide. Draw one side of the roof, then cut out a shapes from the poster board. 7. Score a edges which wi attach to each other.
8. Appy sip to both edges to be joined. 11. Smooth outside edges with a too or sponge. 9. Press together firmy. Continue constructing your house in this manner. 12. Attach the roof with the score and sip method. 10. As you buid, use a wood too to stitch the seams on the inside of the form and press a thin damp snake of cay into each seam. Smooth inside seams. 13. Roof can be textured before or after attaching to house. Photo shows roof being textured after being attached to house. TIP: When not working on the vesses, cover oosey with pastic.
Gazing 14. Once structure is compete, cut out windows and doors. Doors can be made from the cay cut out and reattached. Aow to dry sowy unti bone-dry, then bisque fire to Cone 04. 16. When the piece is fired and cooed, have students draw their setting onto the bisque. Appy 3 coats of gaze or undergaze to resembe the setting of your house. Vevet undergazes and Teacher s Paette gazes are formuated to be stabe and mimic their fired resut, this makes them an exceent choice for iustrative work. 15. Have students draw a setting where their house exists. The setting can be the city, sky, beach, outer space or even the inside of the house. Encourage students to think with humor and beyond traditiona ideas. Remind them to continue the image a the way around the house. 17. Structura eements that don't have imagery can be brushed with gazes appropriate to the effect the student wishes. For exampe, textura surfaces are enhanced with the LT (Textured Aigator) and ST (Stone Texture) gazes. Gaze fire to Cone 05.
Gossary 2-dimensiona: Images that are fat and can be described in terms of height and width. The images can represent the iusion of rea space and are viewed from the front. 3-dimensiona: Forms that have many sides and can be described in terms of depth, width and height. The forms actuay occupy rea space, and shoud be viewed a around. Bisque: Ungazed ceramic after the first firing. Composition: The organization of ine, vaue, coor, shape, and form within a work of art. Fire: To heat the cay in a kin at a very high temperature unti it is hard and it becomes ceramic. Gaze: A mixture of ceramic materias incuding cay, siica and fuxes that forms the protective and decorative coating on the surface of pottery when subjected to high temperatures in a kin. Scoring: Scratching the surface in preparation for joining. Scupture: A three-dimensiona work of art that is intended to be viewed from a sides. It can be made out of materias such as paster, stone, wood, meta, and cay. Sip: Cay mixed with water to a creamy consistency, often used to attach raw cay. Tempate: A pattern. Undergaze: A specia type of coor that is put on a ceramic piece before the gaze. It has no fux (gass former) in it so it stays where it is put when fired and is good for detai work. It is used for painting and decorating. Have advanced students add more detai as shown here in Barn Luminary by Jan Richardson, decorated with Vevet undergazes. For more esson pans ideas, visit amacoessonpans.com amaco.com (800) 374-1600 Teacher Support 8am-5pm EST M-F Reorder No. 11952J