100 10134
120 Ceramics (SCP) 882 
130 forming techniques
140 
150 9-12
160 
170 
180 
210 01.4 The Arts - Visual Art
211 1.9.1
212 2.9.2
213 3.9.1
214 1.9.2
215 2.9.1
216 5.9.4
220 01.4 The Arts - Visual Art
221 
222 5.9.4
223 
224 
225 
226 
230 02.0 Health and Safety
231 2.5.2
232 2.9.1
233 
234 
235 
236 
240 08.1 Social Studies - History
241 3.0.1
242 
243 
244 
245 
246 
250 07.0 Science
251 11.0.5
252 
253 
254 
255 
256 
300 1. What are the basic forming techniques for clay?
300 2. What are some applications of these techniques?
300 
400 This unit emphasizes the qualities/handling of clay, creating textures through  impressing/incising/applying, pinch pot technique, slab techniques: drape/press/soft slab/hard slab handling, coil techniques, wheel techniques, mutiple techniques used together, and vocabulary/aesthetics.
400 
400 
500 Students in ceramics will develop the abiltiy to:
500 
500 -- observe and interpret clay qualities as applicable to handling procedures,
500 -- apply appropriate vocabulary to tools, equipment, and processes,
500 -- appropriate vocabulary and concepts in aesthetic discussions and decisions,
500 -- demonstrate the pinch technique,
500 -- demonstrate various slab techniques,
500 -- demonstrate coil technique,
500 -- comprehend wheel technique.
600 All students will:
600 
600 -- create textures in hard and soft clay,
600 -- observe and demonstrate pinch technique,
600 -- observe and demonstrate slab technique,
600 -- observe and demonstrate coil technique, 
600 -- comprehend wheel technique,
600 -- identify mutiple methods of forming within one piece.
600  
600  
700 1. Homework is used as a formative and summative evaluation tool.
700 2. Short answer, fill in the blank, and matching quizzes are used to access concrete    information such as vocabulary, equipment use, and procedures.
700 3. Project evaluations may take the form of group critiques, rating scales, checklists,    written evaluations, and teacher interviews.
700 4. A collection of ceramic pieces is a demonstration of skills learned and personal, aesthetic growth. This body of work stands as a visual record of the creative process experienced throughout the semester.
700 5. Group discussions give insight into the creative process and problem-solving.
800 1. Visits to artist studios
800 2. Museum and/or gallery visits
800 3. Visiting artists
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 
820 
820 
840 Suggested video:
840 Paul Soldner: Thrown and Altered Clay, Crystal Video
840     isbn nO. 1-56290-068-4