CURRICULUM MAP: 19025.map

Ceramics (SCP) 882
glazes and decorating techniques

TIME FRAME:
GRADE:
CONTACT:

         MAP LEVEL:

01.4 THE ARTS - VISUAL ART --- 01.4.1.9.1 --- 01.4.2.9.2 --- 01.4.3.9.1 --- 01.4.1.9.2 --- 01.4.2.9.1 --- 01.4.5.9.4
01.4 THE ARTS - VISUAL ART
02.0 HEALTH AND SAFETY --- 02.0.2.5.2 --- 02.0.2.9.1
08.1 SOCIAL STUDIES - HISTORY --- 08.1.3.0.1
07.0 SCIENCE --- 07.0.11.0.5



1. What are glazes?
2. What are specialized glazing techniques?
3. What are alternative decorating techniques?
4. What is the relationship between form and surface?
5. How should glazes and decorating techniques respond to form and surface?



This unit emphasizes the qualities and handling of glazes, vocabulary and aesthetics, the qualities and handling of underglazes, the qualities and handling of overglazes, the qualities and handling of stains, the qualities and handling of oxides, the qualities and handling of englobes, the basics of glaze chemistry, aesthetics and surface decoration.




Students in ceramics will develop the ability to:

-- observe and interpret clay qualities as appropriate to surface decoration,
-- observe and interpret surface qualities and surface treatments as appropriate to
function,
-- make informed glaze and decoration decisons based on form and function,
-- apply appropriate vocabulary to tools, equipment, and processes.




All students will:

-- observe and demonstrate basic cone 6 glazing techniques,
-- identify specialized glazes,
-- observe and demonstrate the usage of underglazes,
-- observe and demonstrate the usage of overglazes,
-- observe and demonstrate the usage of oxides,
-- observe and identify the usage of engobes,
-- read about, observe, and identify basics quality and components of glaze chemistry,
-- identify surface qualities in ceramic form that apply to aesthetic issues for surface decoration.



1. Homework is used as a formative and summative evaluation tool.
2. Quizzes and tests are used to access concrete information such as vocabulary, equipment use, and procedures.
3. Project evaluations may take the form of group critiques, rating scales, checklists, written evaluations, and teacher interviews.
4. A portfolio is a demonstration of skills learned and of personal and aesthetic growth. The body of work stands as a visual record of the creative process experienced throughout the semester.
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 one's skills.



1. Visits to artists' studios
2. Museum and/or gallery visits
3. Visiting artists



Blandino, B., (1984) Coiled Pottery. Radnor, PA. Chilton.
Branfman, S., (1991) Raku. Iola WI. Krause Publications.
Burleson, M., (2001) The Ceramic Glaze Handbook.
Casson, M., (1977) The Art and Craft of the Potter. Woodbury, NY. Barron's
Educational Series.
Chappell, J., (1977) The Potter's Complete Book of Clay and Glazes. New York, NY.
Watson-Guptill.
Clark, K., (1983) The Potter's Manual. Edison, NJ. Chartwell Books.
Fraser, H., (1979) Glazes for the Craft Potter. Westervile, OH. A&C Black.
Luchessi, B., (1979) Modeling the Head in Clay. New NY. Watson -Guptill.
Nelson, G., (2002) Ceramics: A Potter's Handbook (6th Edition) New York,
NY, Wadsworth.
Peterson, S., (1992) The Craft and Art of Clay. Englewood Cliffs, NY. Prentice Hall.
Shafer, T., (1976) Pottery Decoration. New York, NY, Watson-Guptill.
Tourtillott, S. ed., (1992) 500 Bowls. Asheville, NC. Lark Books.
Warshaw, J., (2003) The Practical Potter. London, England. Hermes House





Suggested video:

Beginning Raku with Gordon Hutchens, Tara Productions
Pottery Decoration: Traditional Techniques by Tom Shafer
ISBN no. 1-883825-02-4