Course Description
This course involves a complex dynamic, combining students ranging from early
intermediate levels to the most advanced. In order for this to work,
expectations and requirements must be flexible, and it is up to all of us to
ensure that we each make the most of this opportunity. Our goals are to increase
your command of the ceramic medium, to help you develop individual content and
aesthetic in your work based on your own personal involvement with clay, and to
get you to a point where you are autonomous, self-sufficient, and self-motivated
in the studio. Primary emphasis is hands-on studio work, while secondary
emphasis this semester is an exploration of the nature of ceramic materials and
their use in formulating clays and glazes. This component of the class will
involve a series of lecture/discussions, assignments and a final exam.
In order to assure effective learning among such a diverse group of students,
each of you will submit a project proposal as explained below, outlining your
own project sequence and completion dates. Depending on your level in clay, I
will provide as much specific direction as you need in following your own
project sequence. I will do periodic class demos through the semester as I see
the need, and I encourage you to request demos any time you need them. For the
sake of comparison and critique it will be helpful if groups of students are
working on the same kinds of forms at the same time, and I will help to
orchestrate this. Because of the focus on clays and glazes we will not have many
slide lectures this semester, but I am always willing to put
together a slide show to target particular forms or decoration as the need
arises. On a regular basis we will have informal group reviews to compare notes
on what everyone is doing.
The Secondary Emphasis - Clays and Glazes
While the primary emphasis of this course is your own studio work,
we will also study the chemistry of clays and glazes, including a thorough investigation of ceramic raw
materials and the systems for categorizing them, and an exploration of what
happens to clays and glazes during the firing process. Through the semester
we will have a series of assignments that will involve mixing test batches of
clays or glazes and firing them at different temperatures. At that time it will
be necessary to coordinate our efforts in order to get everyone’s tests fired
efficiently.
Inventorying Your Knowledge and Skills
As you proceed through the 3520-3521 course sequence, it is important to periodically
inventory the skills and techniques you have explored, and purposefully address
your weaknesses. As much as possible I will try to recognize your needs and
provide information and assistance in a timely fashion, but because of the broad
range of skill levels in one class this presents a special challenge, and I rely
on you to deal with this issue and to ask for help whenever you need it. It is
imperative that you achieve broad-based familiarity with ceramic materials and
techniques. It is too easy for an emerging artist to settle into a narrow
stylistic direction based upon proficiency in a limited range of materials and
techniques, without experiencing all the alternatives. Invariably the resulting
work betrays a shallowness of method and material, and lacking familiarity with
other directions in clay the artist often experiences studio burn-out.
There is an inventory list attached, and I expect you to put it to good use.
Don’t be intimidated by it. You do not need to be an expert in all of these
areas, but you should be acquainted with all of them. The pursuit of knowledge
is habit forming, and if you already know a little about something it makes it
much easier to find out more later on. Also, you will be far more sure of your
own stylistic direction if it arises from broad fluency in ceramic materials,
processes, and forms. It is what you don't know that holds you
back.
The Project Proposal
In the first week of class we will discuss possible directions each of you
intend to follow with your own work, and by the second week you will submit a
typewritten project proposal which you and I will mutually agree upon. This need
not be a lengthy proposal, but do not take it lightly. It is essential that you
start the semester with a clear plan of where you intend to go with your work.
Your project can be multi-faceted. If you are an intermediate-level student
you will want to identify a direction based on personal interest and commitment,
but your proposal should also include work in areas where you need development.
If you are an advanced student, your proposal will focus on the primary
direction in your studio work, but do not neglect the skills inventory. For all students, as the semester proceeds your direction may
evolve significantly, and in that event you will need to submit a modified
project proposal at mid-semester.
How Much Work Should You Do In This Class?
The amount of work you do is up to you, but there is no substitute for
practice. You have to go through a lot of work to become an
autonomous, confident studio artist. From quantity production comes fluency in
the media and the willingness to take risks, and from risk-taking comes the most
productive learning. If your primary work is large scale, then you also need to
do smaller work in quantity so that you are always trying new ideas and
techniques.
As professional clay artists starting out in the real world you will work
very hard to make a good living. If you have made the right choice and are
genuinely dedicated, the studio involvement and commitment will come easy, and
the studio life will bring you a great deal of satisfaction. But consider this:
if the willingness to work hard in the studio comes as a struggle here at the
Craft Center, then it is unrealistic to expect that it will materialize when you
are out of school. Your future success as a clay artist hinges upon your level
of dedication and accomplishment here.
Studio Time
We will spend a considerable amount of in-class time on lecture/discussions
and group reviews. Expect to put in at least six hours per week outside of class
to make satisfactory progress on your work. Establish a regular work schedule
and stick to it.
The Question of Scale
Scale is an important issue, because it requires skill to work large. At the
same time, the way the work speaks to us depends on many factors, and in some
cases large scale can diminish the effectiveness of the work. Carefully consider
this issue, and make sure that the scale of your work is appropriate for what
you are trying to say. We have a broad range of kilns, but none that are really
huge except for the hoggama. This need not limit you, because your work can be
made in sections to be assembled when fired.
Content and Narrative
Content and narrative are central whether your intent is figurative sculpture
or functional pots. Unless your work "speaks" to the user/viewer with
authority and originality it will be seen as ordinary. We tend to talk about
content much more with work which is obviously narrative, but you must always
remember that intent and content are of central importance no matter what kind
of work you are doing in clay. Even the simplest pot speaks volumes, and if
utility is a primary concern, then you must consider the degree to which your
work visually invites use.
As you are searching for an honest personal direction in your work, don’t
be afraid to take chances. Make work which is connected to personal commitments
and concerns. Experiment with expressive surface effects and see what happens!
The greatest disappointment in life is to miss a good opportunity. Make the most
of this one.
Choice of Materials in Your Work
You can use anything at all. In contemporary ceramics, mixed media
combinations are a critical issue. Some non-ceramic materials will survive the
firing and can be incorporated into the damp clay work (consider shrinkage). A
wide variety of other materials (almost anything!) can be incorporated into the
work after the firing. Use materials which are appropriate to your intent and
content.
Access to Information Outside of Class
If you are unsure of something or need information feel free to seek me out
at any time in or out of class. If I'm not here, call me at home. Our
artists-in-residence serve as back-up faculty, and are available to provide you
with information and to help out with your work.
Keep your text, class notes, sketchbook, and handouts around at all times so
you can consult them when the need arises. And make use of the library! We have
a wonderful little library containing a great collection of books and all the
major contemporary fine craft magazines. Spend time in the library regularly
keeping track of what is going on in the clay world, and bring that information
into our discussions. If you talk about your work and the work of others within
the context of historical and contemporary clay, I will notice.
The Sketchbook
Purchase a good quality artist’s sketchbook (not lined paper), and use it
to develop your ideas and to provide a place for technical notes, clay and glaze
recipes, etc. Adapt the sketchbook to your individual needs. I will not collect
them for grading, but I will expect to see them during reviews.
Contacting You Via Email
I will occasionally send you messages via the TTU email distribution
list for this class. This has become a preferred means of getting class
information to students, and it is your responsibility to check your email
daily. If you use another email address, then set your TTU email address
to forward to your preferred address. You will be responsible for any
information sent to you via the TTU email distribution list for this class
Determining Your Grade
Up to 65% of your grade depends on your studio work (and your sketchbook) in
a project series mutually agreed upon by you and me, plus participation in
assigned studio projects. Creativity, productivity, and originality will be
generously rewarded. 20% depends on involvement in the clay/glazes component of
this class, including assigned projects, participation in firings (loading,
firing, unloading, and cleanup), and the final exam. At least 15% depends on
class participation, including active involvement in group reviews and a
proactive participation in the day-to-day routines of the studio, including
general cleanup.
Individual and Group Reviews
Once at midterms and again at finals we will schedule individual and group
reviews to evaluate and document your progress. Periodically we will have
informal group reviews to compare notes about what everyone is doing. Resident
artists and/or students/faculty from other areas may be invited to join in on
group reviews.
Required and Recommended Tools and Supplies
By now you own a good range of ceramic tools, and you should add to your
collection every semester. We have lots of tools in the gallery, and more are
available at Mid-South Ceramics in Nashville, plus I have lots of catalogs. To
save money, consult the section on "Ceramic Tools You Can Find or
Make" in the studio handbook. The following represents a basic list of
essential studio tools and supplies.
 | Textbook - Clay:
A Studio Handbook |
| Sketchbook (not lined paper!!) for sketches and notes |
| Selection of band-loop and/or steel-strap trimming tools - wire-loop tools
are intended only for sculpting wet clay |
| Selection of sponges, including ones which can be cut or carved for
glaze/slip stamps |
| Cut-off wires - if you are throwing off the hump, make a Japanese-style
cut-off string |
| Wooden knife and assortment of wooden modeling tools |
| Needle tools |
| Metal, wood, and rubber ribs |
| Pieces of chamois - car wash chamois from Walmart or auto parts store is
great, but make sure it is real chamois |
| X-Acto knife (pencil handle with 1" tapered blade) and fettling knife |
| Forks and toothed ribs for scoring clay |
| Calipers |
| Rolling-pin |
| 24" ruler |
| Compass for drawing circles |
| Plastic or metal draftsman's square |
| Wood paddles |
| Large selection of bisque stamps and other textured/patterned tools and/or
materials |
| Surform file and plane - designed to be woodworking tool - blade like
cheese-grater - available from hardware or home improvement store - file has
short curved blade, plane has longer flat blade |
| Selection of brushes for slips and glazes - the bamboo handle
long-bristled brushes are best, including the wide "hakeme"
brushes |
| 30-gallon plastic barrel for clay |
| Selection of plastic buckets and other containers, including 5-gallon
buckets with lids for recycling clay |
| Painter's canvas (get 10 oz. or 12 oz. canvas) for covering work surface
and to cut into sheets for rolling out slabs - best prices are at big fabric
stores, or as painter's dropcloth canvas at house paint stores |
| A few old towels, tee-shirts, or other soft absorbent rags |
| Good collection of plastic sheeting for covering work - dry cleaner bags
are excellent |
| If you are doing large sculptural work, get a few old sheets or other
large pieces of soft thin fabric to wick away condensation when damp forms
are covered with plastic |
| Good quality respirator - not disposable paper ones! |
