Course Title: Ceramics Studio 1B1 - Process and Concept
Part A: Course Overview
Course Title: Ceramics Studio 1B1 - Process and Concept
Credit Points: 12
|Sem 2 2006,
Sem 2 2007,
Sem 2 2008,
Sem 2 2010
Hong Kong Arts Centre
|Offsh 3 09,
Offsh 3 10,
Offsh 3 11
Course Coordinator: Sally Cleary
Course Coordinator Phone: +61 3 9925 3858
Course Coordinator Email:firstname.lastname@example.org
Course Coordinator Location: Bld 4.1.1
Course Coordinator Availability: Via Appointment
Pre-requisite Courses and Assumed Knowledge and Capabilities
Co-requisites:There are no pre-requisites for this course, however it has been designed to compliment ceramics studio 1A1, 1A2, 1B2.
Available to Fine Art Students from BP201 only.
This course is focused around developmental approaches to contemporary ceramics within a Fine Art context. It offers an opportunity to work with a broad range of ceramic forming processes, which will provide essential knowledge and skills for year two ceramics practice. This course has been developed to compliment Ceramics Studio 1B2
The course aims to:
• Establish a practical and intellectual basis for addressing conceptual, perceptual, formal and aesthetic concerns as related to ceramics
• Develop a materials skills base in clay forming and ceramic processing techniques including surface transformation and firing.
• Encourage the development of an individual aesthetic based on a knowledge and appreciation of historical and contemporary trends in ceramics within a Fine Art context.
Objectives/Learning Outcomes/Capability Development
At the successful conclusion of this course students will:
• Have a knowledge and understanding of health and safety issues as they apply to the production of ceramics and be able to adopt and identify safe work practices
• Have a basic understanding of clay bodies, their preparation and reclamation and be able to select and identify relevant clay bodies according to their suitability for different firing and/or forming processes
• Demonstrate basic competency in ceramic technique and its interpretation within a Fine Art context, including the ability to show an understanding of form and the integration of technical and aesthetic judgements in relation to the construction of both functional and non-functional work
• Have a basic understanding of kiln firing and management and an appreciation of different firing processes
• Begin to initiate and pursue studies in directions that inform and further individual professional and creative growth and catalyse invention, innovation and refinement of personal work
This course is studio based. It involves the development of structured research projects which include conceptual, practical, analytical and theoretical approaches to learning.
Overview of Learning Activities
Learning will take place through a program of specialist workshops, demonstrations and studio based learning via projects and assignments.
A program of individual tutorials and group critiques will be scheduled to review progress and to develop the capacity for aesthetic judgement and rigorous self-analysis.
Students will be required to develop the practice of using sketchbooks and journals/visual diaries as ameans of research and documentation.
Students are expected to cultivate an awareness of traditional and contemporary practice by regular participation in visits to public and commercial galleries, guest lectures,workshops, scheduled excursions and appropriate use of library facilities.
Overview of Learning Resources
Blandino, Betty, Coiled Pottery, Roseville East, NSW: Craftsman House, 1997.
Blandino, Betty, The Figure in Fired Clay, Woodstock, NY., Overlook Press, 2002.
Carnegie, Daphne, Tin-Glazed Earthenware, A & C Black, London, 1995
Clark, Garth, American Potters, The Work of 20 Modern Masters, New York, NY., Watson Guptil, 1981.
Constant, Christine, Ogden, Steve, Potter’s Palette, Radnor Philadelphia, Chilton Book Company, 1996.
Currie, Ian, Stoneware Glazes, Queensland, Bootstrap Press, 2000.
Daly, Greg, Glazes and Glazing Techniques,
De Boos, Janet, Handbook for Australian Potters, Sydney, Methuen, 1978.
Hopper, Robin, The Ceramic Spectrum, Chilton Book Company, Pennsylvania, 1984.
Lynn, Martha Drexler, The Clay Art of Adrian Saxe, Thames and Hudson, London 1994.
Pegrum, Brenda, Painted Ceramics, Colour and Imagery on Clay, Crowood Press, Wiltshire, 1999.
Perry, Barbara, (ed.), American Ceramics, the collection of the Everson Museum of Art
Peters, Lynn, Surface Decoration for Low-Fire Ceramics, Capricorn Link, NWS., 1999.
Peterson, Susan, Jun Kaneko, Calmann and King, London, 2001
Peterson, Susan, The Craft and Art of Clay, Laurence King Publishing, London, 1995.
Rawson, Phillip, Ceramics, London ; New York : Oxford University Press, 1971
Rawson, Phillip, Sculpture, University of Pennsylvania Press, Philadelphia, 1997.
Wood, Nigel, Oriental Glazes, Sydney, Craftsman House, 1999.
Rawson, Phillip, Ceramics
A generalist and accessible text, which takes an overview of ceramics in history, and our relationship to the traditions of fucntional ceramics.
Dormer, Peter, Trends and Traditions
Pottery in Australia,
Turramurra, N.S.W : Potters’ Society of Australia, 1962-
Ceramics Art and Perception Sydney, Australia : Ceramics: Art and Perception, Pty. Ltd., 1990-
Ceramics Monthly Columbus, Ohio, etc., Professional Publications
Crafts London : Crafts Council, 1973-
Studio Potter Goffstown, N.H. : Daniel Clark Foundation, 1972.
American Craft New York : American Craft Council, 1979- (American Craft Council, Membership, 22 W. 55 St., New York, N.Y. 10019)
Overview of Assessment
All students will be expected to make a folio submission of all work completed for set assignments as per assignment criteria. Assessment weighting 100%.
Course Grades available:
High Distinction (HD) 80 – 100%
Distinction (D) 70 – 79%
Credit (C) 60 – 69%
Pass (P) 50 – 59%
Fail (N) 0 – 49%