FHSU Ceramics I 10:30 am - 12:20 pm MWF - Designed for Life: Vessels Holders Ceramics: Fort Hays State University
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1
Designed for
Life:
Vessels
Holders
Ceramics:
Clay
Glaze
Firing
Sculpture:
Realism Materials and
Process
Abstraction Driven Art
Masks
FHSU Ceramics I
January 20 – May 12, 2021
Center for Art and Design 115
10:30 am - 12:20 pm MWF2
Art 260 Ceramics I
Fort Hays State University
College of Arts, Humanities and Social Sciences
Department of Art and Design
Linda Ganstrom
1. COURSE INFORMATION
1.1. 3 Credit Hours
1.2. Spring 2021
1.3. No Course Prerequisites
1.4. Center for Art and Design, Room 115
1.5. 10:30 am to 12:20 am (January 20 – May 12, 2021)
2. INSTRUCTOR INFORMATION
2.1. Instructor Contact Information
785-628-4273 or 785-342-3584 (cell)
lmganstrom@fhsu.edu
2.2. Contact Procedure and Policy
Please make an appointment 24 hours in advance
2.3. About the Instructor
Linda Ganstrom is a Professor in the Department of Art and Design.
Bethany Panhurst is a Graduate Teaching Assistant
2.4. Department Secretary Contact Information
785-628-4247 Lauren Sargent
3. TEXTBOOK AND COURSE MATERIALS
3.1. No Required Textbooks. Hands in Clay by Charlotte Speight and John Toki is
recommended and available in the Class Library.
3.2. Supplementary Handout Booklet and PowerPoints on Blackboard
3.3. Technology Requirement. Devices that allow access to Blackboard and the
Internet are helpful. Papers are written in Word.doc format and sent over e-mail.
3.4 Materials and Tools
Materials
Studio fee pays for clay for assignments, glaze, firing, use of equipment and
tools, handouts ($100).
This fee is in addition to the fees charged with tuition and provides:
Clay and glaze for the assignments
Basic Ceramic Tool Kit ($20, but a supply can be checked out)
Sponge, needle tool, wood tool, loop tool, cut off wire, rib, knife
1 yard of heavy canvas (new $3 - $6)
Paint brushes ($3 - $5 each, a supply is provided)3
Safety gear - goggles, face mask, plastic and /or work gloves, work shirt ($5 to
$20, a supply provided).
Turntables ($12 - $25, a supply provided)
Paddles, textures, old toothbrush, container for slip - old butter tub and lid
Plastic bags, newspaper, textures
Total cost from $100 to $200
If loaned tools and equipment are not returned, the student will be charged for their
replacement value. Accepting the loan means the student is aware and in agreement with
this policy.
4. COURSE DESCRIPTION
4.1. FHSU Catalog Description
Exploration of various techniques and methods of ceramics
4.2. Instructor Course Description
In this beginning ceramics course, the student will be introduced to the nature
and potential of clay as an art material. Various techniques used in forming
ceramic objects will be explored. Students will develop an understanding of the
various stages of the ceramic process. Students will be encouraged to explore
ceramic art history, develop their own ideas and utilize the technical information
taught in class to bring their ideas into a three-dimensional reality. Students will
learn to manage projects centered around ceramic production.
Project Management and Professional Skills.
Students will learn to research, develop, design and build ceramic projects,
develop a calendar, manage their time, evaluate their success and the quality of
their work.
Students will build communication skills through written, oral and artistic
formats.
Students will collaborate with classmates and community members.
Students will interact with our communities of learners and cultural players.
Students will employ technology geared to developing skills needed by
professional artists.4
5. COURSE OBJECTIVES
5.1. Course Objectives
A. Concept Research and Development. The student will learn to research and
develop ideas for ceramic artworks by viewing professional ceramic art, reading
current articles, viewing web sites and books dealing with ceramics and by
building a personal idea file and sketching ideas.
B. Information. The student will become familiar with ceramic technology,
terminology, design, equipment and processes by actively working with the
entire process of ceramics. Students need to organize their handouts, notes and
sketches. Students will be tested over information.
C. Safety. The student will be shown the proper use of ceramic equipment and
taught a safe way to interact with materials and equipment used in ceramics.
D. Insight. Students will participate in discussions about their ideas and
artwork in order to develop a deeper understanding of what they are creating
and communicating through their work. Critiques will focus on ways to improve
the technical and artistic value of the student’s artwork.
E. Inspiration. Ceramic art history and contemporary ceramic art may provide
inspiration and will certainly teach students much about the field. Examples of
student and professional work will add to the student’s visual vocabulary and
develop the ability to see deeply as an artist sees. Looking to nature for
inspiration, defining personal passions as the subject for art, art travel and
attending workshops will be encouraged.
F. Writing. Student will utilize writing about their experiences, research,
critiques and reflections as a method of communicating and capturing their
thinking. Students will learn to concisely write lessons or project plans, entry
data for publication and exhibition labeling. Technology will be utilized.
G. Professional Development. Students will develop skills needed for a career in
art and a lifetime of creative activity. Students will be taught to build community
and connect with audiences.
5.2. No Prerequisites
This course is designed to meet students at their level of artistic development. It
will expose student to the broad range of possibilities for self-expression in
ceramics. Art education majors should benefit from learning basic skills and
studio techniques needed to teach ceramics. Art majors should be able to5
transfer their personal style and creativity to this exciting, versatile 3-D media.
The ability to research, brainstorm, develop an idea, communicate, think
critically and improve upon a work of art will benefit all students. Students
should enjoy exploring their creativity in this rewarding, absorbing material thus
finding a rewarding hobby. The ceramic major will receive a broad base of
ceramic knowledge on which to build his or her personal style in clay. Project
management and communication skills will benefit a broad base of students.
6. TEACHING, LEARNING METHODS, & COURSE STRUCTURE
6.1. Delivery Method
Face to face active instruction with challenging hands-on activity supported by
Blackboard, the Internet and e-mail offer a variety of experiences. Students are
encouraged to use the lab to practice, interact with others on creative projects, build
ceramic skills and work on projects. Community interaction is stressed. In this shortened
schedule with longer class hour, each class will be conducted like a workshop. If a
student is absent due to sickness or quarantine, they are allowed to work from home. In
the incidence of a campus stay-at-home order, the class will switch to on-line instruction
supported by Zoom, VidGrid, social media and kiln support.
6.2. Instructional Approach
Active learning is highly encouraged. The instructor will teach about ceramic materials
and processes, outline projects and give demonstrations, then lead students through
hands on projects that develop skills and encourage experimentation. Students will be
instructed in project design and write personal projects that expand on the material
understanding and processes in the unit. Collaboration in developing projects, assessing
project success and areas for improvement, firing kilns and studio management is
integrated into the course. Students will write about projects as if marketing or applying
for a competition. Students will assemble their writing and images into a report and
develop an on-line presence. Students and instructor will evaluate the success of
projects. Students are seen as members of the studio community.
6.3. Course Structure
Artmaking dominates studio time, with testing of knowledge and communication
through speaking and writing about art supporting the production phase. After class
work in study, taking tests and preparing leads to the most effective use of time in the
lab. Students are encouraged to use the lab when classes are not in session.6
7. COURSE SCHEDULE
This schedule is tentative and might change during the semester depending on how the course evolves. The content is subject to
change depending on students’ interest and progress. Students will be notified of the changes through announcements either in
the class or at the Blackboard course site.
Module # & Range of Topics Reading Assignments/ Due
Dates for Module Quizzes Date
Unit 1: Ceramics Bowls, various PowerPoint, Booklet Safety Quiz, Feb. 10
Designed for Living methods Rubric
Little Things that PowerPoint, Booklet Clay Quiz, Rubric Feb. 10
Matter
Coil Building PowerPoint, Booklet Glaze Quiz, March 5
Rubric
Personal Ceramics Firing Quiz, March 5
Designed for Life Rubric
Unit 2: Ceramic Mask Portrait PowerPoint, Booklet Rubric March 5
Sculpture
Solid forming, PowerPoint, Booklet Rubric March 5
Hollowed Out
Slab Abstract PowerPoint, Booklet Rubric April 2
Personal Sculpture Rubric April 7
Unit 3: Materials and Explore: PowerPoint, Booklet Rubric April 7
Processes Exploration Assemblage
Slip dip
Personal Materials Rubric April 23
and Processes
Unit 4: Final Design, Produce, Rubric May 3
Assess Final
8. ASSESSMENT METHODS AND GRADING SCALE
The grade you earn for this course depends on the total number of points you earn throughout the semester.
Assignments and Points Unit Points Percentage
Bowls: Pinch, Throw, Slab, Cast 50 5%
Little Things That Matter 50 5%
Coil: Traditional and Experimental 100 10%
Personal Ceramics Designed for Life 100 10%
Slab: Skill Building and Exploration Masks 100 10%
Solid Modeling, Hollowed Out Animal 100 10%
Slab: Abstract Texture and Color 100 10%
Personal Ceramic Sculpture 100 10%
MaP Exploration 50 5%
MaP Personal 100 10%
Final Project 150 15%
Total Points 1,000 100%
Grading Scale
90 - 100 = A
80 - 89 = B
70 - 79 = C
60 - 69 = D
0 - 59 = U7
Cleanup. Develop good studio citizen habits. Each person is responsible for cleaning up
all areas they used, including their workspace, floor, sinks, glaze room, kiln room. If you
use something, please return it to its spot. Any artwork or other items such as tools
remaining in the lab after class will become the property of FHSU and will be disposed of
after the final class meeting. Sanitation and care for yourself and others in important. Be
smart, stay safe.
9. STUDENT HELP RESOURCES
Students have access to academic services, technical support and student services at Fort
Hays State University. You can find the resources online at
http://www.fhsu.edu/ctelt/services/Student-Help-Resources/
10. COURSE POLICIES
10.1. Class Attendance
Class attendance is required. If a student must be absent, it is their responsibility to
inform the instructor and if excused make an appointment to make up the time and
activity missed. School related absences should be discussed in advance. Appointments
should not be made during class-time. Illness should be documented with Student
Affairs or a doctor’s note. Three absences may result in one grade lowered.
Attendance will be taken in the first 5 minutes of class. Three tardies will be counted as
one absence. If counted absent at the beginning of class, it is the student’s
responsibility to inform the instructor of their attendance at the end of the class. If you
have a class that has a conflict with this course, please contact the instructor and I will
work with you to find a solution. If you are ill, please stay home and seek medical
assistance.
10.2. Class Participation
Do your work to the best of your ability. You get out of your education what you
invest in it. No amount of talent can replace hard work. It takes time to make
art. Attend class. Prepare for projects by doing personal research and sketching.
Prioritize your goals and time. Be patient and persistent. Have fun and learn.
10.3. Assignment Due Dates are outlined on the calendar.
Permanent grades are recorded at the end of the course.
10.4. Procedures for Assignment Submission.
Actual artwork is submitted for critique at the leather-hard, bisque and glazed stages.
Actual art is submitted for rubric grading.8
10.5. Test and Make-ups
Students will not be allowed access to devices during quizzes. All exams are
individual, not collaborative.
10.6. Bonus Points are not regularly assigned.
11. UNIVERSITY POLICIES
11.1. Academic Honesty Policy
Membership in the FHSU learning community imposes upon the student a variety of
commitments, obligations and responsibilities. It is the policy of FHSU to impose
sanctions on students who misrepresent their academic work. These sanctions will
be selected by appropriate classroom instructors or other designated persons
consistent with the seriousness of the violation and related considerations.
Students participating in any violation of this policy must accept the consequences
of their actions. Classroom instructors and/or university review/appeals
committees and administrators will assess the sanctions for violation of this policy.
The seriousness of the violation will dictate the severity of the sanction imposed.
More information can be found at
http://www.fhsu.edu/academic/provost/handbook/ch_2_academic_honesty/
Instructor’s Art Academic Honesty Policy.
In an art class, academic honesty means your art should not be copied from another
artist. If you have subject matter interests, then research and develop those interests,
they will lead to unique subject matter. If you continue to develop a large set of skills,
try to find your special way of combining those skills to develop your way with clay. If
you use other’s clay or glaze recipes, work to create new and unexpected combinations
that will help your art become more personal and original. The process of research and
development of subject matter, materials and processes research and working within a
series is designed to assist you in developing your unique art.
11.2. Statement of Accessibility and Services for Students with Disabilities
If you have a disability that may have an impact on your ability to carry out assigned course
work and if you wish to seek any accommodations for this course, you must contact Services
for Students with Disabilities (SSD). SSD is located in the Kelly Center, Picken Hall, Room
111, 785-628-4401. SSD will review your documentation and determine, with you, what
academic accommodations are necessary and appropriate for you that can be
accommodated in this course. All information and documentation of your disability is
confidential and will not be released by SSD without your written permission. Students can
find more information at http://www.fhsu.edu/disability/get-access/ Instructors who need
help to create instructional materials for students with special needs can seek help from
Learning Technologies (LT), 785-628-4194.
11.3 Title IX
FHSU is committed to fostering a safe, productive learning environment. Title IX makes it
clear that violence and harassment based on sex, gender and gender identity are Civil Rights
offenses subject to the same kinds of accountability and the same kinds of support applied to
offenses against other protected categories such as race, national origin, etc. This includes all
types of gender and relationship violence: sexual violence or harassment, domestic and
dating violence, and stalking.9
If you wish to speak confidentially about an incident of gender and relationship violence,
talk to instructor or someone at The Kelly Center, the Student Health Center, or the Options
Sexual and Domestic Violence Campus Advocate who is housed in the Student Health Center.
If you wish to report an incident or have questions about school policies and procedures
regarding Title IX issues, please contact the Associate Vice President for Student Affairs and
the FHSU Title IX Coordinator. Or, you can report to Residential Life Staff or University
Police, which are non-confidential reporters.
If you are unsure about the reporting status of an individual, ask them directly before
disclosing sensitive information. If they are non-confidential, they can direct you to someone
you can talk to in complete confidentiality, which does not have to be officially reported.
11. UNIVERSITY POLICIES
11.4. Use of Computing Resources
Fort Hays State University (FHSU) provides computing resources and worldwide
network access to its faculty, staff, and students for legitimate administrative,
educational, and research efforts. As a member of the FHSU electronic community it
is your responsibility to use computing resources ethically and responsibly.
Members of the FHSU electronic community are expected to use computing
resources ethically, and to exercise reasonable care in utilization of FHSU
information systems or their components. More information related to privacy,
responsibilities, things forbidden to do and use of email can be found at
http://www.fhsu.edu/academic/provost/handbook/ch_1_computing_resources/
11.5 Withdrawal Policy
Students may withdraw full-semester courses through 11:59:59PM CT on the 35th
day of the semester (Learning Technologies (LT) will work with the Registrar’s
Office and Technologies Services (TS) to make the specific date for each semester
available at the syllabus site). Students withdrawing during this time period will not
receive any notation on their transcript. Students who withdraw after this period
and thru 11:59:59PM CT on the 70th day of the semester will receive a notation on
the transcript of withdrawal (W). No withdrawals after the 70th (LT will work with
the Registrar’s Office and TS to make the specific date for each semester available at
the syllabus site) day of the semester. Students who withdraw completely will
receive a notation on their transcript of the date withdrawn. Students receiving
financial aid have additional responsibility and should contact the Office of Student
Financial Assistance, 785-628-4408. (http://www.fhsu.edu/registrar/academic-
policies-and-information/)
11.6. Proctoring Requirements (Virtual College courses only if applicable)
The Proctor Approval Form for the Virtual College courses along with the student’s
and the proctor’s responsibilities can be found at
http://www.fhsu.edu/virtualcontent.aspx?id=12884902424&terms=proctor10 Statement Regarding Wearing of Face Coverings To protect the health and safety of the FHSU community, when present on University property, all faculty, staff, students, and visitors must wear face coverings over their mouths and noses when in common areas of a building (including hallways, elevators, public spaces, classrooms, conference rooms, library, and other common areas), and when within six (6) feet of another individual anywhere on University property. Employees and students with a recognized disability that prevents them from wearing a face covering can contact the Human Resources office (if an employee) or Student Accessibility Services at785-628-4401 (if a student) to discuss possible accommodations and the appropriate documentation process. In classrooms, faculty have the right to deny a student entry into the room if the student is not wearing a face covering. Students not wearing a face covering will be reminded to do so and offered a clean face covering, if one is available. If the student does not comply, the faculty member will ask the student to leave the space, and if available, join the class remotely. As a last resort, campus police may be called. The faculty members will complete the Coronavirus (COVID-19) Concern Reporting Form and the appropriate office will look further into the issue and take the non-compliance with the request to leave into consideration of further accountability measures. At no point should anyone put themselves into an unsafe situation while attempting to enforce the face-covering policy. FHSU campus police: 785-628-5304
11
Art 260: Ceramics I
Spring 2021 Calendar
10:30 – 12:20 am Monday, Wednesday and Friday
Jan. 20 Unit One: Ceramics Designed for Life
Introductions. Space. Loans. Fees. Safety. Lockers.
Syllabus and overview. Creation Station: Make Clay. Make Bowls.
22
Safety Test due.
Clay and Claybodies lecture.
Creation Stations: Bowls.
25
Clay and Claybodies Quiz.
Complete Bowls.
27
Bowls completed, wet critique and refinement.
Explain Bisque Firing. Load Bowls in bisque.
Creation Stations: Little Things: Cell phone holder, Ring holders.
29
Creation Stations: Coiling Traditional and Experimental.
Feb. 1
Creation Stations: Coiling Traditional and Experimental.
Terra Sigillata, burnishing. Critique.
Load Experimental Coils in bisque kiln.
3
Glazing lecture.
Glaze Bowls, Little Things, Experimental Coils in high fire.
Discuss and plan: Personal Ceramics Designed for Life.
Work on Traditional Coils.
5
Glazing Test.
Firing lecture.
Load Bowls, Little Things, Experimental Coils in glaze kiln.
Wet Critique of Traditional Coils. Bisque.
Begin work on Personal Ceramics Designed for Life.
8
Firing Test.
Critique Glazed Bowls, Little Things, Coil.
Photograph then write your response and marketing statement.
Work on your Personal Ceramics Designed for Life.
10
Turn in Bowls and Little Things for a Grade.
Work on Designed for Life.12
Feb.12 Unit Two: Sculptural Ceramics
Critique then work on Personal Ceramics Designed for Life. Due Monday.
Mask Introduction.
15
Personal Ceramics Designed for Life final check and load into the bisque kiln.
Creation Stations: Masks.
Gather Traditional Coil Vessels for saggar firing.
17
Creation Stations: Masks.
Saggar firing of Traditional Coils.
19
Masks. Wet critique.
Introduce Animal project. Decide on model for the Animal.
22
Masks in Bisque Kiln.
Creation Station: Solid Animal.
24
Solid Animal. Detail. Working Critique.
26
Glaze Masks and Personal Ceramics Designed for Life.
Wet critique then refine and load Animal in bisque kiln.
March 1
Glaze and fire Animal.
Load and glaze fire Masks and Personal Ceramics Designed for Life.
Lecture on Abstract Slab Sculpture.
3
Photography, then reflection and marketing writing for:
Historical Coils, Personal Ceramics Designed for Life, Masks and Animals.
5
Midterm report due. Grade: Coils, Personal Designed for Life, Masks, Animal.
8
Creation Station: Slab Abstract.
Introduce Personal Ceramic Sculpture.
10
Surface on Abstract Slab Sculpture.
Begin Personal Ceramic Sculpture.13
Unit 3: Materials and Process Driven Art
March 12
Creation Station: Material and Process (MaP) Exploration.
Personal Ceramic Sculpture.
Final Wet Critique Abstract Sculpture.
15
Personal Ceramic Sculpture
Bisque Abstract Sculpture.
17
Personal Ceramic Sculpture.
19
Glaze and fire Abstract Sculpture.
Working critique of Personal Ceramic Sculpture
Creation Station:
Introduce MaP Explore: Slip dip, Reclaimed Ceramics, Raw Clay
29
Bisque Personal Ceramic Sculpture.
Creation Station: MAP Exploration: Slip dip, Reclaimed Ceramics, Raw Clay
31
Begin Personal MaP project.
April 2
Grade Abstract Slab Sculpture.
Glaze and fire Personal Ceramic Sculpture and MAP Exploration.
Work on Personal MaP project.
Unit 4: Final Personal Project
April 5
Personal MaP project.
Plan FINAL Personal Project.
7
Critique and Grade Personal Sculpture and MaP Exploration
9
FINAL Project.
Personal MaP project
12
FINAL Project.
Critique Personal MaP project and Bisque.
14
FINAL Personal Project.14
16
FINAL Personal Project.
Glaze and fire Personal MaP.
19
FINAL Personal Project.
21
FINAL Personal Project.
Photography and Reflection for Personal MaP.
23
Final Project. Glaze any remaining unfinished projects.
Grade Personal MaP.
26
Last Day for Wet Clay!!
FINAL Personal Project Critique, refine and bisque.
Reflection Report Review.
28
Glaze and fire FINAL.
30
Last day: Glaze and Fire FINAL Personal Project.
Gallery Walk.
May 3
Photograph art and work on Reflection Report paper.
5
Grade Personal FINAL Personal Project.
Final Reflection Papers due. Clean and return all loaned items.
7
Class evaluation. Clean. Return Final Reflection Papers with discussion.
12
Cumulative Critique. ALL Artwork out. Final Grade.15 Safety Rules for Ceramics Covid Safety When in the building, wear a face covering, maintain social distancing – one person per table, wash your hands often, don’t touch your face. Clean your space and tools, then disinfect your areas – table, stool, wheel. Don’t share clay. Keep clay and tools in a covered bucket. Place other objects in your cubby. Stay home if you feel ill or have symptoms. General Think before you act. If it looks dangerous, don’t do it or ask the instructor. Do not ask another student, as they may not know the correct safety procedures or may just give you bad advice. No smoking in the Ceramics lab. Dust floats on smoke and you are much more likely (90 percent) to develop lung problems if you smoke in the lab. Dust is the Number 1 health hazard. Keep it off the floor and surfaces. Wash your hands after working with clay or glaze. Do not ingest or inhale the clay and glaze materials. Never throw clay or shake dirty canvas, keep the clay out of the air. Do not eat or drink in the lab. Never bring children into the lab. Only those enrolled in class can work in the lab. Wear shoes at all times in the lab. Always watch to make sure your kiln goes off if you are in charge of a firing. Housekeeping Each student is responsible for cleaning up after themselves. This includes all areas you have worked in – tables, floor, spray booth, sink, wheels. The cleaner the lab is, the safer it is. Please be respectful of others using the lab. Immediately wipe up any spills to avoid a slipping accident. Always mop floors. Do not sweep the floors and put dust into the air. Never use glass containers in the lab. Glass is slippery when wet and breaks easily if it fall to the concrete floors. Working on canvas allows for easier cleanup. Wear a clean apron or work shirt to protect your street clothes and keep dust from leaving the lab. Wheels Turn the wheels off when not in use. Unplug them before mopping. Keep electrical cords away from water. Plug the wheels into the electrical pole. Do not plug a cord into the socket with wet hands or while standing in water. Keep loose clothing or long hair away for the revolving wheel head. Read instructions or ask directions from the instructor before using the wheels or other pieces of equipment. If the instructor is not available, wait until you get the help you need. Clean and disinfect the wheel and the area around it after you use it. Clean and return the bats to their rack. Place wet bats under others so they will dry flat.
16 Grinder Wear goggles, gloves, a dust mask and keep your hair and clothing pulled back when using the grinding wheel. Work below the half-way point of the wheel head. Make sure others are well away from the grinder before you begin using it. Hold on tightly to the object you are grinding. Kilns Never sit anything on the kiln lids. Never touch the outside of the kiln when it is firing. Never touch the electrical elements. Never load, unload or run the kiln alone unless you have received training and permission from the instructor. Lift the kiln shelves with bent knees to protect your back. Use two hands on the outside rim of the shelves when loading for control. Never look into the peep holes of the kiln without dark shades glasses (shade number 1.7 to 3.0). Never unload a kiln unless it is under 400 degrees. Wear gloves when unloading hot pots. Drink lots of water and take breaks from the kiln room when you are firing a gas kiln to avoid dehydration. Do not hang out in the kiln room when the kilns are firing. Avoid its heat and dust. Be sure to turn on the ventilation fans to remove the gases, including metals, carbon monoxide and sulfur dioxide from the firing kilns. Stay in the main lab with the kiln while it is firing, going into the kiln room occasionally to check temperature. Check the kiln when it is warming up with one element on low and the lid propped open. It should not get warmer than 200 degrees. If it is warmer, get the instructor or turn it off. Stay with the kiln at the end of the firing to be sure it turns off. If it does not turn off at the end of the firing, get the instructor or turn it off manually at the switches. If that does not turn it off, pull the breaker switch by that kiln. Slab Roller Keep all hands away from the rolling pin. Stand clear of the bed while rolling slabs, black grease coasts the steel cables. Never roll the wheel fast; the steel cables may snap and fly out, endangering you and ruining the roller. Use a canvas. Clean the top and bottom canvas after using. Glazes and Spray Booth Face masks should be worn when using the spray booth, mixing clay or glaze and when using the grinder. The best practice is to keep one in a plastic bag in your locker and use it when needed. Never stick your hands in liquid glaze. Some chemicals can be absorbed through the skin. Always turn the exhaust fan on when spraying glaze and close the doors to the room. Avoid filling the room with glaze dust. Wipe down all surfaces to remove glaze dust after using the guns. Wash your hands well after glazing. Shower after glazing to remove glaze dust from your hair and skin.
17 Never eat clay or glaze. Never spray lead glazes Wear rubber-type gloves and a dust mask when mixing and spraying glazes. Use only plastic jars in the spray guns – glass breaks easily. Clean the guns immediately after using them by running water through the spray nozzle. Turn off the air and fan. Clean up the turntable. Put unused glaze back in the glaze bucket and cover the bucket with a lid. Put the glaze back up on the shelf. Leaving buckets on the floor would be dangerous to children – both for drowning and tasting. Wipe up any glaze spilled on the floor to avoid a slipping hazard. Pug Mill Keep hands out of the pug mill while the motor is running. The blades will cut off fingers or severely cut your hand. Do not operate the pug mill alone. Do not operate the pug mill unless you have received training in operating and cleaning the machine and have a partner and permission. Locate the safety shutoff switch on the pug mill and practice shutting it off and on. The switch or safety bar should be turned off at once in case of accident. Keep your phone in the clay mixing room with you so you can call for help if needed. Raku Firing Wear a non-flammable safety outfit that covers your entire body. Heavy denim jeans and a leather or wool coat or heavy cotton work shirt or sweatshirt are good protection. Keep your hair pulled back and under a hood. Wear heat resistant gloves. Wear leather style footwear – tennis shoes or work boots. Absolutely no sandals or flip-flops. Wear a welder’s face shield and keep the hood down. Keep the lid between you and the can on fire to act as a shield. Put the lid back on the can full of ashes after firing. Put a brick on the lid and place it back on the rack so water will not rust it out. Never throw embers into the dumpster. It will catch the whole dumpster on fire. If this happens pour water on the fire or call 911. Place cans up, off the concrete, use a brick to hold the lid down. Let embers cool in can. Always turn the kiln off at the breaker, if raku firing out of an electric kiln. Never touch the elements with the metal tongs. Gas Kilns Receive training and shadow another fire master before firing the kiln on your own. Be sure the gas gauges are in the off position before firing a manual kiln. Be sure the dampers are open before firing. Be sure the door is locked before turning the kiln on or the computer will not engage. Stay in attendance in the main lab while the kiln is firing, especially during the end. Leave your name and phone number on the firing log by the kiln if you are firing the gas kiln.
18 New Lab Floor is slippery when wet. Wear shoes with a grip and wipe up spills immediately. Best practice is to bring studio shoes and clothes and leave them in the lab to avoid spreading dust throughout the building. All spaces are shared, so please clean up all areas you use or cover in clay. Wipe with a sponge then towel dry. Keep your id with you so you can access the main, staging and glaze rooms at all times. Summary Attend all classes so you see demonstrations of equipment use and safety precautions. If you get tired, stop and rest. Most accidents occur when you are tired or in a hurry. Use your common sense to avoid open and obvious dangers. If you see something you think may be a hazard or see a technical problem, call the instructor at home 785-342-8678 or 785-342-3584. If you see a fire, injury or emergency, call 911.
19 Test Your Knowledge of the on the Safety Rules for Ceramics. General __________before you act. If it looks dangerous, don’t do it or ask the instructor. Do not ask another student, as they may not know the correct safety procedures. ____ smoking in the Ceramics lab. Dust floats on smoke and you are much more likely (90 percent) to develop lung problems if you smoke in the lab. __________ your hands after working with clay or glaze. Do not ingest or inhale the clay and glaze materials. Never __________ clay or shake dirty canvas, keep the clay out of the air. Do _____ eat or drink in the lab. ___________ bring children into the lab. Only those enrolled in class can work in the __________. Wear shoes at ___________ times in the lab. Housekeeping Each student is responsible for cleaning up after ________________. This includes all areas you have worked in – tables, floor, spray booth, sink, wheels. The cleaner the lab is, the safer it is. Please be respectful of others using the lab. Immediately wipe up any spills to avoid a ________________ accident. Always mop floors. Do not sweep the floors and put dust into the _____. Never use ____________ containers in the lab. Glass is slippery when wet and breaks easily if it falls to the concrete floors. Working on _____________ allows for easier cleanup. Wear an apron or work shirt to protect your street clothes and keep dust from leaving the __________. Wheels Turn the wheels _______ when not in use. Unplug them before mopping. Keep electrical cords away from water. Plug the wheels into the _______. Do not plug a cord into the socket with _________ hands or while standing in water. Keep loose clothing or long_________ away for the revolving wheel head. Read instructions or ask directions from the instructor _________ using the wheels or other pieces of equipment. If the instructor is not available, wait until you get the help you need. Clean the wheel and the area around it _______________ you use it. Clean and return the bats to their rack. Place wet bats _________ others so they will dry flat. Grinder __________ goggles, gloves, a dust mask and keep your hair and clothing pulled back when using the grinding wheel. Work _________ the half way point of the wheel head. Make sure others are well ____ from the grinder before you begin using it. Hold on _____________ to the object you are grinding. Kilns Never sit anything on the kiln _________. Never touch the outside of the kiln when it is ___________.
20 Kilns Never _____________ the electrical elements. Never load, unload or run the kiln ___________ unless you have received training and permission from the instructor. Lift the kiln shelves with ________ knees to protect your back. Use ______ hands on the outside rim of the shelves when loading for control. Never look into the peep holes of the kiln ____________ dark shades glasses (shade number 1.7 to 3.0). Never unload a kiln unless it is under _______ degrees. Wear ____________ when unloading hot pots. Drink lots of water and take breaks from the kiln room when you are firing a gas kiln to avoid __________________. Do not hang out in the kiln room when the kilns are ______________. Be sure to turn the ventilation fans ____ to remove the gases, including carbon monoxide and sulfur dioxide from the firing kilns. Stay with the kiln while it is ____________. Check the kiln when it is warming up with one element on low and the lid propped open. It should not get warmer than _____ degrees. If it is warmer, get the instructor or turn it off. Stay with the kiln at the end of the firing to be sure it turns off. If it does not turn off at the end of the firing, get the instructor or turn it off manually at the switches. If that does not turn it off, pull the _______________ switch by that kiln. Slab Roller Keep all ________ away from the rolling pin. Stand clear of the bed while rolling slabs, black ________ coasts the steel cables. Never roll the wheel _________; the steel cables may snap and fly out, endangering you and ruining the roller. Glazes and Spray Booth Face _________ should be worn when using the spray booth, mixing clay or glaze and when using the grinder. The best practice is to keep one in a plastic bag in your locker and use it when needed. Never stick your ________ in liquid glaze. Some chemicals can be absorbed through the skin. Always turn the exhaust fan _____ when spraying glaze and close the doors to the room. Avoid filling the room with glaze dust. _____________ your hands well after glazing. Shower after glazing to remove glaze dust from your ______ and skin. Never ______ clay or glaze. Never _______ lead glazes Wear rubber-type gloves and a dust mask when ___________ glazes. Use only ____________ jars in the spray guns – glass breaks easily. Clean the guns _______________ after using them by running water through the spray nozzle. Turn off the air and fan. Clean up the turntable. Put unused glaze back in the glaze bucket and cover the bucket with a _________. Put the glaze back up on the shelf. Leaving buckets on the floor would be dangerous to children – both for drowning and tasting. Wipe up any glaze spilled on the floor to avoid a ____________ hazard.
21 Pug Mill Keep __________ out of the pug mill while the motor is running. The blades will cut off fingers or severely cut your hand. Do not operate the mill _____________. Do not operate the pug mill unless you have received ______________ in operating and cleaning the machine and have a partner and permission. Locate the safety _____________ switch on the pug mill and practice shutting it off and on. The switch or safety bar should be turned off at once in case of accident. Keep your __________ in the clay mixing room with you so you can call for help if needed. Raku Firing Wear a non-flammable ___________ outfit that covers your entire body. Heavy denim jeans and a leather or wool coat or heavy cotton work shirt or sweatshirt are good protection. Keep your _________ pulled back and under a hood. Wear __________ resistant gloves. Wear leather footwear – tennis shoes or work boots. Absolutely no _____________ or flip- flops. Wear a welder’s _______ shield and keep the hood down. Keep the lid between you and the can on fire to act as a ____________. Put the ______ back on the can full of ashes after firing. Put a brick on the lid and place it back on the rack so water will not rust it out. Never throw ___________ into the dumpster. It will catch the whole dumpster on fire. If this happens throw water on the fire or call 911. Always turn the kiln _____ at the breaker, if raku firing out of an electric kiln. Never touch the elements with the _______ tongs. Gas Kilns Receive training and __________ another fire master before firing the kiln. Stay in attendance with the kiln ____________ the firing. Leave your ________ and phone number on the firing log by the kiln if you are firing the gas kiln. Summary Attend ____ classes so you see demonstrations of equipment use and safety precautions. If you get tired, ___________ and rest. Most accidents occur when you are tired or in a hurry. Use your common sense to avoid open and obvious ________________. If you see something you think may be a hazard or technical problem, call the instructor at ___________ 785-342-8678. If you see a fire, injury or emergency, call ______.
22
Ceramics: Art 260
Unit 1
Designed for Living Fall 2018
Overview Materials
Explore ceramics designed to enhance life. High fired stoneware and porcelain
High fire glazes
Objectives
Build awareness and appreciation for ceramics created for function with design PowerPoint Presentations
as a driving purpose. Observe how ceramics reflect and meet the needs of a
culture. Appreciate how design impacts function and pleasure. Bowls
Expand skills and knowledge of materials and techniques for forming and Little Things that Matter
firing clay by completing projects in the Creations Stations.
Historical Coil
Research and develop a series of ceramic objects designed to enhance
Clay and Claybodies
contemporary living.
Glazing and Surfaces
Activities Firing
Creation Stations
Quizzes
1. Build a Bowl. Slump. Hump. Pinch. Coil. Wheel. Slip-cast.
2. Little Things. Tech Toys. Cell Phone/Pad Holder Syllabus
3. Sanitary Ware. Soap Dish. Tooth Brush Holder. Cup.
4. Coil Vessels Safety
Plan and Action. Application and Implementation Clay and Clay Bodies
1. Research and Development. Design ceramic objects made for Life. Glazing and Surfaces
2. Create. Critique. Remake with adaptations a series of ceramic objects
Firing
designed for Life. Package. Documentation. Dispersal.
Evaluation Criteria
Research, Development and Design of Ceramic Objects
Craft and Improvement of Form and Surface
Communication and Community. Effective in aesthetics and function
Ceramics: Designed for Living 123
Art 260
Ceramics I
Bowls Designed for Life
Overview Materials
Explore a variety of methods for forming clay into bowls. Variety of Clays
Stoneware
Objectives
Porcelain
Use high-fired clay to make fun and functional bowls designed for specific
foods or needs in contemporary life
Other Resources
Learn how to form wet, plastic clay. Explore pinch, slabs with slump and
hump molds, throw on the potter’s wheel and slip cast. PowerPoint lectures on Blackboard
Transform clay into functional ceramics in high temperatures Written content on Blackboard
ArtStor
Activities
ArtAxis.com
Creation Stations
AccessCeramics.com
1. Slab
2. Pinch YouTube
3. Wheel
4. Slip-casting
5. High Fired Glazes Artists
Jenny Mendez
Evaluation
Ingrid Bathe
1. Research
2. Design Steven Hill
3. Skill at Forming
4. Skill at Surface Decoration Clay Leonard
5. Skill at Glazing
Peggy Clark
Bowls 124 Ceramics Designed for Life Creation Station: Bowls Ceramics has two main branches – the vessel and sculpture. Vessel making is an old craft begun in the Neolithic era designed with the preparation and storage of food in mind. Vessels are containers, although many contemporary vessels contain only air and ideas. But in Neolithic culture, pottery was essential to sustaining life. They used vessels to store water, to cook and serve food; they used vessels as containers for seeds, nuts and produce. They used vessels in their spiritual ceremonies and burials as well. Bowls are one of the most useful vessels, another Little Thing that Matters. But even for societies dependent on pottery making technology, function was not the only consideration in vessel making. Decoration for beautification and pleasure often added an aesthetic component to handmade pottery. Pottery from around the world has many similarities. Many pots have rounded or pointed bottoms to sit in the soft earth, as Neolithic cultures did not always use tables. They are usually made of earthenware, the most commonly occurring natural clay and are low fired. Most are decorated with clay slip or terra sigillata in patterns abstracted from nature or geometry. Symmetry is the dominant form of balance and the more symmetrical the pot, the more skilled was its maker. Many techniques were used in creating ancient vessels, including pinching, coiling, slab construction, molds and the potter’s wheel. In some cultures, everyone made pottery, in other cultures only specialists made pottery. It some cultures it was a man’s duty, in others, it was women’s work. In most cases, when the pottery was made by individuals, the makers were female. When the pottery making shifted to small factories, men most often formed the pots and utilized the wheel. Vessel making is enjoyable and motivating, as most people find it satisfying to transform raw material into a useful object completely by hand. To further investigate coiled ceramic vessels, use ArtStor to research the pottery of: Asia – China (Gansu or Kansu), Japan (Jomon) or Korea Africa – Egypt, Mesopotamia, Israel, Turkey, South Africa – living tradition Europe – Minoan, Greek, Roman Americas – Pre-Columbian Mesoamerica, and South American pottery traditions Native American pottery in the United States - living tradition Maria Martinez. Lucy Lewis. Australia India – living traditions Pay close attention to the vessel’s silhouette or primary contour, then look for secondary contours and appendages. Next study how the decoration fits the form.
25 Observe how some types of pottery utilize the coil as texture or for pattern. Others completely smooth out the coils and keep the primary contour smooth. Which do you prefer? The potter’s wheel was a technical advancement on coil building. The first known use of the potter’s wheel seems to be 3500BC in Mesopotamia, by 2300BC it was in use in Sumer, and 2750 BC in Egypt and China. A potter’s wheel is a turntable that turns at least 100 revolutions per minute, so that centrifugal force allows the form to rise easily in the potter’s hands. Some cultures never adopted the use of the potter’s wheel and many contemporary coil vessel makers prefer to use the older hand-building methods, as well. Ceramic sculpture is the second branch of ceramics. This tradition is equally as old as vessel making with its roots in Paleolithic fertility figures. Burial traditions from various cultures including Egyptian, Greek, Pre-Columbian, and Chinese have left us with many interesting examples of ceramic figures, animals and architectural models. Some sculpture was formed solid; others formed hollow or hollowed out. The exciting ability of clay to imitate other surfaces and hold small detail has excited sculptors for centuries. A wide variety of styles are evident in ceramic sculpture from realistic to primitive to the abstract. Research and Development Add pages of research on historical ceramics from your research on ArtStor in the library or on the Internet. Xerox or sketch forms you found interesting and add them to your Sketchbook. Be sure to include the data about the culture and the piece including its size, date and any technical information you find interesting. If sketching, be sure to include not only the primary contour, but also the handles, lids, feet and other attachments. Draw surface details, designs and textures and make notes about colors and glazes. Then begin sketching your own ideas. Think about form, surface and decoration. What will be the function of your piece? Questions: What do you use bowls for? What type of bottoms do you prefer? Flat, round, or sculptural What type of top do you prefer? Flat or sculptural What type of surface do you prefer? Textured, smooth or combination Do you prefer design that contains pattern or narrative? How will your decoration enhance the form?
26 Project Objectives: Create a series of bowls using a variety of techniques that connect with your interests in form, function and content Learn basic forming techniques Learn about clay bodies Use creativity in creating bowl variation Design bowls for use in your life Communication and Conversation Starters: You should be able to explain the object’s connections to your daily life, historical and/or contemporary ceramics. Discuss how its design reflects your taste and design sense. You should be able to explain its connection to your clay exploration and learning. Your work should include artistry and self-expression in form and decoration. Procedure: Plan and Design. Look for the best possible solution in the paper silhouettes or a computer 3-D imaging program. Sketch and/or cut same-scale examples of variations in the bowls form you are considering. Clay. Most historical vessels are formed of red earthenware or terra cotta. In modern time we prefer that sealed, non-absorbent surfaces of high-fired (2350 degrees) stoneware of porcelain covered in glaze. If you are making functional pottery, try pinching porcelain paper clay. Form the object using skills you can manage. Demonstrations and assistance will help you build skill in the Creation Stations. Even pinching can be a challenge for an advanced ceramic artist. Personalize with decoration. Be sure to keep the piece covered in plastic during the forming process to even out the moisture. Time Management. Historically, most pots were formed in a day or two. Many were formed outside on a sunny day and the artist was making several pots at a time. Clay is a rock or a lot of little rocks with water in between them. As it dries, its properties change. You should plan to create your bowl forms in a week or less, so the clay stays evenly moist. 1. Pinch the clay to get a feel for how plastic it is. Pinch shapes you enjoy holding. 2. Select a mold and use a slab to create a bowl. Slip-cast. Make multiples. 3. Find a spot on the potter’s wheel and enjoy the focus on concentrating on the spinning wheel.
27
Little Things tht
Art 260
Ceramics 1
Little Things Matter 2018 Fall
Overview Materials
Design and create small ceramics that offer pleasure and service in daily life. Various high and low fire clays
Earthenware
Objectives
Porcelain
Deepen an understanding of how important design is to functional ceramics
Stoneware
Discover opportunities for ceramics to assist in new ways
Explore various clays and glazes on small projects Other Resources
Look for new opportunities for ceramic forms to serve PowerPoint lectures on Blackboard
Written content on Blackboard
Creation Station Activities
On-line sites such as Pinterest, ETSY
1. Cell Phone Holder
2. Holders: Ring, Brush, Tools, Business Card YouTube
3. Soap Dish
4. Spoon
Evaluation
1. Research
2. Design
3. Skill at forming
4. Skill at surface
5. Skill at Glazing
Little Things Matter 128
Ceramics Designed for Life
Creation Station: Little Things that Matter
Objectives
Create ceramic objects designed for pleasure and ease of function in your life
Explore design and style in creating functional ceramic objects
Little Things that Matter
Cell Phone Holder
Ring Holder
Soap Dish
Brush or tool holder
Spoon
Business Card Holder
Procedure
1. Ideas and Concepts: Creative Research and Development
Research. Work on thinking, writing, or drawing your ideas for fun and functional
contemporary ceramics. Go beyond cups and bowls. Pinterest and Instagram are home
to many ceramic artists. Check out books from the library. Search the Internet and your
soul. Include examples of their decoration.
Development. Build on your ideas and see if you can expand or create variations that
are even more novel, fascinating or humorous.
To expand or build on your best ideas, consider how you can incorporate:
Symbols are visual elements that remind one of other things or life experiences, what
symbols have meaning for you, how could you include them in your design?
Patterns are shapes that are repeated in organized rhythms. Could your symbols form a
pattern? What patterns attract you? Could you use those patterns or a variation to
create interest on your spirit rattle?
Textures are similar to patterns, but the repetition of the shapes is off more irregular
and has more variations. What textures might you incorporate into the design of your
rattle?
Focal Points stand out as being different from the other elements in a design. They
might be larger, bolder, more detailed, stand up in higher relief. Design you rattle so
they is a focal point on each side.29
Eye movement can be created on a three-dimensional object by connecting the focal
points or pointing to them with other elements such as line, shape and texture. Try to
create eye movement so the viewer wants to look at your entire object.
Concept. Think about an idea or meaning of your forms. What lifts your spirits? What
might symbolize your spirit? Can you communicate that?
Stories. What stores can you use to make your art unique and reflective of your life and
interests?
2. Explore Materials and Processes.
Wedge. Two main reasons for wedging:
1. Even the moisture out throughout the clay
2. Remove any air pockets
Attachment Method for Clay
1. Cut the edges flat for a tight fit.
2. Score or rough up the edge.
3. Slip. Moisten it with slip or water.
Place the packet of balls wrapped in paper inside the bowl. Bring the two bowl
edges together. Press them firmly so there is no air in the seam.
4. Blend the two sides of the form together by pulling clay from the left to the
right, then from the right to the left in an X fashion. Once the clay is well
blended, pull clay from the side of the bowl towards the seam to strengthen it.
Continue to work the seam until it is smooth and hard to find. Wrap the form in
plastic and let it sit, allowing the moisture to even out.
Experimental
Touch clay in ways that are experimental, use various tools and different body parts.
Try taking a large piece of clay and pinching or throwing it until it becomes thin and
unable to hold its shape. Allow to stiffen from drying, then pinch some more. Pay close
attention to the clay and have an intimate conversation with the form. Find the
boundaries of the material and push them. Explore yourself and the clay. Enjoy the feel
of the clay.30
Decoration Options for Little Things That Matter
1. Modeling.
Realism. Take a small piece of the same clay and model the clay until it
resembles a form in nature. Modeling involves pushing and pulling the clay, normally
while the form is solid. Once the form is modeled, it can be left to dry a bit. Once
leather hard it is easier to add details to the modeled form. Place it in the bag with the
hollow enclosed form so their moisture content can even out.
Abstraction. Pinch a form you cannot name. Make many. Fire separately and
assemble after firing. Combine when moist and attach with slip. Build with them like
lock blocks or Legos.
2. Incising. Make the pinched form as smooth as possible, then draw a design into the
smooth form. Use a variety of tools, like a dull pencil, a need tool an X-Acto blade.
Notice the different types of lines and the characteristics of the line quality.
3. Carving. After you incise the lines, carve away the inner or outer clay to bring the
incised lines into bas-relief or low relief.
4. Burnishing. Scrape and rub an area until it is free of lumps and bumps, rub with a
wooden tool, spoon or polished rock to get a reflective surface. As the surface dries,
use oil as a lubricant to make it even smoother and more reflective.
5. Impressing. Push textures into the smooth clay surface. Rub for a deeper
impression.
Refine the completed hollow form by scraping, smoothing, incising or carving the
surface. Incorporate some the symbols or designs you thought about since the last
class.
Ventilate any enclosed forms, so steam has a way to be released during the initial phase
of firing.
Burnish the smooth areas until you get a shine.
Dry the piece until it is room temperature.
Load in the bisque kiln. Fire slowly.
Glaze to add color and texture to the bisque form.
Glaze fire more quickly.31
Art 260
Ceramics
Coil Vessels Fall 2018
Overview Materials
Learn the basics of hollow forming with coil, then expand into more Clay with added temper for additional
adventurous methods of working with coils thermal shock properties
Various clays as needed for project
Objectives plans
Tap the potential of hollow formed ceramics to create contemporary vessels
Other Resources
Form and contrast the traditional and experimental approaches to creating a
coil vessel. Make one each minimum. Blackboard Powerpoint and written
content.
Creation Stations Activities DVDs
Create coil vessels in supports or pukis using the coil and pinch technique You Tube
Explore tiny, textured or crazy coils in creating contemporary vessels designed ArtStor
to function in a contemporary culture and interiors.
Terra Sigillata and underglaze decoration Artists
Alternative Firings: Pit, Saggar, Raku Magdelene Odundo
Arlene Schechet
Evaluation
Adrian Arleo
1. Research and Development
2. Design
3. Craft at Forming
4. Craft at Surface
5. Glazing Skill
Coil Vessels 132 Creation Stations Coiling: Traditional and Experimental Research and Development Explore and investigate historical and contemporary coil made ceramics. Sketch and plan work you would like to create. Refine, Adapt. Create variations. Design Consider the elements and principles of art and how they relate to your planned forms. Does the work tell a story, offer an experience, or communicate an emotion? Use design to assist you in making expressive, attractive coil forms. Warm Up with Experimental and FUN Coil Sculpture 1. Pinch a small base from porcelain paperclay. Roll a variety of sizes of coils. Add texture to coils. Assemble an assemblage sculpture form using the base and coils. Play, explore, have fun. Concept considerations and inspirations: Microscopic view of a cell, Bird’s eye view of an island, Ant’s view of grass, weaving, delicate thin vessel. Multiples make more than you believe possible. Assemble or not. 2. Load wet, dry in kiln. Bisque fire. Assemble. 3. Glaze with a high fire glaze if needed. Traditional Coil Vessel 1. Pinch off a piece of clay about the size of a baseball. Pinch it as if you were making half of a spirit ball about ½ to ¾” thick. Place it in a puki or support form. If it is porous (bisque) you do not need to use plastic between the clay and puki. If it is not porous (metal, plastic, glazed ceramic) place two layers of thin plastic between the clay and the puki to act as a mold release. Press the pinched form to the sides of the puki and thin to 3/8” thick. 2. Cut a slab of clay about 2” thick off your block. Cut that into 3 - 2” strips about 10” long. Press this long thick square coil between your palm and fingers until the squared edges are removed. Roll the coil on a smooth, clean surface until it is about 1” thick in diameter. Flatten by patting it gently on the smooth table surface to make it slightly oval. Score and slip the rim of the pinched pot and the thin edge of the coil. Start in the middle of the coil and press it down onto the pinch pot. Use your thumb to overlap the coil over the pinched pot, both inside and out. Score, slip and blend the end of the coil. Blend the clay with the wooden toll in an X fashion, both inside and out. Scrape the clay
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