Clay and Multiples: The Ash Tray from Hell
Project Description: In this project you will be using clay and your mold making skills to communicate the idea of Kitsch. Using molds of your chosen piece of fruit and body part create at least 10 multiples out of clay. Using these pieces and a slab built clay cylinder/vessel (2.5″ high x 6″ wide), combine them visually with small kitsch object(s) you purchase from the store. Think about how the viewers eye moves! This could be up and over, through or anyway you decide as long as the overall composition is Dynamic! Be sensitive to the repetition and gesture of the pieces to direct the viewer’s eye movement through out the composition.
|Formal||Dynamic form, repetition, Gesture, texture, multiples, and open form.|
|Technical||· Learn technical aspects of working in ceramics
· Learn to make a mold
· Use repetition in creating a larger form
Final project guideline
Using a minimum of 10 castings of your objects create a dynamic composition built on a 2.5″high X 6 inch diameter slab built cylinder.
/5% Project Description/assignment: You can summarize the project description or cut and paste. Describe the “intent” (what the viewer will get) and what you think are the interesting parts that you were excited to do. Also describe the challenges you see for yourself. Perhaps it was a material you had never used or a concept you had not thought about before. With all your comments try to list at least one or two specifics.
/10% Lateral thinking: Explain what you are trying to do at this stage and then show examples. These are your “lists” (or other brainstorming strategies) that you made when generating ideas. You might take a digital image and then mark it up digitally with notes and arrows or use sticky notes before taking an image. It could also be a written statement. It is up to you. However you decide to do this, it should explain your thoughts and give insight to the decisions you made about your ideas and which ones to move forward.
/10% Sketchbook/Drawings (3 different ideas, 4 pages of drawings for each idea=12 Pages total): Take pictures of your sketch book drawings with your phone or SLR camera and add comments about what you were thinking.
/15% Maquettes: Photograph your maquettes and include them. Explain why you did these and how they were helpful. How could you have done things differently to improve the finished work? Could you have made them differently or used a different material? Bigger? Smaller? Etc.
/10% Material Studies: Photograph your material studies. Explain what you thought you might learn from doing this and then what you actually learned. This might be trying out a new material on a small scale to see what it does, it might be doing a full scale drawing to get a sense of scale or it might be trying out a painting style on a scrap before you commit to the actual piece. The material study gives you a way to test out an aspect of the piece without committing to it only to find out it did not work. Although this may take time it ultimately saves you time and gives the ability to find the element that works best with the overall intent.
/50% Finished Piece: This is where you have a few pictures (probably at the top of your post) and write a longer formal “artist” statement that talks about the intent or idea you started out with and how the piece changed over the process. Then evaluate the finished piece using the project description and the elements of design. Also talk about the things you learned that you will take forward into other art making. It is valid to have a piece fail or come out in unexpected ways but still have learned a great deal! As artists we are constantly venturing into unknown territories (ideas/materials/styles/etc) and should be comfortable with a process that is rich in experimenting and play that pushes the limits (maybe even to failure). It is fine to put this at the top of your post even though it is the final step.
5% Kitsch worksheet complete and handed in.
10% Craft: all connections intentional, no breakage,no casts are solid and all have air holes
10% Dynamic Form/Composition
5% Open Form
10% Use of texture on final project
5% Clay Cylinder/vessel completed on due date
Form in 3D
- Convey the basic principles of working in the ceramic medium.
- Familiarize students with basic ceramic terminology.
- Create a ceramic object from concept to completed form.
Basic terms & Knowledge:
Slip and score- attaching clay to itself requires the action of wetting the surface of both parts with water or slurry and then aggressively scoring both surfaces to create a firm connection. Think of this process as creating ceramic Velcro, with interlocking teeth, to connect surfaces.
Slurry– clay that is of a wet mud or pudding consistency used for making connections between wet to leather hard pieces of clay.
Greenware – any clay before being fired in a kiln. Greenware consists of three stages of dehydration.
|Tactile qualities||Flexibility of the clay||Connecting clay forms together||Recycling the material to be reconstituted||
|Cold and slick with moisture||
|Easily manipulated but the material will sag, warp, and collapse under compression.||
Put scraps back in the wet clay bucket.
|At all stages the clay is shrinking which is problematic when making connections.|
Damp and cold to the touch
|Connections between pieces can be made with the addition of slurry and forms hold up under compression.||
The clay must sit out at this stage and go bone dry to recycle properly.
Dry and chalky
|At this stage clay cannot be rehydrated and connections cannot be made.||When placed in water this stage immediately turns to slurry explaining the inability to rehydrate forms.|
Bisque– this first firing of the work removes, water, organics, and ensures the work is permanent.
Kiln explosions– clay will explode in the bisque if thick/solid, lacking adequate ventilation holes, or fired too wet or quickly. If work explodes it will damage other works in the kiln.
There are two firing ranges referred to as low and high fire. In ceramics, temperatures are related with ceramic cones, or r, that soften and bend at specific temperatures. The below chart breaks down the cones, temperatures, and clay types that can be fired in these ranges.
|Range||Low fire||High fire|
|Cone/r||r012, 011, 010, 09, 08, 07, 06, 05, 04, 03, 02, 01||r1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12|
|Temperature||r012=1600°F up to r01=2100°F||r1=2150°F up to r12=2400°F|
|Clay types||Earthenware||Stoneware and porcelain|
- The key to working with clay is paying attention to the timing, in relation to dehydration, when making connections. Bone dry or “late” leather hard clay cannot be used to build with.
- Make sure work is well covered and damp, but not too wet, when in process.
- Slip before scoring because doing the opposite defeats the purpose.
The above information should be conveyed to students and can be cut and pasted into another document. Since 3D is a prerequisite for taking a foundations level ceramics course it is important the clay project gives the students the basic skills and knowledge to work with clay.
Please incorporate the guidelines below to allow pieces from all four sections to be loaded into the gas kiln to be bisqued. Work will need a week of being uncovered to go bone dry and be ready for bisque.
- Works must be under 8 inches high to fit in the kiln.
- Pieces must stay connected when transported.
- Must be hollow with walls approximately 3/8 inch.
- Steam ventilation holes must be strategically placed in all hollow parts.
Work will not be fired if pieces are:
- solid or exceedingly heavy.
- lacking ventilation holes.
- in numerous broken pieces (more than three).
Kiln loading on ____________________(works should be uncovered for a week to be bone dry for deadline)
Kiln firing on ______________________
Unload fired ______________________