This document provides an overview of the Nceca 2015 conference session titled "K-12 Clay Curriculum Ideas & Techniques" presented by Diana Faris. The summary highlights several lesson plans and projects discussed including modeling dinosaur bones, creating celestial tiles, exploring culture through food sculptures, and portrait making. Advanced techniques like image transfer and combining perspectives through slab building were also covered. Faris shared examples of student work from various schools and provided resources for printable lesson plans and a Facebook group for clay educators.
This document provides instructions for students to create ceramic effigy bowls depicting animals. It begins with an overview of effigy pots and then outlines the process of designing and creating an animal effigy bowl in clay. This includes sketching ideas, using pinch pot techniques to form the bowl, adding animal features, and finishing it with texture, drying, firing and glazing. The objectives are for students to learn how to create an effigy bowl depicting an animal of their choice and to consider the cultural significance of animals.
Students at Istituto Comprensivo Camerano created a model and street furniture from recycled materials for a green area in their ideal town. They made a 1:100 scale model of a woodland area with a playground, picnic area, and relaxation zones. They then gave tours of a real local wood during a spring event, performing scenes about the wood's history and plants. Finally, students studied sustainability and renewable resources, making displays, chairs, and a desk out of cardboard to furnish areas in their ideal town.
This document outlines a high school ceramics curriculum where students created a large ceramic mural for their school. It describes how the students designed the mural to represent community and equality, depicting elements like an oak tree, hands, and a night sky. The document then details each step of constructing the mural, from sketching designs to glazing and installing the finished piece. It explains how creating the mural empowered students and allowed them to take pride in leaving their mark on the school.
The document appears to be an artist statement from Joanna Powell discussing her work. It includes the title "Beauty is a Struggle" and images of Powell's artwork from 2014 including portraits and details from pieces titled "Have Your Best Face Forward", "Sugarbaby, Take Him These Ants Are Gonna Sting Me Sure as the World", "First Impressions Are the Worst", and "A Simple Complicated Truth". The document also includes contact information for Powell and a request to follow her on Instagram.
The document discusses Yary Livan's work as an artist in residence at a school in Lowell, MA where he taught Cambodian ceramic techniques to students. Over multiple years, students created masks, fish, dragons and other sculptures and collaborated with Livan on a tile mural and operating a wood-fired kiln. The program helped share Cambodian culture and built partnerships between the school and other organizations.
This document summarizes Shepardson Elementary School's efforts to integrate STEM (Science, Technology, Engineering, and Math) into its curriculum. Teachers design engaging, hands-on activities that teach STEM concepts while complementing other subjects. For example, students created video explanations of math concepts using iPods. The school also partners with local universities and organizations to provide real-world learning experiences for students, such as an archaeological dig and a river habitat restoration project. These projects encourage problem-solving and learning across disciplines in an active way.
1) The children had a fun and educational week at Camp Invention learning about geology, invention, and other topics through hands-on activities.
2) On the last day, the children completed various modules by uncovering fossils, launching rubber ducks, designing solutions to global challenges, and discovering ice samples in Antarctica.
3) The document praises the children, instructors, counselors, volunteers, parents, and sponsors for making the camp a success and continuing creative learning at home.
This document outlines a ceramics curriculum for a 21st century program. It discusses what influences the curriculum, including standards, teacher expertise, and school goals. The curriculum covers physical skills development, construction methods, finishing and firing processes, conceptual development and aesthetics, and cultural contexts. It provides examples of projects for different ceramics levels that incorporate these instructional strands. The document also discusses assessment, tying the curriculum to common core standards and 21st century skills, and examples of student work are presented.
This document provides instructions for students to create ceramic effigy bowls depicting animals. It begins with an overview of effigy pots and then outlines the process of designing and creating an animal effigy bowl in clay. This includes sketching ideas, using pinch pot techniques to form the bowl, adding animal features, and finishing it with texture, drying, firing and glazing. The objectives are for students to learn how to create an effigy bowl depicting an animal of their choice and to consider the cultural significance of animals.
Students at Istituto Comprensivo Camerano created a model and street furniture from recycled materials for a green area in their ideal town. They made a 1:100 scale model of a woodland area with a playground, picnic area, and relaxation zones. They then gave tours of a real local wood during a spring event, performing scenes about the wood's history and plants. Finally, students studied sustainability and renewable resources, making displays, chairs, and a desk out of cardboard to furnish areas in their ideal town.
This document outlines a high school ceramics curriculum where students created a large ceramic mural for their school. It describes how the students designed the mural to represent community and equality, depicting elements like an oak tree, hands, and a night sky. The document then details each step of constructing the mural, from sketching designs to glazing and installing the finished piece. It explains how creating the mural empowered students and allowed them to take pride in leaving their mark on the school.
The document appears to be an artist statement from Joanna Powell discussing her work. It includes the title "Beauty is a Struggle" and images of Powell's artwork from 2014 including portraits and details from pieces titled "Have Your Best Face Forward", "Sugarbaby, Take Him These Ants Are Gonna Sting Me Sure as the World", "First Impressions Are the Worst", and "A Simple Complicated Truth". The document also includes contact information for Powell and a request to follow her on Instagram.
The document discusses Yary Livan's work as an artist in residence at a school in Lowell, MA where he taught Cambodian ceramic techniques to students. Over multiple years, students created masks, fish, dragons and other sculptures and collaborated with Livan on a tile mural and operating a wood-fired kiln. The program helped share Cambodian culture and built partnerships between the school and other organizations.
This document summarizes Shepardson Elementary School's efforts to integrate STEM (Science, Technology, Engineering, and Math) into its curriculum. Teachers design engaging, hands-on activities that teach STEM concepts while complementing other subjects. For example, students created video explanations of math concepts using iPods. The school also partners with local universities and organizations to provide real-world learning experiences for students, such as an archaeological dig and a river habitat restoration project. These projects encourage problem-solving and learning across disciplines in an active way.
1) The children had a fun and educational week at Camp Invention learning about geology, invention, and other topics through hands-on activities.
2) On the last day, the children completed various modules by uncovering fossils, launching rubber ducks, designing solutions to global challenges, and discovering ice samples in Antarctica.
3) The document praises the children, instructors, counselors, volunteers, parents, and sponsors for making the camp a success and continuing creative learning at home.
This document outlines a ceramics curriculum for a 21st century program. It discusses what influences the curriculum, including standards, teacher expertise, and school goals. The curriculum covers physical skills development, construction methods, finishing and firing processes, conceptual development and aesthetics, and cultural contexts. It provides examples of projects for different ceramics levels that incorporate these instructional strands. The document also discusses assessment, tying the curriculum to common core standards and 21st century skills, and examples of student work are presented.
The Get Wet project worked with four schools and their teachers to develop engaging pedagogies around the topic of water. In the first cycle, the university staff found that while teachers were good at identifying big questions and planning activities, they lacked knowledge of core disciplinary concepts. In the second cycle, university staff worked with teachers and artists to ensure lesson plans incorporated clear "meso concepts" from disciplines like chemistry, science, and geography. This improved both teaching of the concepts and student understanding and retention of knowledge well beyond the formal curriculum. The project demonstrated that engaging pedagogies could effectively teach higher-level disciplinary knowledge without dumbing down content.
Environmental Sustainable Design Final ReportAlexander Chung
This document is a project report for a group of students who worked on a community engagement project at St. Barnabas Shelter Home. It identifies three main issues at the shelter home: unused spaces in the boys' and girls' corridors, an abandoned pond, and rusty playground equipment. The group's proposed solutions were to utilize the empty corridor spaces by adding mural paintings and drawing boards, transform the abandoned pond into a rock garden, and repaint the playground equipment for safety and aesthetics. The report provides details on the objectives, organization of the shelter home, reasons for engaging with this site, problem statements, and proposed solutions.
This document provides instructions for a project where students will design and create a canopic jar inspired by ancient Egyptian art. Students will learn sculpting techniques like coil building and modeling to form the jar and attach an animal head. They will also learn decorative techniques like incising, engraving, and glazing to decorate the jar with Egyptian-inspired patterns. The goal is for students to understand ancient Egyptian beliefs about death and afterlife through hands-on creation of a canopic jar.
The document describes proposed renovations to a design studio building. Key points:
- The furniture and overall aesthetic are as important as the layout in updating the space to be more inviting and cater to computer-based classes. Tables will have built-in charging ports.
- Breakout spaces and lounges are included for group work and taking breaks. Glass partitions separate classes but make the spaces feel more open.
- Sliding glass walls allow for flexible use of pin-up space. Transparent partitions throughout invite viewing of other studios' work.
- Upper level studios have individual spaces for senior capstone projects but still include breakout areas. A cafe is located below for snacks.
This document provides a lesson plan for a light and color art activity for a 2nd grade class. The activity introduces students to the artist Keiko Mukaide and her glasswork. Students will experiment mixing colors in glass jars with lights, then draw and color their own paintings. The lesson involves learning objectives around Mukaide's work, experimenting with color and light, group work, and expressing preferences. Assessment is through observation of experimentation, cooperation, and commenting on colors and shapes. Reflections note that students were engaged but distracted, and practicing vocabulary more in advance could have helped.
This document contains a weekly schedule and plan for a study on water for teachers Mary, Valerie, Karen, Emily, and Lynea. The daily commitments are for students to set a good example and listen to teachers. The week's activities include a daily question about water, meetings led by the teachers, phonics and group activities about bubbles, sinking and floating, oil and water, and making moon sand. Adaptations are provided for some school-aged students. Changes are made to interest areas including adding books and materials about water. Notes address late arrivals, commitments, and ideas for the future.
7. Integrating grades 5 & 6 Human Ecology Studies-SheilaStark-PerreaultLGRIS
This document summarizes an presentation given by Sheila Stark-Perreault about integrating grade 5 and 6 human ecology education at East Selkirk Middle School in Manitoba, Canada. The presentation discusses integrating human ecology curriculum for both grades, including projects on food groups for grade 5 and bone health and flight for grade 6. It provides examples of student projects such as beading, boat building, bannock making, and windsock creation. Student feedback is overwhelmingly positive, praising the creative and fun aspects of the human ecology program.
The document provides an agenda for a professional development session on landscape art. It includes introductions from Dr. Amy Miner and Bruce Hucko. Hucko will lead the participants in drawing different landforms using key lines and shapes. Miner will discuss connections to Utah state standards for visual arts, social studies, science, and English language arts. The session aims to demonstrate how landscape art can reinforce concepts across subject areas.
This document provides a lesson plan for a week of nature-themed activities focusing on giants in nature like the sun, moon, oceans, icebergs, mountains, and waterfalls. Each day covers a morning message, read-aloud, activities, and centers. Day 1 focuses on the sun and moon. Day 2 includes oceans and icebergs. Day 3 is about rocks, caves, and mountains. Day 4 covers rivers and waterfalls. Day 5 reviews concepts from the week. Activities include songs, stories, discussions, experiments with sinking and floating, and crafts. The goal is to teach children about various natural phenomena through hands-on learning.
This document is a submission form for a school contest providing information about groups of students from Billabong High International School in Bhopal, India who conducted activities at a government school to promote learning.
The students aimed to fill gaps in education, make learning fun, and involve all students. They introduced hands-on teaching aids they created from local resources to teach concepts in math, science, grammar and more. Across multiple scenes, the Billabong students engaged government school students in phonics, equivalent fractions, digestion, and collective nouns. They encouraged participation, comprehension and inspired confidence in the ability to learn. The experience of peer teaching and creating educational materials opened minds and showed that learning can happen anywhere.
The document describes several science experiments for children ages 8-10:
1) A "volcano eruption" experiment using salt dough, water, food coloring, baking soda and vinegar.
2) A "magic milk" experiment using milk, food coloring, and dish soap to observe how colors spread.
3) An experiment observing how vinegar dissolves egg shells over time, making the eggs rubbery and able to be dropped from heights without breaking.
The document discusses various English grammar concepts including nominalization, passive construction, and text structure. Nominalization involves transforming verbs into nouns to focus on actions rather than actors. Passive construction highlights the results of actions. Text structure refers to how information is organized in a text, such as chronologically, with cause and effect, or with compare and contrast. Common text structures are defined and examples are provided.
Kelly O'Briant is a web developer based in San Francisco. Her website kellyobriant.com serves as her online portfolio, showcasing her skills and experience building responsive websites using modern technologies like HTML, CSS, and JavaScript. Visitors can learn about Kelly's background and view examples of her work on both personal and client projects.
This document thanks several individuals - Ashley Lugo, Maribel Lugo, Gilberto Lugo, Shannon Goff, Liz Quackenbush, Chris Staley, Paul Donnelly, George Timock, Cary Esser, and Jay Spalding - for their contributions to an unspecified effort or event.
Earlham College provided the artist's undergraduate education from 1996-2000. Further studies included earning an MFA at the University of Iowa from 2007-2010 and attending The Archie Bray Foundation in Helena, Montana from 2011-2012. The artist creates assemblages out of found materials like ceramic, luster, rubber and wood that seek purpose and beauty within natural conditions of disorder. Examples include Assemblage 32 from 2011 and Assemblages 61 & 52 from 2014 and 2013.
David Robinson received an MFA from the University of Nebraska Lincoln in 2004 and a BFA from the University of Massachusetts-Dartmouth in 1999. He creates large-scale ceramic sculptures and installations that often incorporate mixed media. His works reference his experiences living and creating art in places like Rhode Island, Wyoming, Texas, and on Martha's Vineyard. He is influenced by artists like Jeff Koons and Ken Price in his architectural ceramic forms.
1) The document discusses the responsibilities that come with creative freedom, including letting go of preconceived notions of who can be creative and what creativity looks like.
2) It emphasizes adopting a growth mindset and establishing a supportive classroom community to help students feel comfortable taking risks.
3) The document also addresses how to implement formative assessment strategies and competency-based evaluations in art classes in line with national standards, while ensuring teacher evaluations are fair to the unique nature of art instruction.
The document discusses the history and importance of chocolate in human civilization. It notes that chocolate originated in Mesoamerica over 3000 years ago and was prized by the Aztecs and Mayans for its taste. Cocoa beans were used as currency and their cultivation was tightly regulated. The Spanish brought cocoa beans back to Europe in the 16th century, starting chocolate's global spread and popularity as both a drink and candy.
The document discusses the history and development of artificial intelligence over several decades. Early research focused on symbolic approaches using rules and logic but progress was slow. More recently, machine learning techniques such as deep learning have seen increasing success by learning from large amounts of data without being explicitly programmed. These new approaches have achieved human-level performance on some tasks but full human-level AI remains an ongoing challenge.
This document contains the name "Linda Christianson" and the country "USA" with no other context or information provided. It is an extremely short document that only lists a name and country designation in a sparse format.
Gerry Williams was a studio potter born in 1928 who passed away in 2014. He was part of a family of studio potters who worked in the craft. The document provides a brief obituary for Gerry Williams and indicates he was part of a family tradition of studio pottery work.
This document summarizes the key considerations for making chawan, or Japanese teabowls used in the tea ceremony. It discusses 7 main technical considerations: size, weight, balance, interior surface quality, rim quality, foot gripability, and the "tea pool" depression. It also covers aesthetic concerns like clay body, the front focal side, and landscapes within the form. Additional context is provided on semantics, traditions of chawan making, and the business aspects of selling chawan. The overall document aims to concisely explain what defines a high quality chawan according to tea ceremony standards.
The Get Wet project worked with four schools and their teachers to develop engaging pedagogies around the topic of water. In the first cycle, the university staff found that while teachers were good at identifying big questions and planning activities, they lacked knowledge of core disciplinary concepts. In the second cycle, university staff worked with teachers and artists to ensure lesson plans incorporated clear "meso concepts" from disciplines like chemistry, science, and geography. This improved both teaching of the concepts and student understanding and retention of knowledge well beyond the formal curriculum. The project demonstrated that engaging pedagogies could effectively teach higher-level disciplinary knowledge without dumbing down content.
Environmental Sustainable Design Final ReportAlexander Chung
This document is a project report for a group of students who worked on a community engagement project at St. Barnabas Shelter Home. It identifies three main issues at the shelter home: unused spaces in the boys' and girls' corridors, an abandoned pond, and rusty playground equipment. The group's proposed solutions were to utilize the empty corridor spaces by adding mural paintings and drawing boards, transform the abandoned pond into a rock garden, and repaint the playground equipment for safety and aesthetics. The report provides details on the objectives, organization of the shelter home, reasons for engaging with this site, problem statements, and proposed solutions.
This document provides instructions for a project where students will design and create a canopic jar inspired by ancient Egyptian art. Students will learn sculpting techniques like coil building and modeling to form the jar and attach an animal head. They will also learn decorative techniques like incising, engraving, and glazing to decorate the jar with Egyptian-inspired patterns. The goal is for students to understand ancient Egyptian beliefs about death and afterlife through hands-on creation of a canopic jar.
The document describes proposed renovations to a design studio building. Key points:
- The furniture and overall aesthetic are as important as the layout in updating the space to be more inviting and cater to computer-based classes. Tables will have built-in charging ports.
- Breakout spaces and lounges are included for group work and taking breaks. Glass partitions separate classes but make the spaces feel more open.
- Sliding glass walls allow for flexible use of pin-up space. Transparent partitions throughout invite viewing of other studios' work.
- Upper level studios have individual spaces for senior capstone projects but still include breakout areas. A cafe is located below for snacks.
This document provides a lesson plan for a light and color art activity for a 2nd grade class. The activity introduces students to the artist Keiko Mukaide and her glasswork. Students will experiment mixing colors in glass jars with lights, then draw and color their own paintings. The lesson involves learning objectives around Mukaide's work, experimenting with color and light, group work, and expressing preferences. Assessment is through observation of experimentation, cooperation, and commenting on colors and shapes. Reflections note that students were engaged but distracted, and practicing vocabulary more in advance could have helped.
This document contains a weekly schedule and plan for a study on water for teachers Mary, Valerie, Karen, Emily, and Lynea. The daily commitments are for students to set a good example and listen to teachers. The week's activities include a daily question about water, meetings led by the teachers, phonics and group activities about bubbles, sinking and floating, oil and water, and making moon sand. Adaptations are provided for some school-aged students. Changes are made to interest areas including adding books and materials about water. Notes address late arrivals, commitments, and ideas for the future.
7. Integrating grades 5 & 6 Human Ecology Studies-SheilaStark-PerreaultLGRIS
This document summarizes an presentation given by Sheila Stark-Perreault about integrating grade 5 and 6 human ecology education at East Selkirk Middle School in Manitoba, Canada. The presentation discusses integrating human ecology curriculum for both grades, including projects on food groups for grade 5 and bone health and flight for grade 6. It provides examples of student projects such as beading, boat building, bannock making, and windsock creation. Student feedback is overwhelmingly positive, praising the creative and fun aspects of the human ecology program.
The document provides an agenda for a professional development session on landscape art. It includes introductions from Dr. Amy Miner and Bruce Hucko. Hucko will lead the participants in drawing different landforms using key lines and shapes. Miner will discuss connections to Utah state standards for visual arts, social studies, science, and English language arts. The session aims to demonstrate how landscape art can reinforce concepts across subject areas.
This document provides a lesson plan for a week of nature-themed activities focusing on giants in nature like the sun, moon, oceans, icebergs, mountains, and waterfalls. Each day covers a morning message, read-aloud, activities, and centers. Day 1 focuses on the sun and moon. Day 2 includes oceans and icebergs. Day 3 is about rocks, caves, and mountains. Day 4 covers rivers and waterfalls. Day 5 reviews concepts from the week. Activities include songs, stories, discussions, experiments with sinking and floating, and crafts. The goal is to teach children about various natural phenomena through hands-on learning.
This document is a submission form for a school contest providing information about groups of students from Billabong High International School in Bhopal, India who conducted activities at a government school to promote learning.
The students aimed to fill gaps in education, make learning fun, and involve all students. They introduced hands-on teaching aids they created from local resources to teach concepts in math, science, grammar and more. Across multiple scenes, the Billabong students engaged government school students in phonics, equivalent fractions, digestion, and collective nouns. They encouraged participation, comprehension and inspired confidence in the ability to learn. The experience of peer teaching and creating educational materials opened minds and showed that learning can happen anywhere.
The document describes several science experiments for children ages 8-10:
1) A "volcano eruption" experiment using salt dough, water, food coloring, baking soda and vinegar.
2) A "magic milk" experiment using milk, food coloring, and dish soap to observe how colors spread.
3) An experiment observing how vinegar dissolves egg shells over time, making the eggs rubbery and able to be dropped from heights without breaking.
The document discusses various English grammar concepts including nominalization, passive construction, and text structure. Nominalization involves transforming verbs into nouns to focus on actions rather than actors. Passive construction highlights the results of actions. Text structure refers to how information is organized in a text, such as chronologically, with cause and effect, or with compare and contrast. Common text structures are defined and examples are provided.
Kelly O'Briant is a web developer based in San Francisco. Her website kellyobriant.com serves as her online portfolio, showcasing her skills and experience building responsive websites using modern technologies like HTML, CSS, and JavaScript. Visitors can learn about Kelly's background and view examples of her work on both personal and client projects.
This document thanks several individuals - Ashley Lugo, Maribel Lugo, Gilberto Lugo, Shannon Goff, Liz Quackenbush, Chris Staley, Paul Donnelly, George Timock, Cary Esser, and Jay Spalding - for their contributions to an unspecified effort or event.
Earlham College provided the artist's undergraduate education from 1996-2000. Further studies included earning an MFA at the University of Iowa from 2007-2010 and attending The Archie Bray Foundation in Helena, Montana from 2011-2012. The artist creates assemblages out of found materials like ceramic, luster, rubber and wood that seek purpose and beauty within natural conditions of disorder. Examples include Assemblage 32 from 2011 and Assemblages 61 & 52 from 2014 and 2013.
David Robinson received an MFA from the University of Nebraska Lincoln in 2004 and a BFA from the University of Massachusetts-Dartmouth in 1999. He creates large-scale ceramic sculptures and installations that often incorporate mixed media. His works reference his experiences living and creating art in places like Rhode Island, Wyoming, Texas, and on Martha's Vineyard. He is influenced by artists like Jeff Koons and Ken Price in his architectural ceramic forms.
1) The document discusses the responsibilities that come with creative freedom, including letting go of preconceived notions of who can be creative and what creativity looks like.
2) It emphasizes adopting a growth mindset and establishing a supportive classroom community to help students feel comfortable taking risks.
3) The document also addresses how to implement formative assessment strategies and competency-based evaluations in art classes in line with national standards, while ensuring teacher evaluations are fair to the unique nature of art instruction.
The document discusses the history and importance of chocolate in human civilization. It notes that chocolate originated in Mesoamerica over 3000 years ago and was prized by the Aztecs and Mayans for its taste. Cocoa beans were used as currency and their cultivation was tightly regulated. The Spanish brought cocoa beans back to Europe in the 16th century, starting chocolate's global spread and popularity as both a drink and candy.
The document discusses the history and development of artificial intelligence over several decades. Early research focused on symbolic approaches using rules and logic but progress was slow. More recently, machine learning techniques such as deep learning have seen increasing success by learning from large amounts of data without being explicitly programmed. These new approaches have achieved human-level performance on some tasks but full human-level AI remains an ongoing challenge.
This document contains the name "Linda Christianson" and the country "USA" with no other context or information provided. It is an extremely short document that only lists a name and country designation in a sparse format.
Gerry Williams was a studio potter born in 1928 who passed away in 2014. He was part of a family of studio potters who worked in the craft. The document provides a brief obituary for Gerry Williams and indicates he was part of a family tradition of studio pottery work.
This document summarizes the key considerations for making chawan, or Japanese teabowls used in the tea ceremony. It discusses 7 main technical considerations: size, weight, balance, interior surface quality, rim quality, foot gripability, and the "tea pool" depression. It also covers aesthetic concerns like clay body, the front focal side, and landscapes within the form. Additional context is provided on semantics, traditions of chawan making, and the business aspects of selling chawan. The overall document aims to concisely explain what defines a high quality chawan according to tea ceremony standards.
1. The document summarizes common hand ailments that ceramicists may experience such as tendonitis, neuropathy, and arthritis which can result from repetitive motions.
2. Specific conditions discussed include carpal tunnel syndrome, trigger finger, and arthritis at the base of the thumb.
3. The presentation emphasizes prevention through stretches and breaks, and explores treatment options ranging from conservative measures to surgery.
Clay artifacts have the power to arouse wonder and to tell powerful cultural stories—and America’s museums have fundamental responsibility to help make this happen. This much needed activation begins with a dedication to thinking anew about collections as a way to make them more relevant, not only within the walls of the institution but also within the community and, in this digital age, for the world at large. Time-worn approaches to historical interpretation need to give way to more inclusive approaches through the incorporation of new voices, new narratives, and newer ways of thinking and seeing. This talk explores a wide array of museum-based and education projects initiated by the Chipstone Foundation in its search for more powerful ways to tell vital clay narratives.
The document discusses the importance of rewriting history to remain relevant over time. It also contains quotes about standing up for change through continuous struggle and not allowing others to take advantage by keeping your back straight. The document provides remnants and remains of the past along with references to rewriting and remixing history on a continuous basis.
This document provides an overview of the history and techniques of pictorial spaces in ceramics from ancient times to present day. It discusses framing devices, compositional structures, depictions of figures and narratives, as well as cultural influences from Western and Eastern traditions. Contemporary artists are highlighted who push technical and conceptual boundaries to create works that can only be achieved through the ceramic medium.
This document contains summaries of four past masters from 2015: Lidya Buzio, Don Reitz, Norm Schulman, and Gerry Williams. It provides basic biographical information for each person such as dates of birth and death, locations, and contributions to their field. Presenters are also listed for each past master.
The ubiquity of social media is undeniable
in today’s world. This panel will address the
myriad of ways social media can be utilized
in ceramic education, studio practice and by
curators to further the conversation beyond the
physical world.
The Lawrence Arts Center and the University of Kansas are partnering to build communities and expand opportunities. Kyla Strid, Marshall Maude, and Ben Ahlvers are involved in this partnership between the two organizations. The partnership aims to connect the university and local community through arts programming and events.
In recent years, ceramics in New York have
been exhibited in highly respected galleries not
associated with ceramics. This highly promising
integration into the Fine Arts could bode well
for the future of the medium. An end to the
stigma of the “craft medium” and segregation
could finally be at hand.
This global history of earthenware is based on
the travel accounts of explorers in West and
Central Africa, Mesoamerica, and the Iberian
Peninsula. The central figures are the artisans
who made, merchants who hawked, and the
cooks who served meals made in clay pots. Clay
pots had been essential items in the kitchen and
on the table with cooks using earthen vessels to
make one-pot meals such as puddings, stews,
and soups. By looking at the recipes made in
these clay cooking pots, we can uncover the
historical context in which people made both
the earthen vessel as well as the food in them.
This document provides an agenda for the 49th Annual Conference of the National Council on Education for the Ceramic Arts (NCECA). It lists moments of silence to honor ceramic artists who recently passed away. It introduces the conference president and various directors who will be speaking. It announces presentations on the conference locations of Kansas City and Providence. It highlights the Randall Session fine arts performances that are annually included in the conference programming. It provides details on Theodore 'Ted' Randall for whom the session is named and his role in creating NCECA. It also lists upcoming Multicultural Fellows and announces a 10-15 minute break with a trailer playing for the performance group ETHEL.
More from NCECA (National Council on Education for the Ceramic Arts) (20)
Linda Intro - Congrats on Excellence in Teaching Award!
Overview: Look at Clay Classroom Project Ideas
Adaptable / Grade Levels
Connect to CORE Curriculum & Visual Arts standards
Kits for HANDS-ON examples of projects
New Visual Arts Standards, launched in 2014:
4 Core Anchor Standards to identify Key concepts of Art Education
CREATING
PRESENTING
RESPONDING
CONNECTING
Customize handbook at NationalArtsStandards.org
About me!
Grew up in Beirut, Lebanon during the war
Personally had very little Arts education or even Sports
Missed a lot of school
Focused on Math, Science, Language, History, Geography; “essentials”
Later, Art provided an outlet for self-expression
Narrative Tile Murals
Autobiographical Tile work in grad school and afterwards
About TRAVEL, Transition, and Fragmentation of my Family
Worked at Pewabic Pottery
Learned a lot about Glazing and Tile-making
Now work at Amaco
TEACHing clay & glaze workshops
Degree not in Art Education, but 20+ years experience
Primarily teach PD training for Art Educators + Intensive summer classes
Develop Lesson Plans
With team of Clay Artists & Art Educators
Focus: Curriculum-based Project Sheets
Address National Arts Standards
And teach clay Techniques, Processes, & Surface Treatment
Tie into Core Curriculum
Cultural History, Science, (Math, Reading)
Address fundamentals of design and working with clay (Coil, Pinch, Slab)
Available ON-LINE at AmacoLessonPlans.com
Printable PDF’s
NEW WEBSITE where you can share lesson plans
How-To instructional videos
Hands-On: get clay out
Clay: Brown Stone Earthenware (# 29)
Wide firing range: Cone 05-5
Formulated for Cone 05 firing to look buff, like Stoneware
Great Science Project (HANDS-ON)
Recreate skeletal structure out of clay
More interactive by:
Bury skeleton for another class to excavate
The representation can be this elaborate, or…
Simplified: layout on sketch or printout
Research & sketches of the anatomy
Students can write a report, Extinct or Not?
Model & sculpt the vertebrae, skull & bones
Dinosaur Bones lesson teaches…
Science of Paleontology
History & Archaeology
Learning about proportion & how parts fit together
The Science of Astronomy
Complexity level is adaptable: Flat tiles vs sculpting in Relief
Advanced students: Proportion & Color may be Representational
Or the design could be Cartoon-like & more Graphic
Process
Use of Materials: Underglaze Applicator to block out shapes
Use Glaze to mimic stars, planets, meteorites and moons
Drawing Geometric & Celestial shapes
Composition, creating illusion of depth
Culture & Social Studies
Develop representational skills while learning about other cultural traditions
Expansion: make plates & serving dishes to represent the specific culture
Process (HANDS-ON)
Breakfast?
Modeling & sculpting the food – teaches Culinary skills
Clay can be painted with underglaze during construction process
Examples of Food originating from different cultures
Opportunity to Explore various Surface Treatment options
To Glaze or not to?
Glossy or Matte
“Room Temperature” glaze options
Depending on the desired surface quality of the form
Introduce the History of Majolica
Impact of trade routes on Ceramics
Developed by Middle Eastern potters to Imitate Chinese Porcelain
Covering red clay with Tin-based Opaque white glaze
On non-flowing surface
Painterly water-color effect
Incorporate Geometry into Design & Composition
Students learn about Angles & Degrees
As they create their own design templates
“Protractors” are used on flat OR circular forms
To center and design their composition
Teach children about managing Money
Inspired by Book: Townsley, Germain and Willy
Adaptable to various construction techniques & skill levels
Cup form & color could be reflective of its purpose
Pinch Pot version (HANDS-ON)
3 Equal Spheres of clay – make a simple pinch pot
Coiled foot
Scoring & slip or vinegar
Handles & Saucer
Thick Coil handle (or sculpted)
Saucer: Flat disk/slab
Add foot
Dry upside down or press over a form to raise the lip
Feet Variations
Coil
Flattened disk (patty)
Other?
Finished Cup Examples
Various pinch-pot skill levels
Reading, Math & Social Studies
Project teaches Carving & Printing
Carving designs 2 different ways:
Line carving to print color only
Relief carving to emboss texture
Undercuts & One-piece mold
Reversing Image
Eg of Repeating Patterns with Color Printing
Explore Radial Symmetry
Two techniques for multi-color printing:
Paint before stamping or
Create multiple stamps with Registration points
Teaching Art History and Cubism
Introductory approach to Portraiture
Transfer sketches/ cut-out silhouttes of facial features
Layering Textured slabs
Sculpting in relief
Selfies
Using 21st Century Skills as starting point for sketches
Camera’s front lens allows us to see our features from multiple angles
Figure & Portrait Sculpture
Also Non-representational approach
Caricature uses humor
Plus symbolism to represent
Chosen subject matter, eg. Mythology, Politics, Sports, etc…
Different Skill Levels
Complete figure versus Bust
Building hollow or Solid
Self-expression & personalization
Modeling the head (HANDS-ON)
Just some step-by-step “tips”
Head & Neck
Lines: Placement of Features
Teeth & Lips
Lip completion
Nose (pyramid)
Nostrils (use stylus tool or pencil)
Eye sockets (inset, not bulging)
Eyelids
Eyes & Pupils
Cheek-bones
Flattened Tear-Drops
Ears
Placement
Eyebrows – texture to attach
Hair is a SHAPE
Examples drying
Standing or Hanging/ Laying down
How to support or balance the figures
Newspaper armature – remove at leatherhard
Examples of projects from other teachers:
Vessels Inspired by Nature
Lesson Plan by Robin Johnson
Students research Botany & explore seed pod formations
Create personal interpretations as vessels
Artist’s Statements about how their forms relate to Nature
Personal Mythology
Lesson plan by Christina/Cat Traen, Rancho High School
Dynamic teacher, High-level of expectation & work
Student artwork & demo at Amaco booth
Using Sculptural symbolism to tell life stories
“Exquisite Creature”
Assignment examines concept such as “truth is stranger than fiction”
& “the extraordinary ordinary”
Sculpting Human Figure
Personal expression
(Activation of space)
In Conclusion
We are all passionate about clay and want to keep Ceramics in the classroom!
Utilize versatility of Clay to continue Adapting to the changing curriculum requirements
Keep in mind that the Standards are also in place to help inform policy makers about our art programs
Supporting K-12 Visual Art Education
Join the STEM versus STEAM movement (RISD website)
Science
Technolgy
Engineering
ART
Math
Teacher support websites like the Art of Education –
On-line conferences & workshops
Tips like organizing tools in clay classroom
National K12 Clay Foundation
Wonderful NCECA annual exhibition
College Scholarship opportunities for juried exhibition winners
FaceBook Groups
K-12 Clay Community
Low-Fire Glaze Exchange
Share and receive ideas & information
Technical Support
My contact info
THANK YOU
Take package with you
Stop by, Email or Friend me!