I love ceramic sculpture and working with clay. I hope to share my ongoing investigation of how to convey ideas through three dimensional form with you this fall. Be prepared to have fun and to work hard!
Wednesday, August 11, 2010
Syllabus
Art 3764C
Fall, 2010 Tuesday and Thursday periods 8-10, room B-14
Instructor: Nan Smith, Professor UF Ceramics
Office: FAC B - 15, Hours 1:30-3 pm on Thursday and by appointment
Office Phone: 352. 273.3083
E-mail: nan@ufl.edu
Website: nansmith.com
Fall, 2010 Tuesday and Thursday periods 8-10, room B-14
Instructor: Nan Smith, Professor UF Ceramics
Office: FAC B - 15, Hours 1:30-3 pm on Thursday and by appointment
Office Phone: 352. 273.3083
E-mail: nan@ufl.edu
Website: nansmith.com
Course Description
This course provides an introduction to Ceramic Sculpture with a specific focus on hand building processes. Contemporary Ceramics is an expansive art form including pottery and vessel making, sculptural works and painted tile work. The options for working with fired clay are limitless and the technical subject matter complex.
This course presents projects which give the student experiences in developing ideas based on contemporary culture. Sculpture processes which are additive and subtractive, plaster mold making, plus pinch, coil building, and slab construction methods as applied to sculpting will be taught. Glaze lectures, an introduction to electric kiln firing and a technical introduction to the raw materials are also presented.
The class format will include image presentations and demonstrations of hand building and sculpture techniques. Class lectures will incorporate highlights from ceramic history along with many contemporary examples. The course will consist of three major projects and group "lab work"; loading, firing and unloading class kiln firings. You will have an average of six class periods to work on each assigned project.
This course presents projects which give the student experiences in developing ideas based on contemporary culture. Sculpture processes which are additive and subtractive, plaster mold making, plus pinch, coil building, and slab construction methods as applied to sculpting will be taught. Glaze lectures, an introduction to electric kiln firing and a technical introduction to the raw materials are also presented.
The class format will include image presentations and demonstrations of hand building and sculpture techniques. Class lectures will incorporate highlights from ceramic history along with many contemporary examples. The course will consist of three major projects and group "lab work"; loading, firing and unloading class kiln firings. You will have an average of six class periods to work on each assigned project.
Course Goals
1. The course is designed to teach ceramic sculpture techniques including the fundamentals of modeling, carving, coil, pinch, and slab building.
2. Students will be taught technical skills including: model making, the basics of plaster mold making, glaze testing and sculpture surfacing methods.
3. Students will explore diverse sculptural forms as a vehicle for concept.
4. The course will provide experiences in developing visual ideas and analysis of contemporary concepts.
5. The course present opportunities to analyze, discuss and critique ceramic sculpture.
2. Students will be taught technical skills including: model making, the basics of plaster mold making, glaze testing and sculpture surfacing methods.
3. Students will explore diverse sculptural forms as a vehicle for concept.
4. The course will provide experiences in developing visual ideas and analysis of contemporary concepts.
5. The course present opportunities to analyze, discuss and critique ceramic sculpture.
General Information
Course work will consist of 3 projects supported by assigned readings, web and library research.
Maquettes and sketches 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 personal ideas you wish to undertake for each of the projects. Course material is available for your ease and convenience on the course blog site: nansceramicsculpture@blogspot.com.
The projects for this class are conceptually based so that you can focus on a theme and find a artistic and individual solution the reflects your perspective. It is far easier to digest an idea and to consider your options over time rather than to decide overnight. This course is fast paced so please plan ahead!
Maquettes and sketches 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 personal ideas you wish to undertake for each of the projects. Course material is available for your ease and convenience on the course blog site: nansceramicsculpture@blogspot.com.
The projects for this class are conceptually based so that you can focus on a theme and find a artistic and individual solution the reflects your perspective. It is far easier to digest an idea and to consider your options over time rather than to decide overnight. This course is fast paced so please plan ahead!
Class Attendance
Attendance Policy:
Plan to arrive promptly at 3:00 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. 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. 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.
Ceramic Sculpture 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 and new options.
Plan to arrive promptly at 3:00 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. 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. 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.
Ceramic Sculpture 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 and new options.
Project #1
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“Nature: Observation and Sense Ability”
Visual References: Syd Carpenter, Sadashi Inuzuka, Keiske Mizuno, Susan Beiner, Bethany Krull, Liz Quackenbush, Juan Granados, Etsuko Tashima, Yumiko Goto, Claudi Casanovas, Angus Suttie, Kathy Butterly, Tony Marsh, Chris Gustin, Geo Lastomirsky, Gary Erikson, Ron Nagle, Tori Arpad, Kelley Eggert. and images from the book “Nature as Designer”, author Bertel Bager.
Assigned Reading:
“Postmodern Ceramics”, Chapter 5 – Organic Abstraction . On library reserve in FAA Library
"Hands in Clay", Speight, (Chapters 1, 11,13,14,15) : Intro, Handbuilding, Glaze, Firing)
Design; what subject matter, concept, aesthetic?
Video: Maria Martinez coil building techniques (available at FAA Library and can be shown in class upon request)
Assignment:
Create a sculpture that reflects your relationship to nature using a plant form, either vegetable or floral as a point of departure. Nature has an ongoing cycle of growth and decay. The sculpture should be generated by some personal observation of nature and a conceptual response to this natural occurrence. When you consider an idea you might think about your relationship to seasons; germination, growth, fullness, decline. The work is not to mimic nature or be a mere copy but should involve an idea about a specific occurrence in the natural world that has touched you. The final sculpture should be a fully 3 dimensional form designed to be viewed in the round. The form cannot be vessel oriented. The work can be narrative but should definitely interpret nature to convey a personal response to it. Think about simplifying forms, affecting a feeling of mass and implied weight. Surface, organic transitions and textures should be considered and incorporated into the form.
Technical Requirements:
Visual References: Syd Carpenter, Sadashi Inuzuka, Keiske Mizuno, Susan Beiner, Bethany Krull, Liz Quackenbush, Juan Granados, Etsuko Tashima, Yumiko Goto, Claudi Casanovas, Angus Suttie, Kathy Butterly, Tony Marsh, Chris Gustin, Geo Lastomirsky, Gary Erikson, Ron Nagle, Tori Arpad, Kelley Eggert. and images from the book “Nature as Designer”, author Bertel Bager.
Assigned Reading:
“Postmodern Ceramics”, Chapter 5 – Organic Abstraction . On library reserve in FAA Library
"Hands in Clay", Speight, (Chapters 1, 11,13,14,15) : Intro, Handbuilding, Glaze, Firing)
Design; what subject matter, concept, aesthetic?
Video: Maria Martinez coil building techniques (available at FAA Library and can be shown in class upon request)
Assignment:
Create a sculpture that reflects your relationship to nature using a plant form, either vegetable or floral as a point of departure. Nature has an ongoing cycle of growth and decay. The sculpture should be generated by some personal observation of nature and a conceptual response to this natural occurrence. When you consider an idea you might think about your relationship to seasons; germination, growth, fullness, decline. The work is not to mimic nature or be a mere copy but should involve an idea about a specific occurrence in the natural world that has touched you. The final sculpture should be a fully 3 dimensional form designed to be viewed in the round. The form cannot be vessel oriented. The work can be narrative but should definitely interpret nature to convey a personal response to it. Think about simplifying forms, affecting a feeling of mass and implied weight. Surface, organic transitions and textures should be considered and incorporated into the form.
Technical Requirements:
- Construction method – thick coil building and or stacked slab construction
- Size – the final sculpture must be 24 inches in one dimension
- The use of organic transition and surface texture must be considered
- 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.
- All sculptures are to be completed by glazing. Underglaze and colored slips can be used on leather hard or bisque clay for color as well as color glazes.
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)
You will be graded on:
- Size – the final sculpture must be 24 inches in one dimension
- The use of organic transition and surface texture must be considered
- 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.
- All sculptures are to be completed by glazing. Underglaze and colored slips can be used on leather hard or bisque clay for color as well as color glazes.
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)
You will be graded on:
Forming and craftsmanship
Success of the modeling
The successful relationship of the design and the concept (unity, color, and individuality in portraying your idea)
Successful use of color
Craft of glaze application
Completeness of presentation; hanging and mounting the final sculpture
Degree of difficulty vs. success
Success of the modeling
The successful relationship of the design and the concept (unity, color, and individuality in portraying your idea)
Successful use of color
Craft of glaze application
Completeness of presentation; hanging and mounting the final sculpture
Degree of difficulty vs. success
Project #2
“The Human Figure; re-create a memory”
Visual References –
o The Historical: Figurines of Meissen Porcelain and J.J. Kandler, Victor Schrenkengrost, Carl Walters, R. Guy Cowan.
o The Contemporary: Figurines of Justin Novak, Jack Earl, Patti Warashina, Doug Baldwin, Janis Mars Waunderlich, Katy Rush, Christina Cordova.
o The Mannequin and the work of Cindy Sherman, Sergio Vega, N’Sync (video).
Action Heroes and Max Becher.
o http://thefigurativeartbeat.com/
Visual References –
o The Historical: Figurines of Meissen Porcelain and J.J. Kandler, Victor Schrenkengrost, Carl Walters, R. Guy Cowan.
o The Contemporary: Figurines of Justin Novak, Jack Earl, Patti Warashina, Doug Baldwin, Janis Mars Waunderlich, Katy Rush, Christina Cordova.
o The Mannequin and the work of Cindy Sherman, Sergio Vega, N’Sync (video).
Action Heroes and Max Becher.
o http://thefigurativeartbeat.com/
Reading - “The Figure in Clay”; read to find your building technique and “Seeing with the Mind’s Eye’; Chapter 4, Varieties of Visualization Experience, authors Samuel and Samuels.
Project Statement:
Project Statement:
This assignment is to be based on your own personal history. The figurative sculpture should reference the memory of an important past event in your life (prior to this year). The event you choose is to have had formed your sense of identity. You are to use a human figure or part of the human body to focus on “the heightened moment” within this memory. Your concept is to take form as the key idea within this memory.
The sculpture you create is to be autobiographical in nature. The sculpture can be a physical self portrait. However, since the sculpture will be graded on content or the concept, to fulfill this project you must go beyond a physical portrait to incorporate a real memory and a sense of remembering. The sculpture can be based on an emotion, or it can be a psychological interpretation of your "self". You are to create a compelling image through a figurative sculpture that communicates this memory to the viewer. Use what you remember from your personal history as a springboard to arrive at ideas about how identity is created.
Type of Figuration:
The figure you sculpt is to relate to one of three traditions: (1) the ceramic figurine, (2) the mannequin, or (3) a pop culture action figure.
Additionally the figure or partial figure is to be placed within a context or setting that supports and illustrates the memory; i.e. Alice in Wonderland wouldn’t look small if the buildings around her weren’t big. The sculpture is to be between 20"- 30" in size. Consider issues of scale, relationships within the image, and point of view. You might think about how this idea would be framed through a camera lens or about how it would appear in a film or video.
Images presented will help you develop a personal perspective. The images will highlight sculptors who work with the figurine, the mannequin and action hero.
We will begin with an introductory discussion in class and a few memory exercises. To prepare for this discussion your required reading is: "Seeing With the Mind's Eye", authors Samuels and Samuels, Chapter 4, Varieties of Visualization Experiences. You might consider this assignment a step into becoming aware of methods to consciously visualize!
Who are you and what defines you? We will continue exploring the complexities of memory and perception by viewing of the film “Memento”. The entire film is a series of memories in reverse. Some thoughts... Often memories change. Memories are unique to the person who creates them. If two people experience the exact same thing, recollection will differ according to perspective. Your memory is unique to you and your identity, it is part of what makes you, you. ?????Two readings will be offered which will assist in defining or gaining a perspective on memory, visualization, and identity. The next step is to read the handouts and posted reading.
Process:
You are to begin this project with a series of sketches and with a maquette. During a group process critique direction will be given relating to the best process of execution. The process you choose may be coil, slab, pinch, solid/hollowed, utilize molds, or a combination of the above techniques. We will also discuss the proper scale for each sculpture. Should your sculptural idea take form as an intimate work or should it be larger to communicate the content?
When you plan your sculpture it is also suggested that you think about color. Is it to be a polychromed work, or monochromatic? Do you want to use local, naturalistic color, or is color to be used expressively to create emotional impact? Consider historic precedents within the figurine tradition, or use of color in mannequins, or action heroes. Color use is very different in each of these genres. We will discuss color, surface, and glaze in the process critique.
The use of the figure is very popular in contemporary Ceramic Sculpture. Numerous images of these contemporary works will be shown when the project is assigned to aid you in discovering the direction you would like to take. The artists of reference (listed above) and information about their ideas will be included in the slide presentation.
o You will be GRADED on:
Craft - modeling skill, handling of surfaces, handling of finish for instance edges
Design of 3D form -visual imaging/what is shown, figuration style, composition, scale
Concept – how well did you convey memory and identity
Design of 2D – success of color, surface, and any 2D use of imagery
Degree of Difficulty vs. Success – how challenging was your project and how well did you do with its execution
Project #3
"Modern lyric reliquary and visual metaphor"
Visual References:
o Images of Shelter > David Furman, Charles Simonds, William Wyman, Jens Morrison, Mel Rubin, Gifford Myers.
o Architectonic > Richard Burkett, Yih Wen Quo, Cliff Garten, Joseph Cornell, Peter Lonzo, Jack Nichelson, Rimas VisGirda, Ron Kovatch. Also Mika Negishi- Laidlaw, Steven Montgomery, Geoffrey Mongraine.
o Also look at shrines, furniture and architecture.
o Slides will be shown in class.
Video ‑ “Sacred Space; Art, Architecture, and the Role of the State”, 1998, Films for the Humanities and Sciences. (The Architecture section of this video is appropriate and may be shown in class if time allows it).
Overview:
Visual References:
o Images of Shelter > David Furman, Charles Simonds, William Wyman, Jens Morrison, Mel Rubin, Gifford Myers.
o Architectonic > Richard Burkett, Yih Wen Quo, Cliff Garten, Joseph Cornell, Peter Lonzo, Jack Nichelson, Rimas VisGirda, Ron Kovatch. Also Mika Negishi- Laidlaw, Steven Montgomery, Geoffrey Mongraine.
o Also look at shrines, furniture and architecture.
o Slides will be shown in class.
Video ‑ “Sacred Space; Art, Architecture, and the Role of the State”, 1998, Films for the Humanities and Sciences. (The Architecture section of this video is appropriate and may be shown in class if time allows it).
Overview:
A reliquary is a receptacle for display of sacred relics. A relic is an object of religious veneration; especially an object from a culture gone. This special object is now kept for its association with the past.
The reliquary is made in an effort to honor, to worship, to remember, to make special and/or to cherish. The reliquaries form and function relate directly to the object and context (time and place) in which it was created.
A metaphor occurs when one thing is conceived as representing another. A visual example of this type of symbolic meaning or association is: an owl representing knowledge, or a snake, the idea of temptation.
The Assignment:
You are to research and select modern song lyrics which have meaning for you. The song’s lyrics will be the so called “relic” in this project. They will be the idea for which you build a reliquary. Your visual design, tone and its form and content will be driven by the content, tone and meaning expressed by the lyrics. Your sculpture is being made to honor, to worship, to make special, to cherish. You will not be restating the lyrics through illustration or narration, but will be using symbols metaphorically to communicate mood. You will be presenting the musical selection that the lyrics derive from during the discussion of your maquette and at the critique of this project.
Form:
Your reliquary will relate in form type to architecture or furniture. Visual examples of furniture, architecture and reliquaries will be shown in class. However, individual research is required and I suggest you do searches to find images more closely related to your idea after the image presentation. You are to create an object that functions in the round and deals with an interior as well as an exterior form. The 3D form you make cannot be a simple vessel. It must represent the idea of display as well as containment and protection. Lyrics are not physical. How do you contain an idea created by word and sound in a defined space; a reliquary?
Construction Method:
Construction Method:
The building techniques you choose should be appropriate to the form you wish to create. Construction techniques can include slab and/or coil building, bisque molds, and tile veneer. The application of these techniques to constructing large planar forms will be demonstrated in class. You are required to make a simple one piece mold of an architectural detail to be used in this sculpture. The size requirement for this project is to scale the reliquary at 2 feet in at least one direction.
You will be graded on:
Craft - control of form, edge treatment and refinement, surface quality and appropriate continuity
Design of Form - unity, proportion, resolution, dimensionality, activity in space
Concept - depth and research of idea, appropriate solution to assignment, metaphorical and not illustrative solution
Design of 2D – success of color, surface, and any 2D use of imagery
Plaster mold – craftsmanship and use within sculpture
Degree of Difficulty vs. Success – how challenging was your project and how well did you do with its execution
Evaluation
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 three sculptures 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.
Late Work:
All projects must be completed on time to receive full credit. Specific due dates are stated on the class calendar posted in the classroom and on the class blog. Failure to complete any project on time will result in a drop of one full letter grade
The ceramic process requires that green ware be completely fabricated and detailed, then dried foran average of 7 – 10 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.
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. Full participation by showing completed work during all critiques is required along with active participation through shared ideas and commentary.
A semester grade of incomplete will not be given for late work unless there is an excused absence involved. To be approved for an incomplete:
1. Students must have completed the major portion of the class with a passing grade of C or better.
2. The student is unable to complete course requirements because of documented circumstances beyond his or her
control.
3. The student and instructor have discussed the situation prior to the final critique (except under emergency
conditions).
4. The student will fill out the College of Fine Arts incomplete grade contract, which will be signed by the instructor
and the chair and will detail the work to be completed and the date by which this must be done .
Grades
75%
3 studio projects (including research, preparatory sketches and maquettes (25 % ea)
5%
Glaze testing requirement (5%)
10%
Participation in group critiques and an evaluation of your ability to critically analyze and state ideas about visual art.
10%
Participation in kiln firings and an evaluation of your skills in this technical area.
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
Minus Grades were instituted on campus during Summer A 2009. For more information:
http://www.isis.ufl.edu/minusgrades.html.
Grade Values for Conversion May 11, 2009 and After
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
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 three sculptures 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.
Late Work:
All projects must be completed on time to receive full credit. Specific due dates are stated on the class calendar posted in the classroom and on the class blog. Failure to complete any project on time will result in a drop of one full letter grade
The ceramic process requires that green ware be completely fabricated and detailed, then dried foran average of 7 – 10 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.
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. Full participation by showing completed work during all critiques is required along with active participation through shared ideas and commentary.
A semester grade of incomplete will not be given for late work unless there is an excused absence involved. To be approved for an incomplete:
1. Students must have completed the major portion of the class with a passing grade of C or better.
2. The student is unable to complete course requirements because of documented circumstances beyond his or her
control.
3. The student and instructor have discussed the situation prior to the final critique (except under emergency
conditions).
4. The student will fill out the College of Fine Arts incomplete grade contract, which will be signed by the instructor
and the chair and will detail the work to be completed and the date by which this must be done .
Grades
75%
3 studio projects (including research, preparatory sketches and maquettes (25 % ea)
5%
Glaze testing requirement (5%)
10%
Participation in group critiques and an evaluation of your ability to critically analyze and state ideas about visual art.
10%
Participation in kiln firings and an evaluation of your skills in this technical area.
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
Minus Grades were instituted on campus during Summer A 2009. For more information:
http://www.isis.ufl.edu/minusgrades.html.
Grade Values for Conversion May 11, 2009 and After
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
Responsibilities
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.
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.
Library Resources
Technical and Historical Books and Videos–
"Sculpting Clay", By Leon Nigrosh, "Images in Clay Sculpture", by Charolette F. Speight, "Sculptural Ceramics", by Ian Gregory, "Plaster Mold and Model Making", by Charles Chaney and Stanley Skee, "Moldmaking", by Donald Frith, "PaperClay for Ceramic Sculptors; Studio Companion", by Rosette Gault, U.S. Gypsum Industrial Plasters & Gypsum Cements", "An Atlas of Anatomy For Artists", by Fritz Schider, "Low-fire Ceramics", by Susan Wechsler, and "Modelling the Head in Clay", by Bruno Lucchesi, and "Modelling the Figure in Clay", also by Lucchesi.
Two videotapes 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/
"Sculpting Clay", By Leon Nigrosh, "Images in Clay Sculpture", by Charolette F. Speight, "Sculptural Ceramics", by Ian Gregory, "Plaster Mold and Model Making", by Charles Chaney and Stanley Skee, "Moldmaking", by Donald Frith, "PaperClay for Ceramic Sculptors; Studio Companion", by Rosette Gault, U.S. Gypsum Industrial Plasters & Gypsum Cements", "An Atlas of Anatomy For Artists", by Fritz Schider, "Low-fire Ceramics", by Susan Wechsler, and "Modelling the Head in Clay", by Bruno Lucchesi, and "Modelling the Figure in Clay", also by Lucchesi.
Two videotapes 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/
Reading Materials
Textbooks:
(1) “Postmodern Ceramics”, author Mark DelVecchio, Thames and Hudson, New York, NY, 2001, ISBN:0-500-23787-5, Optional. On reserve in Fine Arts and Architecture Library. Reading required for first project: Chapter 5 – Organic Abstraction
(2) "The Figure in Clay: Contemporary Sculpting Techniques by Master Artists”, Suzanne Tourtillott editor, Lark Books, available at the bookstore. Required. (On reserve at the Fine Arts and Architecture Library.)
(3) "Hands in Clay", Charlotte Speight will be used for technical readings. Required. (is available at the bookstore and on reserve at the Fine Arts and Architecture Library. Specific readings will be required for some projects to aid you with concept development.)
(4) “Plaster Mold and Model Making”, Chaney and Skee (will be used for mold making this semester and next semester. It is suggested that you purchase this technical reference so that you will have it for all mold making projects for Art 3764C and Art 3768C. It is available as a used book on-line and on reserve at the Fine Arts and Architecture Library.)
Other references specific to this course:
“The Ceramic Narrative”, author Matthias Ostermann, A&C Black Publishers Ltd., London, 2006
(A good image and conceptual resource)
“Fingerprints of the Artist: European Terra-Cotta Sculpture from the Arthur M. Sackler Collections", Harvard U. Press, 1981. ISBN 0-674-30202-8 (A good resource which pictures historical examples of ceramic figure sculpture)
"From the Sculptor's Hand: Italian Terracottas From the State Hermitage Museum", (Art Institute of Chicago) University of Washington Press, 1998. (A good resource which pictures historical examples of ceramic figure sculpture)
“The Sculptural Idea”, author James J. Kelly, Burgess Publishing company, Minneapolis, Minnesota, Second Edition,, 1974, SBN: 8087-1112-1.(An overview of modern sculptural ideas and considerations including describing form types and materials usage. I have this book in my office. It is part of my personal library.)
“Ceramic Sculpture: Parameters and Contemporary Issues”: (Course packet used in my sculpture classes in the past to offer readings about artists presented in image lectures. Avaialble at Target Copy upon request – not required.)
(1) “Postmodern Ceramics”, author Mark DelVecchio, Thames and Hudson, New York, NY, 2001, ISBN:0-500-23787-5, Optional. On reserve in Fine Arts and Architecture Library. Reading required for first project: Chapter 5 – Organic Abstraction
(2) "The Figure in Clay: Contemporary Sculpting Techniques by Master Artists”, Suzanne Tourtillott editor, Lark Books, available at the bookstore. Required. (On reserve at the Fine Arts and Architecture Library.)
(3) "Hands in Clay", Charlotte Speight will be used for technical readings. Required. (is available at the bookstore and on reserve at the Fine Arts and Architecture Library. Specific readings will be required for some projects to aid you with concept development.)
(4) “Plaster Mold and Model Making”, Chaney and Skee (will be used for mold making this semester and next semester. It is suggested that you purchase this technical reference so that you will have it for all mold making projects for Art 3764C and Art 3768C. It is available as a used book on-line and on reserve at the Fine Arts and Architecture Library.)
Other references specific to this course:
“The Ceramic Narrative”, author Matthias Ostermann, A&C Black Publishers Ltd., London, 2006
(A good image and conceptual resource)
“Fingerprints of the Artist: European Terra-Cotta Sculpture from the Arthur M. Sackler Collections", Harvard U. Press, 1981. ISBN 0-674-30202-8 (A good resource which pictures historical examples of ceramic figure sculpture)
"From the Sculptor's Hand: Italian Terracottas From the State Hermitage Museum", (Art Institute of Chicago) University of Washington Press, 1998. (A good resource which pictures historical examples of ceramic figure sculpture)
“The Sculptural Idea”, author James J. Kelly, Burgess Publishing company, Minneapolis, Minnesota, Second Edition,, 1974, SBN: 8087-1112-1.(An overview of modern sculptural ideas and considerations including describing form types and materials usage. I have this book in my office. It is part of my personal library.)
“Ceramic Sculpture: Parameters and Contemporary Issues”: (Course packet used in my sculpture classes in the past to offer readings about artists presented in image lectures. Avaialble at Target Copy upon request – not required.)
Our Studio
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.
Please leave the studio clean. Regardless of the condition you find it in, you are requested to leave it clean for the next person. 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.
Please leave the studio clean. Regardless of the condition you find it in, you are requested to leave it clean for the next person. 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.
Supplies
Clay and Glaze Materials:
The clays we are using in this course can be purchased through UF Ceramics by paying for tickets at the UF Bookstore. Resolute Terra Cotta is $9.25 for 25 lbs (one ticket)., Nan’s Sculpture Clay is $9.25 for 25 lbs. (one ticket). Glaze materials including, slips, wax resist, stains, patinas and pyrometric costs are covered by one materials fee. The payment of this one time materials fee is to be made during the first week of classes at the UF Bookstore. The plaster and other mold making materials (algi-safe, if used) are sold separately and can 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.
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:
Algi-safe ($12.38/ 1lb.from Your Clay Store),
Moulding plaster ($.51/ 1lb. from Your Clay Store),
Amaco Underglazes – Creative Ceramics in Ocala, website: creativeceramics@embarqmail.com or 352-237-3562
Duncan or Mayco Underglazes, vintage decals – Frazier Ceramics in Gainsville, 372-1506
The clays we are using in this course can be purchased through UF Ceramics by paying for tickets at the UF Bookstore. Resolute Terra Cotta is $9.25 for 25 lbs (one ticket)., Nan’s Sculpture Clay is $9.25 for 25 lbs. (one ticket). Glaze materials including, slips, wax resist, stains, patinas and pyrometric costs are covered by one materials fee. The payment of this one time materials fee is to be made during the first week of classes at the UF Bookstore. The plaster and other mold making materials (algi-safe, if used) are sold separately and can 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.
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:
Algi-safe ($12.38/ 1lb.from Your Clay Store),
Moulding plaster ($.51/ 1lb. from Your Clay Store),
Amaco Underglazes – Creative Ceramics in Ocala, website: creativeceramics@embarqmail.com or 352-237-3562
Duncan or Mayco Underglazes, vintage decals – Frazier Ceramics in Gainsville, 372-1506
Information and Resources
University Policies:
Disabilities – “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.”
Classroom Demeanor – “Students in the School of Art and Art History will not be permitted to have beepers (pagers) and cell phones turned on in the classroom. If such a device beeps, chimes, rings, or makes any type noise, it must be turned off before entering the classroom”.
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 to and including expulsion from the university.”
Detailed academic honesty guidelines may be found at – http://www.aa.ufl.edu/aa/Rules/4017.htm
Disruptive Behavior – Faculty, students, administrative, and professional staff members, and other employees (herein referred to as “member(s” of the university), 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 conduct may be found at: http;//www.aa.ufl.edu/aa/Rules/1008.htm. Be advised that a student can and will be dismissed from class if he/she engages in disruptive behavior.
Critical Dates on the university calendar may be viewed at –
http://www.reg.ufl.edu/dates-critical.html
University counseling services-
1. University Counseling Center, 301 Peabody Hall, 392-1575, personal counseling
2. Student Mental Health, Student Mental Health Care, 392-1171, personal counseling
3. Sexual Assault Recovery Services (SARS), Student Health Care Center, 392-1161, sexual assault counseling
4. Career Resources Center, Reitz Union, 392-1601, career development assistance and counseling.
Disabilities – “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.”
Classroom Demeanor – “Students in the School of Art and Art History will not be permitted to have beepers (pagers) and cell phones turned on in the classroom. If such a device beeps, chimes, rings, or makes any type noise, it must be turned off before entering the classroom”.
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 to and including expulsion from the university.”
Detailed academic honesty guidelines may be found at – http://www.aa.ufl.edu/aa/Rules/4017.htm
Disruptive Behavior – Faculty, students, administrative, and professional staff members, and other employees (herein referred to as “member(s” of the university), 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 conduct may be found at: http;//www.aa.ufl.edu/aa/Rules/1008.htm. Be advised that a student can and will be dismissed from class if he/she engages in disruptive behavior.
Critical Dates on the university calendar may be viewed at –
http://www.reg.ufl.edu/dates-critical.html
University counseling services-
1. University Counseling Center, 301 Peabody Hall, 392-1575, personal counseling
2. Student Mental Health, Student Mental Health Care, 392-1171, personal counseling
3. Sexual Assault Recovery Services (SARS), Student Health Care Center, 392-1161, sexual assault counseling
4. Career Resources Center, Reitz Union, 392-1601, career development assistance and counseling.
Health and Safety
We suggest you use an N-95 dust mask for dealing safely with dusty ceramic materials and using the spray booth. It is advisable to keep this in a zipped bag to keep it clean when not in use. We are currently under discussion with UF Environmental Health & Safety about details concerning student use of these safety devices, and any potential forms or costs they may mandate. We will keep you informed of any new information.
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.
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.
Course Calendar
August
Week 1
Monday August 23 Classes begin
Tuesday August 24 Intro and Course Overview (blog, image presentation of past projects, tools, books) Set Up Studio
Thursday August 26 Assign Project #1, Image Presentation, Demo
HOMEWORK: Drawings and Maquettes
HOMEWORK: read “Postmodern Ceramics”, Chapter 5
Week 2
Tuesday August 31 Maquettes and Sketches Due, Individual Critiques, Studio Day
HOMEWORK: Begin building Project #1
September
Thursday September 2 Workday, Individual Meetings
HOMEWORK: Continue Building
Week 3
Monday September 6 LABOR DAY– No Classes
Tuesday September 7 Demo: test tiles (Yixing mallet, slab roller), Workday
HOMEWORK: Make 50 test tiles for the semester’s glaze testing
Thursday September 9 Demo: glaze tests, Workday
HOMEWORK: Continue working, dry test tiles for bisque fire
Week 4
Tuesday September 14 Demo: kiln loading, cone packs, load test tiles (plan firing), Workday
HOMEWORK: Fire and unload kiln
Wednesday September 15 Firing team fire test tiles
Thursday September 16 Assign Project #2, Image Presentation, Conceptual discussions; see clips from the Film “Momento”, Firing Team unload test tiles (TBA)
HOMEWORK: Complete Project #1 for Critique
Week 5
Tuesday September 21 GROUP CRITIQUE FOR PROJECT #1
HOMEWORK: Drawings and Maquettes
Thursday September 23 Maquettes Due, Individual Critiques, Studio Day
HOMEWORK: Begin building
Week 6
Tuesday September 28 Studio Work Day; Individual Tutorials
HOMEWORK: Glaze Testing Project #1; Mix glazes/apply to test tiles
Thursday September 30 Workday, Tutorials, Load kiln for Bisque Project #1(fire tomorrow – set up firing team)
Friday October 1 Firing Team - Fire Bisque for Project #1
Sunday October 3 Firing Team – Unload Bisque for Project #1
October
Week 7
Tuesday October 5 Workday– do glaze tests on tiles, Set up to unload Bisque - Project #1
HOMEWORK: Continue working
Wednesday October 6-7 VISITING ARTIST WORKSHOP–Trey Hill Lecture and Demo (http://treyhill.com/home.html )
Attendance at the workshop demonstration and evening lecture is required for the course.
Thursday October 7 Workday
HOMEWORK: Continue working on Project #2
Week 8
Tuesday October 12 Workday, Load Glaze test kiln (fire tomorrow – set up firing team)
HOMEWORK: Continue working on Project #2
Wednesday October 13 Firing team fire Glaze test kiln
Thursday October 14 Unload Glaze test Kiln, Workday
HOMEWORK: Complete Project #2 for Critique
Friday October 15 HOMECOMING
Saturday October 16 HOMECOMING
Week 9 – Mid-term
Tuesday October 19 Assign Project #3, Image Presentation
Thursday October 21 GROUP CRITIQUE FOR PROJECT #2
Homework: Glaze Project #1 and work on maquettes
Load Glaze Kilns
HOMEWORK: complete maquettes
Friday October 22 Firing team Fire glaze kilns
Sunday October 24 Unload glaze kilns in morning… vacuum kilns and clean shelves (This will be done by the firing team)
Week 10
Tuesday October 26 Load Glaze for Project #1, Maquettes Due, Begin Individual Critiques
HOMEWORK: Begin building or evolve maquettes
Wednesday October 27 Firing team fire glaze kiln for Project #1
Thursday October 28 Continue Individual Tutorials
HOMEWORK: Continue working, unload kiln
Friday October 29 Firing team unload glaze fro Project #1
November
Week 11
Tuesday November 2 Workday, Individual tutorials, Hand in Project #1 for grading…
Homework: Continue working
Thursday November 4 Workday, Load bisque Project #2
HOMEWORK: Fire Kilns and continue working on Project #3
Friday November 5 Firing team Fire Bisque Kilns Project #2
Sunday November 7 Firing team Unload bisque kilns in the morning, vacuum kilns, clean kiln shelves
Week 12
Tuesday November 9 Workday
HOMEWORK: Get Project #3 almost complete
Thursday November 11 VETERAN’S DAY – No Class
HOMEWORK: Complete Project #3 for Critique on Tuesday
Week 13
Tuesday November 16 GROUP CRITIQUE FOR PROJECT #3
Last Day of Wet Work
Homework: color drawings and glaze tests for Projects #2 and #3.
Dry Project #3.
Thursday November 18 Individual Tutorials for color designs Project #2, Load Glaze Test tiles in kilns
HOMEWORK: Glaze Project #2 for Monday’s Kilns
Friday November 19 SAAH Art Bash – Open House
Saturday November 19 Firing Team Fire Glaze Test Kilns
Sunday November 20 Unload kilns, kiln wash shelves and clean kilns
Week 14
Tuesday November 23 Load Glaze Kilns for Project #2
Wednesday November 24 Fire Glaze Kilns
Thursday November 25 THANKSGIVING HOLIDAY – No Class (travel day)
Kilns will cool
Friday November 26 THANKSGIVING HOLIDAY- No Class
Kilns will cool
Saturday November 27 Firing Team Unload Glaze Kilns
Week 15
Monday November 29 Load Bisque Kilns for Project #3
Tuesday November 30 Fire Bisque Kiln Project #3 Individual Tutorials for color designs Project #3, Fire Glaze tests if needed/sign up for kilns
December
Wednesday December 1 Cool bisque kilns Project #3
Thursday December 2 Unload kilns – In class glaze day
Friday December 3 Load Final Class Glaze Kilns
Saturday December 4- Fire Final Class glaze Kilns
-Sunday December 5 Cool Final Class glaze kilns
Week 16
Monday December 6 Firing Team - Unload Final Glaze Kilns
Tuesday December 7 FINAL CRITIQUE (Bring all Projects)/ Last Day of Class
Clean up studio with Lunch
Wednesday December 9 Classes End
Thursday December 9 and Friday December 10 Reading Days
December 11, 13-17 Final Examinations
December 17-18 Commencement
Firing Sculpture
Electric Car Kiln firing Schedule for Large Sculpture
Steps to follow:
1. Place two cone packs into place inside kiln using a flash light to see clearly
2. Kiln plugs out til 750 degrees then insert
3. Close door fully – borrow a digital pyrometer from Ray and use it to check temps on upper pyrometer. Let Nan know how close they are.-
4. Set limit pyrometer (top one) to maximum firing temperature for the firing
5. Set control pyrometer (lower one) to 80 degrees
6. Follow start steps on kiln – turn on power toggle switch – hit reset button – turn on bottom left switch ( this powers the bottom left and bottom back of the kiln. Since the kiln in a long tunnel we want to heat the kiln back to front).
7. Preheat kiln for 4 hours at 80 degrees.
8. Turn bottom left switch off – Turn bottom right switch on - Continue preheat for another 4 hours at 80 degrees.
9. Turn bottom right switch back on and set pyrometer to 120 degrees – hold for 2 hours – check for steam???
10. If there is no steam coming out of the top peep hole after the 2 hour hold increase temp to 212 degrees – hold 2 hours.
11. You are now finished the slow pre-heat cycle if there is no steam (total hours was 12 hours).
12. If there is steam hold for another hour.
13. Begin hourly turn ups – 80 degrees an hour – 212 + 80 is 292 so go to 300 degrees.
14. In one hour got to 380
15. In one hour go to 460
16. In one hour go to 560 (100 degree increase)
17. In one hour go to 660
18. In one hour go to 760 – hold one hour at this temp ( chemical water goes out here)
19. Put plugs in peep holes.
20. In one hour go to 860
21. In one hour go to 960
22. In one hour got to 1060 (Chemical quartz inversion)
23. In one hour go to 1160
24. In one hour got to 1300
25. In one hour go to 1480
26. In one hour got to 1660
27. In one hour go to 1840
28. If you are firing to cone 06 check cones.
29. When cone 06 bends turn off kiln.
Steps to follow:
1. Place two cone packs into place inside kiln using a flash light to see clearly
2. Kiln plugs out til 750 degrees then insert
3. Close door fully – borrow a digital pyrometer from Ray and use it to check temps on upper pyrometer. Let Nan know how close they are.-
4. Set limit pyrometer (top one) to maximum firing temperature for the firing
5. Set control pyrometer (lower one) to 80 degrees
6. Follow start steps on kiln – turn on power toggle switch – hit reset button – turn on bottom left switch ( this powers the bottom left and bottom back of the kiln. Since the kiln in a long tunnel we want to heat the kiln back to front).
7. Preheat kiln for 4 hours at 80 degrees.
8. Turn bottom left switch off – Turn bottom right switch on - Continue preheat for another 4 hours at 80 degrees.
9. Turn bottom right switch back on and set pyrometer to 120 degrees – hold for 2 hours – check for steam???
10. If there is no steam coming out of the top peep hole after the 2 hour hold increase temp to 212 degrees – hold 2 hours.
11. You are now finished the slow pre-heat cycle if there is no steam (total hours was 12 hours).
12. If there is steam hold for another hour.
13. Begin hourly turn ups – 80 degrees an hour – 212 + 80 is 292 so go to 300 degrees.
14. In one hour got to 380
15. In one hour go to 460
16. In one hour go to 560 (100 degree increase)
17. In one hour go to 660
18. In one hour go to 760 – hold one hour at this temp ( chemical water goes out here)
19. Put plugs in peep holes.
20. In one hour go to 860
21. In one hour go to 960
22. In one hour got to 1060 (Chemical quartz inversion)
23. In one hour go to 1160
24. In one hour got to 1300
25. In one hour go to 1480
26. In one hour got to 1660
27. In one hour go to 1840
28. If you are firing to cone 06 check cones.
29. When cone 06 bends turn off kiln.
Technical Information
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.
Steps for Drying Plaster Molds
Plaster molds cannot be used right away. They need to be dry before use. To dry place in a heat ventilated chamber. The heat cannot rise about 121 degrees Fahrenheit or the mold will decompose when used because you have in effect recalcined the plaster.
What do we use – Here are your options:
A fan – place mold upright (like a domino) in front of a fan and dry. Turn the back to the front facing the fan every 4 hours. This will take 2 days for drying.
The sun - place mold upright in the bright sun.
Drying box - – place mold upright (like a domino) under a light in the drying box.
Home oven - place mold upright (like a domino) on aluminum foil. Set oven to lowest setting and keep oven door cracked. Heat for 15 min. Turn off oven. Close oven door. Repeat steps. This takes a lot of watching and is the most reisky but quickest way to dry your mold.
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.
Steps for Drying Plaster Molds
Plaster molds cannot be used right away. They need to be dry before use. To dry place in a heat ventilated chamber. The heat cannot rise about 121 degrees Fahrenheit or the mold will decompose when used because you have in effect recalcined the plaster.
What do we use – Here are your options:
A fan – place mold upright (like a domino) in front of a fan and dry. Turn the back to the front facing the fan every 4 hours. This will take 2 days for drying.
The sun - place mold upright in the bright sun.
Drying box - – place mold upright (like a domino) under a light in the drying box.
Home oven - place mold upright (like a domino) on aluminum foil. Set oven to lowest setting and keep oven door cracked. Heat for 15 min. Turn off oven. Close oven door. Repeat steps. This takes a lot of watching and is the most reisky but quickest way to dry your mold.
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