Ceramics I Curriculum

Content Area: Visual Art

GRADE/LEVEL: COURSE TITLE: COURSE NUMBER: COURSE LENGTH:
9–12 CERAMICS I 50.0611001 SEMESTER

COURSE DESCRIPTION:
Ceramics 1 is an introductory course in ceramics covering the three basic methods of hand building.
Students will produce ceramic artwork using pinch, slab, and coil techniques. Students will learn the basic
vocabulary of ceramics as well methods of surface treatment, firing, and other related aspects. Ceramic
history, aesthetics, and art criticism will be incorporated throughout the course.

PREREQUISITE(S): Art Comprehensive I (Intro to Art)

STANDARDS AND ELEMENTS

MEANING AND CREATIVE THINKING

The student engages in the creative process, finds and solves problems, and pursues open-ended inquiry
through the production of three-dimensional artworks. The student develops aesthetic understanding through
the examination of his/her art and the artwork of others (National Standards 1 & 2).

Description: The student develops creativity, critical-thinking, and problem solving skills. The student
engages in aesthetic dialogue, making effort toward constructing meaning as he or she encounters and
produces works of art based on sculpture approaches.

VAHSCRMC.1 Engages in the creative process, imagines new ideas by using mental and visual imagery,
and conceptualizes these ideas by using artistic language and contextual understandings and processes.

a. Develops a personal artistic voice that gives unique form to these concepts.
b. Identifies artistic voice in a range of contemporary and past ceramic artists.
c. Reflects on emerging personal artistic preferences.
d. Recognizes personal motivations and interests.
e. Expresses personal viewpoint in written and visual form.
f. Selects self-assessment standards.
g. Identifies themes and interests using the slab construction.
h. Explores preferred clays and ceramic construction methods.

VAHSCRMC.2 Finds and solves problems through open-ended inquiry, the consideration of multiple
options, weighing consequences, and assessing results.

a. Uses a sketchbook journal to research, explore, and invent artistic conventions to connect and
express visual ideas in wheel or handbuilt ceramics.

b. Generates multiple solutions to a single artistic problem and assesses merits of each.
c. Analyzes, in both written and oral form, the implications of artistic decisions by the artist and

personal reactions to ceramics.
d. Solves artistic problems through discussion and interaction with peers.
e. Supports peers though informal, on-going critique of idea development and work in-progress.
f. Recognizes art making as a risk-taking process that incorporates existing knowledge, brainstorming,

planning, discovery of unexpected connections and recognition of serendipity, and develops
personal skills in these areas.

FULTON COUNTY BOARD OF EDUCATION Ceramics I 1 of 21

VAHSCRMC.3 Cultivates critical thinking and logical argumentation in aesthetics.
a. Interprets historical perceptions of artistic value as demonstrated through ceramic works.
b. Identifies the ideas and values that inform how past and present cultures define and use ceramics.
c. Explores ideas and values reflected in the way the student’s current culture(s) define and use
ceramics.
d. Reflects upon personal answers to aesthetic questions, such as: What is ceramics? What are the roles
of ceramics in today’s world? Does the aesthetic value change when discussing functional ceramics
versus decorative ceramics?
e. Formulates and supports a position regarding the aesthetic value of a specific artwork and changes
or defends that position after considering the views of others and/or additional research.

VAHSCRMC.4 Analyzes the origins of one’s own ideas in relation to community, culture, and the world.
a. Compares and contrasts the influences on the bodies of works of a wide range of contemporary and
past ceramic artists.
b. Identifies values and practices in his or her community culture and world that inform his or her own
art making.
c. Reflects on how personal experience in community, culture, and world informs an artist’s work.
d. Identifies the values and contributions of diverse peers, cultures and communities.

CONTEXTUAL UNDERSTANDING
The student understands the sculpture in relation to history and culture (National Standard 4).

Description: The student recognizes the impact of art on history and different cultures and how history
and culture have influenced form and function of sculpture The student plans for and participates in a
variety of activities that promote personal engagement in the study of art history and culture.

VAHSCRCU.1 Articulates ideas and universal themes from diverse cultures of the past and present.
a. Traces major periods of art through ceramics and identifies how artists of each period were
influenced by society.
b. Identifies universal themes that appear in ceramics throughout time and discusses how those themes
connect to the human condition.
c. Identifies how the issues of time, place, and culture are reflected in ceramic art works.
d. Analyzes the relationship of decorative and functional qualities in ceramic art from diverse cultures.
e. Discusses and experiences the way in which knowledge of the original context of ceramics affects
one’s appreciation and personal connection with the work.
f. Expresses in written oral form the role as a visual record keeper (primary source) of cultural,
political, scientific, and religious history with ceramic art.

VAHSCRCU.2 Demonstrates an understanding of how art history impacts the creative process of art
making.

a. Recognizes, compares, and contrasts ceramic handbuilt and/or wheel art, artists, and styles from
varied cultures and eras.

b. Demonstrates an understanding of art history and investigates how it shapes contemporary life.
c. Creates ceramic handbuilt and/or wheel art work that explores ideas, issues, and events from current

and past cultures.
d. Relates own ceramic work to works by master artists.

PRODUCTION

FULTON COUNTY BOARD OF EDUCATION Ceramics I 2 of 21

The student creates artworks by applying media, techniques, and processes to formulate and express his or
her ideas and conceptual understandings (National Standard 1).

Description: Experiencing the role of the artist, the student applies media, techniques, and processes with
sufficient skill, confidence, and sensitivity to carry out personal intentions in clay. Through experience in a
range of three-dimensional processes, use of a variety of clay materials, and development of a repertoire of
techniques, the student understands the relationship of process, material, and technique to communication of
ideas. Techniques should include, but are not limited to, pinch, coil, and slab.

VAHSCRPR.1 Incorporates elements and principles of design to solve specific three-dimensional art
problems, to create unified compositions, and to communicate meaning, culminating in a finished work of
art.

a. Uses sketches and visual/verbal notes in order to make aesthetic choices in material, composition,
and surface in preparation for a final artwork.

b. Discusses and applies principles of design to organize elements to communicate meaning and unify
composition, includes concepts, such as interaction of positive and negative space, actual and
implied weight, paths of movement, non-centered focal point, dominance and subordination of
design elements, variety within repetition, closed and open form, and impact of mass on meaning.

c. Plans ceramic works for both functional and decorative purposes and demonstrates an understanding
of interaction between the function and the ceramic work.

d. Applies compositional principles to create successful representational and non-objective ceramic
work.

VAHSCRPR.2 Engages in an array of ceramic processes, techniques, and aesthetic stances.
a. Creates ceramic works to serve a specific function, such as expressive, utilitarian, and social.
b. Applies aesthetic approaches, such as formalism, emotionalism, and realism, to the creation of
ceramic work.
c. Creates ceramics from clay bodies using and demonstrating knowledge of ceramic techniques such
as wedging, pinching, molding, scoring, and joining.
d. Incorporates a variety of techniques in surface quality and texture to evoke specific effect, mood, or
concept.
e. Creates ceramic works in relief and in the round to make a variety of spatial effects from flat and
shallow to deep space.
f. Manipulates a variety of observation tools to including proportion, scale, volume, weight, and
physics in the development of a ceramic sculpture.
g. Uses the different drying stages of clay (slip, plastic, short, leather hard, bone dry) to create desired
effects

VAHSCRPR.3 Develops complex ceramic artworks using a variety of surface treatments and technology.

a. Develops beginning level mastery of traditional ceramic construction techniques, including but not

limited to pinch, coil, soft and hard slabs, molding and/or wheel.

b. Demonstrates a basic understanding of glaze chemistry

c. Manipulates surface treatments by exploring different firing techniques like bisque, glaze, raku,

wood, pit, gas, electric, oxidation, and/or reduction.
d. Recognizes and uses selected surface decoration techniques like carving low relief subtractive areas,

carving for high and low relief, impressing with found objects, majolica glazing, millefiore,
mishima, glaze, paddled textures, painted slip designs, painted underglaze designs/painting, paper
cut-outs with slips and stains, sgraffito, stain painting, stamping, and wax resist.

e. Explores traditional and mixed-media surface treatments used by contemporary ceramic artists.

f. Practices studio safety and correct care in the operation of ceramic tools and equipment.

FULTON COUNTY BOARD OF EDUCATION Ceramics I 3 of 21

g. Adds preparatory drawings and digital images of ceramic studies developed in this course to
portfolio begun in level one art.

VAHSCRPR.4 Keeps a visual/verbal sketchbook journal, consistently throughout the course, to collect,
develop, and preserve ideas in order to produce works of art around themes of personal meaning.

a. Self assesses and writes reflections on work, aesthetic ideas, idea generation, and skills progress.
b. Analyzes and critiques works of art – personal, peers, and professional.
c. Makes visual /verbal connections.
d. Practices direct observation and reactions in words, images, or symbols.
e. Records artistic research of ceramic methods.
f. Collects, develops, and preserves personal ideas and thoughts.
g. Records inspirational images, words, thoughts, and ideas.
h. Maintains notes and class information.
i. Plans ceramic artworks.
j. Identifies emerging personal, artistic voice.

VAHSCRPR5 Plans and presents appropriate exhibit of own artwork.
a. Exhibits artwork with a written supporting statement that communicates purpose and/or intent.
b. Prepares own artwork to be exhibited in the classroom and school community.

ASSESSMENT AND REFLECTION
The student critiques ceramic works, reflecting upon and assessing the characteristics and merits of his or
her work and the artwork of others (National Standard 5).

Description: The student describes and assesses the materials, techniques, and processes used to complete a
finished ceramics work. He or she demonstrates the ability to reflect upon and interpret his or her work and
the work of others, expressing personal viewpoint, and constructive criticism.

VAHSCRAR1 Produces written and oral critiques of own ceramic artwork.
a. Reflects on the artistic process (through journal-keeping and dialogic thought).
b. Self evaluates personal work from multiple positions – high standards of craftsmanship and skill
mastery, achievement of intent of the work, communication of meaning, technical aspects, personal
response to the artistic problem, and personal best in work process.
c. Reviews portfolio to identify growth over time, mastery of skills and techniques, strongest works
and what makes them strong, areas needing improvement, effective communication of thought and
idea, generation of new ideas from existing body of work, evidence of risk-taking, problem-solving,
and emergence of artistic voice.

VAHSCRAR.2 Critiques clay works of others individually and in group settings.
a. Provides respectful and constructive criticism to peers in formal class critiques.
b. Provides informal feedback to peers on work in process as part of a community of learners.
c. Analyzes specific strengths and weaknesses of art works based on the ways technique and
composition are used to convey meaning.

VAHSCRAR.3 Develops multiple strategies for responding to and reflecting on artworks.
a. Employs specific art vocabulary, accurately and routinely, to critique ceramics in discussion and
writing.
b. Identifies and employs diverse criteria for evaluating artistic merit.
c. Discusses the connection between the creator’s intent and viewer’s interpretation and how active
participation by the viewer creates a personal connection with the artwork.

FULTON COUNTY BOARD OF EDUCATION Ceramics I 4 of 21

d. Interprets and evaluates artworks through thoughtful discussion and speculation about the mood,
theme, processes, and intentions of those who created the works.

e. Uses a range of art criticism approaches, such as Visual Thinking Skills and Feldman’s Art
Criticism process, to understand and make a personal connection to sculptural works of art.

f. Uses a variety of approaches, in his or her visual journal, to explore and find personal connections to
artworks.

CONNECTIONS
Students make connections to other disciplines and the world around them through the study of ceramics
(National Standard 6).

Description: The student makes connections from the world of art to other areas of learning and personal
endeavor. He or she derives inspiration from varied areas of knowledge and life experiences. Through the
study and production of ceramic work, the student develops visual and verbal literacy and life/work skills
including appropriate use and development of technology.

VAHSCRC.1 Applies information from other disciplines to enhance the understanding and production of
ceramic art forms.

a. Uses inspiration from other disciplines to influence idea development in ceramic constructions.
b. Identifies specific knowledge and skills from other disciplines that inform the planning and

execution of clay work (chemistry, geology, and history).
c. Understands how knowledge of the artifacts of ceramics enriches and enhances the study of history.
d. Makes interdisciplinary connections, applying art skills, knowledge, and habits of mind to improve

understanding in other disciplines.
e. Develops the ability to integrate visual and verbal skills to communicate clearly and eloquently.

VAHSCRC.2 Develops 21st century life and work skills and habits of mind for success through the study
and production of art.

a. Manages goals and time.
b. Directs own learning.
c. Guides and leads others.
d. Works in diverse teams.
e. Adapts to change.
f. Uses current technology as a tool.
g. Recognizes that ceramics uses a problem-solving process that translates to real-life skills: idea

generation, elaborating and refining idea, execution of idea, interim evaluation, refining product
until goal is reached, and evaluation of final solution.

VAHSCRC.3 Utilizes a variety of resources to see how artistic learning extends beyond the walls of the
classroom.

a. Accesses resources, such as museums, Internet, visiting artists, galleries, community arts
organizations, and visual culture to research art in the world.

b. Identifies various art related careers and post-secondary options.
c. Draws inspiration for artwork from the world and resources outside the traditional classroom.

FULTON COUNTY BOARD OF EDUCATION Ceramics I 5 of 21

CERAMICS I

UNIT 1: Pinch Method

PACING: 5-6 weeks

STANDARDS AND ELEMENTS:

MEANING AND CREATIVE THINKING
VAHSCRMC.4 Analyzes the origins of one’s own ideas in relation to community, culture, and the world.

a. Compares and contrasts the influences on the bodies of works of a wide range of contemporary
and past ceramic artists.

b. Identifies values and practices in his or her community culture and world that inform his or her
own art making.

c. Reflects on how personal experience in community, culture, and world informs an artist’s work.
d. Identifies the values and contributions of diverse peers, cultures and communities.

CONTEXTUAL UNDERSTANDING
VAHSCRCU.1 Articulates ideas and universal themes from diverse cultures of the past and present.

a. Traces major periods of art through ceramics and identifies how artists of each period were
influenced by society.

b. Identifies universal themes that appear in ceramics throughout time and discusses how those
themes connect to the human condition.

c. Identifies how the issues of time, place, and culture are reflected in selected art works.
d. Analyzes the relationship of decorative and functional qualities in ceramic art from diverse

cultures.
e. Discusses and experiences the way in which knowledge of the original context of ceramics

affects one’s appreciation and personal connection with the work.
f. Expresses in written oral form the role as a visual record keeper (primary source) of cultural,

political, scientific, and religious history with ceramic art.

PRODUCTION
VAHSCRPR.2 Engages in an array of ceramic processes, techniques, and aesthetic stances.

c. Creates ceramics from clay bodies using and demonstrating knowledge of ceramic techniques
such as wedging, pinching, molding, scoring, and joining.

d. Incorporates a variety of techniques in surface quality and texture to evoke specific effect,
mood, or concept.

g. Uses the different drying stages of clay (slip, plastic, short, leather hard, bone dry) to create
desired effects

VAHSCRPR.3 Develops complex ceramic artworks using a variety of surface treatments and technology.
a. Develops beginning level mastery of traditional ceramic construction techniques, including but
not limited to pinch, coil, soft and hard slabs, molding and/or wheel.
c. Manipulates surface treatments by exploring different firing techniques like bisque, glaze, raku,

FULTON COUNTY BOARD OF EDUCATION Ceramics I 6 of 21

wood, pit, gas, electric, oxidation, and/or reduction.
d. Recognizes and uses selected surface decoration techniques like carving low relief subtractive

areas, carving for high and low relief, impressing with found objects, majolica glazing,
millefiore, mishima, glaze, paddled textures, painted slip designs, painted underglaze
designs/painting, paper cut-outs with slips and stains, sgraffito, stain painting, stamping, and
wax resist.
f. Practices studio safety and correct care in the operation of ceramic tools and equipment.

VAHSCRPR.4 Keeps a visual/verbal sketchbook journal, consistently throughout the course, to collect,
develop, and preserve ideas in order to produce works of art around themes of personal meaning.

a. Self assesses and writes reflections on work, aesthetic ideas, idea generation, and skills progress.
c. Makes visual /verbal connections.
e. Records artistic research of ceramic methods.
h. Maintains notes and class information.
i. Plans ceramic artworks.

ASSESSMENT AND REFLECTION
VAHSCRAR.2 Critiques clay works of others individually and in group settings.

a. Provides respectful and constructive criticism to peers in formal class critiques.
b. Provides informal feedback to peers on work in process as part of a community of learners.
c. Analyzes specific strengths and weaknesses of ceramic works based on the ways technique and

composition are used to convey meaning.

CONNECTIONS
VAHSCRC.1 Applies information from other disciplines to enhance the understanding and production of
ceramic art forms.

a. Uses inspiration from other disciplines to influence idea development in ceramic constructions.
b. Identifies specific knowledge and skills from other disciplines that inform the planning and

execution of clay work (chemistry, geology, and history).
c. Understands how knowledge of the artifacts of ceramics enriches and enhances the study of

history.
d. Makes interdisciplinary connections, applying art skills, knowledge, and habits of mind to

improve understanding in other disciplines.

VAHSCRC.2 Develops 21st century life and work skills and habits of mind for success through the study
and production of art.

a. Manages goals and time.

VAHSCRC.3 Utilizes a variety of resources to see how artistic learning extends beyond the walls of the
classroom.

a. Accesses resources, such as museums, Internet, visiting artists, galleries, community arts
organizations, and visual culture to research pinched forms in the world.

c. Draws inspiration for ceramics from the world and resources outside the traditional classroom.

UNIT RESOURCES:

Text – Experience Clay, Davis Studio Series:

FULTON COUNTY BOARD OF EDUCATION Ceramics I 7 of 21

 Chapter 1: Introduction to Clay
 Chapter 2: Working with Clay
 Chapter 3: Handbuilt Forms – Pinch
 Chapter 5: Surface Decoration

Power Points on Art Department website:
 Pinch Construction

Books:
 Leach, Bernard. A Potter's Book
 Nelson, Glenn. Ceramics
 Peterson, Susan. The Craft and Art of Clay
 Berensohn, Paulus. Finding One’s Way with Clay: Pinched Pottery and the Color of Clay

Websites, all current as of March 2010:
 History of Ceramics [http://ceramics.org/learn-about-ceramics/history-of-ceramics/]
 History of Ceramics[http://www.depauw.edu/acad/art/faculty/dherroldweb/pages/histp1.html]
 Joyce Michaud [http://jmichaudgallery.hypermart.net/htdocs/PinchPots.shtml]
 Karen Bamonte [http://www.karenbamonte.com/pinch.html]
 Shoji Hamada [http://www.ceramics-aberystwyth.com/shoji-hamada.html]
 British Museum
[http://www.britishmuseum.org/search_results.aspx?searchText=pottery&submit.x=0&submit.y=0&
submit=Go]
 Museum of Oriental Ceramics [http://www.moco.or.jp/en/]
 Smithsonian Freer/Sackerler Gallery [http://www.asia.si.edu/collections/default.htm]
 Smithsonian Renwick Gallery [http://americanart.si.edu/renwick/index.cfm]
 White House Collection of Ceramics [http://americanart.si.edu/exhibitions/online/whc/index.html]

Videos/DVDs:
 Pinch method with Tom Bartel [http://ceramicartsdaily.org/pottery-making-
techniques/handbuilding-techniques/get-into-the-artists-head-an-interview-with-ceramic-sculptor-
tom-bartel/]
 How to make a Pinch Pot [http://ceramicartsdaily.org/pottery-making-techniques/handbuilding-
techniques/how-to-make-a-pinch-pot-using-a-pinch-and-paddle-method-to-create-large-pots/]

Other (Magazines):
 Ceramic Art and Perception
 The Studio Potter
 Ceramics Monthly
 Pottery Production Practices
 Pottery Making Illustrated

SUGGESTED INSTRUCTIONAL STRATEGIES:
Suggested Unit Essential Question: What ceramics artworks can you create with the pinch method?

FULTON COUNTY BOARD OF EDUCATION Ceramics I 8 of 21

Suggested Unit Focus Questions:
 VAHSCRMC.4: How can you reflect your culture or community in your ceramics artworks?
 VAHSCRCU.1: How do historical ceramic artworks influence your ceramics today?
 VAHSCRPR.2: What steps do you need to follow to correctly execute the pinch method?
 VAHSCRPR.3: How can you become proficient at the pinch method?
 VAHSCRPR.4: How can you use a visual verbal journal to enhance your ceramic artworks?
 VAHSCRAR.2: What steps are best used in critiquing other student’s artwork?
 VAHSCRC.1: How can you learn about other subjects through ceramics?
 VAHSCRC.2: What are the best work skills for creating ceramic artworks?
 VAHSCRC.3: How can you apply your ceramic knowledge outside of the classroom?

Suggested Artists References and Historical Correlations:
Historical Artists:

 Paleolithic pinch pots
 Early ceramics from Ancient Egypt, China, Mexico, Native America
Contemporary Artists:
 Joyce Michaud
 Karen Bamonte
 Shoji Hamada
 Bernard Leach

Suggested Visual and Verbal Journal Prompts and Activities:
 Begin a written/visual journal. It may be constructed in class, assembled in a folder, or continued
in a journal notebook from another art class.
 Begin the semester asking each student to write a current personal answer to the question, What is
ceramic art? To encourage thought, use timed writing exercises (continuous writing for five
minutes). Assemble answers into a class “statement” on What is ceramic art? Each student
attaches own original written answer into journal.
 Collect in visual/verbal journal ideas for pinch pots, decoration plans and results, reflections, and
unit information.
 View examples of construction techniques, surface decoration, firing techniques, and create a
brainstorm list of ideas for pinched forms.
 Possible Visual Verbal Journal entries: Why do humans have an innate need to add beauty and
meaning to their world? What is the place of ceramics in art? Is pottery art, craft, or both?
Using all of the verbal and visual entries as reference, assess how personal viewpoints have
evolved and changed over the period of study.

Suggested Activities, Assignments, and Projects:
 Look at work of potters and ceramic artists throughout history. Discuss the stylistic qualities and
the intent/purpose of the art work.
 Discuss the integral role of ceramics in archeology.
 Discuss what we can learn about history and diverse cultures from the study of ceramics.
 Analyze historical uses of the pinch method. Look at how ancient cultures influenced the form (e.g.,
Japanese tea ceremony, tea bowls, ocarinas, rattles).
 Using facial features as the design and expressive element compare Native American, African, and
Georgia folk pottery made from coils.
 Summarize the role of vessels (such as cooking, storing, ceremonial) throughout history and assess
how the industrial age and its materials have changed the role of vessels today.
 Social Studies connection to Georgia history: Create coil pots using decoration (paddled designs

FULTON COUNTY BOARD OF EDUCATION Ceramics I 9 of 21

using rope wrapped around a stick). Use pottery shards from Native American pottery as a design
reference.
 Literary connection: Read the poem “Ode on a Grecian Urn” and relate the poem to the Greek
classical period when narratives on clay were crafted to tell a story.

 Brainstorm the influence of clay on contemporary society (technologically, historically, etc.)
Discuss uses of ceramic materials in industry.

 Examine ceramic work of major Western and non-Western ceramic artists, such as Hamada and
Leach, and contemporary American and local potters; analyze their historical or cultural influences.

 Intersperse throughout the studying ceramics history with an introduction to clay and the sensitive
“touch” required to create quality clay artwork through varied pinch pot micro labs inspired by
Finding One’s Way with Clay.

 Examine clay work by artists in each type of hand building and surface design style. Discuss
qualities of clay that influence the type of design used to decorate each piece.

 Explore and research clay sources and types from local natural deposits.

 Associate the qualities of the pinch method to the artists who utilize this form of hand building.

 Possible Assignments: whistles, river rocks, bowls, rattles, chimes, Organic forms based
on sea forms

 Create pinch pots that require skill in joining multiple openings; incorporate different surface
treatments; include the idea of multiple forms that work together as a whole. Lesson Link – River
Rock Pots

 Explore surface techniques (stamping, carving, dip and pour glazing, pit firing) and how they can

enhance or detract from the form of pottery.

 Science connection: Analyze clay bodies and glaze chemistry in terms of moisture

change, temperature change, oxidation effects, and reduction effects.

 Science Connection: Suspension vs. solutions in clay and glazes; ways that heat and kiln
firing change the molecular structure of clay; oxidation vs. reduction atmospheres in
firing.

 Questions for discussion and writing about aesthetics:
 Are hand-made objects sometimes more desirable than machine made objects?
Why/why not?
 Is form more important than function? Why/why not?
 Why have people historically decorated functional ceramics?
 Is pottery an art form, craft, or both?
 Why might people have an innate need to add beauty and meaning to their world?
 Why does humanity have an innate need to add beauty and meaning to
their world?
 What is the place of ceramics in art?
 Is pottery art, craft, or both?

 Discuss why ceramic artists use functional approaches, and why they use abstract approaches
(Formalism, Realism, Expressionism) in creating forms.

 Discuss how own understanding has deepened over the semester. Use Visual Verbal
Journal entries from throughout the semester to inform this discussion.

 Lead a class critique focusing on craftsmanship and visual interest in the form.

FULTON COUNTY BOARD OF EDUCATION Ceramics I 10 of 21

CERAMICS I

UNIT 2: Coil Method

PACING 5-6 weeks

STANDARDS AND ELEMENTS:

MEANING AND CREATIVE THINKING
VAHSCRMC.3 Cultivates critical thinking and logical argumentation in aesthetics.

a. Interprets historical perceptions of artistic value as demonstrated through ceramic works.
b. Identifies the ideas and values that inform how past and present cultures define and use

ceramics.
c. Explores ideas and values reflected in the way the student’s current culture(s) define and use

ceramics.
d. Reflects upon personal answers to aesthetic questions, such as: What is ceramics? What are the

roles of ceramics in today’s world? Does the aesthetic value change when discussing functional
ceramics versus decorative ceramics?
e. Formulates and supports a position regarding the aesthetic value of a specific artwork and
changes or defends that position after considering the views of others and/or additional
research.

CONTEXTUAL UNDERSTANDING
VAHSCRCU.2 Demonstrates an understanding of how art history impacts the creative process of art
making.

a. Recognizes, compares, and contrasts ceramic coiled art, artists, and styles from varied cultures
and eras.

b. Demonstrates an understanding of art history and investigates how it shapes contemporary life.
c. Creates coiled art work that explores ideas, issues, and events from current and past cultures.
d. Relates own ceramic work to works by master artists.

PRODUCTION
VAHSCRPR.2 Engages in an array of ceramic processes, techniques, and aesthetic stances.

a. Creates ceramic works to serve a specific function, such as expressive, utilitarian, and social.
c. Creates ceramics from clay bodies using and demonstrating knowledge of ceramic techniques

such as wedging, pinching, molding, scoring, and joining.
d. Incorporates a variety of techniques in surface quality and texture to evoke specific effect,

mood, or concept.
g. Uses the different drying stages of clay (slip, plastic, short, leather hard, bone dry) to create

desired effects

VAHSCRPR.3 Develops complex ceramic artworks using a variety of surface treatments and technology.
a. Develops beginning level mastery of traditional ceramic construction techniques, including but
not limited to pinch, coil, soft and hard slabs, molding and/or wheel.

FULTON COUNTY BOARD OF EDUCATION Ceramics I 11 of 21

c. Manipulates surface treatments by exploring different firing techniques like bisque, glaze, raku,
wood, pit, gas, electric, oxidation, and/or reduction.

d. Recognizes and uses selected surface decoration techniques like carving low relief subtractive
areas, carving for high and low relief, impressing with found objects, majolica glazing,
millefiore, mishima, glaze, paddled textures, painted slip designs, painted underglaze
designs/painting, paper cut-outs with slips and stains, sgraffito, stain painting, stamping, and
wax resist.

e. Explores traditional and mixed-media surface treatments used by contemporary ceramic artists.
f. Practices studio safety and correct care in the operation of ceramic tools and equipment.

VAHSCRPR.4 Keeps a visual/verbal sketchbook journal, consistently throughout the course, to collect,
develop, and preserve ideas in order to produce works of art around themes of personal meaning.

a. Self assesses and writes reflections on work, aesthetic ideas, idea generation, and skills
progress.

b. Analyzes and critiques works of art – personal, peers, and professional.
c. Makes visual /verbal connections.
g. Records inspirational images, words, thoughts, and ideas.
h. Maintains notes and class information.
i. Plans ceramic artworks.
j. Identifies emerging personal, artistic voice.

VAHSCRPR5 Plans and presents appropriate exhibit of own artwork.
b. Prepares own artwork to be exhibited in the classroom and school community.

ASSESSMENT AND REFLECTION
VAHSCRAR.2 Critiques clay works of others individually and in group settings.

a. Provides respectful and constructive criticism to peers in formal class critiques.
b. Provides informal feedback to peers on work in process as part of a community of learners.
c. Analyzes specific strengths and weaknesses of art works based on the ways coiling techniques

and composition are used to convey meaning.

CONNECTIONS
VAHSCRC.2 Develops 21st century life and work skills and habits of mind for success through the study
and production of art.

a. Manages goals and time.
d. Works in diverse teams.
e. Adapts to change.
f. Uses current technology as a tool.

VAHSCRC.3 Utilizes a variety of resources to see how artistic learning extends beyond the walls of the
classroom.

a. Identifies various art related careers and post-secondary options.

UNIT RESOURCES: Ceramics I 12 of 21

FULTON COUNTY BOARD OF EDUCATION

Text – Experience Clay, Davis Studio Series:
 Chapter 2: Working with Clay
 Chapter 3: Handbuilt Forms – Coil Method
 Chapter 5: Surface Decoration
 Chapter 6: Firing Process

Power Points on Art Department website:
 Coil Method

Books:
 Leach, Bernard. A Potter's Book
 Lark Books. 500 Bowls in Clay
 Ceramics-A Potter’s Handbook, Nelson and Burkett
 Ten Thousand Years of Pottery, Emanuel Cooper
 The Kiln Book, Frederick Olsen
 The Potter’s Dictionary, Frank and Janet Hamer
 Functional Pottery, Robin Hopper
 Lustre Pottery, Alan Caiger-Smith
 Tin Glaze Pottery, Alan Caiger-Smith
 A History of World Pottery, Emanuel Cooper

Websites, all current as of March 2010:
 Christa Assad [http://christaassad.com/gallery/]
 Michael Connelly [http://www.connellypottery.com/]
 Julia Galloway [http://www.juliagalloway.com/gallery.html]
 Jean-Nicholas Gerard [http://www.atelier-jardin.com/en-albumpots.html]
 Viola Frey [http://www.nancyhoffmangallery.com/artists/frey.html]

Videos/DVDs:
 How to make a coil pot [http://ceramicartsdaily.org/pottery-making-techniques/handbuilding-
techniques/how-to-make-a-coil-pot-using-flat-coils-to-construct-large-jars/]
 Coil built forms that can take a beating [http://ceramicartsdaily.org/pottery-making-
techniques/handbuilding-techniques/handbuilding-video-sound-advice-an-expert-udu-drum-maker-
shares-tips-for-making-coil-built-forms-that-can-take-a-beating/]

Other (Magazines):
 Ceramic Art and Perception
 The Studio Potter
 Ceramics Monthly
 Pottery Production Practices
 Pottery Making Illustrated

SUGGESTED INSTRUCTIONAL STRATEGIES:

Suggested Unit Essential Question: What can you construct through the coil method in ceramics?

Suggested Unit Focus Questions:

FULTON COUNTY BOARD OF EDUCATION Ceramics I 13 of 21

 VAHSCRMC.3: How can functional ceramic pieces be considered “art”?
 VAHSCRCU.2: How does an understanding of the history of ceramics become apparent in your

work?
 VAHSCRPR.2: What steps do you need to follow to correctly execute the coil method?
 VAHSCRPR.3: How can you become proficient at the coil method?
 VAHSCRPR.4: How can you use a visual verbal journal to enhance your ceramic artworks?
 VAHSCRPR.5: What is the best way to exhibit your ceramic pieces?
 VAHSCRAR.2: What steps are best used in critiquing other student’s artwork?
 VAHSCRC.2: What are the best work skills for creating ceramic artworks?
 VAHSCRC.3: How can you apply your ceramic knowledge outside of the classroom?

Suggested Artists References and Historical Correlations:
Historical Artists:

 Folk pottery from Native American, African, and Georgia made from coils
Contemporary Artists:

 Viola Frey

Suggested Visual and Verbal Journal Prompts and Activities:
 Introduce the use of the template and the creation of a silhouette.
 Use line to create symmetrical silhouettes for shaping coiled forms.
 Collect in visual/verbal journal containing ideas for coiled pots, decoration plans and results,
reflections, and unit information.
 View examples of coiled construction techniques, surface decoration and firing techniques and
continue jot listing and idea compilations. Select a favorite ceramic work from those viewed;
analyze why it was chosen using Visual Thinking Strategies.

Suggested Activities, Assignments, and Projects:
 Look at work of potters and ceramic artists throughout history that have created work using coiling
methods of construction.
 Discuss what we can learn about history and diverse cultures from the study of coiled pottery.
 Analyze historical uses of the coiling method. Look at how the culture influenced the form.
 Using facial features as the design and expressive element; compare Native American, African,
and Georgia folk pottery made from coils.
 Summarize the role of vessels (such as cooking, storing, ceremonial) throughout history and
assess how the industrial age and its materials have changed the role of vessels today.
 Compare and contrast the functional aspects of a coiled work of pottery.
 Discuss how function has specific goals for a maker and how the goals change for an artist when
the function of the vessel is not relative.
 Reflect on how the size and form of a coiled work of art (Viola Frey) affects the viewer.
 Discuss how industry has altered our attitude towards coiled forms when compared to vessels
made through techniques of mass production.
 Investigate how ritual and ceremonial vessels of coiled construction have been
developed throughout history.
 Associate the qualities of the coil method to the artists who utilize this form of hand building.
 Conduct one-day micro-labs in which students learn to handle coil construction with subtlety and
careful craftsmanship. In each micro-lab complete a small, beautifully-crafted coil pot. Possible
labs: textured paddled coils, pinch patterned coil, smoothed coil, coil patterns joined only on the
interior.

FULTON COUNTY BOARD OF EDUCATION Ceramics I 14 of 21

 Create coiled pots that require skill in joining multiple openings.

 Create a sculptural form that emphasizes the manipulation of coils.

 Produce asymmetrical coil pottery and symmetrical coil pottery using a template. Explore surface
techniques (stamping, carving, dip and pour glazing, pit firing) and how they can enhance or
detract from the form of pottery.

 Give students the choice of creating a coil pot inspired by Greek pottery forms and narrative
decoration, Georgia folk pottery (ugly jugs), or Native American or African coil pottery with
smooth, coil, and/or paddled textures. Research the selected inspiration and record in journal pages
and plan pot with visual/verbal sketches. Group students who selected the same cultural inspiration
to organize and share their research with the class. End the unit with a journal reflection on why
their selected cultural inspiration appealed to them and how they interpreted and changed it to make
it their own in their personal coil pot.

 Questions to consider during production:
 What contemporary artists use the elements and principles to design coiled works?
 How is there intent different from traditional makers throughout history?
 How do these variations affect the student’s design and intent?

 Possible aesthetics questions:
 How does the craftsmanship of coil making and building affect the
overall beauty of the piece?
 Does the mark of the maker influence the intimate effect of another
person’s hand expressing beauty?
 The sense of touch gives the viewer a chance to connect with a coiled
pot. Does this sense challenge the coil builder to make choices in
surface decoration and the intent of the work?

FULTON COUNTY BOARD OF EDUCATION Ceramics I 15 of 21

CERAMICS I

UNIT 3: Slab Method

PACING: 5-6 weeks

STANDARDS AND ELEMENTS:

MEANING AND CREATIVE THINKING
VAHSCRMC.1 Engages in the creative process, imagines new ideas by using mental and visual imagery,
and conceptualizes these ideas by using artistic language and contextual understandings and processes.

a. Develops a personal artistic voice that gives unique form to these concepts.
b. Identifies artistic voice in a range of contemporary and past slab artists.
c. Reflects on emerging personal artistic preferences.
d. Recognizes personal motivations and interests.
e. Expresses personal viewpoint in written and visual form.
f. Selects self-assessment standards.
g. Identifies themes and interests using the slab construction.
h. Explores preferred clays and ceramic construction methods.

VAHSCRMC.2 Finds and solves problems through open-ended inquiry, the consideration of multiple
options, weighing consequences, and assessing results.

a. Uses a sketchbook journal and/or maquettes to research, explore, and invent artistic conventions
to connect and express visual ideas wheel or handbuilt ceramics.

b. Generates multiple solutions to a single artistic problem and assesses merits of each.
c. Analyzes, in both written and oral form, the implications of artistic decisions by the artist and

personal reactions to ceramics.
d. Solves artistic problems through discussion and interaction with peers.
e. Supports peers though informal, on-going critique of idea development and work in-progress.
f. Recognizes art making as a risk-taking process that incorporates existing knowledge,

brainstorming, planning, discovery of unexpected connections and recognition of serendipity,
and develops personal skills in these areas.

PRODUCTION
VAHSCRPR.1 Incorporates elements and principles of design to solve specific three-dimensional art
problems, to create unified compositions, and to communicate meaning, culminating in a finished work of
art.

a. Uses sketches and visual/verbal notes in order to make aesthetic choices in material,

composition, and surface in preparation for a final artwork.

b. Discusses and applies principles of design to organize elements to communicate meaning and

unify composition, includes concepts, such as interaction of positive and negative space, actual

and implied weight, paths of movement, non-centered focal point, dominance and subordination

of design elements, variety within repetition, closed and open form, and impact of mass on

meaning.
c. Plans ceramic works for both functional and decorative purposes and demonstrates an

understanding of interaction between the function and the ceramic work.

d. Applies compositional principles to create successful representational and non-objective
ceramic work.

FULTON COUNTY BOARD OF EDUCATION Ceramics I 16 of 21

VAHSCRPR.2 Engages in an array of ceramic processes, techniques, and aesthetic stances.
b. Applies aesthetic approaches, such as formalism, emotionalism, and realism, to the creation of
ceramic work.
c. Creates ceramics from clay bodies using and demonstrating knowledge of ceramic techniques
such as wedging, pinching, molding, scoring, and joining.
d. Incorporates a variety of techniques in surface quality and texture to evoke specific effect,
mood, or concept.
e. Creates ceramic works in relief and in the round to make a variety of spatial effects from flat
and shallow to deep space.
f. Manipulates a variety of observation tools to including proportion, scale, volume, weight, and
physics in the development of a ceramic sculpture.
g. Uses the different drying stages of clay (slip, plastic, short, leather hard, bone dry) to create
desired effects

VAHSCRPR.3 Develops complex ceramic artworks using a variety of surface treatments and technology.
a. Develops beginning level mastery of traditional ceramic construction techniques, including but
not limited to pinch, coil, soft and hard slabs, molding and/or wheel.
b. Demonstrates a basic understanding of glaze chemistry
c. Manipulates surface treatments by exploring different firing techniques like bisque, glaze, raku,
wood, pit, gas, electricity, oxidation, and/or reduction.
d. Recognizes and uses selected surface decoration techniques like carving low relief subtractive
areas, carving for high and low relief, impressing with found objects, majolica glazing,
millefiore, mishima, glaze, paddled textures, painted slip designs, painted underglaze
designs/painting, paper cut-outs with slips and stains, sgraffito, stain painting, stamping, and
wax resist.
e. Explores traditional and mixed-media surface treatments used by contemporary ceramic artists.
f. Practices studio safety and correct care in the operation of ceramic tools and equipment.
g. Adds preparatory drawings and digital images of ceramic studies developed in this course to
portfolio begun in level one art.

VAHSCRPR.4 Keeps a visual/verbal sketchbook journal, consistently throughout the course, to collect,
develop, and preserve ideas in order to produce works of art around themes of personal meaning.

a. Self assesses and writes reflections on work, aesthetic ideas, idea generation, and skills progress.
b. Analyzes and critiques works of art – personal, peers, and professional.
c. Makes visual /verbal connections.
d. Practices direct observation and reactions in words, images, or symbols.
e. Records artistic research of ceramic methods.
f. Collects, develops, and preserves personal ideas and thoughts.
g. Records inspirational images, words, thoughts, and ideas.
h. Maintains notes and class information.
i. Plans ceramic artworks.
j. Identifies emerging personal, artistic voice.

VAHSCRPR5 Plans and presents appropriate exhibit of own artwork.
a. Exhibits artwork with a written supporting statement that communicates purpose and/or intent.

ASSESSMENT AND REFLECTION
VAHSCRAR1 Produces written and oral critiques of own ceramic artwork.

a. Reflects on the artistic process (through journal-keeping and dialogic thought).

FULTON COUNTY BOARD OF EDUCATION Ceramics I 17 of 21

b. Self evaluates personal work from multiple positions – high standards of craftsmanship and skill
mastery, achievement of intent of the work, communication of meaning, technical aspects,
personal response to the artistic problem, and personal best in work process.

c. Reviews portfolio to identify growth over time, mastery of skills and techniques, strongest
works and what makes them strong, areas needing improvement, effective communication of
thought and idea, generation of new ideas from existing body of work, evidence of risk-taking,
problem-solving, and emergence of artistic voice.

VAHSCRAR.2 Critiques clay works of others individually and in group settings.
a. Provides respectful and constructive criticism to peers in formal class critiques.
b. Provides informal feedback to peers on work in process as part of a community of learners.
c. Analyzes specific strengths and weaknesses of art works based on the ways slab techniques and
composition are used to convey meaning.

VAHSCRAR.3 Develops multiple strategies for responding to and reflecting on artworks.
a. Employs specific art vocabulary, accurately and routinely, to critique ceramics in discussion and
writing.
b. Identifies and employs diverse criteria for evaluating artistic merit.
c. Discusses the connection between the creator’s intent and viewer’s interpretation and how active
participation by the viewer creates a personal connection with the artwork.
d. Interprets and evaluates artworks through thoughtful discussion and speculation about the mood,
theme, processes, and intentions of those who created the works.
e. Uses a range of art criticism approaches, such as Visual Thinking Skills and Feldman’s Art
Criticism process, to understand and make a personal connection to sculptural works of art.
f. Uses a variety of approaches, in his or her visual journal, to explore and find personal
connections to artworks.

CONNECTIONS
VAHSCRC.1 Applies information from other disciplines to enhance the understanding and production of
ceramic art forms.

e. Develops the ability to integrate visual and verbal skills to communicate clearly and eloquently.

VAHSCRC.2 Develops 21st century life and work skills and habits of mind for success through the study
and production of art.

a. Manages goals and time.
b. Directs own learning.
c. Guides and leads others.
g. Recognizes that ceramics uses a problem-solving process that translates to real-life skills: idea

generation, elaborating and refining idea, execution of idea, interim evaluation, refining product
until goal is reached, and evaluation of final solution.

VAHSCRC.3 Utilizes a variety of resources to see how artistic learning extends beyond the walls of the
classroom.

a. Accesses resources, such as museums, Internet, visiting artists, galleries, community arts
organizations, and visual culture to research art in the world.

b. Identifies various art related careers and post-secondary options.
c. Draws inspiration for artwork from the world and resources outside the traditional

classroom.

FULTON COUNTY BOARD OF EDUCATION Ceramics I 18 of 21

UNIT RESOURCES:

Text – Experience Clay, Davis Studio Series:
 Chapter 3: Hand building- Slab
 Chapter 5: Surface Decorations

Power Points on Art Department website:
 Slab Construction
 Japanese Lanterns

Books:
 Leach, Bernard. A Potter's Book
 Nelson, Glenn. Ceramics
 Peterson, Susan. The Craft and Art of Clay
 Rawson. Ceramics
 Lynn Peters. Surface Decoration for Low-Fire Ceramics

Websites, all current as of March 2010:
 Getty.edu: Elements of Art
[http://www.getty.edu/education/teachers/building_lessons/elements.html]

Other (Magazines):
 Ceramic Art and Perception
 The Studio Potter
 Ceramics Monthly
 Pottery Production Practices
 Pottery Making Illustrated

SUGGESTED INSTRUCTIONAL STRATEGIES:

Suggested Unit Essential Question: What can you construct through the soft or hard slab method in
ceramics?

Suggested Unit Focus Questions:
 VAHSCRMC.1: How can you apply the creative process to the slab method?
 VAHSCRMC.2: What is the best way to find a creative solution while using the slab method?
 VAHSCRPR.1: How can you apply the elements and principles of design while constructing
ceramics using the slab method?
 VAHSCRPR.2: What steps do you need to follow to correctly execute the slab method?
 VAHSCRPR.3: How can you become proficient at the slab method?
 VAHSCRPR.4: How can you use a visual verbal journal to enhance your ceramic artworks?
 VAHSCRPR.5: What is the best way to exhibit your ceramic pieces?
 VAHSCRAR.1: What is the best process to talk about your ceramic artwork?
 VAHSCRAR.2: What steps are best used in critiquing other student’s artwork?
 VAHSCRAR.3: What steps are best used in critiquing other artist’s artwork?
 VAHSCRC.1: How can you learn about other subjects through ceramics?
 VAHSCRC.2: What are the best work skills for creating ceramic artworks?

FULTON COUNTY BOARD OF EDUCATION Ceramics I 19 of 21

 VAHSCRC.3: How can you apply your ceramic knowledge outside of the classroom?

Suggested Artists References and Historical Correlations:
Historical Artists:

 Japanese oribe trays
 Italian majolica platters
Contemporary Artists:
 Peter Voulkos

Suggested Visual and Verbal Journal Prompts and Activities:
 What are some advantages of using slabs when constructing forms?
 Use architectural references to create drawings of objects that need corners.
 Research how tiles are manufactured.
 Design images to paint onto tiles for specific rooms in a home.
 Record texture rubbings that can be used to design detailing on slab works.

Suggested Activities, Assignments, and Projects:
 Research and compare functional work made from slabs from two different cultures (such as
Japanese oribe trays and Italian majolica platters).
 Research how majolica tiles developed in Europe.
 Discuss Peter Voulkos and the slab - show how living in California affects his work.
 Discuss how slab works become a canvas in contemporary works when displayed vertically.
 With post-modernism in mind, discuss how ceramic artists have evolved different types of slab
construction.
 Examine clay work by artists in each type of hand building and surface design style. Discuss
qualities of clay that influence the type of design used to decorate each piece.
 Compare a historical slab form to a contemporary slab form, and look at how you would
reconstruct the two pieces into one.
 Associate the qualities of the slab method to the artists that utilize this form of hand building.
 When comparing the technical skill used in slab works of art, discuss how important
craftsmanship is.
 Create an enclosed container that will incorporate a removable section as an opening to
the inside.
 Using a press or drape mold, create a functional food or beverage serving platter.
 Create a sculptural form that emphasizes the manipulation of slabs (as in Cubism,
Futurism, architectural references).
 Design tiles as individual statements of expression or combine them for a site-specific
sculpture.
 Explore surface techniques (stamping, carving, dip and pour glazing, pit firing) and how they can
enhance or detract from the form of pottery.
 Emphasize the elements and principles of design during the production of the slab assignments.
 Suggested Aesthetics questions:
 How does the texture of clay and the surface enhance the beauty of a
slab-constructed form?
 Compare slabs created by roller machines to hand pressed slabs. Does
the mark of the maker influence the beauty of the pieces being
compared?
 Is there an advantage to creating flat planes for decorating purposes

FULTON COUNTY BOARD OF EDUCATION Ceramics I 20 of 21

only? What about variations in texture? What about craftsmanship and
how the finished surface feels?

SAMPLE ASSESSMENTS:

Types of Assessments: essays interviews
Observation exhibitions demonstrations
rubrics teacher created tests
performance tasks peer evaluation journals
portfolios class critiques written art criticism
self evaluation
criteria-based evaluations
graphic organizers

Incorporate formative and summative self-assessment as an on-going part of all lessons/units. Explicitly
teach students how to self-assess processes and work. The goal is for students to grow into independent
learners and to monitor own journey to excellence.

Formative Assessments: (SAMPLES included below)
 Use observations during class projects to make sure students are learning project objectives
 Set performance tasks for students to meet
 Check journals for meaning and context
 Mini-critiques

Summative Assessments:
 Project rubric for grading color project, include a self-grading section
 Rubric for grading journal assignments
 Unit test over techniques and concepts learned

FULTON COUNTY BOARD OF EDUCATION Ceramics I 21 of 21