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Products Used

Mold
  • CD-777 Oval Slump and Hump
Color
  • SC-4 Sunkissed
  • SC-5 Tiger Tail
  • SC-15 Tuxedo
  • SC-24 Dandelion
  • SC-42 Butter Me Up
  • SC-51 Poo Bear
  • SC-55 Yella Bout It
  • SC-97 Cant- elope
  • SC-25 Crackerjack Brown
  • S-2726 Cheetah

Decorating Accessories

  • BT-910 Synthetic Sponge
  • MT-007 Divots Mat
  • MT-009 Scallops Mat
  • ST-129 Mini Fern Stamp
  • ST-126 Dots and Squiggles Stamp
  • ST-113 Circulate Stamp
  • ST-116 Floral Flourish Stamp

Miscellaneous Accessories

  • Low-Fire Moist Clay
  • Circle Templates: ½" through 2"
  • Needle Tool
  • ¼" Wooden Dowels (2)
  • Sandbag 
  • Rolling Pin
  • Copper Wire
779
Designer: Marcia Roullard
 
 

Instructions

  1. Place clay in between the dowels and roll the clay to ¼" slab. The slab should be wide and long enough to extend slightly beyond the width and length of CD-777 Oval - the slump portion.
  2. Drape the slab over the mold and lightly pounce a sandbag on the slab until it takes the shape of the mold.  Trim away the excess clay using the needle tool. 
  3. Let the form rest for about an hour until it can be handled without losing its shape.
  4. Create a second slab for the mane. Texture the clay with various stamps and mats listed above in Decorating Accessories.
  5. Use the needle tool to cut various sizes of circles from this textured slab. You can use paper templates made using a paper punch or things like bottle caps, jar lids, shot glasses, etc.
  6. Remove the oval shape from the mold, add clay to build a nose, muzzle, ears and mouth. Roll two balls the same size, press flat, score and wet area to fix eyes in place.
  7. Score clay on the flange around the head, wet, press in the textured circles, layering sizes to keep the look random.
  8. Use the needle tool to poke holes in the muzzle for copper wire whiskers.
  9. When dry, fire to cone 04.
  10. Lions' face is done with a series of washes. Thin slightly SC-42 Butter Me Up brush two coats to the face with CB-604 Soft Fan.
  11. Use CB-106 Script Liner to shade SC-5 Tiger Tail around the shadow areas, sides of the nose, muzzle, under eyes, and in the ears, do additional shading with SC-25 Crackerjack Brown. Brush parts of the face with SC-24 Dandelion to brighten.
  12. Tip of nose is two coats of SC-15 Tuxedo, float Tuxedo around the top of the eyes and around the head. Use CB-110 Liner to outline the mouth and muzzle.
  13. Use the various colors in the product box to brush two thinned coats of color over the textured circle shapes. Brush various circle shapes with S-2726 Cheetah use CB-106 Script Liner, two coats.
  14. Shade SC-15 Tuxedo under the circle shapes for depth.
  15. Brush on one coat of S-2101 Clear with CB-604 Soft Fan, make sure to clean out the glaze from the holes in the muzzle.
  16. Fire to cone 06/05.
  17. Cut lengths of copper wire glue in the holes of the muzzle.
  18. When leather hard, remove the piece from the mold, Gently clean edges with a sponge, and when bone dry, bisque fire to shelf cone 04.

 

9-12 Grades: Women's History Month 

Products Used

Bisque
  • MB-131 Large Oval Platter
Color
  • SG-401 Black, SC-6 Sunkissed, SC-15 Tuxedo, SC-43 Lettuce Alone, SC-74 Hot Tamale, SC-78 Lime Light, S-2101 Crystal Clear Brushing

Decorating Accessories

  • AC-230 Clay Carbon Paper, BT-910 Synthetic Sponge, CB-110 #10/0 Mini Liner, CB-404 #4 Pointed Round, CB-604 Soft Fan

Miscellaneous Accessories

  • Pencil, Scissors, Palette,
    Download: Pattern

 

364.Frida Kahlo Inspired Plate
Designer: Adena Griffith
 

 

Description

For grade levels 9-12

Women's History Month is an important celebration of women's contributions to history, culture and society. The United States has observed it annually throughout the month of March since 1987. Throughout the years, Women's rights have been pioneered by every title from housewives, secretaries, to teachers - who were all willing to sacrifice for their beliefs for the betterment of women everywhere. These advocates helped gain access to advanced learning, and are the cornerstone for the rights women have today.

Artists, famously like Frida Kahlo, and others such as Clarice Cliff and Faith Ringgold, have also made impacts on society by documenting these strides for women. Cliff, an english apprentice potter in the early 20th Century, rose to become the head of the factory artistic department of the Royal College of Art. And Ringgold, one of the most famous women artists of her generation, grew up in Harlem during the Great Depression. The hardships of racism, sexism, and segregation she experienced in her every day life, inspired her work and continued throughout her career.

In this lessos, students will research and create artwork based on the study of women's rights throughout history. From women's suffrage, to equal pay in today's world, women continue to fight for their rights, and their stories are inspirational. 

Objectives

  • Students will learn the history of women's rights in America and around the world, by reserching a particular time period, or women pioneers in history that interest them. 

  • Students will sketch various patterns and styles to create a ceramic platter, and choose on that defines the women in that culture, or style they studied about.

  • Students will create unique ceramic platters that are inspired by their research.

National Standards

  • VA:Cr1.2.Ia: Shape an artistic investigation of an aspect of present- day life using a contemporary practice of art or design.
  • VA:Cr1.2.IIIa: Choose from a range of materials and methods of traditional and contemporary artistic practices, following or breaking established conventions, to plan the making of multiple works of art and design based on a theme, idea, or concept.
  • VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form.

Instructions

  1. Begin with properly fired shelf cone 04 bisque. Moisten a clean sponge and wipe bisque to remove any dust.
  2. Apply three coats of FN-004 Red to the back of the plate using the CB-604 Soft Fan brush.
  3. Using the AC-230 Clay Carbon Paper and a pencil trace the pattern onto the face of the plate.
  4. Use the SG-401 Black Designer Liner to go over the traced lines.
  5. Use the CB-110 #10/0 Mini Liner to fill in the blocks of SC-15 Tuxedo on the portrait.
  6. Use the same brush and glaze watered down to create the gray hues of the face. Use the image for reference.
  7. Use SC-43 Lettuce Alone and SC-78 Lime Light to puddle in the glaze using the CB-110 #10/0 Mini Liner to the leaves.
  8. Use SC-6 Sunkissed, SC-43 Lettuce Alone, SC-74 Hot Tamale, and SC-78 Lime Light and the CB-110 #10/0 Mini Liner to glaze the butterflies. Outline the wings with one color then when the glaze is still damp add another to blend the colors as you go.
  9. Once the glazes are completely dry apply two coats of S-2101 Crystal Clear Brushing Glaze to the front of the plate using the CB-604 Soft Fan brush.
  10. Stilt and fire to shelf cone 06/05.

 

Here are 2 other projects inspired by history women figures: 

365.Clarice Cliff Inspired Plate

Clarice Cliff Inspired Plate 

 361.Anyone Can Fly

Faith Ringgold Inspired Canvas

 

Products Used

Clay
  • Low Fire White Clay Body
Color
  • FN-002 Yellow, Fn-004 Red, FN-009 Black, FN-016 Harvest Orange, FN-20 Medium Green, FN-023 Cinnamon, FN-031 Corn Flower Blue, S2-KIT2 Crystalites Kit (S-2701 Peacock Eyes, S-2702 Northern Lights, S-2704 Plum Jelly, S-2708 Oriental Carmel, S-2709 Cappuccino Mint, S-2711 Tahiti Grape, S-2712 Monsoon Seas, S-2714 Herb Garden, S-2715 Spotted Kiwi, S-2724 Lotus Blossum, S-2727 Poppyfields, S-2729 Citrus Splash)

Decorating Accessories

  • CB-404 #4 Pointed Round, CB-604 #4 Soft Fan, CB-110 #10/0 Mini Liner

Miscellaneous Supplies

  • Needle Tool, Slip, 1/4' Wooden Slats, Canvas, Rolling Pin, Fettling Knife, Sand bag, Straight Edge

 

Crystal Hats
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Title: Hats, hats, hats!
Techniques: Slab/Hand-building, Glaze Application
Featuring: Crystalites Kit (S2-KIT2)
Course Length: 1-2 weeks (allow for dry time and firing)
Level: Advanced 9-12
Artist: Adena Griffith
Lesson Plan by: Hannah Clark
 

Lesson Plan:

Art (Ceramics) + Art History (Popular Culture) + (Cultural Traditions)

Description:

Throughout history, head coverings have been used in a variety of ways. For spiritual reasons, occupations, weather necessities, or for protection--hats have defined various cultures. As far back as the ancient Egyptians, head coverings were used as a status symbol. From then on, those living in a certain time period or place, were able to identify those of a certain class or group.

In contemporary popular culture, hats define everything from belonging on a sports team, to a trendy fashion statement. In this lesson, students will explore the cultural reflection a hat may bring to a particular group of people, and also reflect on how a hat can define who they are in society.

Objectives:

  • Students will learn the history of hats by researching a particular time period in history that interests them.
  • Students will sketch various hat forms and styles, and choose one that defines their culture or a style they studied about.
  • Students will create unique ceramic hat forms that are inspired by their research.

National Standards (9-12)

  • VA:Cr1.2.Ia: Shape an artistic investigation of an aspect of present- day life using a contemporary practice of art or design.
  • VA:Cr1.2.IIIa: Choose from a range of materials and methods of traditional and contemporary artistic practices, following or breaking established conventions, to plan the making of multiple works of art and design based on a theme, idea, or concept.
  • VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge in a chosen art form.

Instructions

Construction:

  1. For the right depth of clay, lay out canvas fabric on table and place ¼ inch slats on the left and right side of the canvas fabric. Place a piece of moist clay about 2# in size, in the middle of the fabric. Using a rolling pin, roll out the clay to the size desired. The slats are used as a guide to keep your clay level and at the same evenness. Make sure the edges of the rolling pin hit the ¼ inch slats.
  2. Take a marble size piece of clay and place it in the individual portion cup and add about 3 tablespoon of water. Mix this up with your fingers to make a slurry. This will be the “glue” to attach all the pieces together.
  3. Using a sand bag press the clay into the slump mold. Making sure the clay fits snugly. Trim around edges to mold. Remove clay from mold when firm enough to hold its shape. Make two of these. This base will be used for the Sherlock Holmes hat and the beanie hat.
  4. For the Sherlock Holmes hat, use the remainder of the slabs to cut out four half moon shapes and attach to the form using the clay slurry and scoring technique. Two will be used for the front and back bill. The other two will be attached to the sides of the hat. Cut a thin strip of clay to create two loops on the top for the ribbon. Apply with slurry.
  5. For the Beanie hat flip the base over and create a coil and add two petal shapes to the top to create the spinner.
  6. For the Princess and Wizard hats, create a cone shape out of clay and slip and score the fold together. Allow to dry standing upright to keep the cone shape.
  7. For the Jester hat, cut out a slab long enough to create a half of a cylinder with a top. While that is stiffing up create four small cones out of clay. These will be attached using the slip and score method using the clay slurry. Make sure there is a hole from the cylinder to the cones for air release. Once you attach the cones bend them down to create different levels of the hat. Use the end of the fettling knife on the inside of the top circle to bend the top of the hat down. Attach a small clay ball where you pushed down using the slurry. You may choose to add clay balls to the ends of the cones or add found materials to the ends. Cut out small triangles from a slab and slip and score them to the bottom of the cylinder. Use a pencil to draw on detail lines.
  8. Allow to completely dry and bisque fore them to cone 04.

**All of these hats can be created using the coil hand building method**

Glazing:

  1. Begin with properly fired shelf cone 04 bisque. Moisten a clean sponge and wipe bisque to remove any dust.
  2. Princess Hat: Apply three coats of CG-964 Kaleidoscope to the whole piece using a CB-604 Soft fan brush.
  3. Wizard Hat: Apply three coats of CG-785 Floral Fantasy to the whole piece using a CB-604 Soft fan brush.
  4. Beanie Hat: Section off the hat into four sections using the CB-110 Mini Liner and FN-009 Black. For each section, you will use one of the following glazes, CG-718 Blue Caprice, CG-753 Sassy Orange, CG-756 Firecracker, or CG-970 Masquerade. You will apply the three coats of glaze using the CB-604 Soft Fan brush. For the top of the beanie you will apply three coats of FN-009 Black to the rod, one of each FN-031 Corn Flower Blue and FN-004 Red to the petal shapes, and FN-002 Yellow to the ball on top using the CB-404 Pointed Round.
  5. Jester Hat: You will apply three coats of CG-753 Sassy Orange, CG-756 Firecracker, or CG-970 Masquerade to each section using the CB-604 Soft Fan Brush. The triangles on the bottom are three coats of CG-753 Sassy Orange applied with the CB-404 Pointed Round brush. For the ball on the top of the hat apply three coats of FN-020 Medium Green.
  6. Sherlock Holmes: Apply three coats of FN-016 Harvest Glod to the top of the hat using the CB-604 Soft fan brush. Apply three coats of FN-023 Cinnamon to the ribbon and the front and back bill using the CB-404 Pointed Round brush. Apply three coats of CG-965 Mocha Marble using the CB-604 Soft Fan brush to the bills and the inside of the hat.
  7. Stilt and fire to shelf cone 06/05.

* After firing you may choose to create a glitter star for the wizards hat or attaching ribbon to the princess hat**

9-12 Graders: Pointalism Scene 

Products Used

Clay
  • Low-Fire Clay
Color
  • SC-2 Melon-Choly, SC-5 Tiger Tail, SC-14 Java Bean, SC-15 Tuxedo, SC-16 Cotton Tail, SC-22 Carrot Top, SC-24 Dandelion, SC-25 Cracker Jack, SC-33 Fruit of the Vine, SC-34 Down to Earth, SC-41 Brown Cow, SC-60 Silver Lining, SC-76 Cara-Bein Blue, SC-74 Hot Tamale, SC-75 Orange-A-Peel, S-2101 Crystal Clear Brushing

Decorating Accessories

  • MT-007 Divots, AC-219 Designer Bottle with Tip, AC-230 Clay Carbon Paper

Miscellaneous Accessories

  • Moist Low-Fire Clay, 1/4" Wooden Slats, Canvas, Rolling Pin, Fettling Knife, Needle Tool, Slip/Clay Slurry, Straight Edge, Cone Form, XST 03 Stylus
  • Download: Pattern

 

SC Pointalism Scene
Designer: Carmen Allen
 

Description

For grade levels 9-12

Pointillism is a technique of painting in which small, distinct dots of pure color are applied in patterns to form an image. Georges Seurat and Paul Signac developed the technique in 1886, branching from impressionism. The term "pointillism" was first coined by art critics in the late 1880s to ridicule the works of these artists, and is now used without its earlier mocking connotation. The technique is also known as divisionism. The movement Seurat began with this technique is known as Neo-impressionism.

Objectives

  • Students will learn the steps of creating with clay including construction, bisque firing, glazing, and glaze firing

  • Students will use technology resources to see various samples of artists work using pointillism

  • Students will understand the fundamentals of color theory and how pointillism works to trick the eyes

National Standards

  • Understanding and Applying Media, Techniques, and Processes
  • Using Knowledge of Structures and Functions
  • Choosing and Evaluating a Range of Subject Matter, Symbols, and Ideas

Instructions

Clay Instructions:

  1. For the right depth of clay, lay out canvas fabric on table and place 1/4" slats on the left and right side of the canvas fabric.  Place a piece of moist clay about 4 lbs. in size in the middle of the fabric.  Using a rolling pin, roll out the clay to the size desired. The slats are used as a guide to keep your clay level and at the same thickness. Make sure the edges of the rolling pin hit the 1/4" slats.
  2. Using a fettling knife, cut out a 17" x 10" rectangle. With the rest of the slab, trace the patters provided for the row boat the the lighthouse and cut them out.
  3. For the lighthouse cut outs, take the MT-007 Divots and apply texture to all of the pieces using the rolling pin. Be sure not to push too hard causing the mat to move when the clay gets compressed.
  4. Wrap the large textured slab around the cone form; slip and score the seam. You may want to wrap the form in newspaper or apply corn starch so it will release easier. Once attached, lightly trace 2 lines in a spiral up the lighthouse to distinguish the different areas.
  5. Using the XST 03 stylus tool, fill in the spaces between the dots on one of the swirls.
  6. Attach the top and details via slipping and scoring.
  7. Let the clay set up until the clay can support itself, then remove the suppoting form.
  8. Align the 2 ouside pieces of the boat and attch by slipping a scoring to a coil down the center on the outside. Blend the inside so it is smooth
  9. For the texture on the outside of the boat, take a flat ended carving tool and carve out texture. 
  10. Attach the 2 parts of the paddle by slipping and scoring.
  11. Let all of the pieces dry slowly. Once they are completley dry fire them to bisque.

Glazing Instructions:

  1. Using AC-230 Clay carbon paper, transfer the pattern to the slab.
  2. You will need to dedicate an AC-219 Designer bottle with tip to each of the following colors: SC-2 Melon-Choly, SC-5 Tiger Tail, SC-16 Cotton Tail,SC-22 Carrot Top, SC-24 Dandelion, SC-33 Fruit of the Vine.
  3. Begin with the lightest parts of the water using the SC-16 Cotton Tail bottle. Then, add some SC-76 Cara-Bein Blue to the bottle to make a light blue. Add the dots to the water for that. Continue this process 3 or 4 times, until you have a very close match to the Cara-Bein Blue.
  4. Repeat this process with the beach area, but begin with the SC-5 Tiger Tail bottle and add SC-16 Cotton Tail to the bottle to make it lighter.
  5. For the sky, begin around the edge with SC-33 Fruit of the Vine and work your way towards the midding; integrating the colors into SC-22 Carrot Top, SC-2 Melon-Choly, SC-75 Orange-A-Peel, then SC-24 Dandelion. It doesn't need to be perfect row of blended colors. You may need to spread some colors out more the make the transitions smoother.
  6. Add some of the sky colors to the reflecton on the water.
  7. Let the dots dry completley then add 2 coats of S-2101 Crystal Clear Brushing.
  8. Apply 1 coat of SC-74 Hot Tamale to one of the swirls on the lighthouse and SC-60 Silver Lining to the other.
  9. Carefully antique each color individually using a sponge.
  10. Apply 1 coat of SC-15 Tuxedo to the roof and details of the lighthouse and antique those as well.
  11. Let dry and apply 2 coats of S-2101 Crystal Clear Brushing.
  12. Apply 1 coat of SC-34 Down to Earth to the outside of the boat and antique it once it's dry. 
  13. Add a thinned coat of SC-14 Java Bean, let dry, then add 1 coat of S-2101 Crystal Clear Brushing.
  14. Using the back end of a brush, apply dots of SC-14 Java Bean, SC-25 Cracker Jack, SC-34 Down to Earth, and SC-41 Brown Cow to the inside of the boat.
  15. Apply 3 coats of SC-14 Java Bean to the paddles.
  16. Let dry completley.
  17. Stilt and fore to shelf cone 06/05.

 

Products Used

Clay
  • Low Fire White Clay Body
Color
  • FN-002 Yellow, FN-003 Orange, FN-004 Red, FN-007 Green, FN-008 Brown, FN-017 Purple, FN-018 Bright Blue, SC-16 CottonTail)

Decorating Accessories

  • CB-604 #4 Soft Fan, AB-834 3/4" Base Coat

Miscellaneous Supplies

  • Needle Tool, Slip, 1/4' Wooden Slats, Canvas, Rolling Pin, Hole Cutter, Shoe Laces
  • Download: Pattern

 

295.Das Boot
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Title: Clay Shoe (Boot) 
Techniques: Slab/Hand-building, Glaze Application
Featuring: Xiem Tools, Stroke & Coats
Course Length: 1-2 weeks (allow for dry time and firing)
Level: Advanced 9-12
Artist: Carmen Allen
Lesson Plan by: Hannah Clark
 

Lesson Plan:

Art (Ceramics) + Literature (American)

Description:

In To Kill a Mockingbird, Atticus explains to Scout "You never really understand a person until you consider things from his point of view...until you climb into his skin and walk around in it" (36). In this lesson, students will be invited to imagine spending a day in “someone else's shoes”. Through provided images and writings, students can examine a variety of shoes and envision what the owner would look like, such as their appearance, actions, occupation, etc. By reading exerts from books like To Kill A Mockingbird, students will be able to express the life they live, or create a sense of empathy by influence of another. They will create a clay shoe of their own; by sculpting unique forms and details that embody the essence of them, or the person they are trying to create.  

Objectives:

  • Students will explore different perspectives of others through images of shoes; using the idiom of “walking a mile in someone else’s shoes”.
  • Students will interpret their own empathy through writings and whole-class discussions.
  • Students will take their knowledge gained from reading literature and imagery, to create their own ceramic shoe representing a life they have studied.

National Standards (9-12)

  • VA:Cr1.2.Ia: Shape an artistic investigation of an aspect of present- day life using a contemporary practice of art or design.
  • VA:Cr1.2.IIIa: Choose from a range of materials and methods of traditional and contemporary artistic practices, following or breaking established conventions, to plan the making of multiple works of art and design based on a theme, idea, or concept.
  • VA:Cr2.1.IIa: Through experimentation, practice, and persistence, demonstrate acquisition of skills and knowledge.

Instructions

Construction:

  1. For the right depth of clay, lay out canvas fabric on table and place 1/4" slats on the left and right side of the canvas fabric.  Place a piece of moist clay about 2 lbs. in size in the middle of the fabric. Using a rolling pin, roll out the clay to the size desired. The slats are used as a guide to keep your clay level and at the same evenness. Make sure the edges of the rolling pin hit the 1/4" slats.
  2. Using a needle tool cut the shapes as they are on the pattern.
  3. Wrap the two larger pieces of clay around a cylinder. Be sure to wrap paper around the cylinder to avoid having the clay stick to the form. Slip and score the slabs to attach on the back seam of the boot. Let set to firm a bit.
  4. Drape the front section of the boot over a smaller cylinder; slip and score the toe so it is closed.
  5. Take the pieces intended for the bottom of the sole, set them on some canvas, and step on them. Be careful not to step too hard, but just enough to put the texture from the bottom of our shoe onto the piece!
  6. Construct the heel of the boot and attach it to the sole. Then attach this to the front section of the boot.
  7. Once the top section is firm enough to support itself attach it to the rest of the boot.
  8. Next, fit the tongue inside the boot and attach by slipping and scoring at the base and sides. Smooth the front seam with your finger or sponge. Be sure to leave about ¼” of the side pieces in front of the tongue so you can cut out the holes for the laces.
  9. Using a hole cutter cut out the holes for the shoe laces.
  10. Use various sculpting tools to create and small details or texture that you would like the shoe to have.
  11. Let piece slow-dry and once it is in it’s greenware state fire to shelf cone 04.

Glazing:

  1. Begin with properly fired cone 04 bisque. Moisten a clean sponge and wipe bisque to remove any dust.
  2. Place some FN-008 Brown into a small cup and add a little bit of water to slightly dilute it (about 3 parts glaze and 1 part water).  It should be the consistency of a coffee cream.  Pour this into the shoe and roll around to completely coat the interior of the shoe.  Drain out the excess glaze and keep the piece inverted until it has lost its shine. Wipe off any glaze from the outside using a damp sponge. Allow to dry.
  3. Using a CB-604 #4 Soft Fan, apply 2 coats of FN-008 Brown to the entire outside of the boot.
  4. Once dry, use an AB-834 ¾” Base Coat to dry brush SC-16 Cotton Tail onto the outside of the boot.
  5. Using a CB-604 #4 Soft Fan, apply random brushstrokes of the following Foundation glazes: FN-002 Yellow, FN-003 Orange, FN-004 Red, FN-007 Green, FN-017 Purple, and FN-018 Bright Blue. For the lighter colors you may want to apply to coats to each stroke. Keep in mind the way the light may hit the boot; keeping the deeper colors around areas where there would be shading and the lighter colors around areas that would have highlights.
  6. Let dry completely.
  7. Stilt and fire to shelf cone 06/05.

Once fired lace the boot with the shoelaces.

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