Ceramics I - Slab Construction
Ceramics I - Slab Construction
Ceramics I - Slab Construction
Planning:
Central Focus
Objectives
Ohio Academic
Content Standards
Materials
Paper Models:
Planning Worksheet
Construction Paper
Tape
Pencil
Tar Paper (Roofing
Paper)
Slab Construction
Day 1:
Slab Construction
Day 2:
Leather-hard slab piece
from Day 1
SureForm
Rubber ribs, assorted
Texturing tools, assorted
Post Bisque Firing:
Variety of glazes and
Brown Stoneware
slab sticks
Large clay rollers
Rubber rib
Sponge
Water
Tar paper templates
Plastic bags to cover
work
application tools
Post Glaze Firing:
Slab Project Reflection
Sheet
Skills/Knowledge
Pre-requisites of the
Lesson
Articulate central
focus of lesson
Discuss relevance of
learning target with
students
out can fit together, as they can pinch the clay sides together.
Important Criteria for construction paper models:
o Since the clay will shrink about 14% upon bisque firing,
students should make their models about an inch larger than
they want their final construction to be. Minimal
demonstrations for paper models is 4 x 6.
After students finish their construction paper models, they can
use those pieces as templates for their tar paper models. They
do not have to tape the tar paper pieces together, as they will
use the tar paper to cut out their slabs.
Part 2 Greenware Construction
Teacher Demonstration:
o Emphasize that it is important to wedge the clay, although I
wedged my clay prior to the beginning of the demonstration.
o Place the red sticks on the table, with the clay in the center.
Students will roll their slabs, using the sticks as a gauge.
Students may use the yellow sticks only if they are planning to
create a piece entailing deep texture.
o As students roll slabs, they will keep the sticks on either side of
the rolling pin to ensure even thickness. They will roll from the
center to the outside. It is important that they flip the clay to
release it from the canvas periodically to ensure that it does not
stick to the table.
o As the roller hits the slabs, students should stop rolling,
releasing the clay from the canvas again. Put the roller aside.
o Rib the surface of the clay to compress the clay particles. This
smoothes the clay, but most importantly, the compression of
the clay particles makes the slabs strong. Do this on both sides.
Rib over any air bubbles in the opposite direction.
o Release the clay one final time from the table. This ensures that
it wont get stuck when we cut out the tar paper pattern.
o Rub a wet sponge over the slab. This creates slip to help our tar
paper stick to the clay.
o Place tar paper templates on the slab.
o Cut around the pieces of tar paper with a needle tool, trimming
away the scraps.
o Gently lift the pieces by releasing one edge first. Students may
stack their pieces as long as they place tar paper to clay. They
can cover these pieces for the next day if necessary.
bumps. We will move use a Sureform, rubber rib, and scraper. First,
clean up irregularities along the corners with the Sureform. Sureform
the bottom, as well, to ensure that the form stands level. Your will
place all of the Sureforming scrap in the slip bucket.
The large Sureform may not fit into the smaller, concave curves along
the bottom. For this, use a the Sureform that is bent side-to-side
rather than end-to-end, moving it horizontally, vertically, and
diagonally.
Next, you will clean up the slabs with the rubber rib. Smooth out the
Sureform lines and the irregularities resulting from earlier
construction. Make sure that you keep the corners straight and not
rounded. If you have difficulty smoothing areas, you could add a
small amount of water to the clay, but watch that you do not add too
much, as this could make your clay move. Wiping away water also
reveals grogg.
Use a scraper to get rid of especially difficult bumps and to give your
sides straighter edges. Here, you are scraping away the clay rather
than simply compressing. After you have scraped it, rib it again.
On the interior, smooth out extra clay where you placed your coils
with your rib. Clean the rib off quite frequently, so you do not transfer
clay to new areas.
Make sure to hold your hand on the outside while ribbing the inside.
This else control the pressure and will protect your piece.
Rib the entire inside.
Sureform the top corners to ensure the edges are even. To check your
form, look at it with your eyes level to the top edge.
Choose a contour for your final top edge. You could use a vegetable
peeler or a notched card. Drag the notch along the edge. You may
need to go back and hand sculpt the corners with a vegetable peeler.
At this point, you will need to score and slip any appliqu. You would
also incise any designs or textures. Ribbon tools are especially useful
for incising, as they carve the clay rather than simply pushing it away,
as would a needle tool. When incising deeper, be especially aware of
your clays thickness.
Make a bag hat. This keeps the edges from drying out more quickly
than the rest of your piece, which would lead to crack. Place the
finished piece with its bag hat in the damp cabinet. It will then
become bone dry and we can bisque fire.
Modeling
Evaluative
Criteria:
Craftsmanship
Design/
Originality
Minimum
Requirements
Glazing
Reflection
Performance Tasks:
Craftsmanship:
-Neat blending of seams, very stable.
-Stays together, attention to small details.
-Precision in construction, not lumpy.
-No dents, rough spots, cracks, or fingerprints.
Design/Originality:
-Pleasing design, appliqu or incising appears
intentional
-Evident sense of balance Top/Bottom, Front/Back
- Design stands apart from others favorably
- Design considers slot and stopper hole.
Minimum Requirements:
- Design elements utilized.
- No squares or rectangles are a part of the design,
aside from a possible curved based.
- Piece features appropriately beveled edges.
-Name or initials are clearly identified.
Glazing
-Glazing is even in appearance, not too thick or thin.
-Glaze is cleanly applied, not drippy on the sides or
messy on the bottom of the piece.
Reflection
-The reflection and self-assessment worksheet
accompany the finished work. The reflection clearly
states the inspiration and logic behind the piece. The
self-evaluation is thorough and thoughtful.