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B.V.1:

Use the language of visual arts to communicate effectively.

B.V.2:

Apply creative and critical thinking skills to artistic expression.

B.V3:

Create art using various tools, media, and processes safely and appropriately.

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Idea Pots: Cultivating Creativity with High School Ceramic Students

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Idea Pots: Cultivating Creativity with High School Ceramic Students

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Transform the student perspective of ceramics and pottery into something with intent and value unrelated to authentic value. Involve students in incorporating social issues and other topics as the basis for their ceramic creations.

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Idea Pots: Cultivating Creativity with High School Ceramic Students

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Visual Arts-9th Grade (Contextual Relevancy)

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Visual Arts-9th Grade (Contextual Relevancy)

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B.CX.1:

Understand the global, historical, societal, and cultural contexts of the visual arts

B.CX.2:

Understand the interdisciplinary connections and life applications of the visual arts.

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Visual Arts-9th Grade (Critical Response)

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Visual Arts-9th Grade (Critical Response)

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B.CR.1:

Use critical analysis to generate responses to a variety of prompts.

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Beginning Visual Arts

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Why do we, as people, work with clay and create ceramics?

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Environment, Culture, Art, Influences, History, Practicality, Utility, Form, Technique, Inspiration, Creativity.

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What are the differences between earthenware, stoneware, and porcelain?

How does the firing process work?

What is the difference between coils, slabs, and pinched pottery techniques?

When was the earliest known ceramic object created?

How have different countries and cultures influenced the artistic creations of ceramic art throughout history?

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Types of Clay: Prominent Artist Who Works With Ceramics, Time Periods and the Influences They Had on Ceramic Evolution, Clay Building Techniques, Ceramic Forms, Clay Definition and Origin, Process of Creating Ceramics, History of Ceramics, Ceramic Art.

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Are some ceramic building techniques better for particular creations than others?

Why is clay a suitable medium for creating 3D models?

How is ceramics responsible for our modern-day society?

What is the importance of ceramics in history?

What are some different uses for ceramic/clay creations?

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What is the most crucial time period for ceramic development?

Why do we still use clay/ceramic pieces in modern-day society?

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Working with ceramics creates better hand-eye control and improves individuals' fine modern skills.

Ceramic art and clay allow individuals to bring creative thoughts and ideas to life in a 3D form.

Humans use art in various ways to serve a function in their lives, and ceramics is one of the materials used.

Ceramic creations can be made to serve a variety of functions, whether practical or visual.

The culture and practices of different regions and countries influence the art produced.

Learning the history of ceramics helps us to better understand the material we use and allows us to recreate or invent new ceramic creations.

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Posted by stateoftheartsnyc on December 20, 2016

A brief introduction to the different important time periods in ceramics.

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Why Car Companies Still Use Clay Models: A Look into the Art of Car Design

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Why Car Companies Still Use Clay Models: A Look into the Art of Car Design

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The use of clay models in car design began in the 1930s at General Motors. Harley Earl, the head of GM's styling studio, was the first to employ malleable clay to create full-scale models from sketches. This innovative technique revolutionized the car design industry by streamlining and speeding up the design process.

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Why Car Companies Still Use Clay Models: A Look into the Art of Car Design

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Car design is an art form that is both complex and intricate. It requires a tremendous amount of hard work, creativity, and attention to detail.

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Out of the Fire: The Art and Science of Ceramics

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Out of the Fire: The Art and Science of Ceramics

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Explore the science and history of soft clay, along with its modern technological applications. Dr. Alexis G. Clare, a professor of glass science at Alfred University, examines the evolving definition of ceramics from ancient to industrial times, focusing on the relationship between creativity and material in contemporary ceramic art.

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WXXI Documentaries | Out of the Fire: The Art and Science of Ceramics | PBS

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Art, science, history and spirit of clay, and the value of ceramics in modern technology.

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Grayson Perry was born in Britain in 1960. He creates ceramic pots, hand-stitched quilts, and extravagant dress designs, producing a cosmopolitan form of folk art.

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Clare Twomey redefines ceramics by using it for engagement and interaction. Her large and diverse installations invite viewers to actively participate in the creation and appreciation of the art.

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He radically reinvents Chinese porcelain, drawing on various international influences such as advertising and consumer culture. These influences emerged in China after the arrival of global companies like Coca-Cola and McDonald's in the 1980s.

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Linda Lopez creates organic clay forms by layering repeated shapes. Her work is both playful and serious. Her Instagram features in-progress photos that highlight her creative process and the scale of her pieces.

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New 3D clay printer helping shape the future of art in Ceramics Program

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Arts & Culture

Eileen O'Grady

5 min read

New 3D clay printer helping shape the future of art in Ceramics Program

Ceramic artist Nicolas Touron kept a watchful eye on the nozzle of the machine as it circled the ware board, depositing a long noodle of clay. As coil layered upon coil and the walls of the abstract sculpture grew higher, Touron used a steady hand to add pieces of clay for stabilization, and a wet paintbrush to remove residue from the nozzle's tip.

It was a Friday afternoon in Harvard's Allston ceramics studio, and Touron, a visiting artist in residence with the Ceramics Program, Office for the Arts, had been building his latest piece using the program's new 3D clay printer since 8 a.m. Starting next semester, the device will be used in courses and offer a new way for students in art, design, and engineering to work with clay.

"It's really a process where you involve yourself in the machine if you want something interesting," Touron said. "It's partly like working with the [potter's] wheel. If you don't touch the machine, if you don't understand the machine, you're never going to have a good result."

Kathy King, the director of Harvard's Ceramics Program, is eager to provide the printer as a resource for artists who otherwise might not be able to access the technology. The LUTUM v4.6 was acquired this fall with the help of a grant from the Boger Family Foundation.

"I was really excited to just be able to start a conversation with people who may never ever try this machine but can be able to experience it as another option," she said. "Another tool in the tool belt, in a way."

While 3D clay printing has been used by designers and engineers for years - Harvard's Graduate School of Design prints clay with a robot - it's still a fairly new tool for artists. One benefit is it allows artists to make multiple prototypes of their sculptures or print smaller pieces to be combined later.

Touron says the process begins on a computer, where a software program allows an artist to create a design. A slicer program then converts it to 3D printing instructions.

Then the machine's extruder - which resembles a tattoo gun - gets loaded with a cylindrical cartridge of clay, which is forced out in a thin line with pressure from an air compressor. After the device executes the design, the sculpture is ready for drying, glazing, and firing.

Touron said he likes viewing his ideas in 3D on the computer before starting with clay.

"For any kind of creative process, it's amazingly efficient," Touron said. "A sketch only gives you an idea, and it's still a flat work. Here you can literally do your final work and decide if you want to proceed with making it."

Although the technology is new, the coil technique is ancient. Coil pots were among the first clay vessels made by early civilizations around the globe.

"A sketch only gives you an idea, and it's still a flat work. Here you can literally do your final work and decide if you want to proceed with making it."

Today, 3D clay printers can be used to make sturdier replicas of ancient pottery pieces for educational purposes. The Ceramics Program has worked with the Harvard Art Museums before to recreate pieces from their collection by hand, and King is excited for what the new machine could bring to future collaborations.

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Although conversations about new technology in art - most recently around AI - raise concerns about technology replacing artists, King says there's nothing to fear here, at least for now. Clay printing still relies heavily on artists' knowledge of the material, King said. For example, the machine can't tell whether it is building a design that is too top-heavy to stand.

"I don't think that there's anything about this situation that we're asking to replace anything," King said. "This is to add another way of thinking, another way of seeing, another way of combining this method with ceramic art in general."

If an error does happen, such as a clay cartridge running out while Touron is away getting a cup of coffee, he can't back up the machine to fix the mistake. That's why he stays vigilant.

"Anything could happen during the process because with organic matter, nothing is guaranteed," he said.

Touron, who divides his time between Cambridge and New York City, led an introduction to clay printing workshop in March for a group who included students from the Graduate School of Design and staff from the School of Engineering and Applied Sciences, as well as local community members.

King said she is looking forward to incorporating the printer into more courses next school year.

"I'm hoping after a few of these, we'll find some people who are ready to take on booking time with the machine, and working with some of our staff whom Nicolas has trained to be able to start printing on their own," she said.

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Artist demonstrates Harvard's new 3D clay printer

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Sculpture, technology merge in Ceramics Program as tool offers students another way to work with clay.

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The kiln is essential in ceramics production, providing the high-temperature firing necessary to create the pottery and ceramics we love today.

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The Types of Kilns - Ceramic, Glass, & More | Kiln Frog

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There are many types of kilns, categorized by size, power, and function. Learn about all the various types of kilns in this blog post from Kiln Frog!

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High School Art : Ceramic Lessons - Student Binder and Curriculum

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High School Art : Ceramic Lessons - Student Binder and Curriculum

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A set-out curriculum following entirely ceramic figures' form and creation practices, including activities set out to allow students to create and improve their skill sets regarding ceramic practices and their creation.

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High School Art : Ceramic Lessons - Student Binder and Curriculum by Miss Bowes

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Learn about the history and inspiration behind face jugs, then encourage students to make their own versions of face jugs.

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Face Jug Lesson Plan | Pottery & American History - THAT ART TEACHER

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One of my favorite artworks of all time was taught to me by my 7th grade art teacher, Mr. Lenzo. We created face jugs using clay, drip glazes and even added marbles to the eyes for an amazing effect that my 12 year old self had never seen. It was clear that ceramics was his area of expertise. I don’t remember a lot about middle …

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A narrowed-down lesson plan design for grade levels 9th-12th grade. This covers essential topics regarding ceramic vessels. Afterward, students will be able to identify specific ceramic ships from history.

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Grades/Level: High School (9-12)
Subjects: Visual Arts
Time Required: 2-Part Lesson

Author: This lesson was adapted by J. Paul Getty Museum Education staff from a curriculum originally published on the Getty's first education website, ArtsEdNet.

This is the first lesson in a sequential unit. Students view ceramic vessels from different time periods and cultures, and discuss their meanings, functions, and original contexts. They develop criteria for value and meaning of these objects, and create a timeline to situate the objects in history.

Students will be able to:
* identify ceramic artworks from different historical and cultural contexts.
* discuss how ceramic artworks reflect specific concerns and intentions of an artist and his or her culture.
* identify and interpret expressive properties of ceramics and speculate on the maker's intent.
* analyze similarities and differences between ceramic objects from different cultures.
* form opinions about value, meaning, form, and function.

* Information about each object, printed out from getty.edu, for use by small groups
* Journals for note taking and sketching
* Copies of a world map identifying only the countries in which the Getty objects for the lesson were made
* Copies of a timeline that includes only the creation dates for each object
* Images of ceramic objects for small groups of students. Below are suggested objects for this unit. Click on thumbnails for brief historical information. Additional research may be added and other works may be substituted.

1. Divide students into groups of four or five. Groups should select a note-taker. Provide each group with images of ceramic objects from the Getty's collection, a world map, and a timeline. The world map should identify or highlight only the countries that the objects students are studying came from. The timeline should also list or highlight the dates for the objects students study in the lesson.

2. Display the following questions on the board and have groups answer them for each object. Students are not expected to know the correct answers, rather they will speculate as a means to understanding the critical thinking process. The note-taker will record the responses to the questions.
* What country or region do you think the work came from?
* What culture do you think it might be from?
* When do you think it was created? Speculate.
* What do you see in the work that leads you to these conclusions?

3. Have each group guess the relative age of the objects by placing them chronologically on the timeline provided, using the dates given or highlighted as clues.

4. Distribute information from getty.edu about the objects to each group.

5. Groups should reconsider the objects in light of the information provided. Have groups make adjustments to their timelines and maps, if necessary. They should then answer the following questions for each object:
* Looking back at your previous answers, were you correct or incorrect about where and when the object was made?
* What were some of the things you saw in the works that led you to correct conclusions?
* What were some of the things you saw in the works that led you to incorrect conclusions?
* Were you surprised by the correct answers?

6. Continue discussion as a class. Have students articulate the assumptions they made about the objects and the visual clues they relied upon to speculate about the objects' origins and ages. Have students point out visual elements they didn't notice until after reading about the objects. Note-takers will report on small-group discussions. Record this information on the board or on a large sheet of paper. Collect small-group notes for assessment purposes.

7. Have groups analyze differences and similarities in the works based on surface, decoration, function, and construction. Have students sketch the ceramic objects in their journals as a means of assuring close observation.

8. Finally, as a class, discuss why these objects are considered important enough to be in a museum. During this session, the teacher should discuss one or more of the concepts listed below and have the class generate a list of criteria for each. Record answers on the board or a large sheet of paper. The criteria established by the class will be used again in Lesson 4.
* quality craftsmanship
* rarity
* beauty
* sacredness
* historical significance

Students should be able to do the following:
* Place the historical objects in chronological order.
* Describe and analyze images of works of art.
* Develop criteria for subjective concepts such as beauty, rarity, etc.
* Express informed opinions regarding the significance, value, and meaning of a work of ceramic art.
* Engage in small group and class discussions.

Obtain a copy of Puzzles about Art: An Aesthetics Casebook by Battin, Fisher, Moore, and Silvers (St. Martin's Press, New York, 1989). Have students read and respond to "Pile of Bricks" (p. 13). This is an interesting approach to posing the question: "Is it art?"

Common Core Standards for English Language Arts

Grades 9-12

SPEAKING AND LISTENING
Comprehension and Collaboration
1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.
2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.

Visual Arts Content Standards for California Public Schools

Grades 9-12 Proficient
1.0 Artistic Perception
Develop Perceptual Skills and Visual Arts Vocabulary
1.1 Identify and use the principles of design to discuss, analyze, and write about visual aspects in the environment and in works of art, including their own.

3.0 Historical and Cultural Context
Role and Development of the Visual Arts
3.1 Identify similarities and differences in the purposes of art created in selected cultures. Diversity of the Visual Arts
3.3 Identify and describe trends in the visual arts and discuss how the issues of time, place, and cultural influence are reflected in selected works of art.

4.0 Aesthetic Valuing
Derive Meaning
4.1 Articulate how personal beliefs, cultural traditions, and current social, economic, and political contexts influence the interpretation of the meaning or message in a work of art.
Make Informed Judgments
4.3 Formulate and support a position regarding the aesthetic value of a specific work of art and change or defend that position after considering the views of others.

National Standards for Visual Arts Education

Grades 9-12
3.Choosing and evaluating a range of subject matter, symbols, and ideas
a. Reflect on how artworks differ visually, spatially, temporally, and functionally, and describe how these are related to history and culture.

4. Understanding the visual arts in relation to history and cultures
c. Analyze relationships of works of art to one another in terms of history, aesthetics, and culture, justifying conclusions made in the analysis and using such conclusions to inform their own art making.

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Ceramics: A Vessel into History--Lesson 1 (Education at the Getty)

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In this visual arts lesson students develop criteria for value and meaning of ceramic vessels and create a timeline to place objects in history.

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Covers a variety of assigned topics on ceramic creations that will be covered during the first quarter of school; this includes

5 - Five Inch Half Pots

Combination Form

Altered Form

Open Form

Mugs

Two Forms that Fit Together

and Assembled Form

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Ceramics 1 is a semester course. Listed here are the projects that will be done through the two quarters of the class.

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Contemporary Ceramic Artist Research Project

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Contemporary Ceramic Artist Research Project

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This is a research project designed for students to explore and research different contemporary ceramic artists, what works they created, and the material/process they used,followed by a few short responses following various prompts regarding the information obtained during the research process of the choice ceramic artist.