This project will help you
• Practice technical skills for forming and surfacing pottery objects
• Consider the constraints of functional ware
• Develop concept strategies that evoke abstracted meaning for a viewer/user
• Practice using formal design elements (scale, proportion, edge, texture, color, etc.) in the service of putting personal meaning into your pottery objects.
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• Robin Hopper’s Functional Pottery
• p. 20, Eating
• p. 183-4, Ch. 16, Considerations
• Philip Rawson, Ceramics “Memory Traces”
• Anthony Quinn, Ceramic Design Course, Unit 4, Sketching, pp 16-19, Unit 5, Design Development, pp 20-23
• A particular food service opportunity
• An object, natural or man-made, that is not already a food-service object (i.e. not a cup, casserole, etc.), or a re-creation or artistic interpretation of another object (i.e. not Smurf or an action figure) from which you will be inspired to create work with memory-traces of your object.
• The relationship between your object and your food service ware, and ways to NOT re-create the object, but abstract it to create a reference to the object.
• Your feelings about the object. The surface of your forms will reflect your feelings about
Find and Bring to Class
• An example of your object, preferably 3-D if available, or in image.
Give yourself room to sketch. Tiny sketches seem cramped. Expand your sketches to at least fist-sized.
• Sketch at least 8 ideas for your object. Decide on one function and develop ONE of those ideas into 4 further sketches.
• On the form that works best in your estimation, experiment with 4 ideas about surface.
• Turn in photocopies of your sketches
Make 5 functional objects for the same function that evoke memory traces for your object. Relate the surface of your object to how you feel about the object.
• Even wall thickness. Appropriate wall thickness/weight for a functional object. Effective foot trimming or treatment. If thrown: smooth, continuous curves from the center to the rim. Trimming should be done to create even wall thickness and stable footing for your bowl. This should produce a bowl of reasonable weight for its size, and a bottom that is about the same thickness as the walls.
• Glazing: effective glaze application (appropriate thickness, does not have bare spots or crawls, glaze does not run down and meet the kiln shelf), including waxing of foot.
• Objects should be functional for your desired purpose.
• Clear expression of object and surface goals.
• Appropriate, expressive choices to promote your personal ideas: your attitude expressed through scale, edge quality, form, foot treatment, proportion of bowl to foot, surface, and color.
• Form that evokes your object as a memory trace.
• 500 series books (Sculptures, Teapots, Cups, Platters and Chargers, Bowls, etc.) various Lark Books
• Hopper, Robin, Functional Pottery TT920 .H66 2000
• Hopper, Robin Making Marks: Discovering the ceramic surface TT920 .H664 2004
• Pegrun, Brenda Painted Ceramics; Colour and Imagery on Clay NK4605 .P45x 1999 Crowood Press, UK, 1999. International coverage of contemporary decorated work in a variety of techniques, including tin-glaze.
• Wood, Karen Ann Tableware in Clay from Studio and Workshop NK4695.T33 W66 1999 Crowood Press, UK, 1999. Historic and contemporary tableware, includes many decorated works.
• Matthias Ostermann The Ceramic Surface TT920 .O84 2002
• Neal French The Potter’s Directory of Shape and Form NK4235 .F53 1998
• Neal French The Potter’s Encyclopedia of Color, Form, and Decoration
• Colbeck, John The Technique of Throwing 738.142 C684p
• Rogers, Phil Throwing Pots TT920 .R641 1995