Ceramics II

Table of Contents

Syllabus ................................................................................................. 2

Ceramic Room Rules ............................................................................. 3

How to Succeed/Grading ....................................................................... 4

Being a Student Artist ........................................................................... 5

Wedging ............................................................................................... 6

Slip and Score/ Finishing Touches ........................................................ 7

States of Clay ......................................................................................... 8

Glazing ................................................................................................. 9

Hints on How to Make Your Piece Survive ........................................ 11

Tools & Equipment ............................................................................. 12

Kilns and Firing Temperatures ............................................................ 13

Elements and Principles of Design ...................................................... 14

Extra Credit Sheet................................................................................ 15

Project and Glazing Checklist ............................................................. 15

Ceramics II Syllabus Ms. Showers

1st Quarter Assignments

Hand Built Projects Wheel Thrown

Collaboration Tile Project Bowl wider than 7”

Shoe Self Portraits Vase taller than 7”

2nd

Quarter Assignments

Hand Built Projects Wheel Thrown

2-4 Drinking Vessels 2-4 Drinking Vessels

Pitcher/Teapot Pitcher/Teapot

Figurines

Glaze All must be used at least once during the semester.

Techniques Types

Sponging High Fire Glaze

Spattering Low Fire Glaze

Dripping Stains

Pouring Underglaze

Dipping

Sgraffito Colored Slip

Exams and Quizzes You may have several pop quizzes throughout the semester on

demonstrations and class readings. There will be one final exam at the end of the semester

covering all in class work, lectures and videos.

Discussions and Critiques

We will have several discussions about art, aesthetics and other topics, to help you understand and

explore the purpose of art. We will have class critiques on student work as well as other artists’

works to help you learn what can improve the design of your work and increase its success. You

will be graded on your willingness and ability to communicate ideas and add to discussion. Oral

Presentation – During the Presentation, you will present one of your pieces to the class, and give a

description of its physical characteristics, an interpretation and an evaluation of it's success. The

class will ask you questions as the critique progresses.

Effort and Cleanup

We will have several cleaning days in which everyone contributes to picking up and cleaning the

ceramics room. These are graded days, so if you’re not here or don’t participate you won’t get any

points. This is in addition to cleaning up you own work area daily.

Final Exam

Ceramic Classroom Rules

No throwing clay or tools, not even a short distance. If you are seen doing this you will receive a

detention to clean.

No eating or drinking at all. Do not bring and food or drink into the room, I will throw it away.

It is not safe to eat around ceramic chemicals.

No touching others’ artwork! Clay is extremely fragile and will sometimes break even with a

delicate touch. Please respect other students and ask before you touch or move their project.

Absences - If you are absent from class, it is your responsibility to find out what you missed.

Tardies - If you are not in the ceramics room when the bell rings, you are tardy. The art room is

not our classroom. At the third tardy, and every tardy after that you will have a 15 minute

BEFORE SCHOOL detention to clean.

Passes - You must have your pass book to be allowed to visit the restroom/locker/office.

Cleanup - Do not clean up until 5 minutes before the bell rings. If you are done and standing by

the door with nothing to do, I will find a job for you. During cleanup, everyone helps. Everyone

will take their turn with cleanup jobs, but everyone cleans up their own work area.

Last Bell - No one leaves the ceramics room before the bell rings. When you are finished cleaning

up, be seated until the bell rings. You are not to be in the art room or hallway or it is a detention.

Backpacks must be left on the bottom shelves of the grey cabinet at the entrance to the room. No

coats.

Project Rules Your project will not be fired for these reasons:

1. It is not appropriate for public school. Anything to do with: alcohol, drugs, and tobacco

(including ashtrays), nudity, bigotry, racism, hate, etc. Use your common sense.

2. It does not bear your name or initials.

3. There is glaze on the bottom of the piece, or way too much glaze.

4. It is a wheel thrown piece, and has not been footed.

5. It is too thick, not hollowed out, or not dry.

Cleanup Jobs One person will be assigned to do each job every day for one week. 1. Canvas - Pick one dirty canvas, wash it in the sink with the scrub brush, no soap is necessary.

Roll up and place in the large bucket under the sink to dry. Do this early, before everyone else is

cleaning up.

2. Tool Counter - Make sure all hand tools are in their proper bin. All cabinets must be closed, all

glazes put away, and the countertop washed.

3. Sink Counter - Make sure the sinks are empty and rinsed out. Clean and dry the countertop.

No hand tools or buckets should be littering the counter. Do not do this until most people have

cleaned up.

4. Apron - Clean one dirty apron just like cleaning a canvas.

How to Succeed in Ceramics Class

Put forth your best effort on every assignment. Keep an open mind. Experimenting and trying new skills is one way to build knowledge.

Use your time wisely. Clay cannot be taken home, and is hard to catch up on if you get behind.

Listen and watch demonstrations carefully.

Do your homework on time.

Don't be discouraged if it doesn't work perfectly the first time. Practice hones your muscles

and your mind, and it will be easier to do the second, third or fourth time.

Listen to others. Your teacher and your classmates can save you time and effort, but only if you

listen to their suggestions.

Study for Exams.

Ask questions when you don't understand, or have forgotten something.

Come to class, be on time and be on task.

Grading

Rubrics – Rubrics give a written description of the requirements and expectations for each project.

Each rubric includes: points for specific aspects of each unit, points for the time you have spent,

effort you have put in and the craftsmanship you have shown in each project. You are expected to

grade yourself using the rubric before you turn in your completed work.

Effort - Your participation and attitude will count in parts of your grade such as critiques and

cleanup, but will also affect every project that your create. If you are not trying, or expecting much

of yourself, you will not achieve what you could. Promptness on written assignments is essential.

You need to be prepared for what we are doing in class.

Growth - every student begins this semester with a different level of skill and experience.

Students are expected to improve their skills this semester, no matter what proficiency they begin

with.

Deadlines - Written assignments are marked down when handed in after the deadline. Ceramic

projects must be completed by the grading period deadlines.

Challenge - If you go above and beyond, you will be pleasantly surprised by the results, both in

your product and in yourself.

Being a Student Artist

You are here to learn about art. I do not expect you to become an artist in one semester, or even at

all. Taking a physics class does not make you a physicist, however, it can teach you about the

physical aspects of everyone's world. Art is an important part of everyone's life. We make

decisions every day based on our knowledge and feelings about the visual world around us.

Aesthetics

Everyone makes decisions based on their aesthetic sense. It is that feeling that tells you whether

what you see is pleasant, awkward, energetic, calming, etc.

You can train your sense of aesthetics to like or dislike certain things. You can also educate

yourself to understand why you like or dislike what you see. If you understand why you get a

positive aesthetic response from something, you are then able to repeat that experience. This

knowledge is the basis for most advertising, marketing and product design.

Understanding the aesthetic sense, and how to use it to your advantage requires more than just

making art. Art must be studied, evaluated, and discussed. Through your communications with

others, you can learn about how the aesthetic sense works in others.

Artmaking Each project you complete will be broken down into four stages of artmaking: Concept,

Composition, Craftsmanship and Criticism. Each one of these areas is dependent on the other

three.

Concept (the Formation of Ideas) - A successful piece of art begins with a good idea. We will

explore different methods of forming ideas, characteristics of a good idea and a wide range of

purposes of art.

Composition (translating an idea into visual form) - Just because you have a great idea, doesn't

mean you know how to express it visually. We will use the elements and principles of design to

give your idea a physical form. We will also practice methods of improving and editing designs

during the creation process.

Craftsmanship (constructing your design in a media, i.e. clay) - After you know what you want to

construct, you will learn skills, techniques and information about clay that will allow you to

successfully create ceramic art. We have many tools, clays, firing processes, glazing processes,

handbuilt and wheel thrown forms to experience.

Criticism (evaluating the success and meaning of art) - Art is often intended to be experienced.

The response to an art piece can be integral to it's purpose. Learning and sharing what you and

others feel about artwork expands your ability to create it, communicate it and your understanding

of aesthetics.

Wedging

Wedging

Clay is a mixture of ground minerals, such as silica, which is also the main element in

glass. Water is not part of clay, but only something we add to make it moldable. Clay must

be completely dry before it is fired, or the expanding water will cause it to break and crack,

to relieve the pressure. Likewise, air is not part of clay. Trapped air bubbles will expand in

the hot kiln and cause cracks, or in extreme cases, explosions. In order to prevent air

bubbles, clay is kneaded before it is used. This kneading is called wedging.

1. To begin wedging, use a wire to cut off a chunk of clay, about the size of a grapefruit.

Wedging pieces smaller than this is difficult and rarely effective. Larger pieces can be

wedged, but it requires strength and practice.

2. Always wedge on a surface such as canvas that the clay will not stick to. Put both hands

on top of the clay and push it forward using the heel of your palm.

3. Now pull the front edge of the clay up and toward you. Then, push it down and forward

again. Keep doing this repeatedly. The clay will turn around and around in a spiral.

4. Occasionally turn the clay 90 degrees so that you are rocking it the other direction.

5. After 2-3 minutes of wedging, you can check your progress by cutting your clay in half

with a wire. If you see any air bubbles, you are not done.

The lump of clay is lifted from The kneading process is repeated The clay is then turned 90 degrees

the back and pulled forward to approximately ten times, with and the whole operation begins

a vertical position. the clay rhythmetically pressed again until it is thoroughly mixed

in a circular movement of pushing

and lifting.

Score and Slip When two separate pieces of clay have to be joined together, one must slip and score the

joint. This is one of the most fundamental rules of ceramics. A joint that is not slipped and

scored will most likely separate or crack during the drying or firing processes.

1. First, score both surfaces to be joined. Scoring is the roughing up of clay by scratching

short lines close together. Use a needle tool or pointed wooden tool.

Example:

2. Then, add a little water to the clay with a brush , sponge or your finger. Rub the water

in gently to create muddy, sticky clay called slip. Slip is essentially the glue for the joint.

3. Gently press the pieces together, and put pressure on the joint while jiggling back and

forth. This removes any air and excess water that could cause the joint to crack if not

squeezed out.

4. Clean the outside edges of the joint and smooth with a rib or wooden tool. If you can

see a crack between the two pieces, air will get in and separate the two pieces as it dries.

The joint must look solid.

5. It is doubly important to let slipped joints dry slowly. Quick drying will cause each

piece to warp and bend away from the joint.

Finishing Touches

Craftsmanship is very important to your final product. Taking the time to make each area

perfect before it is fired is essential. Clay cannot be changed once it has been fired. A

smooth even surface is also essential for glazing. Bumps and scratches become sharp edges

after firing.

Make sure you have paid attention to these final steps before your piece is fired:

1. File off any burrs, or rough edges

2. Do a final sanding with imitation steel wool

3. Is your piece thin enough to be fired? Does excess clay need to be removed?

4. Does the bottom sit flat?

5. Pick out any dust from small areas with a dry brush, this includes your name on the

bottom.

6. Use a flat file to make sure flat areas are even and flat and edges are straight

7. Is the top edge or lip of even thickness?

8. Is the surface lumpy, or showing fingerprints? If it does, you need to sand and file.

Clay There are three kinds of clay used in our ceramics classes. Porcelain is used only in

Ceramics II. The following chart shows each clay’s characteristics. Plasticity means how

easily it will bend without cracking or breaking. Strength refers to how strong the clay is

after being fired. Porosity means how large are the air holes, or pits in the clay after it has

been fired. A surface with small pores is smoother to the touch and eye. Clay Color Plasticity Strength Porosity Products made

from this clay

Earthenware Red/Brown Low

Difficult to Bend

Very

Strong

Large

Pores

Terra Cotta Pots,

Outdoor and large

sculptures

Stoneware Grey/White Medium

Bendable

Strong Medium

Pores

Everyday Dishes,

Plant Pots,

Porcelain White High

Very Bendable

Weak Small

Pores

China dishes,

delicate figurines

States of Clay

Slip - Newly mixed clay that is moist and sticky. Needs to be wedged before it is

workable, or it can be mixed with water and used to score and slip pieces together.

Workable - Newly mixed clay that is moist and sticky. Can be molded, formed, thrown on

the wheel, rolled with a rolling pin or into coils. Joining pieces is done at this stage.

Leatherhard - The second or third day the clay is still workable and bendable, but can hold

itself up better, and the surface is less sticky and able to be smoothed. Slabs are often

rolled when moist and then joined when firm, so that they will keep their flat shape and not

collapse. Pieces can be slipped and scored together when firm.

Bone Dry/Greenware - When clay is fully dry it is bone dry. The bone-dry test is to see if

it is chalky white, and does not feel cool. Cold feeling clay has water in it, because water

conducts heat. If the clay is room temperature, it is cooler that our skin temperature and

feels cold. Bone-dry clay is ready to be bisqued.

Bisque - Clay that is fired to Cone 06 is called bisque. It feels heavier, more glasslike and

is breakable. Bisqueware cannot be bent or sanded, and cannot be recycled in the pugger.

The clay also changes color, stoneware is peachy white, and earthenware is orange. To test

if clay has been fired, scratch the bottom with your fingernail. If powdery clay scratches

off, it has not been bisqued. Bisque will probably squeak like a chalkboard.

Glazeware - After clay has been bisqued, one can apply glaze and fire the piece again.

Then it is called glazeware. Glazeware can have additional layers of glaze applied and

refired, however a higher temperature glaze cannot be applied over a lower temperature

glaze. Refiring too many times can cause the glaze to bubble and crack.

Glazing

Glazes are powdered chemicals we mix with water for spreadability. Glazes in raw form do not

reflect the color they will be after firing. They must be applied to bisqued clay, and must dry one

day before they can be fired. You can reglaze and refire ceramics if the first coat doesn’t come out

right. Glazes of the same temperature can be layered and used side by side, but not mixed like

paint.

How to Glaze 1. Clean your brush or sponge.

2. Mix up glaze well. Colorants and glass components have different weights, and settle.

3. Rinse off your bisqued piece with water for 5 seconds.

Make sure bottom of piece is clean and free of glaze. Place on correct temperature shelf in kiln

room.

Any glazes that are the same temperature can be used together on the same piece. Different colors

of the same glaze can be layered, but not mixed.

Types of Glaze - Use all at least once during the semester.

Underglaze - (Cone 06) Small 2 ounce bottles of flat, solid color used for details and small

projects only. Good for making very small details. Underglazes are matte (not shiny). If you want

a glossy look, fire once, rinse and coat with one coat of low fire gloss, then fire again. Underglazes

do not flow during firing, so they will stay where you put them. Paint on one thick coat.

Low Fire - (Cone 06) In quart size bottles. Most are bright, solid colors. Some have chunks in

them to create a spotted effect. All are shiny. Clear low fire gloss glaze is pink before firing.

These are very predictable colors that do not run or flow during firing. Paint on 2 coats. They are

good for small to medium size projects.

Stains - (Cone 06) Colorants mixed with water. 12 colors which soak into the bisque. These are a

lot like watercolor paints. Blend and layer the colors, but allow the bisque to show through.

1st technique - Paint them on, and sponge off and rub in to highlight texture. Can be mixed

like paint. (Use a paint palette) Let dry before carefully laying on one coat of low fire gloss.

Do not brush back and forth with the gloss or you will pick up the stain and smear it.

2nd

technique, paint on a layer of low fire gloss first and let dry. Then use them like

watercolors for a painterly effect. Not intended for use in solid coverage, since they will

be blotchy. Stains are never intended to cover a piece in a solid color. They will always

be blotchy and show texture. Stains which are applied too thickly will peel off. Since

they contain no glass, you must coat with low fire clear gloss to make them waterfast.

Stains do not flow during firing.

Hi Fire - (Cone 5) Raw unfired glazes in gallon buckets. Dark, variegated colors. No reds, since

these are made with lead which is poisonous. Hifires flow heavily during firing, causing beautiful

swirls and unpredictable chemical reactions. Never apply too thick a layer of hifire glaze, as your

piece may become stuck to the kiln when the extra glaze flows down the side. Dipping one layer

first, then double dipping, spattering, brushing or sponging another color or two is the best way to

get good results. Remember to clean the bottom and scrape the bottom edge up 1/8" before firing.

Glazing Techniques - All must be used at least once during the semester.

Brushing - Use a paintbrush to apply two even coats of lowfire, one of underglaze.

Sponging - Use a soft round sponge to dab on glaze. Works well to coat pot in a solid color first

and then dab light areas of other colors on top. Sponging can also be used to blend one color into

another gradually or apply and mix colors of stain. Avoid making harsh crescent shapes. Sponges

can be cut into shapes to make a specific pattern.

Spattering - First coat piece in a solid color, and then using a stiff spattering brush or toothbrush,

flick small dots of several colors on top, creating a speckled or granite texture. Work by the sink to

avoid speckling other people and their work.

Dripping - First coat piece in a solid color, then dip brush into another color and dab a thick blob

of thin glaze along the top edge, letting gravity create a drip. Dripping works best on vertical

surfaces like rims of pots and outsides of bowls and vases. This does not work well with

underglazes, as they are thick.

Dipping - Coat bottom of piece with wax, let dry. Wax prevents the glaze from soaking into the

bottom, essentially resisting the glaze. Rinse piece. If you forget to rinse before you dip, the glaze

will all crack off as it dries. Whisk or mix up hifire glaze very well. Pick up with dipping tongs

and fully immerse in glaze bucket. Pull out quickly, shaking off extra glaze. Clean off bottom

with a clean sponge. Let dry slightly before adding more glaze. Double dipping is done with two

colors in this fashion. Often the lip is done only in the second color. You can spatter and sponge

on top of a dipper layer as well.

Pouring - when your piece is too large to be dipped into a hifire bucket, you can pour glaze over

your piece with a cup or ladle, allowing excess glaze to drip back into the bucket. Wax resist on

the bottom is recommended. You can either hold your piece in tongs or in your other hand. This

can allow you to apply several colors, and overlap colors.

Other Surface Treatments

Carving - Removing clay in the shape of a design is carving. Lightly draw your design on firm to

leatherhard clay. Remove clay in different textures and depths using a variety of tools, such as a

sgraffito tool, needle tool, carving knife or trimming tool. Wooden tools are great for smoothing

small areas of the carved design.

Appliqué' - Adding small pieces, coils, doo dads, etc. to the surface of clay.

Indenting - Pressing tools and shapes into clay to make an impressed design.

Incising - Drawing into clay with a sharp tool, like a knife or needle tool.

Colored Slip - not a glaze. (Cone 06) It is clay mixed with water and colorant. It must be painted

on when the clay piece is leatherhard, essentially painting on a think layer of colored clay. You

can drip, sponge and paint colored slip, It can also be trailed, by moving the colors around with a

needle tool. Colored slip looks best after it is bisqued and then refired with clear lowfire gloss.

Sgraffito – After a layer of colored slip has firmed up for a day or two, it can be scratched away in

certain areas to reveal the white clay beneath. This scratching is called sgraffito and is done with a

sgraffito tool. You can achieve extremely sharp detailed patterns with sgraffito.

Hints to Help Your Pieces Survive

Avoid the frustration of losing a piece when it is almost or fully done. Following are some

hints to keep you from breaking or ruining a ceramic piece.

1. Wedge your clay. This removes air bubbles.

2. Dry your piece slowly. Use the damp cabinets, plastic, etc. Clay shrinks while drying

and thin areas will dry first. If one side of the piece dries before the other, it will crack to

relieve pressure.

3. Slip and score properly.

4. Be gentle with dry clay. Bone-dry clay is extremely fragile and will break easily. Bone-

dry clay cannot be slipped and scored.

5. Don’t handle your piece unless you have to. It can break and you will get hand oils on

the surface, which may repel glaze.

6. Don’t leave your clay thicker than your thumb or 3/4". Thick clay cannot dry and may

trap air. It will crack in the kiln.

7. Let your piece dry fully before firing. Pieces with any moisture in them will crack in the

kiln.

8. Clay shrinks 10-15% overall. Make connecting pieces or lids at the same time and fire

them together. Make pieces fit loosely in case one shrinks more than the other. Hollow

pieces usually shrink more than sold pieces.

9. Wash your piece before glazing. This cleans the piece of dust and oil and allows glaze

to be absorbed slowly, so it will not flake off.

10. Clean the bottom of your piece after glazing. Glaze will stick to the kiln if on the

bottom of your piece, and some of your piece will break when removed from the kiln.

Likewise, don’t put so much glaze on that it drips off the edge and cements your piece to

the kiln.

11. Use glazes for their proper purpose. For example, stains are not meant to give a solid

even color, they are used for mixing and painterly effects. You will be disappointed if you

try to use a glaze for the wrong purpose.

12. Foot your wheel thrown pots so the bottom isn’t too thick and so it sits flat on a table.

13. Sand your pieces well. Glaze will look better, the piece won’t be sharp and it will look

more finished.

14. Fully cover your piece with glaze. Don’t miss corners, textures and bottom edges.

Don’t put on such a thin coat that the brushmarks show. Two good coats are necessary.

15. Work in a clean area. Don’t let clay dust and other glazes get into your piece by using

dirty canvas and tools.

16. Pieces of clay warp or bend when one side dries faster than another, and shrinks. To

prevent warping, which most commonly happens to slabs or tiles, flip over every day to

rotate the side which is drying and dry slowly, wrapped in plastic. Tiles can be stacked

with boards in between to keep them flat while they dry.

Tools and Equipment

Hand Tools

Needle Tool - For cutting and drawing into clay. Necessary for working on the wheel to

cut off uneven tops and poke air bubbles. Can be used to gauge the thickness of clay and

for scoring.

Ribbon Tool - A stick with a loop of wire or strap metal on the end. Used to trim off and

carve out unwanted clay. Necessary for hollowing out structures.

Wooden Tool - Shaped wooden sticks used for carving, indenting and smoothing clay.

Especially helpful when the space is too small for your finger, like the inside corner of a

box.

Sponge - Sponges are used to smooth the outside surfaces of clay, make dappled finishes,

or remove excess water and slip from work on the wheel.

Fettling Knife - A thin, flat knife with two straight sides. Used to scrape flat areas of clay,

such as slabs, or to remove wheel thrown pottery from a bat.

Carving knife - A short curved knife with a pointed end used to carve clay and scrape

rounded shapes.

Wire - A piece of wire with two handles, used to cut chunks of clay and to remove wheel

thrown pieces from bats.

Ribs - Flat pieces of metal, wood, or plastic used to scrape the outside of pots and

sculptures. Wooden ribs used to square up centered clay on the wheel, rubber ribs are

inside tools for the wheel and metal ribs are outside tools for the wheel.

Equipment Kiln - The oven that bakes or fires clay. Ours is electric, not far from a large toaster. Gas

and wood fired kilns are also used. Temperature measured in cones.

Potter’s Wheel - A machine that spins via a motor, used to make round, symmetrical

pieces.

Bat - A plastic or wood circle that attaches to the wheel, which you make your piece on.

This way you can remove the bat without touching the piece until it is firmer and drier.

Pug Mill or Pugger - A mixing machine that recycles clay by grinding it and forcing air

out. Remember, if you put dry clay in, you’ll get dry clay out. Mix too dry and too wet

clay when filling the pugger, and the result should be good. Pugged clay still needs to be

wedged.

Armature - A support used to keep wet clay in a specific shape until it dries and becomes

firmer. This can be newspaper, plastic bags, balloons, metal, wood, wire, etc. Temporary

clay lumps can also help hold up a weak area of your project.

Kilns and Firing Temperatures

A kiln is an electric or gas oven that reaches temperatures from 800 to 2450 degrees

Fahrenheit. In ceramics, we measure the temperature in cones, often marked .

The idea of cones comes from early firing, before we had thermostats, when a cone shaped

piece of clay would be placed in the kiln. This cone would melt at a certain temperature,

and indicate to the potter that the kiln was hot enough. These cones are still used in

outdoor firing and gas firing. Often more than one is used in different levels of the kiln.

Heat rises, so the top shelf might be hot enough, the bottom might be too cool to mature the

glaze or clay.

Some kilns use a kiln sitter. When the cone melts, it releases a pin that shuts off the kiln.

Our kilns are computerized and shut off when the thermostat reaches the right temperature.

Clays mature into bisque at Cone 06. This is about 1803 degrees F. It takes around 12

hours to heat up to this level and 12 more to cool off. Ceramics which are removed from a

kiln hot, can crack and break. Glazes which are removed too hot lose their shine and

crackle, or craze. Remember that it takes a full day to fire and cool a piece. NEVER

TOUCH OR OPEN A KILN THAT IS ON.

Glazes can mature at varying temperatures. Our low fire glazes, stains and underglazes

mature at Cone 06. Our high fire glazes mature at Cone 5, about 2185 degrees F. A full

cycle of the kiln takes 24 hours, including cooling time.

Below is a chart comparing cones to their Fahrenheit equivalent. Notice how Cones with a

0 before the number are lower in temperature. Consider the 0 to be a negative sign. These

are pronounced Cone “Oh”6, for example.

Cone Fahrenheit Cone 12 2419

Cone 5 2185 High Fire Glazes Cone 2 2124

Cone 0 2102

Cone 02 1955

Cone 06 1803 Bisque/Low Fire Glazes Cone 012 1623

Elements of Design These are the “building blocks” that the artist uses to construct a design.

Color: This is made up of hue (The name of the color), intensity (strength of color, for example how bright

or dull) and value (the lightness or darkness of a color). The use of several colors from the color wheel

arrangement produces certain desirable combinations known as color harmonies.

Value: The lightness or darkness of a color or shade.

Line: Outlines that can be two dimensional (such as pencil on paper), dimensional (such as wire) or implied

(such as the edge of a shape or form).

Texture: How something feels (actual texture) or looks like it feels (visual texture).

Shape: A 2-dimensional area like a square, circle, triangle, blob, etc.

Form: A 3-dimensional area like a sphere, cube, person, that does or seems to have width and height like a

shape, but also has depth.

Space: The distance around, between, above, below and within an object. Positive space is the object.

Negative space is the area around the object.

Principles of Design The rules by which the elements are put together to make a design.

Balance is the distribution of visual weight of objects throughout a design. Designs can be in

Symmetrical balance (exact weight even on both sides, like a mirror though the middle),

Asymmetrical balance (same weight on both sides, but the design in different on both sides)

Unbalanced - look like they are going to fall over

Visual weight is heaviest for large, solid, intense, dark areas, thick lines and heavy pattern. A dark object

can be balance by a bright color, a curvy handle can be balanced by a brightly colored foot. Designs should

never be top heavy. It is better to have slightly more visual weight on the bottom.

Contrast is another word for difference. High contrast is achieved by putting two opposites next to each

other. Contrast draws the eye to a certain area. Therefore, contrast should be used to attract the eye to the

design, and to the most important part of the design. Contrast can be achieved with color (complimentary

colors), value (dark/light), angle (sharp perpendicular lines) size or ideas (an oxymoron, pun, falsity,

unusual statement).

Emphasis - The most important area of your design should be emphasized by using contrast and movement.

A focal point is the place where the eye enters a design and rests after is it done looking at the entire design.

The visual focal point should also be the most important part of your design in terms of subject matter.

Movement is created in a design in several ways. Diagonal lines, graduated sizes and colors, repetition of

objects, words (reading), an obvious order (numbered objects, objects arranged left to right or top to

bottom.) Movement in a design provides the viewer the ability to see all the design and not be visually

stuck on one area.

Pattern is created by the repetition of an object. This creates movement, rhythm and often unity. Patterns

as a whole create more visual weight than the single objects. Patterns can be based on lines, colors, shapes,

etc.

Rhythm in design means the same as in music. Repeating a pattern of change (blue, yellow, red) leads the

viewer to expect the pattern of change to be repeated. It leads the viewer through the design as the pattern is

repeated. It sets the tempo or speed of the work, which can change its meaning.

Unity – this principle is the reason we talk about consistency. A design should appear unified because all of

the pieces within it have common aspects, such as color, font, line weight, direction of line or angle, style,

etc. Make all of the pieces of your design build upon each other's strengths, not offer conflicting ideas.

ART STUDENT SAFETY CONTRACT Purpose:

Art is a hand-on class. You will be doing many activities in this room that will require the use of

chemicals, tools and machines. Safety in the Art Room is the number one priority for our students

and teachers. To ensure a safe Art Classroom, a list of rules has been developed and provided to

you in this Student Safety Contract. These rules must be followed at all times. Two copies of this

contract are provided to you. One copy must be signed by you and returned to your classroom

teacher before you can participate in any art room project or activity. The second copy is to keep

in your Art Folder as a constant reminder of the safety rules.

General Guidelines:

1. Conduct yourself in a responsible manner at all times in the Art Classroom.

2. Follow all written and verbal instructions carefully. If you do not understand a direction or

part of a procedure, ask the teacher before proceeding.

3. Never work alone. No student may work in the Art Classroom without a teacher.

4. When first entering the Art Classroom, do not touch any equipment, chemicals, or other

materials until you are instructed to do so.

5. Do not eat food, drink beverages, or chew gum in the Art Classroom. We work with many

chemicals which are not safe to be ingested.

6. Perform only those projects authorized by the teacher. Never do anything in the Art

Classroom that is not called for in the Art Classroom procedures or by your teacher.

Carefully follow all instructions, both written and oral. Unauthorized projects are prohibited.

7. Be prepared for your work in the Art Classroom. Read all procedures thoroughly before

starting the next task.

8. Never fool around in the Art Classroom. Horseplay, practical jokes, and pranks are

dangerous and prohibited.

9. Observe good housekeeping practices. Work areas should be kept clean and tidy at all

times. Bring only your Art Classroom instructions, worksheets, and/or sketchbooks to the

work area. Other materials (books, purses, backpacks, etc.) should be stored in the area

designated by the Art Teacher.

10. Keep aisles clear. Push your chair under the desk when not in use.

11. Know the locations and operating procedures of all safety equipment including eye wash

station, fire extinguisher and fire blanket. Know where the fire alarm and exits are located.

12. Be alert and proceed with caution at all times in the Art Classroom. Notify the instructor

immediately of any unsafe conditions that you observe.

13. Dispose of all chemical waste properly. Never mix chemicals in sink drains. Sinks are to be

used only for water and those solutions designated by the instructor. Chemicals and other

materials are to be disposed of all in the proper waste containers, not in the sink. Check

the label of all waste containers twice before adding chemical waste to the container.

14. All labels and project instructions must be read carefully before use.

15. Keep hands away from face, eyes, mouth and body while using chemicals. Wash your

hands with soap and water after performing all projects. Clean (with detergent), rinse, and

wipe dry all work surfaces (including the sink) and apparatus at the end of the project.

Return all equipment clean and in working order to the proper storage area.

16. You will work at your designated seat/station. Do not wander around the room, distract

other students, or interfere with the Art Classroom projects of others.

17. Students are never permitted in the Art Storage rooms or preparation areas unless given

specific permission by their teacher.

18. Know what to do if there is a fire drill during an Art Period; containers must be closed and

any electrical equipment turned off.

19. When using sharp instruments, always carry with tips and points pointing down and away.

Always cut away from the body. Never try to catch falling sharp instruments. Grasp sharp

instruments only by the handle.

Clothing:

20. Any time chemicals, heat, or glassware are used, students will wear goggles. There will

be no exceptions to this rule.

21. Dress properly during an Art Classroom activity. Long hair, dangling jewelry, and loose or

baggy clothing must be secured.

22. Art aprons have been provided for you and can be worn during classroom activities to

protect your clothes from dirt and debris.

Accidents and Injuries:

23. Report and accident (spill, breakage, etc) or injury (cur, burn, etc) to the teacher

immediately, no matter how trivial it may appear.

24. If you and/or your classmate are hurt, immediately get the teacher’s attention.

25. If a chemical should splash in your eye(s) or your skin, immediately flush with running water

from the eyewash station for at least 20 minutes. Notify the teacher immediately.

Handling Chemicals:

26. All chemicals in the Art Classroom are to be considered dangerous. Do not touch, taste,

or smell any chemicals unless specifically instructed to do so.

27. Check the label on chemical bottles twice before removing any of the contents. Take only

as much as you need.

28. Never return unused chemicals to their original bottles.

29. When transferring chemicals from one container to another, hold the containers away from

your body.

30. Handle flammable hazardous chemicals over a pan to contain spills. Never dispense

flammable liquids anywhere near an open flame or source of heat.

31. Never remove chemicals or other materials from the Art Classroom.

32. Take great care when transferring chemicals from one part of the Art Classroom to

another. Hold them securely and walk carefully.

Handling Glassware and Equipment:

33. Never handle broken glass with your bare hands. Use a brush and dustpan to clean up

broken glass. Place broken or waste glassware in the designated glass disposal container.

34. When removing an electrical plus from its socket, grasp the plug, not the electrical cord.

Hands must be completely dry before touching an electrical switch, plug, or outlet.

35. Report damaged electrical equipment immediately. Look for things such as frayed cords,

exposed wires, and loose connections. Do not use damaged electrical equipment.

36. If you do not understand how to use a piece of equipment, ask the teacher for help!

18

Questions:

37. Do you wear contact lenses?

a. Yes b. No

38. Are you color Blind?

a. Yes b. No

39. Do you have allergies?

a. Yes b. No If yes, please list: _______________________

Student Safety Contract Agreement:

I, ____________________________________________, have read and agree to follow all of the safety

rules set forth in this contract. I realize that I must obey these rules to ensure my own safety, and

that of my fellow students and teachers. I will cooperate to the fullest extent with my instructor

and fellow students to maintain a safe Art Classroom. I will also closely follow the oral and

written instructions provided by the teacher. I am aware that any violation of this safety

contract that results in unsafe conduct in the Art Classroom or misbehavior on my part, may

result in being removed from the Art Classroom, detention, receiving a failing grade, and/or

dismissal from the course.

Student Signature: _______________________________________________ Date: _____________________