Burnt Earth: The Science of Ceramics
By Mary Ann Gaser
Index
Overview
Rationale
Objectives
Strategies
Classroom Activities
Annotated Bibliography/Resources
Appendices
Standards
Overview:
Burnt
Earth: The Science of Ceramics with an emphasis upon science that is
specifically designed for gifted middle school students.
The goal of the curriculum is to have the student realize that there is
an essential scientific basis for many art projects and activities. This is
especially true of ceramics. I have expanded my ceramics curriculum to include
some of the everyday applications of scientific principles to artistic
expression. The curriculum is three pronged. It first addresses the historical
and cultural relevance of ceramics. Next, it challenges the students to do
research on the scientific aspects of ceramics. It then suggests studio
activities that allow them to use what they have learned. These activities
include working with clay to make sculpture and pottery as well as designing
signage to illustrate the science of ceramics.
Rationale:
Currently, I teach Fine Arts to seventh and eighth grade students at
Pittsburgh Gifted Center. The mission of this center is to provide gifted
education to students from kindergarten to eighth grade who are enrolled in the
Pittsburgh School District. Private and parochial school students also are
eligible to attend, and there are a few tuition students. I am the only art
teacher and provide instruction to students eager to express themselves
creatively.
The Pittsburgh Elementary Gifted Center and the Pittsburgh Middle Gifted
Center were combined in the 2001-2002 school year.
The combined school, The Pittsburgh Gifted Center, is in the process of
developing a seamless kindergarten through eighth grade program. It prepares the
gifted students for high school CAS (Centers for Academic Studies) program by
offering enrichment courses in a variety of subjects.
The students select four courses each September and January. The courses
are teacher designed and consist of fifteen one-hour classes. The seventh and
eighth grade students are offered courses in the fine arts, language arts, the
sciences, mathematics, social studies, and technology. Because the courses are
teacher designed and because one of the objectives of the program is enrichment,
I have the luxury of tailoring my curriculum to the individual needs of my
students. In the 2001-2002 school year I offered courses in sculpture, drawing
and painting, textiles and Papier-mâché Aliens.
One of the needs of the students came to my attention when I was teaching
a course in sculpture. The unit on
ceramics posed many questions. The
students often asked "Why does clay get hard in the kiln when it is
fired?" They were not satisfied with the usual answer; "It is a
chemical reaction." They pressed for more detailed information. We began looking
into the matter by reading the Amaco catalogue.
The Amaco Company is one of the main suppliers of ceramics for the art
room. As we read through the catalogue and checked out the Amaco web site, many
of the students showed more than a passing interest in the science behind the
processes. The students showed an interest in the glazes. They asked about lead
content. They were curious about the colors. They wondered how they were mixed.
The answers to these questions led to more questions.
When I read the description for the seminar, "Everyday Science"
led by Dr. Stocks, I thought that the seminar offered an opportunity to develop
a curriculum that would address the scientific aspects of ceramics. The ceramic
artist is not regarded as scientist yet a solid understanding of the properties
of clay is essential if the artist wants to achieve a desired result. The
curriculum, "Burnt Earth: The Science of Ceramics " provides an
opportunity in the art room for students and their parents to gain a broader
appreciation of science and of themselves as scientists as well as artists.
The seminar has given me the opportunity to investigate and to marvel at
what the future holds in the field of ceramics and material science. Dr. Stocks
structured the seminar, Everyday Science, to address the needs of all the
members of the seminar by inviting guest speakers to present in their areas of
expertise. In order to help me investigate the field of ceramics, she invited
Paul Salvador, a ceramics engineer from Carnegie Mellon University's Department
of Material Science, to speak to the seminar. He began by saying prehistoric man
discovered that clay left in the fire became hard. The Greeks called ceramics
"burnt earth". They referred to pottery as "burnt
stuff". He then spoke of the everyday uses of ceramics as well as some of
the projects he is currently pursuing for Carnegie Mellon University. He spoke
with great enthusiasm as we marveled at what he told us. He spoke of structural
ceramics, (sewer pipes and bricks) whitewares, (dinnerware) refractories (energy
conservation and conversion) glasses (windows and containers) abrasives
(diamonds) cements, advanced ceramics, biomedical uses in bone replacement,
aerospace, electrical conductors. It was mind-boggling.
He emphasized that ceramics are an integral part of our lives but many of
the uses go unnoticed. He suggested that I visit the American Ceramics Society's web
site for more information. I did. I found it extremely helpful. They have
extensive information for educators. This curriculum to a great extent relies on
this information provided by the American Ceramics Society
This curriculum will address the Art & Humanities Content Standards:
3. All students relate various works from the visual and performing arts and
literature to the historical and cultural context within which they were
created. 4. All students produce, perform, or exhibit their work in the visual
arts, music, dance or theater and describe the meaning their work has for them.
Objectives:
The
student and their parents will gain a broader appreciation of science and for
themselves as scientists as well as artists by learning the scientific processes
that take place in the creation of a piece of sculpture or a piece of pottery
from clay.
The
student will also become aware of the history of ceramics.
The
student will become aware of the intricate part ceramics has played in the
development of civilization by looking at slides, posters, videos and artifacts.
The
student will list the many uses of ceramics in everyday life then create a
display of ceramic artifacts that are utilitarian in nature.
The
students will create pottery and ceramic artwork as well as look at pieces of
pottery and ceramic artwork created by others.
The
student will discover the importance of ceramics in the development of the
future by researching the use of advanced ceramics in the space program, in
medicine, and technology.
The
students will be challenged to create signage that explains one of the facts
he/she has learned about the science of ceramics.
Strategies:
In
order to present such a broad subject in fifteen one-hour classes and still have
time for studio work I had to look for videos, visuals and guest speakers that
would give a lot of information in a short amount of time. I tried to find
amazing facts about ceramics. I tried to find unusual images the students would
remember. I looked for information
to spark their curiosity. I expect the students to contribute to the class by
bringing in articles. They may even suggest guest speakers or field trips.
Strategies
to motivate the ceramics class.
Ceramics
is a popular class. Motivation is
never very difficult. It is, however, necessary to find an appropriate starting
point. The students have many and varied experiences working with clay. Often
the experiences the students have had are limited to a specific area of
ceramics. In order to assess what kinds of experiences the students have had, I
start by asking questions. " What do you know about ceramics and
pottery?" "What is
clay?" " Have you worked with clay in elementary school? "
"Have you attended ceramics classes in an after school or summer
programs?" " Do you have a relative who is interested in ceramics?
"Once we establish what the class knows about ceramics, the class will view
videos, slides, timelines, charts, and filmstrips in order to broaden their
horizons. We will check out web
sites. We will interact with guest speakers and take field trips to local
ceramics studios. We will look at
actual pieces of ceramics. The students will create a display of ceramic art and
everyday objects.
Strategies
for teaching the history of ceramics.
The
history of ceramics starts at the very beginning of time. I want the students to
know that clay is mud. Clay is part of the earth's crust. Clay was here long
before people walked on the earth. Before people wove clothing to wear, they
made vessels from clay. It has played a major rule in the development of
mankind. Much of what archeologist tell us about the past is gathered from
shards of pottery. Clay tablets were used for writing. Pottery was used as
vessels. The Egyptians developed glazes in order to prevent the their porous
clay pots from leaking. The
Etruscans even developed a glaze that modern man has yet to duplicate. The
decoration on tiles and pots tell of heroes and villains.
From pottery we learn something of our earliest dreams and adventures.
Art historians are only now appreciating the artistic and scientific
sophistication of early man through the tracks and traces left by early man on
pieces of ceramics. The Ceramics Timeline, is a starting point.
It highlights clay from 35,000 BC to present. I have selected from Art&Man:
Artists of the Ice Age: Working with Sculpture the articles, The First
People and Ancient Animals to introduce early man and cave art. The articles
include art and artifacts made from clay but not fired.
The articles compare the strong sense of design found in these pieces
with the works of twentieth century artists. The articles introduce the design
terms, simplifying and stylization. There
are pictures of sculptures and jewelry that reveal early man was quite skilled
at modeling and incising. The
elements of art, of positive and negative shape, texture, line quality are
evident in the examples of art shown in this article.
Strategies
for teaching ceramics now and into the future.
Many
of the things we use everyday are made from clay. I think the students would
enjoy discovering the ceramic objects in the building- everything from bricks to
tiles to sinks to dishes. It would be fun to make signage to identify ceramic
objects in the school building. I can visualize signs in the bathrooms, above
the water fountain, on the bricks and tile walls and floors explaining the
objects that are made from clay.
The
American Ceramics Society provides a Ceramics Media Tip Sheet on their
web site. It includes: “A dozen fascinating story ideas about one basic
fascinating material-ceramics. Science, human interest, sports, business,
medicine- they are all in this special Media Tip Sheet brought to you by the
American Ceramic Society(AcerS)” The titles of the Articles are: The Ceramic
Astronaut, Cancer Fighting Glass, Radioactive Remedy, Tough as Glass,
Outsmarting the Slopes, Marine Marvels, Remarkable Replacements. Space Shuttle
Secrets, Amazing Engines, White House Ware, The Ceramic Web, Hot Careers, Cool
Stuff. All of these articles are interesting but the best part is the help the
American Ceramic Society is willing to give to the students. The top of the
Ceramics Media Tip Sheet reads: “We have the resources to help you bring any
of these suggested story ideas to fruition, We’ll help you line up interviews,
obtain photos, get background information and whatever else you need. Simply
contact AcerS headquarters at 614/794-5885 or communications@acers.org.
We will make sure you get what you need.”
Strategies
for teaching signage.
Signage
adds another layer of problem solving to the curriculum. The students will have
to have a clear understanding of the subject in order to create signage.
Dr. Janet Stocks arranged for The Kennywood Roller Coaster Sign
Project presentation will take the class through the design problem solving
process. The CMU students discuss: "Who is my audience?"
"How much information should I give them?"
"How should I present it?" "Is the intended audience
responding to the signage? "The ceramics students will answer the same
questions. The signage that they design will be a success if the intended
audience responds to the signage by learning some thing about the everyday
science of ceramics.
Strategies
for teaching ceramics construction techniques.
The
best way to learn how to work with clay is a teacher demonstrating the
procedures, guided practice with student and teacher working together and
independent work. There are posters and videos available. They are excellent
resources. The Ceramic Poster Set includes fourteen posters. The fourteen
posters include wedging, pinch pots, coil construction, slab construction, hump
molds, centering and throwing, trimming, profiles of pots, glazing, and bisque
firing.
Art
is Video
Series is
available from Crystal Productions. This Series, Throwing Series and Handbuilding
Series is part of the series but these tapes can be purchased separately.
The
Ceramics Poster Set
is also available from Crystal Productions.
The
visuals reinforce the teacher's demonstration.
Questions
and Answers to Accompany the Teacher's Demonstration.
What
is clay? Where did it come from?
I
buy clay in fifty pound boxes. It comes in two twenty five-pound bags. It is the
consistency of Velveeta cheese. It
is very processed. When I ask the students "What is clay" Where does
it come from?" most of the students do not have a clue. When I tell them
that it is mud I get a group response of "NAHH!" I found a scientific
answer in "Claywork, Form and Idea in Ceramic Design by Leon I Nigrosh
second edition on page 13, "The earth was once a mass of molten material.
As the planet cooled, the heavier materials began to settle into relatively
distinct layers. The surface layer formed by this cooling is made up of what is
known an igneous rock. This cold
molten rock is made up of almost 69 percent silica and about 15 percent alumina,
both important elements in the ceramics process. Eons ago, water wind and ice
and the expansion and contraction of the planet began to pulverize the rock
depositing silica and alumina particles along with other minerals and organic
materials all over the globe. The resulting conglomerate is clay."
In
order to work with clay the student must remove all the air bubbles by wedging
the clay. Wedging the clay is similar to making a pizza. The clay is pounded and
kneaded until it is a smooth lump. This
is very important because air bubbles will cause the clay piece to break during
firing in the kiln.
What
is a pinch pot?
A
pinch pot is a container that is made by first rolling the clay into a ball then
inserting your thumbs into the center to open the pot.
The clay is turned and pinch to form a pot. The sides should be about one
quarter inch thick. This will prevent it from breaking during firing in the
kiln.
What
is the coil technique?
The
students refer to the coil technique as "making a snake" from clay.
The coil is made by rolling the clay on a flat surface with both hands.
The coil is wrapped around a flat clay base. The form is built up by
adding coils. The resulting form can be left as is or smoothed. This sounds a
lot easier than it is. It takes a
lot of practice. The posts can be quite elaborate.
What
is slab construction?
Slab
construction is the process of rolling out sheets of clay with a rolling pin,
cutting out shapes from the sheets then joining the shapes by scoring
and attaching the pieces with slip.
What
is a hump mold?
A
sheet of clay is draped over a built-up form. The result is either a concave or
convex form.
What
do the terms throwing and centering refer to?
The
techniques throwing and centering refer to the technique of creating a pot on a
potter's wheel. Centering refers to the fact that the clay has to be in the
exact center of the wheel for the potter to be able form a pot. It works on the
principle of centrifugal force.
What
is a kiln?
A
kiln is a high temperature oven used to fire clay.
What
chemical changes take place during firing?
This
question arises when I tell the students that their pieces must sit and dry out
for a week or two before it is fired. Then
I explain that the firing will take all day and the cooling will take all night.
This particular group of students grew up with microwave ovens. The possibility
that something has to be in the oven all day and all night is amazing to them. I
created a chart to be displayed by the kiln. The students can then look at the
temperature displayed on the kiln, refer to the chart and know where we are in
the firing process. This is very detailed,
"
The earliest of these changes is about 100 C (212 F) when the atmospheric
moisture leaves the ware in the form of steam. If this temperature is reached
too quickly, the clay will explode. Silica undergoes its first chemical change
from alpha cristobalite to beta cristobalite at about 220 to 275 C (428 to 557
F) Water smoking or evaporation of chemically combined water from the clay
occurs from 450 to 600 C (842-1112 F). Considerable abrupt shrinkage takes place
at this time as kaolinite changes to metakaolin. Therefore, the temperature rise
should be gradual to keep the ware from splitting. Silica changes again around
635 C (1063 F) from alpha to beta quartz. By 700 C (122 F) all organic and
inorganic compounds such as carbon and carbonates have become decomposed or
oxidized. At 870 C (1598 F) silica changes once more, this time into its
tridymite formation. Another major
and sudden shrinkage takes place at 950 to 980 C (1742 to 1796 F) when the
metakaolin changes to spinil. From
1050 to 1100 C (1922 to 2012 F) mullite crystals begin to grow though the
combination of alumina and silica, giving the clay its strength. As the
temperature continues to rise, more silica forms a glass around the mullite
crystal, increasing the hardness of the clay. While the glassy phase continues,
further shrinkage takes place at 1200 C (2192 F) when the silica changes to a
more complete form of cristobalite.
Impurities
and varied composition control the extent of the maturation in clay bodies. Iron
loaded earthenware clays mature, that is, reach their highest point of favorable
vitrification, at about 1090 C (1994 F). While most stoneware mature at 1290 C
(2354 F), and pure kaolins mature at about 1650 C (3002 F) or higher." (Claywork
Form and Idea in Ceramic Design Second Edition Leon I. Nigrosh Davis
Publication, Inc., Worcester, Massachusetts 1986 IBSN 0-87192-173-1) Page 171
What
is a glaze?
A
glaze is essentially a thin layer of glass covering the pottery article. Its
purpose is practical, since a glazed pot is waterproof and easier to clean also
aesthetic insofar that a glaze may enhance the appearance of a pot. Fransworth,
Warren. Beginning Pottery. New York, New York. Van Nostrand Reinhold
Company 1973 page 123
Classroom
Activities
Lesson:
1
History: Prehistoric
Science:
What is clay?
Studio:
Cave Art-Pinch Pots/ Animals
Objective:
The
student will read about prehistoric man, discuss the art and science involved in
prehistoric man's lifestyle then create a clay sculpture that is inspired by
prehistoric art.
Materials:
Clay, clay tools, oilcloth, water jars, plastic bags and twistees, masking tape
Resources:
Art and Man, "Artists of the Ice Age, working with Sculpture"
January, 1988
Large
prints of the Paintings on the Cave Walls at Lascaux, France. (Available from
Sherwood
Visuals)
Vocabulary:
pinch, score,
texture, fire, kiln, bisque, bone dry
Motivation
and Guided Exploration:
Art and Man, "Artist of the ice Age" asks the question
"What might it have been like to live at the very beginning of human
life?" What we know about prehistoric people comes from the artworks they
left in caves. Large paintings of animals, jewelry, unfired clay sculptures, a
handprint on the wall. They used the materials at hand to create their art. Clay
that was loaded with elements such as iron was used as paint. Often a bulge in
the wall was the basic form of a three dimensional animal painting.
The magazine has a picture of two clay bison. The art is
representational. It consists of powerful stylized forms. It could be mistaken
for twenty-first century art. A great deal of their artwork is based on animals.
We can only ask why. We find animal drawings and designs in many cultures. The
handprint that was created by blowing clay through a hollow bone over a hand
pressed against the wall of the cave is most compelling. It seems to say,
"I was here!" All the
ceramic sculpture that the students create will say the same thing to people who
come after us and find our artwork. We were here!
The
ceramic bison were not fired. It is amazing that the bison lasted as unfired
clay can return to mud if it gets wet. The
work we do in the art room will be fired in the kiln. A chemical change takes
place during firing. The fired piece will not turn into mud if they get wet.
Studio:
Challenge the
student to plan, design and create a clay sculpture of an animal.
Method: The
teacher will precut the twenty five pound lump of clay into one pound pieces.
The teacher will demonstrate how to wedge the clay in order to remove the air
bubble. The students will
wedge and knead the clay until it feels like a cohesive lump of clay.
The students will be instructed to push and pull the clay into the
desired shape. It is easier to model the clay from one lump that to attach
pieces to the main piece. The teacher will demonstrate how to attach pieces of
clay to one another by scoring both pieces and using slip to seal the seams. I
compare the scoring process to Velcro. Both sides must grip in order to form a
seamless bond.
Lesson:
2
History:
Greece
Science:
Symmetry
Studio:
Coiled pot
Resources:
Posters and slides of Greek Pottery
Objectives:
The
students will be able to distinguish Greek pottery from others types of pottery.
The
students will be able to discuss the significance of painting in the Greek
culture then relate it to vase painting.
The
student will be able to discuss the development of vase painting.
The
students will be able to list the types Greek pottery.
The
student will be able to discuss the concept of symmetry and then relate it to
Greek pottery.
The
student will know that the Greeks developed specific containers for specific
purposes.
The
student will understand the technique of slip decoration and sgraffito.
Materials:
White
drawing paper, pencils, cardboard, scissors, clay, plastic bags, masking tape.
clay tools. water jars
Science:
Require
the students to point out examples of symmetry in nature.
Studio:
Challenge
the students to create a coiled clay vessel using a cardboard template to create
a symmetric form. The students may decorate the pot in the manner of the Greeks
by either using geometric designs or figures. The design should fit the shape of
the pot.
Method:
Demonstrate the
coil method. Demonstrate how to cut out a template from cardboard and then use
it for a guide.
Assessment:
Require the student to complete a Portfolio Entry Sheet
Lesson:
3
History:
China: The Chinese Emperor’s Pottery Army
Science:
Archeology
Studio: Portrait in Clay
Resources: Scholastic
Art: Chinese Art Working with Sculpture February 1993 Vol. 23, No. 4.
ISBN 1060-832xPublished in cooperation with the National Gallery of Art.
Formerly Art & Man
Objective:
The
student will read about China then learn of an amazing archeological find in
China, An Army from the Past.
Method:
The class will
read the first article in the magazine, Ancient Symbols.
“ Unlike most cultures, the Chinese have maintained their land and ways
for centuries. Looking at Chinese art means learning to see changes within this
long continuity.” The class will get into groups of four to discuss the
article. The discussion should
include “What does the Great Wall tell you about China’s values? Is realism
important in Chinese art? How do the Chinese show the essence of a subject in
their art? Does the article
indicate what was happening in the rest of the world during the time China was
building the Great Wall?
The
second article. Harmony with Nature, tells how animals are represented in
Chinese art. “Early Chinese animal sculptures were believed to have magical
qualities.” The class will be divided into groups of four. The students will
read the article then discuss what they have read. They will then present the
information to the class. The point should be made that these sculptures were
cast in bronze. The process of
working in clay then casting in bronze will be discussed in great detail at a
later time.
The
third article, An Army from the Past, tells of a magnificent
archeological find in the spring of 1974. “ Some workers were digging for a
well near the tomb of Shih Huang Ti, the Ch’in Dynasty emperor who unified
China and built the Great Wall. They came upon an amazing sight-as they dug, a
huge underground vault appeared beneath them. At the bottom, hundreds of figures
of men, horses, and chariots, all life-sized, seemed to be climbing up out of
the reddish soil in which they had been buried long ago.” There are pictures
accompanying this article and a diagram that gives some idea of the vastness of
this sight. Archeologists have a theory about why all the figures are different.
“We believe the emperor ordered the artists to model realistic
portraits of each warriors so the same soldiers could continue to guard him
after death.”
Studio: The
art you have seen in this magazine had spiritual significance to the artist who
created them and to the emperor who ordered them.
In this studio activity you will create a sculpture from terra cotta
clay. The sculpture should be of an
animal that has some spiritual significance to you. It may be of a pet or it
could be of a universal animal symbol.
Draw
three thumbnail sketches of the animal that you have in mind for this project.
Decide if you would like to create a realistic sculpture or a stylized piece.
When you are ready to begin working with clay choose a piece of clay as big as
your fist. Wedge the clay to remove the air bubbles. Hold the clay in your hand
and knead it. Begin working the
clay by pulling and shaping it into arms and legs. It is easier to pull the
parts out of the main body of clay than it is to attach them to the body. Your
fingers are the best tools for shaping and smoothing the piece. If you choose to
add designs and symbols to the piece as the Chinese did, you may use the clay
tools or invent your own tools. If
time runs out before you are finished with your sculpture, place the piece in a
plastic bag with a moist paper towel. Fasten the opening with a rubber band so
that it is airtight. Put your name on the bag by first writing your name on a
piece of masking tape. Place on the shelf until next class. If you have completed your sculpture, allow it to air dry. It
will take approximately two weeks to get it bone dry. When it is dry we will bisque fire it in the kiln.
Lesson:
4
History: Rodin
Science:
Casting in Bronze
Studio:
Sculpture Figure
Resources:
Rodin, Video available from Crystal Publications, Art and Man.
AugusteRodin, Working with Sculpture. New
York, New York: Scholastic, Inc., November, 1990
Meet
a Working Sculptor, Martine Vaugel
available
from American Schools Publishers Macmillan/ MacGraw-Hill 1992 This
program takes the viewers into Martine Vaugel's studio where they see a full
figure bronze sculpture created. Each step of the sculpting process is presented
in detail. ISBN 0-383-048176-6
Evert,
Marilyn. Discovering Pittsburgh's Sculpture. London: Feffer and Simons,
Inc. University of Pittsburgh Press, 1982
Objective:
The
student will view the video "Rodin" then read the magazine "Art
and Man, Auguste Rodin, Working with Clay" in order to gain biographical
and historical information about the 19th century French artist,
Auguste Rodin.
The
students will view the video "Meet a Working Sculptor, Martine Vaugel"
in order to observe the process of bronze casting.
Method: Auguste
Rodin was a 19th century French artist. He lived through the Franco
Prussian War. He worked during the time when The French Impressionist Painters
were challenging the Academie. He created public art. Much of his work was
ridiculed. His sculpture, the Thinker, has become an icon. I am sure the
students have seen the Thinker on t-shirts, in commercials and in comic strips.
Rodin's life and times offers many starting points for discussion. "What
was the Academie?" "Why
were the French Impressionist challenging the Academie?" "Why was
Rodin's work ridiculed?" "Why is it considered a masterpiece
today?" The magazine and the video offer insights to these questions. The
students will have their own opinions after viewing Rodin's works.
The
city of Pittsburgh has many public sculptures. Many of them are cast in bronze.
Although it may not be possible for our class to cast a sculpture in bronze, I
would like the students to be aware of the process. Viewing the video Meet a
Working Sculptor, Martine Vaugel will give the viewer a complete look at the
process.
Studio:
Challenge
the student to create a clay sculpture of a figure that depicts an emotion in
the manner of Rodin.
Ask
the students to bring in photographs of public sculptures that are located in
their neighborhoods.
Assessment:
Require the student to complete a Portfolio Entry Sheet.
Lesson: 5
History: Ceramics:
Now and Into the Future
Science:
Advanced Ceramics
Resourses
Ceramics
into the Future Videotape
available from the American Ceramic Society. http://www.ceramics.org
Tip Sheet.
http://www.scitechdaily.com/
Objective:
The
students will identify ceramic ware that they use every day.
The
student will research the future of ceramics by choosing a topic from the Tip
Sheet.
The
student will be able to list some uses of advanced ceramics.
Studio: Create
a display of articles and artifacts that correspond to the research. The display
may include artifacts and or photographs.
Decorate
a ceramic bisqueware tile with underglaze and glaze. This will be an
interdisciplinary activity with the elementary science classes and the middle
school fine arts classes.
Lesson: 6
History Students Choice
Science Students Choice
Resources:
Students
from Carnegie Mellon who participated in the Kennywood Roller Coaster Signage
Project will be invited to give a presentation on the design process. They
documented their work. Their presentation gives a clear complete explanation of
what is involved in creating a sign that is attractive, informative and
accessible to its audience.
Objectives:
The
student will be able to identify and discuss past, present and future uses of
ceramics.
Studio:
Require
the student to plan, design and construct signage that conveys information about
ceramics.
Instruct
the student to list possible topics on the board.
Have
the student refer to the list on the American Ceramics Society's web site.
Encourage
the student to use Power Point to create a slide show to illustrate information
on ceramics.
Assessment
Exhibit
of artifacts and Power Point Story boards
Signage
around the building
Annotated
Bibliography/Resources
Teacher
and Student Bibliography
Evert,
Marilyn. Discovering Pittsburgh's Sculpture. London: Feffer and Simons,
Inc. University of Pittsburgh Press, 1982
The
students enjoy looking through this book because they recognize the sculptures.
Farnworth,
Warren. Beginning Pottery. New York: Van Nostrand Reinhold Company, 1873
A
wonderful little book!
Mittler,
Gene. Art in Focus. Peoria,
Illinois: Bennett & McKnight
Publishing Company, 1986
This
is an excellent resource that includes studio activities.
Nelson,
Glenn C. Ceramics.
New York: Rinehart and Winston, Inc., 1960
A
basic handbook and good resource for the art teacher.
Nigrosh,
Leon I. Claywork: Form and Idea
in Ceramic Design. Worcester,
Massachusetts: Davis Publication, Inc., 1986
(IBSN 0-87192-173-1) Page 171
This
book has very technical information
Art
and Man. Artists of the Ice Age, Working with Sculpture. New York, New York: Scholastic, Inc., December, 1987
Art
and Man. AugusteRodin, Working with Sculpture.
New York, New York: Scholastic, Inc., November, 1990
Resources:
to motivate the ceramics class.
American
Craft Museum Slides
(SS-1794 set of 9 slide packets. Available from www.crystlaproductions.com)
Includes Hollowware from the Permanent Collection, The Object as a Vessel, The
Object Made for Use, The Object as Statement, The Object as Personal Adornment,
Animal Imagery Ceramics, Troupe L'Oreal ceramics, Political Ceramics: Social
Issues, Political Ceramics; War. The complete set can be purchased or sets may
be purchased individually. The sets come with a teacher's guide.
Contemporary
Ceramic and Ceramics
Prints is available from Crystal Productions. This is an economical way to
introduce the unit.
Visuals
Ceramics
Timeline and Teacher's Guide
"From
writing surfaces to spaceship shield these illustrated timelines trace the role
of ceramics throughout human history." Available from Dick Blick Art
Materials
Ceramics
Video and Portfolio of Prints, Art Smart Pottery Set of 4 Videos, American Craft
Museum Videos and Slide Sets.
Ceramics
Posters and Video Set. Available
from Crystal Publications-www.crystalproductions.com
Resources:
teaching the history of ceramics
Ceramics
Innovations Timeline and the accompanying set of slides; Ceramics
Innovations Timeline Slide Set. Both
resources may be purchased from Crystal Productions. The presentation and
ensuing discussion will give the students an overview of the breath and scope of
ceramics in human history. "From writing surfaces to spaceship shields,
these illustrated timelines trace the role of ceramics though out human history,
By
reviewing the images and timeline text students discover the contribution of
ceramics in visual arts, writing, history, geography, economics and science form
35,000 BC to the present"
Lascaux
Revisited-Exploring Cave Art
is available from Crystal Productions. This set is a wonderful way to introduce
prehistoric art.
Art
and Man,
"Artists of the Ice Age, working with Sculpture" January, 1988
Large
prints of the Paintings on the Cave Walls at Lascaux, France. (Available from
Sherwood Visuals)
Resources:
P.O.
Box 6136 Westerville, Ohio 43086-6136 614-890-4700 614-899-6109 FAX
Tip
Sheet available on www.ceramics.org
Pottery:
Vessels of Time
Associated Glass & Pottery Manufactures Video and Teacher's Guide available
free of charge on The American Ceramics Society's web site www.ceramics.org
The
American Ceramic Society Book Catalog. Where Art and Science Meet
Discovering
Material Science and Engineering, Cornell University web site, www.mse.ccccornell.edu/materials_science_discovering/
Ceramics
into the Future Videotape
available from the American Ceramic Society
Science
News Daily web site,
Web
sites
American
Ceramics Society
SciTech
Daily Review reviews articles on science, technology, future developments,
innovations and implications.
Appendices
Materials
for classroom use:
Clay
Kiln
Table
coverings- oilcloth, burlap
Clay
Tools
Plastic
Bags & Twistees
Masking
Tape
Kiln
Glazes
Underglazes
Brushes
Water
Jars
Plastic
Garbage Can with Lid
Assorted
objects for Making Texture in Clay
Brushes
Rolling
Pins
Wood
strips
Wire
Portfolio Entry
Arts & Humanities
Student
Name______________________ School ______________Day _______
What
content standard are you addressing?
What
was the objective of this project/lesson?
What
procedure did you use?
How
would you assess your work and what rubric would you give yourself?
Standards
Arts
& Humanities content Standards.
1.
All students describe meanings they find in various works from the visual
and performing arts and literature on the bases of aesthetic understanding of
the art form.
2.
All students evaluate and respond critically to works from the visual and
performing arts and literature of various individuals and the cultures, showing
that they understand important features of the works.
3.
All students relate various works from the visual and performing arts and
literature to the historical and cultural context within which they were
created.
4.
All students produce, perform, or exhibit their work in the visual arts,
music, dance or theater, and describe the meaning their work has for them,