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   1.  Mug with Slip Splatter      Fall 2013    3.5 W x 4.5 H    Cone 10 reduction. Wheel thrown grey stoneware with shino glaze and colored slips.     Mug & Handle assignment, Intro to Ceramics     First introduction to design considerations of liquid-containing vessels. Demos and expectations of the student to consider ergonomics, design, foot, rim, and handle design/placement.
   
  
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     2.  Pitcher & Cup Set     Fall 2013    Pitcher 6.5 W x 9 H, Cups 4.5 W x 7.5 H    Cone 10 reduction. Wheel thrown grey stoneware with yellow salt and dark green celadon glaze.     Pitcher/Bottle with 4 matching cups assignment, Intro to Ceramics     Students choose to make either a bottle or pitcher form. Pouring vessel must connect to cups in form, concept and/or surface. Set must be designed with specific beverage in mind, which is served to peers during critique.
   
  
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     3.  Pitcher & Cup Set     Fall 2013    Pitcher 7.5 W x 11 H, Cups 7 W x 6 H    Cone 10 reduction. Wheel thrown and hand-built grey stoneware with temoku, shino and yellow salt glaze     Pitcher/Bottle with 4 matching cups assignment, Intro to Ceramics
   
  
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     4.   Athens Cathedral      Spring 2014    18 L x 11 W 16 H    Cone 10 reduction. Wheel thrown, altered and assembled grey stoneware with shino, temoku glaze and slip.     Wheel Thrown Building assignment, Intro to Ceramics     For this final project of the semester, beginning wheel students are tasked with going out into town and choosing a building that they find either architecturally dynamic and interesting, or have a special and personal connection to. Students are required to come to the next class with sketches, photographs and birds-eye views of their chosen building. Using  only  wheel thrown parts that are then altered and assembled, students must create a miniature replica of their building that measures 12 inches  minimum  in the smallest dimension. Students are allowed to edit and tweak which details they choose to include and omit, but defining features and characteristics of the building are required to be included, causing students to evaluate which physical features do and don’t matter in the overall design and meaning of their chosen structure. Students are given the option to ‘interpret’ their finished sculpture based upon the purpose, meaning or context of their original chosen structure, but such interpretations must be considered and defended.
   
  
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   5.  The Ridges Insane Asylum     Spring 2014    14 L x 10 W 12 H    Cone 10 reduction. Wheel thrown altered and assembled grey stoneware with shino, glossy black and liner white glaze.     Wheel Thrown Building assignment, Intro to Ceramics
   
  
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     6.  ‘Shell & Basket’ Sprig Mold Project     Spring 2014    16 L x 10.5 W x 10 H    Cone 04 reduction. Sprig mold assembled and altered red earthenware with Bart’s Bronze glaze.     Sprig Mold Construction assignment, Beginning Handbuilding     Over the course of Spring Break, students are asked to collect a  minimum  of 10 small objects under 4 inches in size that they find conceptually or physically unusual and interesting. Students are then asked to choose  one  of these objects that they find particularly compelling and create a sprig mold of that object out of plaster. Students then are tasked with creating a sculpture that connects and relates conceptually to their small original object. Students must use the positive casts from the sprig mold as  either  the building blocks of the sculpture, or as the surface decoration of the sculpture. In critique, students must defend their choice of object and its conceptual connection to their final sculpture.
   
  
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   7.  ‘Rope & Doll Vase’ Sprig Mold Project     Fall 2014    8 W x 13 H    Cone 10 reduction. Sprig mold assembled and altered grey stoneware with manganese wash and clear glaze.     Sprig Mold Construction assignment, Advanced Ceramics: Surface Embellishment
   
  
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   8.      Alien Skull Study       Spring 2012     14 L x 10.5 W x 18.5 H    Cone 04 oxidation. Hand-built and carved red earthenware with sprayed white Rust-Oleum paint     Skull Anatomy assignment, Foundations 3D Studies     Two classes are spent with students on anatomy slide lectures and charcoal still life drawings from an example skull. Students are then sent home with the assignment of researching skull specimens, and t.o bring research photos from medical textbooks, museums, etc to class. Students are given a solid mound of clay and tasked with building a replica of their chosen skull, replicating scale, form, detail, etc.  After firing, students were given allowance to finish or treat the surface in whatever material they chose. This particular example is from a freshman foundations student enrolled in 3D Design who had not previously worked with ceramics.
   
  
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   9.   Body Blob     Spring 2014    25 L x 24 W x 42 H     Cone 10 reduction. Coil built and altered grey stoneware with temoku and turquoise glaze.     The Morphing Body assignment, Beginning Handbuilding     Students are tasked with creating a coil built sculpture, while responding to in-class discussions about the meaning of ‘Body’, both as an object moving through --and occupying-- space.
   
  
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   10.   Miniature Plastic Skull Made Large     Fall 2014    10 L x  10 W x 16 H    Cone 04 oxidation. Hand-built and carved white earthenware with clear glaze and underglaze decorations.     “Mini/Big”-ature assignment, Advanced Ceramics: Surface Embellishment     Students are asked to bring in at  least  five small, interesting objects from home. Objects must be approximately the size of a tennis ball or smaller. After choosing one object to use, students must scale up that object via handbuilding techniques. Scaled-up clay object must be at  least  one foot in its smallest dimension. Surfacing and decoration must tell a linear narrative or story about the original object and its history.
   
  
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      11.   Veronica as Idol     Fall 2014     5 L x 3 W x 6,5 H     Cone 04 oxidation. Slip-cast white earthenware with Lisa Orr clear glaze.     Slip-Cast Self Portrait Construction assignment, Advanced Ceramics: Surface Embellishment     Using a large collection of old commercial hobby molds, students must create a self portrait using only slip-cast components.  Students are tasked with using cast pieces as building blocks, and are encouraged to use cast pieces in new and unconventional ways. Texture and 3D composition are discussed and students must defend techniques and conceptual decisions in crit.
   
  
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   12.  Donna as Happy Plate     Fall 2014     13 L x 5 W x 10 H     Cone 04 oxidation. Slip-cast white & stain tinted earthenware with stain-tinted majolica glaze     Slip-Cast Self Portrait Construction assignment, Advanced Ceramics: Surface Embellishment
   
  
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   13.  Pat as Tiki Pole     Fall 2014     12 L x 6 W x 10.5 H     Cone 04 oxidation. Slip-cast white & stain tinted earthenware with clear and stain-tinted glaze and underglaze decorations.     Slip-Cast Self Portrait Construction assignment, Advanced Ceramics: Surface Embellishment
   
  
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   14.  Casey’s Secret     Fall 2014    9 W x 12 L    India Ink on Bristol Board     Pen + Ink Value assignment,     Foundation Studies: 2D Surface     Using  only  pen & ink, students must create a final self-portrait using the techniques learned in the 2-week section on value. In addition to using techniques learned to create value, the student’s portraits must also reveal to the viewer secret that is unknown or hidden. Students must choose only  one  mark-making method: stippling, hatching, crosshatching, etc.     
   
  
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   15.  Value Study Triptych     Fall 2014    17 W x 14 L    Sharpie on Bristol Board     Mark Making for Value Studies,     Foundation Studies: 2D Surface     In a field trip to the University Arts Library, students must find photographic portraits that display good range of values. Students must reduce the value into ‘zones’ of 3, 5, and 9 distinct shapes in 3 adjacent images. Using only  one  mark-making method for each image, students must render value differences in an ink + board triptych. Each value/shape grouping must use only one type of mark, but each image in the grouping must use a separate mark from the other two.
   
  
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   16.  10 minute Self-portrait     Spring 2012    18 W x 24 H     Compressed charcoal and conté crayon on rag paper     Figure Studies     Students must create a self-portrait under increasingly shortened time periods. Students start with a 45-minute study, and work their way down to a full-page portrait done in 15 seconds.
   
  
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   17.      3 Minute Circular Figure Study     Spring 2012    18 W x 24 H    Vine Charcoal on newsprint     Figure Studies     Students must render form and shape the body on paper using only a continuous circular hand motion. No angles or straight lines are allowed.
   
  
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   18.  Trash Can & Chewing Gum     Spring 2012    15 L x 15 W x 24 H    Chewed gum, mini trash can, Mylar.     Connected Object as Surface assignment, Foundations 3D Studies     Students are asked to bring in an object  at least  8 inches in its smallest dimension. Students are then tasked with forming a protective layer over the object using a material that is in polar opposite to the purpose or concept of their original object. In critique, students must defend their choice of object vs. material and their craftsmanship.
   
  
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   19.  Spikey Teddy Bear     Spring 2012    9 L x 7 W x 12 H    Found teddy bear with thumbtacks and hot glue     Connected Object as Surface assignment, Foundations 3D Studies
   
  
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   20.  Executive Coin Counter as Payphone     Spring 2012    Sharper Image coin counter with acrylic paint     Camouflaged Object assignment, Foundations 3D Studies     During class students are sent out into the art building and tasked with photographing areas that are ignored, unseen, or hidden. As homework, students are required to find and bring to class five objects that are  at least  8 inches in their smallest dimension, and that somehow relate conceptually to one or more of the spaces that they have documented. They then must decide on a place/object pairing and, through any surface treatment available to them, blend their object seamlessly into its associated location. During critique, students must defend their object/place pairing and successfulness/skill of camouflaging their object.

1. Mug with Slip Splatter

Fall 2013

3.5 W x 4.5 H

Cone 10 reduction. Wheel thrown grey stoneware with shino glaze and colored slips.

Mug & Handle assignment, Intro to Ceramics

First introduction to design considerations of liquid-containing vessels. Demos and expectations of the student to consider ergonomics, design, foot, rim, and handle design/placement.

2. Pitcher & Cup Set

Fall 2013

Pitcher 6.5 W x 9 H, Cups 4.5 W x 7.5 H

Cone 10 reduction. Wheel thrown grey stoneware with yellow salt and dark green celadon glaze.

Pitcher/Bottle with 4 matching cups assignment, Intro to Ceramics

Students choose to make either a bottle or pitcher form. Pouring vessel must connect to cups in form, concept and/or surface. Set must be designed with specific beverage in mind, which is served to peers during critique.

3. Pitcher & Cup Set

Fall 2013

Pitcher 7.5 W x 11 H, Cups 7 W x 6 H

Cone 10 reduction. Wheel thrown and hand-built grey stoneware with temoku, shino and yellow salt glaze

Pitcher/Bottle with 4 matching cups assignment, Intro to Ceramics

4.  Athens Cathedral

Spring 2014

18 L x 11 W 16 H

Cone 10 reduction. Wheel thrown, altered and assembled grey stoneware with shino, temoku glaze and slip.

Wheel Thrown Building assignment, Intro to Ceramics

For this final project of the semester, beginning wheel students are tasked with going out into town and choosing a building that they find either architecturally dynamic and interesting, or have a special and personal connection to. Students are required to come to the next class with sketches, photographs and birds-eye views of their chosen building. Using only wheel thrown parts that are then altered and assembled, students must create a miniature replica of their building that measures 12 inches minimum in the smallest dimension. Students are allowed to edit and tweak which details they choose to include and omit, but defining features and characteristics of the building are required to be included, causing students to evaluate which physical features do and don’t matter in the overall design and meaning of their chosen structure. Students are given the option to ‘interpret’ their finished sculpture based upon the purpose, meaning or context of their original chosen structure, but such interpretations must be considered and defended.

5. The Ridges Insane Asylum

Spring 2014

14 L x 10 W 12 H

Cone 10 reduction. Wheel thrown altered and assembled grey stoneware with shino, glossy black and liner white glaze.

Wheel Thrown Building assignment, Intro to Ceramics

6. ‘Shell & Basket’ Sprig Mold Project

Spring 2014

16 L x 10.5 W x 10 H

Cone 04 reduction. Sprig mold assembled and altered red earthenware with Bart’s Bronze glaze.

Sprig Mold Construction assignment, Beginning Handbuilding

Over the course of Spring Break, students are asked to collect a minimum of 10 small objects under 4 inches in size that they find conceptually or physically unusual and interesting. Students are then asked to choose one of these objects that they find particularly compelling and create a sprig mold of that object out of plaster. Students then are tasked with creating a sculpture that connects and relates conceptually to their small original object. Students must use the positive casts from the sprig mold as either the building blocks of the sculpture, or as the surface decoration of the sculpture. In critique, students must defend their choice of object and its conceptual connection to their final sculpture.

7. ‘Rope & Doll Vase’ Sprig Mold Project

Fall 2014

8 W x 13 H

Cone 10 reduction. Sprig mold assembled and altered grey stoneware with manganese wash and clear glaze.

Sprig Mold Construction assignment, Advanced Ceramics: Surface Embellishment

8.  Alien Skull Study

Spring 2012

14 L x 10.5 W x 18.5 H

Cone 04 oxidation. Hand-built and carved red earthenware with sprayed white Rust-Oleum paint

Skull Anatomy assignment, Foundations 3D Studies

Two classes are spent with students on anatomy slide lectures and charcoal still life drawings from an example skull. Students are then sent home with the assignment of researching skull specimens, and t.o bring research photos from medical textbooks, museums, etc to class. Students are given a solid mound of clay and tasked with building a replica of their chosen skull, replicating scale, form, detail, etc.  After firing, students were given allowance to finish or treat the surface in whatever material they chose. This particular example is from a freshman foundations student enrolled in 3D Design who had not previously worked with ceramics.

9.  Body Blob

Spring 2014

25 L x 24 W x 42 H

Cone 10 reduction. Coil built and altered grey stoneware with temoku and turquoise glaze.

The Morphing Body assignment, Beginning Handbuilding

Students are tasked with creating a coil built sculpture, while responding to in-class discussions about the meaning of ‘Body’, both as an object moving through --and occupying-- space.

10.  Miniature Plastic Skull Made Large

Fall 2014

10 L x  10 W x 16 H

Cone 04 oxidation. Hand-built and carved white earthenware with clear glaze and underglaze decorations.

“Mini/Big”-ature assignment, Advanced Ceramics: Surface Embellishment

Students are asked to bring in at least five small, interesting objects from home. Objects must be approximately the size of a tennis ball or smaller. After choosing one object to use, students must scale up that object via handbuilding techniques. Scaled-up clay object must be at least one foot in its smallest dimension. Surfacing and decoration must tell a linear narrative or story about the original object and its history.

11.  Veronica as Idol

Fall 2014

5 L x 3 W x 6,5 H

Cone 04 oxidation. Slip-cast white earthenware with Lisa Orr clear glaze.

Slip-Cast Self Portrait Construction assignment, Advanced Ceramics: Surface Embellishment

Using a large collection of old commercial hobby molds, students must create a self portrait using only slip-cast components.  Students are tasked with using cast pieces as building blocks, and are encouraged to use cast pieces in new and unconventional ways. Texture and 3D composition are discussed and students must defend techniques and conceptual decisions in crit.

12. Donna as Happy Plate

Fall 2014

13 L x 5 W x 10 H

Cone 04 oxidation. Slip-cast white & stain tinted earthenware with stain-tinted majolica glaze

Slip-Cast Self Portrait Construction assignment, Advanced Ceramics: Surface Embellishment

13. Pat as Tiki Pole

Fall 2014

12 L x 6 W x 10.5 H

Cone 04 oxidation. Slip-cast white & stain tinted earthenware with clear and stain-tinted glaze and underglaze decorations.

Slip-Cast Self Portrait Construction assignment, Advanced Ceramics: Surface Embellishment

14. Casey’s Secret

Fall 2014

9 W x 12 L

India Ink on Bristol Board

Pen + Ink Value assignment, Foundation Studies: 2D Surface

Using only pen & ink, students must create a final self-portrait using the techniques learned in the 2-week section on value. In addition to using techniques learned to create value, the student’s portraits must also reveal to the viewer secret that is unknown or hidden. Students must choose only one mark-making method: stippling, hatching, crosshatching, etc.

 

15. Value Study Triptych

Fall 2014

17 W x 14 L

Sharpie on Bristol Board

Mark Making for Value Studies, Foundation Studies: 2D Surface

In a field trip to the University Arts Library, students must find photographic portraits that display good range of values. Students must reduce the value into ‘zones’ of 3, 5, and 9 distinct shapes in 3 adjacent images. Using only one mark-making method for each image, students must render value differences in an ink + board triptych. Each value/shape grouping must use only one type of mark, but each image in the grouping must use a separate mark from the other two.

16. 10 minute Self-portrait

Spring 2012

18 W x 24 H

Compressed charcoal and conté crayon on rag paper

Figure Studies

Students must create a self-portrait under increasingly shortened time periods. Students start with a 45-minute study, and work their way down to a full-page portrait done in 15 seconds.

17. 3 Minute Circular Figure Study

Spring 2012

18 W x 24 H

Vine Charcoal on newsprint

Figure Studies

Students must render form and shape the body on paper using only a continuous circular hand motion. No angles or straight lines are allowed.

18. Trash Can & Chewing Gum

Spring 2012

15 L x 15 W x 24 H

Chewed gum, mini trash can, Mylar.

Connected Object as Surface assignment, Foundations 3D Studies

Students are asked to bring in an object at least 8 inches in its smallest dimension. Students are then tasked with forming a protective layer over the object using a material that is in polar opposite to the purpose or concept of their original object. In critique, students must defend their choice of object vs. material and their craftsmanship.

19. Spikey Teddy Bear

Spring 2012

9 L x 7 W x 12 H

Found teddy bear with thumbtacks and hot glue

Connected Object as Surface assignment, Foundations 3D Studies

20. Executive Coin Counter as Payphone

Spring 2012

Sharper Image coin counter with acrylic paint

Camouflaged Object assignment, Foundations 3D Studies

During class students are sent out into the art building and tasked with photographing areas that are ignored, unseen, or hidden. As homework, students are required to find and bring to class five objects that are at least 8 inches in their smallest dimension, and that somehow relate conceptually to one or more of the spaces that they have documented. They then must decide on a place/object pairing and, through any surface treatment available to them, blend their object seamlessly into its associated location. During critique, students must defend their object/place pairing and successfulness/skill of camouflaging their object.