100 10133
120 Ceramics (SCP) 882 
130 form and surface
140 
150 9-12
160 
170 
180 
210 01.4 The Arts - Visual Art
211 1.9.1
212 1.9.2
213 2.9.1
214 2.9.2
215 3.9.1
216 3.9.2
220 01.4 The Arts - Visual Art
221 4.9.1
222 4.9.2
223 4.9.3
224 5.9.1
225 5.9.2
226 5.9.3
230 01.4 The Arts - Visual Art
231 5.9.4
232 6.9.1
233 
234 
235 
236 
240 06.0 Physical Education
241 
242 
243 
244 
245 
246 
250 
251 
252 
253 
254 
255 
256 
300 1. What is form?
300 2. What is surface?
300 3. How does form relate to surface and aesthetics?
400 This unit emphasizes  consideration and creation of aesthetically pleasing ceramic surfaces that may be functional or non-functional in nature, as well as  the consideration and  application of applied, incised, and impressed textures. Basic forming techniques such as slab, pinch, coil and wheel throwing and a number of variations on these basic techniques are explored and practiced in this investigation of form and surface.
500 Students will develop the ability to:
500 --  determine the appropriate means of surface treatment for functional ware,
500 -- plan and design appropriate surface treatments to fit a sculptural form.  
600 All students will:
600 
600 -- complete a functional vessel with surface texture and surface decoration appropriate to the surface and function,
600 --- plan and create a ceramic sculpture with surface treatment appropriate to the sculptural form. 
600 
600  
700 1. Homework is used as a formative and summative evaluation tool.
700 2. Matching, fill in the blank, and short answer quizzes are used to access concrete information such as vocabulary, equipment use, and procedures.
700 3. Project evalutaions may take the form of group critiques, rating scales, written evaluations,and teacher interviews.
700 4. A collection of ceramic pieces is a demonstration of skills learned and of personal and asthetic growth. This body of work stands as a visual record of the creative process experience throughout the semester.
700 5. Group discussions give insight into the creative process and problem-solving, providing an avenue for learning, how to talk about art, how to view art, and how to improve skills.
800 1. Visit to a potter's studio or the Community Center for the Art Cermics studio at the University of Connecticut.
800 2. Virtual museum tours and discussion of visuals via slides.
820 Blandino, B., (1984) Coiled Pottery. Radnor, PA. Chilton. 
820 Branfman, S.,  (1991)  Raku. Iola WI. Krause Publications.
820 Burleson, M., (2001) The Ceramic Glaze Handbook. 
820 Casson, M.,  (1977) The Art and Craft of the Potter. Woodbury, NY. Barron's 
820       Educational Series.
820 Chappell, J., (1977) The Potter's Complete Book of Clay and Glazes. New York, NY. 
820        Watson-Guptill.
820 Clark, K., (1983) The Potter's Manual. Edison, NJ. Chartwell Books.
820 Fraser, H., (1979) Glazes for the Craft Potter. Westervile, OH. A&C Black.  
820 Luchessi, B., (1979) Modeling the Head in Clay. New NY. Watson -Guptill.
820 Nelson, G., (2002) Ceramics: A Potter's Handbook (6th Edition) New York,      
820      NY, Wadsworth.
820 Peterson, S., (1992) The Craft and Art of Clay. Englewood Cliffs, NY. Prentice Hall. 
820 Shafer, T., (1976) Pottery Decoration. New York, NY, Watson-Guptill.
820 Tourtillott, S. ed., (1992) 500 Bowls. Asheville, NC. Lark Books. 
820 Warshaw, J., (2003) The Practical Potter. London, England. Hermes House
820 
840 Suggested video:
840 Maria: Indian Pottery Maker of San Ildefonso, National Park Service Film