Ceramics Pacing Guide 2012-2013
Aug 20- 24
Aug 27-31
Sept. 4-7
10-14
17-21
24-28
October 1-5
October 8-12
October 15-19
October 22-26
Oct. 29- Nov. 2
November 5-9
November 13-16
Novemer 19-20
November 26-30
December 3-7
December 10-14
December 17-21
Students will finish their cardboard sculptures focusing on the
Art of Frank Stella
Glaze bisque pieces
Tavia Slaton
Individual time on the pottery wheel
Eudora L. and Khalia B.
Morgan P. and Shaughnessy T.
Awtumn and Tiara S.
Malik andLee
Jeremy and Dewayne
Logan and Michala
Christopher and Shay
Raven and Tisha
Adrianna and Vyonna
Vanessa M. and Kadetria
Courtney
DUE December 14:
1.
“Making Faces” Mugs
2.
Coil pot using a press mold
3.
Dinner Plate and Coffee mug (the mug can be thrown on the wheel if time permits)
4.
Set of 4 coasters (Google “critter coasters”, they are really fun!)
OPTIONAL ALTERNATIVE: you can make the coasters with PERLER BEADS instead of clay
5.
Christmas Ornament for the John Blue Bill house- must be COMPLETELY finished by NOV. 9 this is EXTRA CREDIT!!!!!! SEE ME FOR MORE DETAILS.
Pottery on the wheel
1.
One vase that is AT LEAST 6 Inches tall
2.
Bowl with a foot and added embellishments
Projects have been assigned with working time being at least 2 weeks per project, however, you will be working on the wheel at least one week out of those 10 weeks, so check the dates in which you will be on the pottery wheel and determine which assignment you will start working on prior to or immediately after the week you are on the wheel.

Art History
Between 1810 and 1865, an abundance of functional pottery was produced in the remote
Edgefield Potteries in South Carolina and sold to neighboring counties and states. Edgefield
Potteries was worked in part by artisan slaves who turned the pots, pushed the wheels, carried the pottery and loaded the kilns. In their free time, some of the artisans made pottery of their own choice. Many of them chose to make jugs and pots now known as Face Vessels. These were often stoneware jugs modeled in the shape of human faces. They were most often alkaline glazed stoneware in simple, earthy tones.
Though there are many gaps in historical data regarding the making, use and meaning of the face vessel pottery, there is no doubt that the vessels were original, functional artistic expressions of the African slave culture of the time. This all adds to the mystery of possible deeper meaning of the Face Vessels in the slave culture. Few of the skilled potters who made Face Vessels have been identified by name and their inspiration for making face vessels is really unknown.
Researchers speculate that the vessels may have had religious or burial significance, or that they reflect the complex responses of people attempting to live and maintain their personal identities

under cruel and often difficult conditions. Face Vessels have been found along the routes of the
Underground Railroad and on gravesites, both indicating how highly they were valued and how closely connected they were with the enslaved African American’s own culture.
Images of the original works provide great inspiration for this lesson. I do this lesson with my seventh grade, though it can be adapted for any age. To make the lesson even more exciting, I also show my students face vessels made by contemporary artisans in the spirit of the original designs. These modern day face vessels are often glazed with brightly colored underglazes and their faces are full of imaginative expression. The lesson takes approximately two weeks to complete in five forty-minute sessions. Allow drying time between finishing the hand building steps and the first firing.
As soon as they come out of the kiln from the glaze firing, the face vessels are displayed in my front entry showcase along with a short description of the work and the valuable history behind it. Both the students and I feel pride in the accomplished work as well in the enlightenment we feel knowing the work and the history of the valuable contributions African Americans have made to American Folk Art with Face Vessels. One thing is for sure; if you make these with your students the works will become real school treasures!
Internet Resources:
There are many web sites that provide valuable information regarding the history of face vessels as well as fine images. The following may be helpful in getting started: http://www.si.edu/Encyclopedia_SI/nmah/facevess.htm
http://www.edgefieldpottery.com/tradition.htm
(Archive) http://www.tfaoi.com/aa/1aa/1aa678.htm
For contemporary works: http://www.pawprintpottery.biz/face_jugs.html
| South Carolina Tradition | http://www.visitsoutherncomfort.com
Learning Objectives:
Students will…


 Gain appreciation and knowledge of art history, specifically the African American contributions to folk art made in the South Carolina region.
 Use the Internet to research Face Vessels in African American Folk Art
 Imagine, and then draw in pencil on paper, expressive head designs for their vessels.
 Form in clay, using the slab and coil methods, an expressive face vessel in the spirit of the Edgefield Potteries.
Apply a color scheme in glaze to complete the project.
Learn about glazing and firing techniques.
Materials:
 Pencils and white Paper for sketching.


Access to the Internet for viewing face vessels from past and present artisans.
 Clay, pin tools and wooden Clay Tools ,Water for slip
Plastic bags for wrapping the work-in-progress between classes, to keep it soft and
 pliable until complete.
 Colored Glazes , or Underglazes and Clear Transparent Glazes .
Assorted soft Brushes for applying glaze.

How to create Face Vessels:
I use approximately one pound of clay per student when beginning the process.
Introduce students to the history of face vessels with a class discussion and visit to the Internet sites listed.
1.
Have students sketch 2 to3 designs of expressive faces and vessel shapes they might use.
I like to give inspiration to my students to be as expressive as possible in their designs. I also encourage them to do monster faces, half-animal faces or any other sort of distorted or expressive face design they can come up with. Imagination is the key. When the sketches are complete have each student choose one to use for their project. SEE
STUDENT SKETCH
2.
Begin working in clay. A quick review of the slab and coil methods as well as general scoring and slipping techniques is helpful here. Because I do this with my seventh grade, and many of them have been my students for several years, I know they are familiar with both processes, but still need time to review each before becoming completely comfortable controlling the clay. I recommend they make their vessels approximately 5-
10 inches high, but any size is possible. Width is up to the student, however, I do request a shape that begins narrow, rounds and widens through the middle, then narrows again at the top.
3.
Once the vessel is built, I have them attach a handle or two (or three in some cases). The last thing I have them do is to sculpt their faces. This is done by adding and subtracting clay for a really three-dimensional face. Score and slip to attach handles and features.
4.
When hand building is done, clay is dried and bisque-fired.
Bisque-fired clay is painted in brightly colored glazes or underglazes which are then carefully coated in shiny over glaze. The vessels are fired a second and final time for a finished product.

CLAY COASTERS