This action might not be possible to undo. Are you sure you want to continue?
Number: __________________ College, Year: _______________________ Major: __________________________ Reason for taking this course?
Other Experiences with Ceramics? Courses? Instructor?
Favorite Work of Art?
Personal Goals for this Course?
Art 2704C: Figurative Ceramics Instructor: Office: Thaddeus Erdahl FAC B-10 (Monday and Wednesday 2pm – 3pm and by appointment)
Ceramic Kiln Room – 392-0201, ext. 232 or 352-359-9747
This course is a perceptually based introduction to figure sculpture using fired clay as the medium. The class will include a study the human body and options for its representation in three dimensions. An orientation to building, surfacing, and firing ceramics and processes of hand-forming clay including: pinching, coil-building, slab building, modeling, and carving will be introduced. The class format will include slide and video presentations, two life model sequences, demonstrations, critiques, and team firings. The course includes three themes, each differing in focus: the “perceptual”, the “gestural”, and the “interpretive” style. Group “lab work;” loading, firing, and unloading class kiln firings is integrated into the structure of the course. Attendance:
Roll will be taken at the beginning of each class session, and is central to success in this course. Demonstrations, lectures, critiques, and discussions will be scheduled for many class periods. Also, the ceramics process is one that cannot be rushed or neglected without consequences. Success in working with clay is skill based on and can be mastered through regular practice. Students who are absent due to illness should contact me and/or leave a message on my voice mail. Class begins promptly at 3:00 pm. (M,W,). Please be on time. Grading:
Your grade will result from an evaluation of the following criteria: project grades, a cumulative glazing grade, participation in team firings, participation in group critiques. Each project will be graded for technical execution, aesthetics, expression/concept, degree of difficulty. Attendance will be considered into your grade with more than three absences resulting in a grade drop. The grading scale for this course is: 90-100= A, 87-87= B+, 80-86= B, 77-79= C+, 70-76= C, 67-69= D+, 60-66= D, below 60 is failing. Reading and Reference Materials:
Textbook: Portrait Sculpting: Anatomy and Expressions in Clay (Required), authors Philippe and Charisse Faraut, PCF Studios, Inc. 2004, ISBN: 0-9755065-0-1. Available at the Campus Shop and Bookstore. Supplementary reading on construction techniques for figurative sculpture – Make it in Clay, Chapter 5, (Required reading), authors Toki and Speight. This book will be placed on room reserve in the FAA Library.
Anatomy for the Artist, Author Sarah Simbley, published by DK Publishing. This is an excellent anatomy book which will be very helpful to you and is recommended for the class. Modeling the Figure in Clay, author Bruno Luchessi. Available on Reserve for this course in the FAA Library. Review this prior to beginning the figure modeling projects. Additional books have been placed in the Fine Art and Architecture Library under the course number as helpful resources for ceramic techniques. The Craft and Art of Clay author Susan Peterson and Hands in Clay, author Charlotte Speight (are excellent texts for information for building and glaze techniques). Ceramic Figures: A Directory of Artists by Michael Flynn (Rutgers Press) is an excellent overview of international contemporary ceramic sculptors who work with the human figure. Also recommended is Anatomy for Artists or any other comparable book on the topic. Supplies:
Bound sketchbook, small bucket, cut off wire, needle tool, metal rib, metal serrated rib, trimming tool, small sponge, clean up sponge, plastic (to cover work in progress for controlled drying), rolling pin (optional), turntable/lazy susan (metal at Home Depot or Lowes), Kemper Mini Ribbon Sculpting Tools/Set, three wooden sculpting tools (JA 15, JA 18, JA 24 shown in class), scalpel, patching spatula, calipers (optional), ruler, blow dryer, small lidded container for slip, paint brushes, make-up sponges, a lock for your locker. All tools listed above should be available at the cfop, Bookstore on campus. If you would like to order through a Ceramic materials vendor please feel free to contact: Bennett Pottery Supply (1800-432-0074), or axner/Laguna Clay Company (1-800-843-7057). The clay used during this course will be red earthenware also know as terra cotta. Clay, algisafe and plaster will be available for purchase in ten pound increments at the UF Bookstore. Bring the circus ticket that you will receive when you pay at the Art Counter to the Ceramics Area Clay Dispensary Employee during the scheduled “open” hours. They will dispense you the clay you have paid for across campus. Your glazes and miscellaneous shop materials are included in the costs of the clay. You will be asked to purchase a special casting material called alginate. This material can be purchased through the Ceramics Program. Safety:
Please wear shoes and proper attire, tie back hair and loose clothing when working around shop equipment. Wear a respirator if mixing clay, or glaze materials. A proper respirator is required when spraying glazes. Welcome to uf ceramics handout Lockers:
Sign up for a locker to be used as storage for tools and clay. The list is on the bulletin board adjacent to Room 14. Lockers must be cleaned out and locks removed by the end of finals or the contents will be considered abandoned. However, if you are returning please note this on the locker door and your belongings will not be disturbed. Studio Courtesy:
Please leave the studio clean. Regardless of the condition you find it in, we request that you leave it clean for the next person. Remember to place all work in progress on the storage shelves. Leave the work tables clear and clean. This is a shared studio and we all need to work together to keep it a clean and productive environment. University Policies: Disabilities – “Students requesting classroom accommodation must first register with the Dean of Students Office. The Dean of Students Office will provide documentation to the student who must then provide this documentation to the Instructor when requesting accommodation.” Classroom Demeanor – “Students in the School of Art and Art History will not be permitted to have beepers (pagers) and cell phones turned on in the classroom. If such a device beeps, chimes, rings, or makes any type noise, it must be turned off before entering the classroom”. Academic Honesty – As a result of completing the registration form at the University of Florida, every student has signed the following statement: ”I understand that the University of Florida expects its students to be honest in all of their academic endeavors and understand that my failure to comply with this commitment may result in disciplinary action to and including expulsion from the university.” Detailed academic honesty guidelines may be found at – http://www.aa.ufl.edu/aa/Rules/4017.htm Disruptive Behavior – Faculty, students, administrative, and professional staff members, and other employees (herein referred to as “members” of the university), who intentionally act to impair, interfere with, or obstruct the mission, purposes, order, operations, processes, and functions of the university shall be subject to appropriate disciplinary action by University authorities for misconduct, as set forth in the applicable rules of the Board of Regents and the University and state law governing such actions. A detailed list of disruptive conduct may be found at: http;//www.aa.ufl.edu/aa/Rules/1008.htm. Be advised that a student can and will be dismissed from class if he/she engages in disruptive behavior. Critical Dates on the university calendar may be viewed at – http://www.reg.ufl.edu/dates-critical.html University counseling services1. University Counseling Center, 301 Peabody Hall, 392-1575, personal counseling 2. Student Mental Health, Student Mental Health Care, 392-1171, personal counseling 3. Sexual Assault Recovery Services (SARS), Student Health Care Center, 392-1161, sexual assault counseling 4. Career Resources Center, Reitz Union, 392-1601, career development assistance and counseling.
Art 2704C: Figurative Ceramics Instructor: Thaddeus Erdahl
PROJECT 1: THE PERCEPTUAL This project focuses on the direct study of the human figure using a personalized plaster cast. Personalized Body Cast of Hand(s) or Feet In this project, you will sculpt from life using a plaster cast of your body and will triple the size (at minimum) of the original casting and replicate it in clay. Each student will create a life-cast or his/her hands or feet. Consider the pose and gesture of the hand or foot. If you are doing two hands or both feet please pose them together to be cast as one compositional unit. The body casting will be done with alginate. The alginate mold will be cast in #1 molding plaster to create the plaster model. The alginate mold is a non-permanent mold that is cut away when the plaster model cures. The result will be a personalized plaster cast. When the life casting is completed you are to sculpt a life-scale maquette (sketch in clay) to practice modeling and fine-tune your perceptual skills. Look for relative proportions, composition in the round, effects on volumes in the round. With this study model complete you will move to the large sculpture. The final sculpture will be modeled solid and then hollowed at the leather-hard state. This is a traditional technique for life modeling used to create many of the terra cotta sculptures in the Renaissance. The technique of working solid allows the use of both additive and subtractive methods of sculpting. Detail will be developed as the sculpture becomes leather hard. After detail is completed, the sculpture will be sectioned to hollow it before firing. Terra sigillata will be applied to the sculpture at the bone-dry state. The piece will be bisque-fired and glaze patinas will be rubbed into the surface after which the sculpture will be glaze-fired. Size: 14”-16” or 2 times life scale. Scaling the larger sculpture accurately will be discussed in class Materials Some special materials are required for this project: alginate (a non-permanent and gelatin-like casting material often used in Dental Offices), plastic container of appropriate size to be used as a rigid holder for the alginate, and #1 molding plaster. The #1 molding plaster will be provided through the bookstore and will be available to you in the ceramics lab for a competitive price. It is to be purchased at the UF Bookstore and the receipt brought to the lab for dispensing. Goals This project will be evaluated for accuracy in representing the dimensional relationships present in the original plaster model, proportions, depth, and transitions. The realism, articulation of form, detailing and anatomical structure will be evaluated. Dates Wednesday, August 27th Bring tools, a container for making mold of body part, and alginate to class. Wednesday, September 3 Small life-size maquette is due. We will start our large-scale hands. Monday, September 15th Body part studies are due wet. We’ll take a quick look at them as a class.
Wednesday, September 24th Critique Art 2704C: Figurative Ceramics Instructor: Thaddeus Erdahl PROJECT 2: THE PORTRAIT HEAD Exercise 1: Human Skull Study Read textbook pages 10-30, Faraut. Video will be shown in class.
You will begin your sculpting experience by reading and studying the illustrations for the technique used by Philippe Faraut to sculpt the human skull and muscle structure of the human head. A supplementary video showing this process will be shown in class. This objective of this study is to learn the human anatomy so that you fully understand what creates the structure of the human head and neck and why we move as we do. In this study you will be using the Faraut technique of solid modeling the skull. Skulls will be modeled at one-half of life size. Exercise 2: Pinched Portraits Study Read textbook pages 38-69. Video will be shown in class, Bova and Faraut – the features. (Artists of reference are Joe Bova, Arthur Gonzales and Judy Moonelis). A portrait will be done of a selected classmate as an “in class” project. An orientation to thinking in the third dimension will be practiced by pinching the form and moving the clay wall in and out like a skin. Your understanding of the skeletal and muscle structures learned in the last sculpture will inform your use of this new technique. The portrait studies will be modeled at onehalf of life size. 3-5” in size SLAB-BUILT SELF PORTRAIT PROJECT Read textbook pages 102-125 and 130-141. Video will be shown in class, Faraut on creating a likeness and common mistakes. These Portrait sculptures are to be modeled 3/4 life size to life-size in scale. This project will be evaluated for likeness, proportions, sculptural depth and mass conveyed, and smoothness within volumetric transitions. You will be asked to provide photos of your head in the round and a mirror. Photos should include a shot of each profile, ¾, front, back and top views of your head. Put all photos on a reference board to bring to class. These will be your perceptual resources for the project. A demonstration of how to build using stacked slabs will be shown in class. You will be working hollow and bending the clay in and out by pinching the walls. The two previous exercises will lead you to understand structure and working hollow. This project will center upon developing perceptual skills. The sculpture will be surfaced by underglaze or staining and covered with a shop glaze. Test tiles are available for view in the glaze lab. Metallic or stone glaze suggested also. A glaze demonstration will be done in class.
Dates Wednesday, September 24th Begin skull studies Monday, September 29th Begin pinched portrait studies Wednesday, October 8th
Begin self portraits Wednesday, November 5th Critique
Art 2704C: Figurative Ceramics Instructor: Thaddeus Erdahl PROJECT 3: FIGURE IN CLAY: FEMALE
A female life model will pose for class as the subject of your sculpture. The modeling sessions will be scheduled during all class periods of the three-week project. The female figure will be in a reclining pose to limit considerations of gravity. Building Method - Modeled solid and hollowed. Size The size limitation on the figure is 24" across. Resources A videotape showing the sculpting process of contemporary Italian sculptor Bruno Luchessi will be shown to offer a demonstration of tools and methods. You are required to review the illustrated books by Luchessi (on reserve for this class in the FAA library) - modeling the figure and the terra cotta portrait. Materials Please find or purchase a flat board 1/2" or 5/8" in thickness to be used for a surface to build on. Thinner boards will warp. It is suggested that the board is sealed with Thompson’s Water Seal and/or covered with canvas (either will keep the board flat). A turntable or lazy susan is required. You also might find wood carving tools interesting to experiment with at this time (reference the Lucchesi video). Surfacing You can use terra sig and patinas or underglazes and stain with an overglaze or glaze. Criterion for grading Anatomical accuracy, proportion, and gesture will be evaluated and discussed as you work. Dates Monday, October 20th First day of female model Wednesday, October 30th Last day of female model Wednesday, November 26th Critique
Art 2704C: Figurative Ceramics Instructor: Thaddeus Erdahl PROJECT 4: FIGURE IN CLAY: MALE
During this second figure modeling sequence the group will have a voice in the pose selected (perhaps seated or standing). The model scheduled is to be male, to offer an experience with a different figure type and anatomical articulation. This project will focus on developing modeling style and increasing the size of the sculpture. Building Method: Option to work solid or with slabs and pinch. Size The size of this vertical figure will be increased to 20”- 30” H. Resources Slides will be shown in class of ceramic figure sculptors who work within an academy style or with evident anatomical consideration including: Doug Jeck, Ron Meuch, Joseph Chinard, August Rodin and others. Choose a figurative sculptor (realist) whose aesthetic style captures your interest. The artist can be from any period in Art History or a contemporary figurative sculptor. The sculptor does not have to work exclusively in clay. Goals This assignment requires that you research the style of the sculptor by looking at, at least ten sculptural pieces by the artist. Choose one piece and do a drawing where you note proportions and body type. Analyze it and list the elements of the sculptural style including; massiveness, gesture, articulation (hair, eyes, hands) simplification, posture, draped/nude, facial expression, etc. Incorporate this “sculptural style” into the life sculpture of the male figure. The sculpture is to remain anatomically correct and as life-like and “realistic” as your skills and perception will permit. The style for modeling, however, might emulate Rodin, loose and flowing, might reflect Donatello’s style tight and linear (compare to Ingres in drawing) or like Michelangelo’s muscular articulations; massive hard and robust. Surfacing You can use terra sig and patinas or underglazes and stain with an overglaze. Dates Monday, November 10th First day of male model Wednesday, November 19th Last day of female model Monday, December 8th Critique
Art 2704C: Figurative Ceramics Instructor: Thaddeus Erdahl Course Schedule Monday August 25 Wednesday August 27 Monday September 1 Wednesday September 3 Monday September 8 Wednesday September 10 Introduction to the course and syllabus review Introduction Project #1 Alginate Demo Start hand/foot maquettes LABOR DAY – NO CLASS Hand/Foot Maquettes due Start big hands/feet HW – Continue developing sculpture In Class Work Day on big hands/feet HW – Continue developing sculpture
FIELD TRIP FLORIDA MUSEUM
Monday September 15
Last Day for Big Hands/Feet Introduction Project #2 Faraut video will be shown in class In Class Work Day on Exercise 1: Human Skull Study Last day for Exercise 1: Human Skull Study Faraut video will be shown in class Load Bisque for Project #1, Tuesday Fire Bisque, Wednesday Unload Glaze Project #1 Thursday/Friday Load and Fire Glaze Kiln for Project #1 Critique for Project #1
Wednesday September 17 Monday September 22 Wednesday September 24
Monday September 29 Wednesday October 1 Monday October 6
In Class Work Day on Exercise 2: Pinched Portraits Study
In Class Work Day on Exercise 2: Pinched Portraits Study
Last day for Exercise 2: Pinched Portraits Study
Faraut video will be shown in class
Wednesday October 8 In Class Work Day on Self Portraits Monday October 13 In Class Work Day on Self Portraits
Wednesday October 15
Last day for Self Portraits Introduction Project #3 Bruno Luchessi video will be shown in class HW Dry Self Portrait Sculptures Model Session 1 female HW – Dry Self Portrait Sculptures Model Session 2 female Load Bisque Kiln for Project #2 (skull, pinched portraits, Self Portrait), Fire Tuesday, Unload Wednesday Model Session 3 female HW – Glaze skull and pinched portraits for glaze test kiln (to be loaded Thursday, fired Friday, unloaded Saturday) Model Session 4 female: Last Day with female model Discuss glaze results HW – Glaze portraits (to be loaded after class on Wednesday) Introduction Project #4 Slide Lecture: Contemporary Ceramic Sculptors
Monday October 20 Wednesday October 22 Monday October 27
Wednesday October 29 Monday November 3
Wednesday November 5 Monday November 10 Wednesday November 12 Monday November 17
Critique for Project #2
Model Session 5 male HW – Dry Project #3 Model Session 6 male Sketches due for Project #4 HW – Dry Project #3 Model Session 7 male HW – Glaze Project #3 over the weekend Load Bisque Kiln for Project #3 and glaze test tiles (Fire Thursday, Unload Friday) Model Session 8 male: Last Day with male model Load Glaze Kiln for Project #3 (Fire on Tuesday, Unload Wednesday) HW – Dry Project #4 Unload glaze kiln and clean shelves, Dry Project #4
Wednesday November 19 Monday November 24 Wednesday November 26 Monday December 1 Wednesday December 3 Monday December 8
Critique for Project #3
In Class Work Day Demo for coldworked Surfaces Bisque Project #4, load in Class (Fire Friday, unload Sat. or Sun.) Class work Apply surface to Project #4 for Wednesday’s critique Class cleaning assignment Last Day of Class Critique for Project #4 Clean up classroom, shelves, lockers
Fall 2008 – Notes to GTA Figurative Ceramics - Art 2704C Figurative Ceramics is a course in observational sculpting. Clay and ceramic processes are used to sculpt the human figure. Learn more about life modeling, 3D portraiture and the use of the human form to express personal ideas. Four interesting projects are offered along with a wonderful new textbook and DVD series. GTA Orientation (things we will discuss when we meet) 1. 2. 3. 4. 5. 6. Textbook and video Library Reserves Scheduling models and informing office about this Assigning lockers (dots and locker list) Classroom storage shelves Model stand and privacy on models days (sign and blinds) 7. Special materials – algi-safe, plaster and cost 8. Tools – turntable is a must, have students use their tools not their hands for hands tend to rub out details and subtlties 9. Clay, glaze and firing 10. Props you an borrow from my office (please sign out and return)– visible man, manniquins, human skull, pinched heads 11.Course Calendar ( Fall term holidays – Veteran’s Day, Thanksgiving, Homecoming) 12. Projects and homework assignments 13. Demos vs working along in class pros and cons 14. Attendance and lateness policy 15. Grading
16. My role, Julia Morrisroe’s role 17.Superivsory meetings
18.Evening modeling session can be arranged for the class if needed 19. Lauren Garber life modeling for drawing 20.Drawing or med school – can you find a skeleton we ca borrow 21.Ultimate human body cd or others that talk about the way the body works can be purchased