Sketchbook/Log/List of projects for ceramics 1.

 This list may changed or be added to at the discretion of the instructor and should be considered a minimum requirement in order pass this class.

Your Sketchbook/Journal/Log should contain:

 1.      Several drawings and photos of your personal ideas or solutions for each project.

2.      A minimum of 5 images (photos, Search the internet or library) of similar items (same technique) and 5 images of historical references relating to each lesson.

Complete drawings of each planned project and a finished drawing and photos of the completed project will be done.

Hand Built forms

1.        5 pinch pots - 2 tall and 2 wide.  and pinch pot covered vessel (examples)

2.        practice coil pot and 1 larger sculpturally coiled piece 10” minimum

3.        practice soft slab and 1 larger decorated form 10”high minimum

4.        2 Hard slab projects – 4 tiles and a scrafitto decorated covered box.

5.        Glaze formulation lesson 

Wheel thrown forms

1.    5 cut cylinders (these will not be fired)

2.    5 cut bowl forms (these will not be fired)

3.    3 – 4” high  cups with pulled handles

4.    3 bowls 8” diameter minimum

5.    A bottle form?

6.    Covered form?

7.    Students will also participate in making clay for use in the studio.

Generally 2 different students (list) each week will make 1 or 2 loads of clay using the mixer.

 Total 19 pieces – minimum.

BRIDGEWATER STATE COLLEGE

ADVANCED SYLLABUS, FALL 2008

INSTRUCTOR - RON MELLO

CERAMICS 2 AND ADV: REQUIRED TEXT FOR THIS YEAR IS:

"THE CRAFT AND ART OF CLAY” AVAILABLE AT THE CAMPUS BOOKSTORE.  or on line  see page 2

The following calendar is flexible and may be changed or altered.

BRING YOUR SKETCHBOOKS TO ALL CLASSES. TAKE NOTES AND SKETCHES DURING ALL PRESENTATIONS.  ASSIGNMENTS INCLUDING PAPERS: TO BE ANNOUNCED.

ABSENCES:

All absences will result in a potential drop in grade.

CLASS TIME:

Class starts at 5:30PM, BE PROMPT.  Cleanup begins at 9:15PM and class ends at 9:50PM

You are required to remain for the entire time.

STUDIO CARE:

Each student will be responsible for cleaning his or her own area after use and assisting in general studio upkeep.

MATERIALS NEEDED:

Your studio fee 100  to 150 lbs of clay and a set of clay tools. You are encouraged to create your own tools (will explain)

STUDIO USE:

The ceramic studio is open for your use 24 hours a day, except when another ceramics class is scheduled.  If you work in the sculpture studio during a ceramics class you should obtain permission from the ceramics instructor and work quietly.  You are

EXPECTED to spend several hours a week minimum in the ceramics studio IN ADDITION to scheduled classes. 

You are to make use of this time to build skills and complete assignments.

PROCEDURE AND SAFETY RULES:

 *No radio or cd players!     *Breaks are to be short!                      Use eye protection when appropriate (kiln peeping, etc.)

Activities that produce dust should be avoided                                 Use dust masks where required, Mixing glazes, etc.

Glaze chemicals must be handled according to instruction.                Clay use is restricted to the clay/sculpture studio area

GLAZES

            One might well ask why two or three recipes for glazes, once they had been found to be effective, would not do for all pottery making. To the uninitiated, it would certainly seem that potters are too preoccupied with the matter of glaze composition. Actually, however, there is a real need for a great variety of glaze compositions. For one thing, pottery is fired over a wide range of temperature, the lowest-fired wares are heated to about 1200 degrees and the highest are fired to about 2500 degrees. Obviously, the same glaze, which will melt at a low temperature, will become volatile or run off the pot at a higher temperature. In practice, any one-glaze composition is useful for a temperature range of at most, about 30 degrees. For this reason various recipes are required for each range of temperature. Another reason for numerous glaze compositions is the demand for a variety of surface qualities. Glazes may be bright or dull, opaque or transparent, shiny or mat, thick or thin, and all the gradations in between. All these surface qualities result from varying the content of the glaze. Coloring glazes results from the addition of small amounts of coloring oxides to the glaze. Various glaze compositions, however, strongly influence the resultant colors. The make-up of the glaze itself must be controlled if certain desired colors are to be obtained.

 HIGH - FIRED GLAZES

             In general, high-fired glazes have the advantages of being very hard, durable, and resistant to acids and to decay, and if they are properly compounded and fired, they may be free from defects such as crazing and irregularities of surface. Besides these practical advantages, high-fired glazes have a sensuous appeal because of their dense hard surface and their characteristic soft muted colors.  They appear to be and in fact are more a part of the piece, more related to the clay of the pot, than do glazes matured at lower temperatures.

 APPLICABLE TEXTS

 At this time, the required text for Advanced levels is "THE CRAFT AND ART OF CLAY" by  PETERSON.  A very complete guides to beginning as well as more advanced ceramic arts. AVAIABLE AT THE CAMPUS BOOKSTORE.

 OPTIONAL

If you do not already own it I would like to recommend the book "The Complete Potters Companion" by Tony Birks, Bullfinch Press rev. 1993, ISBN 0-8212-2014-4 as a very complete guides to beginning as well as more advanced pottery making.

            Among other texts used in the ceramics studio at this time are: Clay and Glazes for the Potter by Daniel Rhodes, Chilton Press, and the Potters Complete Book of Clay and Glazes by James Chappell, Watson-Guptill.  There are several other informative texts available either in the studio or in the main office. A good source of information, supplies and books is on the net:  Amazon. COM, as well as: "The Potters Shop" 31 Thorpe Road, Needham Heights, Ma. 02194. Telephone: 1-617-449-7687, and Portland Pottery, 87 Messina Drive, Braintree, Ma, 02184. Telephone: 1-617-848-2772.

The Maxwell library has a very good collection of books relation to the ceramic arts     

LINE BLEND GLAZE TEST LESSON    

CERAMICS 2 AND ADVANCED

INSTRUCTOR - RON MELLO

GLAZE LESSON -- LINE BLEND SHOULD BE COMPLETED by Nov 6.  (Revised August 4, 1997.)

CHOOSE A CONE 9 BASE GLAZE RECIPE FROM STUDIO BOOKS OR PERIODICALS.

MAKE 49 TILES FOR TESTING, DRY AND BISQUE FIRE, OBTAIN 15 SMALL CUPS (about 8 0z) WITH COVERS.

1.             Mix and weigh at least 1600 grams of base glaze. Take care to eliminate any colorants or opacifiers.

                Carefully dry-mix the glaze.

                KEEP DUST LEVELS AS LOW AS POSSIBLE.

2.             Label 14 individual cups for which you should have covers as follows: A,B,C,D,E,F,G,  and 1,2,3,4,5,6,7.

                Weigh out 100 gram units and place  

                into each of the 14 cups.

3.             Add to the cups the following colorants:

                A: none

                B: add 12 grams red iron oxide.

                C: add 1-gram cobalt oxide, carbonate, or sulfate. (Oxide is strongest).

                D: add 12 grams vanadium stain.

                E: add 8 grams copper oxide or carbonate (oxide is strongest).

                F: add 12 grams powdered manganese dioxide.

                G: add 16 grams superpax or other Opacifier.

                1. None

                2. Add 4 grams red iron oxide.

                3. Add .25 gram cobalt oxide, carbonate or sulfate. (Oxide is strongest).

                4. Add 4 grams vanadium stain.

                5. Add 4 grams copper oxide or carbonate.

                6. Add 4 grams powdered manganese dioxide.

                7. Add 10 grams superpax or other Opacifier.

COVER EACH CUP TIGHTLY AND SHAKE WELL TO MIX.

4.             Into a clean container weigh 5 grams of mix from cup 1. Next, add 5 grams from cup A.        

                Mix with enough water to this mixture to form a creamy consistency. Brush or dip on tile 1.

IMPORTANT……KEEP YOUR GLAZE APPLICATION CONSISTENT FROM TILE TO TILE.

                Clean the container and repeat this procedure with the remaining cups 1 with B THRU G.

                This procedure continues with remaining cups 2 with A through G, 3 with A through G, etc.

5.             MAKE SURE THE TILES ARE NUMBERED ON THE BACK AND THAT THEY CARRY YOUR NAME OR INITIALS. 

                IRON  OXIDE WASH   IS GOOD FOR THIS. This test results in 49 test pieces.

6.             Teams of 2 students may do line blend lessons.

COLORANTS LIST

1.             RED IRON OXIDE                                               (FE)         (RED BROWN)

2.             COBALT OXIDE OR CARBONATE                            (CO)        (BLUE)

3.             VANADIUM STAIN                                               (V)           (YELLOW)

4.             COPPER CARBONATE                                          (CU)        (GREEN)

5.             MANGANESE DIOXIDE                                        (MN)      (BROWNISH PURPLE)

6.             SUPERPAX                                                         (S)           (OPACIFIER)

 GLAZE COMPOUNDS AND FUNCTION LIST

I learned this line blend from my friend and mentor Prof John Heller at Bridgewater in 1986

John Heller

RAKU 

Raku, a rapid spontaneous method of glazing and firing was invented in Japan in the 16th century. The word "Raku" means "felicity or happiness". In Raku firing, bisque-fired ware is removed from the kiln when the piece itself becomes red-hot and the glaze melts. The piece is then immersed in combustible materials such as wood chips, dry leaves, etc. The resulting oxygen reduction atmosphere turns the unglazed clay black. The pot is then removed and plunged into cold water. In order to withstand the thermal shock of this rapid heating and cooling process, sand or grog is mixed with the clay making it very porous, delicate and unsuitable for liquids or food. The pieces created from this process are strictly aesthetic statements. Although traditional Raku glazes are soft and subdued, contemporary Raku uses glazes in a wide color range, including metallic luster.

INFORMATION FOR ART MAJORS

 

                  ”If you have not done so by now, you need to begin transforming your attitude from one of an art student working on assignment projects to one of an artist engaged in a life-long process of development. Such a person works long hours independently because motivation is internal rather than created by external pressures, whether it be from professors, assignments or peers. Such a person also seeks inspiration and perspective through other people's work as well as reading other relevant intellectual material. This includes independently seeing and evaluating exhibitions, reading the current journals, seeking art-related discussions, and having critiques with peers. Finally, a serious young artist lives in a state of focus in which he or she is preoccupied with incorporating intense feelings, thoughts and visions into works of art. In other words, your authenticity as an artist will be evident by your very being as reflected in your work, not your grades or your art talk”

 “You need to begin keeping a journal of ideas and sketches for further work. It is a good idea to frequently write short "artist statements" as your ideas.  For many of you the original body-of-work kind of folio makes sense if you plan to go on to graduate school or seek exhibitions. This is simply because showing your ability to focus artistically and intellectually is expected in the discipline of fine arts. For others, a "sampler" folio exhibiting a range of competencies may be appropriate, especially if you are not sure of a specific direction and do not intend to go on to graduate school right away and instead will be seeking some applied art career, such as graphics, illustration, design, interior design, etc. A third option is a folio aimed at a particular applied field, such as commercial photography, graphic design, etc.. It is important that you understand the ramifications of this decision. A "sampler" folio will not help you get into graduate school. A more narrow folio aimed at a particular applied field may work as intended, but will likely not serve other ambitions. The body-of-work folio may not help seeking jobs that require breadth. You choose. We will be able to help you to the extent you are clear about this fundamental question.”
 
 
”You should plan to produce much more work than you will actually show so that you can choose among your best pieces rather than using everything you have. Normally an undergraduate thesis project should have no fewer than six or eight major pieces, with several more drawings, maquettes or smaller works. It is not uncommon for exceptional seniors to produce enough work to fill an entire gallery. There is no precise number of pieces required; however, the work should be adequate to display your technical ability and thesis ideas clearly. Visualize the appearance of your exhibition often, including the method of presentation.”

  “As you know by now, to be an excellent young artist--to have passed psychologically from being an art student to being a self-motivated and self-structuring artist--requires intense commitment and dedication. Your senior year will be especially significant in that you will be passing into an arena in which you will be expected to be more responsible, independent and self-motivated than ever before. It will require a great deal of you, and in the end it will be an important proof of your mettle and an opportunity to demonstrate your character and strength.”

This very relevant information is quoted from Prof. Nils Lou in his letter to art majors, Linfield Univ.

ASSIGNMENTS  -  ALL LEVELS, THESE MAY CHANGE AT ANY TIME

Ceramics 2 assignments

This list may changed or be added to at the discretion of the instructor

In addition to individual proposals, the following projects are due:

1.     Covered jar or teapot, lots of texture and decoration wheel thrown and hand built

2.     12” minimum decorated platter wheel thrown. etc.

3.     Set of nesting bowls (3 or 4) wheel thrown or hand built.

4.     10” high minimum wheel thrown decorated and or altered cylinder.

5.     20 cups minimum (matching sets of 2) 10 w/handles and 10 without

6.     Sculpture or sculptural vessel, theme: organic - wheel thrown and or hand build.

7.     Larger two piece vessel/sculpture 20” minimum, theme: architectural

8.     Scrafitto piece vessel or sculpture 10” minimum. theme: landscape

Please be aware that this list is a  minimum requirement.  Additional work to correspond with your proposal and direction are expected.  

Make me aware of your direction and progress and what you want to accomplish.

 Demonstrations and information on each project will take place as needed.