| Course |
Credits |
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| CE 200 - Introduction to Ceramics |
3 |
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| 3 credits. Baldwin, Lang. Offered summer (as required), fall, spring. This course presents the student with an overview of the possibilities of working with clay. A feel for the material develops through exercises using various forming and construction methods. Tools and techniques are introduced: slab roller, extruder and potters wheel. Students are oriented to the overall processes of ceramics and get a basic understanding of clay and glaze principals and finishing and firing techniques. Historic and contemporary issues are presented through slide lectures. Prerequisite: FF 101. |
| One of the following three courses |
3 |
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| FB 200 - Introduction to Fiber |
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| 3 credits. Shepard, Couwenberg, Grendze. Offered fall, spring. This course presents students with the opportunity to understand 3-dimensional ideas and become exposed to the potential of fiber as an expressive medium. Technical processes and historical precedents serve as points of departure, so individuals can pursue diverse working formats. Prerequisite: FF 101. |
| SC 200 - Introduction to Sculpture |
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| 3 credits. Parsons. Offered fall, spring. This course introduces students to the 3-D format and exposes students to an overview of processes, tools, and materials used in sculpture. Students explore the relationship of ideas to materials and construction techniques. Prerequisite: FF 101. |
| WD 200 - Introduction to Wood |
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| 3 credits. Martin. Offered summer, fall, spring. This course presents an opportunity to manipulate wood as a sculptural material. Slides, photographs, and books of contemporary wood sculpture are presented and discussed. Exercises in scale drawings and models help to understand and realize projects. Quick fastening and building construction techniques are covered as well as experiments with shaping, laminating, and finishing wood. The goal is to further individual creativity. Prerequisite: FF 101. |
| Ceramic Studios |
9 |
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| Ceramic Electives |
9 |
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| 3D Electives |
12 |
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| IM 380 - Junior IM Seminar |
3 |
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| 3 credits. Staff. Offered occasionally. Junior Seminar will enable the student to cultivate a personal point of view and working methodology within Interactive Media; the ability to articulate and develop that point of view through dialogue, critique, writing and projects will be essential to their personal development. Students will work to locate their specific interests within the medium and explore the necessary resources to realize their intentions. Recognizing and developing a personal studio practice that supports their creative efforts will be covered as well as realizing the integration of that methodology with specific career goals. Pre-requisite: IM majors |
| Senior Independent Ceramics I, II |
6-12 |
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| CE 400 - Senior Ceramics Independent I |
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| 3 - 6 credits. Lang. Offered fall. In this course students develop coherent body of work completed during senior year for final presentation to a jury selected from sculptural studies faculty. Periodic critiques to discuss progress, content, and process are conducted by faculty and guest critics. A written thesis/artist's statement will be evolved to accompany studio work throughout the Senior Independent. Open to Ceramics majors only. |
| CE 401 - Senior Ceramics Independent II |
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| 3 - 6 credits. Lang. Offered spring. The continuation of CE 400 leading to the final presentation of a body of work for exhibition to a jury of Sculptural Studies faculty. Periodic critiques of progress, content and process will be conducted by faculty and invited critics. Open to ceramics majors only. |
| Drawing Electives |
3 |
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| Studio Electives – any department |
6-12 |
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| Total Credits in Ceramics Major |
60 |
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| Course |
Credits |
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| Glaze Workshop |
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| CE 220 - Potters Wheel: Thrown Ceramics |
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| 3 credits. Lang. Offered spring. |
| CE 230 - Introduction to Paper Clay |
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| 3 credits. Barnes. Offered occasionally. 'Paper clay is, as its name suggests, a combination of clay and cellulose or paper fibers. The fibers allow the clay to become more pliable and durable. Extremely strong as greenware, paper clay can be worked in multiple layers of wet over dry. It can be altered at nearly any stage in the forming process, including bisque ware Artisits can build up or breeak down the forms at will, creating larger more complicated forms that are lighter than traditional clay forms, needing less drying time, cracking is easily fixed and fewer armatures are used. Paper clay can be used to hand-build sculptural forms, throw on the wheel and as a casting medium. Students will be encouraged to explore the boundaries of this new material. Prior experience with clay is helpful but not necessary. |
| Tile and Mural |
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| CE 312 - Low Fire Ceramics |
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| 3 credits. Baldwin. Offered fall. This class is designed to explore the color and texture of glazes and clays in the low fire range. Because these colors are often bright and precise they offer the possibility of working with images dealing with fantasy, illustration, and humor. Traditional methods and techniques like majolica and raku will be covered. Projects will be both functional and nonfunctional. A brief history of low fire ceramics will also be presented. Prerequisite: 3 credits of 200-level 3-d course. |
| CE 314 - Images on Clay |
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| 3 credits. Baldwin. Offered occasionally. This course deals with painting and drawing on clay. Both low fire and high fire ranges will be explored and individual directions will be developed with the instructor. Techniques to be explored but not limited to sqraffito, wax resist, smoke firing, underglazing, raku, overglazing, lusters, stencils, etc. Prerequisite: 3 credits of 200-level 3-d course. |
| CE 318 - Raku & Saggar Firing |
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| In this class students learn about and experiment with three different firing techniques: o Pit, a technique taken from Indian and African cultures, which uses burnishing, terra sigallata and firing with organic materials to create smoke patterns on the ware in a specially built pit; o Japanese Raku, an ancient art in which pots are fired to a red-hot temperature and then dumped into buckets of combustibles, followed by a dousing in cold water to set colors and patterns; o Saggar, a process which involves encasing pots in specially built boxes with dog food, compost and other trash materials. The surface effects will range from blacks to acid green. Prerequisite: Introduction to Ceramics or Introduction to the Potter's Wheel or equivalent experience with the consent of the instructor. Note: Students should have experience with clay and be open to the unusual effects produced by these three different firings. Enrollment is limited. Early registration is advised. |
| CE 324 - Cast Ceramics |
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| 3 credits. Lang. Offered fall. Learning the basics of plaster mold design from simple open face, one piece press molds to more complex, multiple piece, slip cast systems, students will explore the creative studio potentials of what are usually thought of as industrial ceramic techniques. Casting gives the artist the ability to quickly replicate original designs from tile and other low relief, to full three-dimensional forms. Likewise, by capturing in plaster practically any form, texture or material, natural or manufactured the ceramist can borrow, alter, manipulate, rearrange, assemble, or mimic the "real" into their own sculptural or functional vision. Prerequisite: 3 credits of 200-level 3-d course. |
| CE 322 - Majolica Glaze Painting Tile |
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| In this course, drawing and watercolor ideas are taken directly from life or observation and transferred to clay tiles using the beautiful Majolica technique. The emphasis is on personal direction and development of design ideas from observation. All materials are supplied except for paper, brushes and a minimal number of clay tools. Prerequisites: FF 198, FF 199 or equivalent (Foundations of Drawing I and II). Note: Work by other artists not represented by tiles will also be shown. |
| CE 328 - The Ubiquitous Object |
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| 3 credits. Paul. Offered occasionally. u-biq-ui-tous adj. Present everywhere, esp. present everywhere at the same time (fr. Mod. L. ubiquitarius fr. L. ubique, everywhere) This class will begin examining common disposable containers as a locus for meaning and dialogue about that most ancient tradition in ceramics: vessel making. Since the industrial revolution, studio ceramics has paralleled (at least in the realm of functional pottery) the production of everyday utilitarian objects while simultaneously distancing itself from a perception of a cold, lifeless, aesthetic present in industrially produced objects. Contemporary potters appear to revel in what seems at times, a kind of hopeless romanticism regarding the spiritual and moral implications that are assumed to be inherent in handmade functional pottery. By linking traditional practise (i.e. vessel/pottery making) with a close examination of objects, which generally are deemed beneath notice, it is hoped that students will look at ceramics as a material and as a contextual history with a broader lens. This class will provoke questions surrounding the dichotomy of ubiquity, function (implied or other wise) making and meaning by asking for close examination of objects that are generally regarded as to be so lacking in values as to be disposable. Craft/art/Art are subjects, which seem to have constantly shifting borders. Nothing is served by defining these borders, but a lot may be instigated by pushing them. There will be written assignments as well, to complement the studio practise/content of the course. |
| Materials Contexts |
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