Ceramics & Sculpture 1 07.24.18

Office of Curriculum and Instructional Programs
High School Ceramics & Sculpture 1
Exploring NARRATIVE through 3-D Media
Montgomery County Public Schools

© 2018
Image by Jackson May, Walter Johnson High School
Montgomery County Public Schools High School Ceramics & Sculpture 1 (6381/6391)
ACKNOWLEDGEMENTS
This visual art curriculum was compiled under the direction of
Randy Rumpf
Supervisor, Fine Arts
and
Sarah Delphus Neubold
Content Specialist, Fine Arts
We wish to recognize the dedicated efforts of the following teachers for their development of this instructional guide.
Stephanie Ellis
Katherine Hess
Angela Praisner
Lisa Ryan
Connie Zammett
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INTRODUCTION
“The arts have always been considered to be an essential component of great societies. In order for
the arts to contribute to understanding of the human condition, students must be given guaranteed
access to the highest quality of art education possible. This education will serve students and all
citizens in using their guaranteed right of freedom of speech in the pursuit of social justice while
improving the quality of life each of us enjoy as Americans.” —F. Robert Sabol
The visual arts are important to every child’s development and play a vital role in providing the students in Montgomery
County Public Schools with the well-rounded, world class education necessary for college and career readiness. The
visual arts promote the core competencies – Academic Excellence, Creative Problem-solving, and Social Emotional
Learning – identified by MCPS as essential to prepare students for success in the 21st century. Through engagement
with this visual art curriculum, students will encounter the following 21st century skills:
• Flexibility and Adaptability
• Initiative and Self-direction
• Social and Cross-cultural Skills
• Productivity and Accountability
• Leadership and Creativity and Innovation
• Critical Thinking and Problem-solving
• Communication and Collaboration
• Responsibility
Academic Excellence
“We urgently need people to think like artists. This is especially important in the work place, where
everything is abundant, automated, or made in Asia more cheaply than it is here. Creativity, design
and the arts will be the way to prosper and succeed in the new economy. The arts are also a way to
help people reach their potential and find their element.” —Daniel Pink
• In Ceramics & Sculpture 1, students are provided authentic and meaningful opportunities to develop the literacy
skills in a contemporary age becoming increasingly visual in its communication. Visual literacy is the ability to
interpret, comprehend, appreciate, use, and create visual media in ways that advance thinking, decision-making,
communicating, and learning. Art education supports visual literacy across disciplines and learning goals related to
the focus on close reading of artworks as text, logical evidence-based inferences, meaning-making through analysis
and group discussions, and creating visual imagery.
• Ceramics & Sculpture 1 challenges students to synthesize concepts and skills by engaging in a wide-range of media
to create original work.
• Students are given opportunities in Ceramics & Sculpture 1 to apply learning in new ways by connecting and
integrating content across disciplines.
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Creative Problem-Solving
• Ceramics & Sculpture 1 encourages students to take intellectual risks and to think critically and creatively when
presented with opportunities to make choices and to solve complex, open-ended problems with the possibility of
multiple solutions.
• Responding to visual art allows students multiple and varied opportunities to clearly articulate information about
what they see, feel, know, and imagine.
• Observing, analyzing, and critiquing artwork requires higher level thinking as students must support claims with
evidence.
• Ceramics & Sculpture 1 allows students to experience conventional as well as contemporary and emerging media to
enhance learning.
Social Emotional Learning

• Engaging in the visual art develops empathetic awareness and understanding of society, culture, and history
resulting in students who value and respect diversity.
• Ceramics & Sculpture 1 provides opportunities for both self-expression and collaboration.
• Excellence in art is developed through continuous practice, craftsmanship, refinement, and reflection. This creative
process encourages students to build resilience, perseverance, self-awareness, and a growth mindset.
ARTISTIC LITERACY
While students can learn about ceramics and sculpture through a textbook, true artistic literacy requires students
engage in the artistic processes directly through the use of appropriate materials in appropriate spaces. The Ceramics &
Sculpture 1 curriculum guide is aligned with the National Core Arts Standards and the Maryland Fine Arts Standards.
This curriculum guide defines what students must know about visual art, and what they must be able to do with this
knowledge to demonstrate artistic literacy.
Artistic literacy is developed through authentic experiences in four artistic processes:
CREATING: Conceiving and developing new artistic ideas and work.
o PLAN: Generate and elaborate multiple ideas for expression in the creation of art.
o MAKE: Select and apply a variety of tools, materials, processes, techniques, and ideas to synthesize
knowledge in the creation of art.
o REFINE: Engage in continual practice, revision, and craftsmanship in refinement of artwork.
PRESENTING: Interpreting and sharing artistic work.
o SELECT: Select artwork and justify choices for presentation and preservation.
o PREPARE: Evaluate and apply appropriate methods to display artwork in a specific place.
o SHARE: Present artwork in a deliberate manner to communicate meaning.
RESPONDING: Understanding and evaluating how the arts convey meaning.
o LOOK: Observe and analyze visual art to develop aesthetic awareness.
o INTERPRET: Analyze content and context to interpret intent and meaning in visual art.
o EVALUATE: Critique and evaluate visual art using established or selected criteria.
CONNECTING: Relating artistic ideas and work with personal meaning and external context.
o INCORPORATE: Incorporate personal perceptions, experiences, and knowledge into artmaking.
o ASSOCIATE: Examine the relationship of art to history and to the human experience.
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These four artistic processes are further defined by anchor standards, indicators, and objectives. At the indicator level,
the anchor standard is narrowed to provide specific information about the learning that should occur in visual art.
Curricular objectives narrow the learning that is specific to each curricular level in visual art.
CURRICULUM LEVEL DESCRIPTION
The artistic processes are the cognitive and physical actions by which arts learning and making
Artistic Process
are realized. Each of the arts disciplines incorporates these processes in some manner.
Identify what we want all students in Maryland to know and be able to do in all the Fine Arts:
Anchor Standard
Dance, Music, Media Arts, Theatre, and Visual Arts.
Identify what we want all Pre-K—12 students in Montgomery County Public Schools to know
Indicator
and be able to do in the visual arts.
Identify what we want all students in Montgomery County to know and be able to do by the
Curricular Objective
end of each curricular level.
For clarity and simplicity in referencing standards, items that appear in the MCPS curriculum documents are numbered
using the following sequence:
Fine Arts Content → Artistic Process → Anchor Standard → Indicator → Level → Objective
Example: VA:CR.1.1.H1.a. Use multiple approaches to shape artistic ideas about narrative.
Visual Art
Creating
Anchor Standard 1
Indicator 1
High School Level 1
Objective a
VA: CR. 1. 1. H1. a.
INSTRUCTIONAL APPROACH
Instruction for visual art should engage the learner and reflect the complex nature of the discipline. This requires
consistent yet varied opportunities for students to be actively involved in the artistic process. This curriculum is
designed for flexibility in sequencing instruction. This Ceramics & Sculpture 1 curriculum is standards-based, not
standardized. Teachers are encouraged to use creativity, variety, and originality when planning for instruction that
values all learners and is differentiated for their strengths, interests, and learning styles. During the planning process,
teachers are required develop mastery objectives and instructional tasks that align to the specific curricular objectives
identified in this curriculum guide.
Art is investigative and performance-based in nature. Artmaking encourages creativity and expands aesthetic and
intellectual awareness by using higher level thinking skills. Activity-driven lessons that result in facsimiles of other
artists’ works or pre-determined products are discouraged. True artistic literacy requires our students engage in artistic
processes directly through the use of appropriate materials in appropriate spaces. All MCPS students should have the
opportunity to engage and explore the Visual Arts:
• By using a wide variety of tools and materials that are authentic to the artmaking process in order to create
work that is personally meaningful and unique.
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• By being presented with opportunities to make choices and to solve creative problems that are open-ended with
the possibility of multiple solutions.
• By applying knowledge from other contents when creating art.
• From a wide range of times and places including contemporary artists.
• Made by artists from diverse backgrounds (i.e. gender, race, ethnicity, age, sexual orientation, religion,
physical/mental capability, socioeconomic status)
• Through the varying roles that art plays within our own culture and in other cultures around the world.
• By applying 21st century and visual literacy skills to think about and discuss artworks made by themselves and
others.
• Through conversations about what art is, what its meaning is, and why it is considered art.
• By selecting, preparing, and sharing artwork for exhibition.
Course Outcomes
By the end of Ceramics & Sculpture 1, students will have multiple and varied opportunities to demonstrate they can –
• Use multiple approaches to shape artistic ideas about narrative.
• Plan a three-dimensional artwork using a variety of methods and artistic processes.
• Demonstrate proficiency of ceramic and sculptural skills and concepts through guided experimentation, practice,
and persistence.
• Use formal qualities and compositional devices to make aesthetic choices that communicate narrative.
• Identify and apply safe use of materials, tools, and equipment.
• Reflect on artistic choices and apply feedback to revise three-dimensional artwork.
• Refine the craftsmanship of three-dimensional artwork through skillful manipulation of tools and materials.
• Curate and justify ceramics and sculpture for presentation and preservation of a narrative.
• Apply appropriate display methods for ceramics and sculpture to be presented in a specific exhibition space.
• Arrange a collection of three-dimensional artworks to communicate a selected theme.
• Observe and analyze narrative art to develop aesthetic awareness of work.
• Justify personal interpretation using specific evidence from artwork.
• Apply selected criteria to evaluate narrative artwork.
• Identify how perception, experience, and inquiry are incorporated into the narrative of a three-dimensional
artwork.
• Describe how responses to three-dimensional art may change after gaining awareness of the context in which it
was created.
Core Assessment Practices to Support Evidence of Learning

Teachers should utilize a variety of assessment approaches over time in order to create a body of evidence that will
determine student achievement of those objectives. It is an expectation that every visual art lesson include some form
of assessment either formative or summative.
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ARTISTIC PROCESS DESCRIPTION ASSESSMENT EXAMPLES
• Brainstorming worksheets
• Thumbnail sketches
Conceiving and developing new • Use art elements and design principles to arrange a
CREATING artistic ideas and work. visual composition
PLAN → MAKE → REFINE • Demonstrate proper procedure when using art tools,
media, and workspace
• Demonstrate fine motor proficiency and craftsmanship
• Select an artwork for display and provide justification
• Develop an artist statement
Interpreting and sharing artistic
• Generate title for an artwork
PRESENTING work.
• Apply appropriate methods for displaying artwork
SELECT → PREPARE → SHARE
• Curate a group exhibit
• Develop a personal portfolio
• Artful Thinking Routines:
o See, Think, Wonder
o Looking: Ten Times Two
o What Makes You Say That?
o Claim, Support, Question
o Connect, Extend, Challenge
Understanding and evaluating
• Visual Thinking Strategies
RESPONDING how the arts convey meaning.
• Justify personal interpretations of artwork with visual
LOOK → INTERPRET → EVALUATE
evidence
• Critique artwork made by self, peers, and master artists:
o Gallery walks
o Whole and small group discussions
o Individual reflection
• Evaluate artwork using identified criteria
• Identify reasons why people make art
• Identify purpose of an artwork
• Compare artworks
Relating artistic ideas and work
• Articulate connections between visual art and other
with personal meaning and
CONNECTING external context.
contents
ASSOCIATE → INCORPORATE • Articulate the societal, cultural, and historical context
in which an artwork was created
• Create artwork in response to an idea, perception, or
experience
Ceramics & Sculpture 1 Theme: NARRATIVE

Each curricular level has an overarching theme that is intended to connect and deepen learning experiences. The theme
provides reason and focus for exploring the curriculum. It is expected that teachers are able to provide a rationale or
connection between the theme and all learning experiences. This establishes both a cognitive and motivation purpose
for student learning. In Ceramics & Sculpture 1, students will explore NARRATIVE and the many ways this theme can be
represented through visual art. Big ideas that connect to the theme of NARRATIVE may include but are not limited to:
• People use signs and symbols to communicate ideas and stories.
o How do symbols work? What makes some symbols more fitting for a particular idea?
o How do cultures represent ideas through symbolism?
o How are symbols the same or different? How do some symbols become universally understood within a
culture or group?
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o How might the same subject matter tell different stories?
o How might subject matter and details elaborate the narrative of an artwork?
• Every artwork tells a story.
o How might non-representational art be narrative?
o How might a still life, landscape, and/or portrait tell a story?
o What is art and its function in our lives? What is art supposed to do?
• People observe and represent relationships in artworks.
o What relationships have most influenced your personal story?
o How might relationships change over time?
o How might relationships with the environment be represented through artworks?
o What places do you have relationships with?
o How do social groups and relationships change us?
• People document and provide commentary on their world.
o How might art document and provide commentary on society?
o In what ways do artists act as agents of change? Can art serve as a vehicle for social change?
o Does a culture/community/institution have the right to censor its artists?
o When is it appropriate to challenge the beliefs or values of society? What are the benefits and
consequences of questioning or challenging social order?
o How might conflict lead to change?
• People represent journeys through artworks.
o Where have we come from and where are we going?
o How have you grown and matured?
o What is an emotional journey? How might it change you?
• People communicate memories, thoughts, and feelings through histories.
o How might my art record my story as history? How are experiences of people, places, and things
documented?
o How might personal histories or social histories affect the present?
o Why might some stories be told and not others? Why do some stories continue to be retold over time
while others are lost?
o If you could personally guarantee a single story to be passed down to future generations — what would
that story be, what form would it take, and why?
o Where have you seen or experienced oppression? Where have you seen or experienced reconciliation?
• Stories explain our cultures.
o How do artists express cultural meaning and links with the past in their works?
o What do stories teach me about my world?
o How might universal stories (e.g. myths, folk tales, fables) relate to our personal stories?
o Why is it important for people and cultures to construct narratives about their experience?
o How might artworks communicate the values and beliefs of a culture?
• People represent daily life in recorded images.
o How do everyday objects tell the story of our lives?
o What is our attachment to the memories we have? What is the truth in the memories we have?
o How might it feel to live through a conflict that disrupts your way of life?
• People can communicate both fantasy and reality through artworks.
o How might point of view influence the narrative of a artwork?
o How might the aesthetic and formal qualities of a artwork help or hinder the visual representation of a
narrative?
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o How can an artist influence the mood of a narrative?
o Fiction and reality are usually considered opposites. When and why do artistsers blend them together,
and what do these combinations produce?
• Artists communicate ideas about important people, places, and events in their artworks.
o How might representing an event through art change your understanding of that moment in your own
history?
o How might creating artworks to honor a person affect your perception of that person?
o How might artists use visual symbols to communicate ideas about people, places, and events?
o How time marked and recorded in different cultures?
Enduring Understandings
Enduring Understandings are the thoughts and concepts that connect students and the world of art to larger ideas that
affect all humankind. These are big ideas that transcend the boundaries of traditional disciplines and make connections
between the student, art, and real life issues. Students use the Enduring Understandings as a basis for exploration of
their own thoughts, relationships, and imagination as they engage in self-expression, communication, and the creation
of art. Each Anchor Standard has an Enduring Understanding that summarizes important ideas and core processes that
are central to that standard and have lasting value beyond the classroom.
1. Creative and innovative thinking are essential life skills that can be developed.
2. Experimentation, risk-taking, and learning from mistakes are essential to the creative process.
3. Excellence in art is developed through continuous practice, craftsmanship, refinement, and reflection.
4. Applied criteria determines how and why work is selected for presentation and preservation.
5. Evaluating and applying appropriate presentation methods is essential to display artwork in a specific space.
6. Collecting, presenting, and preserving artistic work constructs meaning and documents the human experience.
7. Personal experience and engagement with art develops aesthetic awareness.
8. Describing and analyzing artwork leads to interpretation and artistic intent.
9. Criteria is used to critique and evaluate art.
10. Artmaking synthesizes perception, experience, and inquiry to create meaning.
11. Interacting with art develops empathetic awareness and understanding of society, culture, and history.
Essential Questions
An Essential Question is a guiding question intended to frame and motivate learning. An Essential Question:
• Is a fundamental inquiry that directs the search for understanding;
• Is open-ended and succinct; and
• Guides students as they uncover enduring understandings.
Each Anchor Standard and Enduring Understanding has an Essential Question that is differentiated by curricular level.
The Essential Questions guide inquiry and exploration through the lens of the level theme.
1. How can narratives inspire artwork?
2. How and why might artists tell the story of their creative process?
3. How do refinement and craftsmanship enrich a narrative?
4. Why might some narrative works be shared, and how do we choose which artwork to share?
5. How might method of presentation affect the meaning in a narrative work?
6. How might the location of an artwork affect the story it is telling?
7. How might focusing on describing and analyzing artwork affect its narrative?
8. How might descriptive and analytical data inform the interpretation of artwork?
9. How can different criteria be applied to evaluate artwork about personal stories?
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10. How can you create narrative art with meaning?
11. How might art expand our interpretation and understanding of a culture or society?
Scope & Sequence

The High School Visual Art Scope & Sequence provides a structure for learning by establishing a logical order in which to
present concepts and skills.
• SCOPE is the breadth and depth of content presented to learners.
• SEQUENCE is the order in which the educator presents the content to learners.
The concepts and skills in the Scope & Sequence align with the MCPS Pre-K–12 Artistic Processes.
• CREATING: Ideation & Planning; Media, Techniques & Processes; Formal Qualities & Compositional Devices
• PRESENTING: Curation & Exhibition
• RESPONDING: Aesthetics & Art Criticism
• CONNECTING: Historical & Cultural Connections
INSTRUCTIONAL MATERIALS
Implementation of the Ceramics & Sculpture 1 curriculum requires authentic, varied, and high quality materials of
instruction to support a strong, relevant art education. Materials of instruction are defined as items needed by the
educator to teach the course content and/or items needed by the student to demonstrate mastery of the course
content. Art supplies are the materials of instruction in the visual arts. They are also consumable and some have a
limited shelf life. Replenishing materials for student access to a viable program is essential.
• The visual arts supply list should be developed by the art teacher and given to financial secretary, business
administrator, or resource teacher to order.
• Schools should base instructional funds for arts courses based on the number of students enrolled and the genre
of art class being offered. Some genres of art are more expensive to offer than others. Reference the materials
list to aid in creating the budget.
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CREATING
Anchor Standard #1: PLAN
WHY WHAT
ENDURING UNDERSTANDING CURRICULAR OBJECTIVE
Creative and innovative thinking are essential life skills VA:CR.1.1.H1.a. Use multiple approaches to shape artistic
that can be developed. ideas about narrative.
ESSENTIAL QUESTION VA:CR.1.1.H1.b. Plan an artwork using a variety of
How can narratives inspire artwork? methods and processes.
Anchor Standard #2: MAKE

WHY WHAT
Experimentation, risk-taking, and learning from mistakes VA:CR.2.1.H1.a. Demonstrate proficiency of skills and
are essential to the creative process. concepts through guided experimentation, practice, and
ESSENTIAL QUESTION persistence.
VA:CR.2.1.H1.b. Use formal qualities and compositional
devices to make aesthetic choices that communicate
How and why might artists tell the story of their creative
narrative.
process?
VA:CR.2.1.H1.c. Identify and apply safe use of materials,
tools, and equipment.
Anchor Standard #3: REFINE

WHY WHAT
Excellence in art is developed through continuous VA:CR.3.1.H1.a. Reflect on artistic choices and apply
practice, craftsmanship, refinement, and reflection. feedback to revise artwork.
ESSENTIAL QUESTION VA:CR.3.1.H1.b. Refine the craftsmanship of artwork
How do refinement and craftsmanship enrich a narrative? through skillful manipulation of tools and materials.
Scope & Sequence: IDEATION & PLANNING

CERAMICS & SCULPTURE 1
• Fluency: Ceramic artists and sculptors demonstrate fluency by generating multiple responses to a
problem/prompt.
• Ceramic artists and sculptors recognize how new ideas come from other ideas.
• The first idea is not always the best idea.
The following concepts and skills should be taught at least once in Ceramics & Sculpture Levels 1-4.
• Ceramic artists and sculptors choose from a range of materials and methods of traditional and contemporary
artistic practices to plan works of art and design.
• Ceramic artists and sculptors have multiple strategies for brainstorming ideas (e.g. sketching, listing, sorting,
collaborating, researching, observing).
• Ceramic artists and sculptors often narrow and refine ideas before creating art.
• Feedback often guides the development of ideas.
• Ideas can be changed or improved throughout the creating process.
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• Ceramic artists and sculptors are able to distinguish between original, appropriated, and plagiarized ideas.
o Originality: Creating ideas and solutions that are novel or unique.
o Appropriation: Transforming another person’s ideas and products into something new.
o Plagiarism: Using another's ideas, imagery, information, language, or writing, when done without proper
acknowledgment of the original source.
• Risk-taking: Experimentation and exploration can evolve into developed ideas.
• Fluency Strategies (e.g. brain-writing, brainstorm webs, group think, reserve brainstorm, quick-writes, lists,
metaphorical thinking)
• Originality Strategies (e.g. problem-based learning, assess the problem)
Scope & Sequence: MEDIA, TECHNIQUES & PROCESSES

CERAMICS & SCULPTURE LEVEL 1
• Ceramic artists and sculptors develop skills and craftsmanship through guided experimentation, practice, and
persistence.
• Methods for attaching clay (e.g. score and slip)
• Ceramic artists can predict the effect of air bubbles in clay and, therefore, wedge the clay to remove them.
• Ceramic artists and sculptors experiment with forms, structures, materials, concepts, media, and art-making
approaches.
• Ceramic artists and sculptors balance experimentation and safety, freedom and responsibility while developing
and creating artworks.
• Ceramic artists and sculptors must understand the importance of balancing freedom and responsibility in the use
of images, materials, tools, and equipment in the creation and circulation of creative work.
• Ceramic artists and sculptors develop excellence through practice and constructive critique, reflecting on,
revising, and refining work over time.
• Safely and ethically using materials, tools, and equipment is an essential studio practice.
o Ceramic artists and sculptors know the recommended procedures to be used when handling ceramic
materials.
o Ceramic artists and sculptors know the toxic or caustic chemicals and/or clay ingredients present in the
studio space and the proper precautions to take when using them.
o Ceramic artists and sculptors wear proper clothing when working with ceramic materials and equipment.
o Ceramic artists and sculptors take proper safety precautions when using glazes.
• Ceramic artists and sculptors create artwork that represents the human form.
• Ceramic artists and sculptors create artwork by assembling ready-made form or parts of forms.
• Works of ceramics and sculpture can be decorative and/or functional.
Ceramics
• Types of clay (e.g. earthenware, stoneware, porcelain, raku)
• Methods for attaching clay (e.g. score and slip)
• Ceramic Tools (e.g. loop, pin, sponges, ribbon, ribs, wire, modeling tools, brushes, fettling knives,
calipers, nontraditional/found tools)
• Ceramics Equipment (e.g. extruder, slab roller, pug mill, wedging table, kiln, potter’s wheel)
• The characteristics of a clay body can be changed by adding other materials. (e.g. ball clay, fire clay, feldspar,
flint, grog, oxides)
• Ceramic artists can predict the effect of air bubbles in clay and, therefore, wedge the clay to remove them.
• Drying Stages of Clay: wet, leatherhard, bone dry/greenware, bisque, glazeware
o Repair a clay piece that has parts in varying stages of drying.
• Surface Decoration
o Glazing
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▪ Varying surface qualities
▪ Oxides
▪ Test tiles
▪ Application techniques (e.g. dip and pour, ear syringe and brush, brush, spraying, layering,
wiping, sponging, etching, sgraffito, drizzle, mishima, hakeme)
▪ Wax resist
▪ high fire vs. low fire
▪ glaze faults (e.g. crazing, pinholing, shivering, cut glaze, scumming, and dunting)
o Underglaze
o Image Transfers
o Slips
o Stains
o Texturizing and impressions
o Burnishing
• Ceramic forms can be altered by fluting, faceting, and paddling.
• Sectional ceramic pieces can be created by combining handbuilding and/or wheel-thrown forms.
• Firing the Kiln:
o Oxidation
o bisque vs. glazing firing
o loading and unloading the kiln
o use, care and placement of kiln shelves, posts, and stilts
o kiln wash
o effects of temperature (e.g. alpha/beta quartz inversion, rapid firing, preheat, heat soaking, cooling)
• Handbuilding
o Pinch
o Coiling: wedge coil, weld coil
o Slab construction: hard slab, soft slab
o Modeling: additive and subtractive processes
• Wheel Throwing
o Centering the mound on the wheel
o Opening the ball and pulling up
o Throwing move vs. shaping move
o Controlling the high point
o Consistency of wall thickness
o Correcting an inner foot
o Collaring
o Undercut
o Thrown forms (e.g. cylinder, bowl, pitcher, bottle, platter/plate, closed forms, forms with handles, forms
with lid and flange, forms with spouts
o Finishing techniques (e.g. rolling or trimming foot, classical foot, hidden foot)
o Potters are able to replicate forms using clay mounds of similar size and weight.
Sculpture
• Free-standing
• Relief (e.g. bas relief, high relief, sunk relief/intaglio)
• Additive vs. subtractive
• Stationary vs. kinetic
• Assemblage
• Recycled material, found object
• Architecture
• Installation
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• Wearable Art
• Casting (e.g. press mold, two-piece plaster mold)
• Nontraditional/Contemporary Media (e.g. sound sculpture, light sculpture, environmental sculpture, land art,
street art, kinetic sculpture, site-specific sculpture)
FORMAL QUALITIES & COMPOSITIONAL DEVICES

• Ceramic artists and sculptors utilize formal qualities and compositional devices to make aesthetic decisions.
• Art Elements: line, shape, color, value, texture, form, space
• Principles of Design: Rhythm, Movement, Emphasis, Contrast, Balance, Proportion, Scale, Pattern/Repetition,
Contrast, Variety, Unity/Harmony
• Figure-Ground Relationship
• Color Theory: hue, value, intensity, saturation
• Color Families: Primary, Secondary, Tertiary, Warm, Cool, Monochromatic, Neutral, Analogous, Complementary,
Triad
• Sculptural Compositions: in the round, relief, concave/convex, interior/exterior, positive/negative, mass/volume,
tension
• Postmodern Principles as defined by Olivia Gude:
o Appropriation: using objects or materials that already exist to create a piece of art.
o Juxtaposition: putting together of objects or images that are random happenings or that intentionally
clash
o Recontextualization: using a familiar image and placing symbols, text, or pictures that are not associated
o Layering: placing of images one on top of the other
o Interaction of Text and Image: the text and the image do not clarify each other.
o Gazing: using a traditional image and pairing it with more stereotypical additions.
o Hybridity: is incorporating multimedia to investigate their theme or subject.
o Representin': a slang word for extolling one's identity and one's affiliations.
• Elaboration Strategies (e.g. layering, evidence, probing questions)
• Flexibility Strategies (e.g. SCAMPER, analogous thinking, probing questions)
PRESENTING
Anchor Standard #4: SELECT
WHY WHAT
Applied criteria determines how and why work is selected
for presentation and preservation.
VA:PR.4.1.H1.a. Curate and justify artwork for
ESSENTIAL QUESTION
presentation and preservation of a narrative.
Why might some narrative works be shared, and how do
we choose which artwork to share?
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Anchor Standard #5: PREPARE

WHY WHAT
Evaluating and applying appropriate presentation
methods is essential to display artwork in a specific
space. VA:PR.5.1.H1.a. Apply appropriate display methods for
ESSENTIAL QUESTION artwork to be presented in a specific exhibition space.
How might method of presentation affect the meaning in
a narrative work?
Anchor Standard #6: SHARE

WHY WHAT
Collecting, presenting, and preserving artistic work
constructs meaning and documents the human
experience. VA:PR.6.1.H1.a. Arrange a collection of artworks to
ESSENTIAL QUESTION communicate a selected theme.
How might the location of an artwork affect the story it is
telling?
Scope & Sequence: CURATION & EXHIBITION

• Ceramic artists, sculptors and curators make decisions about how and why artwork is selected for presentation
and perseveration.
• The title can help you understand the artwork.
• Sculptures can be displayed in both public and private spaces.
• Ceramic artists, sculptors, and curators present artwork in a deliberate manner to communicate meaning.
• An artist statement is used to explain the content and context of an artwork and may justify the reasons for its
selection in an exhibition.
• The quality and craftsmanship of presentation methods can enhance or detract from the impact of the artwork.
• Safety and security of artwork and viewers should be considered when preparing an exhibition.
• Museum careers involve skills in organizing artwork for display and educational purposes.
• Values can often be conveyed or inferred through a culture’s art collections.
• Art collectors develop personal criteria for selecting artwork for preservation and presentation in private spaces.
©MCPS 07.19.2018 P a g e 14 | 16
RESPONDING
Anchor Standard #7: LOOK
WHY WHAT
Personal experience and engagement with art develops
aesthetic awareness.
VA:RE.7.1.H1.a. Observe and analyze narrative art to
ESSENTIAL QUESTION
develop aesthetic awareness of work.
How might focusing on describing and analyzing artwork
affect its narrative?
Anchor Standard #8: INTERPRET

WHY WHAT
Describing and analyzing artwork leads to interpretation
and artistic intent.
VA:RE.8.1.H1.a. Justify personal interpretation using
ESSENTIAL QUESTION
specific evidence from artwork.
How might descriptive and analytical data inform the
interpretation of artwork?
Anchor Standard #9: EVALUATE

WHY WHAT
Criteria is used to critique and evaluate art.
ESSENTIAL QUESTION VA:RE.9.1.H1.a. Apply selected criteria to evaluate
How can different criteria be applied to evaluate artwork narrative artwork.
about personal stories?
AESTHETICS & ART CRITICISM

CERAMICS & SCULPTURE 1
• Artworks are analyzed through observation of formal qualities.
• Criteria is used to determine if a personal art-making goal was achieved.
• The interpretation of artwork can be influenced by the viewer’s culture and personal experiences.
• Critiques benefit artwork at all stages of the art-making process.
• There are established techniques that can be used to critique artwork (e.g. Feldman, Taylor, Goethe Three Point
Critique Method, Artful Thinking, Visual Thinking Strategies).
• An art critic is someone who is trained to evaluate artwork in regard to aesthetic and cultural significance.
• Art Criticism: The skill of studying, understanding, and judging artworks includes description, analysis,
interpretation and judgement.
• An aesthetic response is a viewer’s reaction to an artwork after studying, describing, analyzing, and interpreting it.
• Individual aesthetic and empathetic awareness developed through engagement with ceramics and sculpture can
lead to understanding and appreciation of self, others, the natural world, and constructed environments.
• People gain insights into meanings of artworks by engaging in the process of art criticism.
©MCPS 07.19.2018 P a g e 15 | 16
CONNECTING
Anchor Standard #10: INCORPORATE
WHY WHAT
Artmaking synthesizes perception, experience, and
inquiry to create meaning. VA:CO.10.1.H1.a. Identify how perception, experience,
ESSENTIAL QUESTION and inquiry are incorporated into the narrative of an
artwork.
How can you create narrative art with meaning?
Anchor Standard #11: ASSOCIATE

WHY WHAT
Interacting with art develops empathetic awareness and
understanding of society, culture, and history. VA:CO.11.1.H1.a. Describe how responses to art may
ESSENTIAL QUESTION change after gaining awareness of the context in which it
How might art expand our interpretation and was created.
understanding of a culture or society?
Scope & Sequence: HISTORICAL & CULTURAL CONNECTIONS

• Ceramic artists and sculptors can apply prior knowledge, imagination, and observation to create something
new.
• Ceramic artists and sculptors often use symbolism and visual metaphor to communicate personal points of
view.
• In many cultures, ceramics and sculpture are used for both decorative and functional reasons.
• People can develop ideas and understandings of society, culture, and history through their interactions with and
analysis of ceramics and sculpture.
• Through ceramics and sculpture, people make meaning by investigating and developing awareness of
perceptions, knowledge, and experiences.
• Ceramic artists and sculptors can have an impact on the beliefs, values, and behaviors of a society.
• Ceramic artists and sculptors study art history to gain critical thinking skills, become culturally and visually literate,
learn about art media and methods, and the historical context and significance of artworks.
• Art historians are able to determine the commonalities within a group of artists or visual images attributed to a
particular type of art, timeframe, or culture.
• Ceramic artists and sculptors around the world have different methods for firing clay.
• 3D Art and Design Careers (e.g. Industrial Design, Fashion Design, Interior Design, 3D Illustration, 3D Animation,
3D Modeling)
©MCPS 07.19.2018 P a g e 16 | 16

Ceramics &amp; Sculpture 1 07.24.18

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Office of Curriculum and Instructional Programs

High School Ceramics & Sculpture 1

Exploring NARRATIVE through 3-D Media

Montgomery County Public Schools

This visual art curriculum was compiled under the direction of

Social Emotional Learning

VA: CR. 1. 1. H1. a.

Core Assessment Practices to Support Evidence of Learning

Ceramics & Sculpture 1 Theme: NARRATIVE

Scope & Sequence

Anchor Standard #2: MAKE

Anchor Standard #3: REFINE

Scope & Sequence: IDEATION & PLANNING

Scope & Sequence: MEDIA, TECHNIQUES & PROCESSES

FORMAL QUALITIES & COMPOSITIONAL DEVICES

Anchor Standard #5: PREPARE

Anchor Standard #6: SHARE

Scope & Sequence: CURATION & EXHIBITION

Anchor Standard #8: INTERPRET

Anchor Standard #9: EVALUATE

AESTHETICS & ART CRITICISM

Anchor Standard #11: ASSOCIATE

Scope & Sequence: HISTORICAL & CULTURAL CONNECTIONS

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