SGRAFFITO NAME PLATES
Ceramics 11-12 Unit Plan
Andrew Smith
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TABLE OF CONTENTS:
1.
2.
3.
4.
5.
6.
7.
8.
Title Page
Table of Contents
Unit Overview
Graphic Organizer
PLO’s & Learning Objectives
Firing Procedures & Temperatures
Student-Friendly Handout
Rubric
Pg. 9: LESSON 1: Out with the old (Unit Intro & Nameplate Discussion)
Pg. 11: LESSON 2: Sgraffito
Pg. 13: LESSON 3: Build it up, Take it down
Pg. 14: LESSON 4: Work It
Pg. 15: Wrap it up, Sgraffito Finale!
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SGRAFFITO NAME PLATES
Ceramics 11-12 Unit Plan
UNIT INSPIRATION:
Too often ceramics is seen as a simple craft (activity involving skill in making things by hand) when it
has the potential to go much further as an art form. Ceramic nameplates require skill and aesthetics, but
what happens when we take a traditional nameplate and push the boundaries by incorporating a new
glazing technique?
How can a simple message or new glazing technique change how we look at the traditional craft of
nameplates?
THE FINAL PRODUCT:
Students will be expected to demonstrate their building and sculpting abilities when creating
nameplates that serve both the function of displaying their name, while also learning a new glazing
technique with sgraffito. Each student will be required to have a minimum 4 x 8 nameplate as well as a 4 x 4
test plate demonstrating their experimentation with sgraffito. The final plate will either stand itself up with a
back support, or will need two holes for hanging their work.
UNIT RATIONALE
The rationale behind this unit is to introduce students to the conversation of appropriating
techniques and skills sets from traditional forms of ceramics to create engaging artwork. The works will still
serve the functional aspect of a nameplate with a legible name and standings/hanging ability, but will
require them to appropriate the technique of sgraffito when glazing.
As a new teacher being introduced to 30 students in a Ceramics class, these plates will also be
functional, as the students will be required to have them visible in their workspaces when I’m learning their
names.
POSTMODERN PRINCIPLE – APPROPRIATION:
Take something from other things (in this case crafts) by borrowing, modifying, or using existing
elements in new contexts.
TARGET AUDIECE & GRADE LEVEL:
This unit is designed for high school students in Grades 11-12 that have experience with building
(through slab, coil and pinch) and glazing their ceramics. This
project is at an introductory level for students but will allow for
their new student teacher to gauge what level of processing and
creating the students are ready for.
CALENDAR:
5 CLASSES:
- Wed. Feb 11
- Fri. Feb 13
- Tues. Feb 17
- Fri. Feb 20 (Thurs is PRO-D Day)
- Tues. Feb 24
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SGRAFFITO NAME PLATES
LESSON
OBJECTIVES
ACTIVITIES
MATERIALS
& VISUALS
VOCAB
TEACHING
STRATEGIES
ASSESSMENT
FEB 11
1. Unit Plan
Introduction
& Slab
Cutting for
Day 1
- Students will have a firm
understanding of what is
expected of them for the
Nameplate assignment
- Students will be able to
communicate and understand
appropriation of nameplates
and sgraffito glazing
techniques
- Introduction of new
unit through visual
slide show
- Class discussion on
craft vs art forms
- Class
discussion/dissection
of appropriation’
- Sketchbook
assignment 1:
Mapping out name
plate prior to building
and working with clay
- Images for
presentation:
Nameplates (house
and wall samples),
Sgraffito, Textbased ceramic
works
- BOARD
assignment &
expectations
- Student
sketchbooks
- HANDOUT: What
we’re being graded
on
- Entrance slip
papers x 30
- Class discussion will
require students to
be first writing
answers in their
textbooks, then pair
sharing, before full
class discussion
- Images of the day
will provide engaging
images to introduce
unit to the class
- Review clean up
procedures and
necessity of
separating coloured
slip from wet clay
- Formative: Entrance slips
to gauge student needs
and expectations of
student teacher and
comfort with medium
FEB 13
2. Sgraffito
– 4x4
sample day
- Students will be able to
demonstrate and experiment
with sgraffito
- Sgraffito sample will be
applied on tile using transfer
paper and then needle tracing
through paper
- Teacher demo of
rolling slab, cutting
4x4 tiles for sgraffito
experimentation
- Sketchbook sample
- SGRAFFITO:
http://www.lakeside
pottery.com/Pages/P
ottery-tips/How-tocreate-sgraffitopottery-tutorial.htm
- Images of the
day: Sgraffito
examples, Artist
Todd Barricklow
- Sketchbook
assignment: Bring
in sgraffito
example
- Transfer/mesh
paper
- Nameplate: A nameplate
identifies and displays a
person’s or product’s name.
- Sgraffito: The process of
scratching or incising
through a layer of coloured
slip or underglaze on unfired
ware to reveal the colour of
the clay body beneath. (can
resemble woodcuts or
linoleum cut prints)
- Appropriation: Take
something from other things
(art history) by borrowing,
modifying, or using existing
elements in new contexts.
- Craft: Activity involving skill
in making things by hand
- Leather-hard: Clay has
been partially dried to a
point that additional
shrinking will no longer
happen. Clay is firm enough
to be joined without
distorting, can still be
worked.
- Underglaze / Slip Glaze: A
colour or design applied to
pottery before it is fired &
glazed
- Sgraffito: The process of
scratching or incising
through a layer of coloured
slip or underglaze on unfired
ware to reveal the colour of
the clay body beneath.
- Definitions available
on board for journal
documentation
- Students will be
required to draw and
then test their
drawing with sgraffito
on tile
- Formative: Discussing a
new technique & inking
their own thoughts on
what Sgraffito is and how
it will be an addition to
their skill set
- Summative: Submitting
sgraffito tile to be
assessed – point out areas
of improvement for final
piece
FEB 17
3. Building
Demo with
Relief,
Addition
- Students will understand
how addition and relief
building techniques can be
applied to lettering and
sculpting clay
- Teacher-led
demonstration of
taking a slab and
using building
techniques to create
name plates through
relief and addition
- Images of the
day: Showing
graffiti worked into
ceramics
- Student
sketchbook
drawings will be
required before
moving on to clay
- Relief (Relevo Latin to
Raise): To give the
impression that the sculpted
material has been raised
above the background plane
- Addition: Adding clay
through slipping and scoring
- Students will be
required to show
sample sketchbook
drawings of minimum
8 x 4 nameplates
- Using pencil or black
colour, show the
contrasted areas that
will be used in
sgraffito design
FEB 20
4. Work Day
building
nameplate
and sgraffito
- Students will have
designated work time to
construct their name plates
and decorate their work using
sgraffito
- Students will understand
what is expected of them for
the sketchbook self
assessment & artist statement
- Images of the Day
- Work Time
- Clean up duties
- Images of the day
with name plates
- Exemplars of high
school work
- Self assessment: The
process of looking at one’s
own work to understand
areas of improvement
- Demonstration of
artist statement and
class review of
expectations.
- Stay away from “It
looks cool,
interesting…”
- Summative: SelfAssessment & Looking at
how to review their own
work.
- Specifically: How did I
learn a new technique and
apply it to my own work?
FEB 24
5. Final
Work Day
and Written
Critique
Assessment
- Students will have the
opportunity to submit final
works and complete self
assessments.
- Student-led self
assessment and
review of works.
- Final work day for
nameplates
assignment
- Self-Assessment
criteria displayed
on the board with
due date
- No new vocab for final day
of unit.
- Facilitating critiques
with students &
setting expectations
Formative: Self
assessment allows for
self-identified areas of
improvement.
Summative: Student work
w
4
5
ill be assessed by the
rubric for how they met
expectations.
PLO’S & LEARNING OBJECTIVES
Materials, Technologies & Processes
o Demonstrate the appropriate preparation, cleanup, care, and storage of materials
and artworks in all stages of development
o Students will learn how to manipulate traditional forms and sgraffito
Receiving / Responding
o Compare roles that visual arts have in reflecting, sustaining and challenging beliefs
and traditions
o Analyze how context influences the content and form of images
Receiving / Responding
o Creating/Communicating: Create 3D images to achieve specific purposes, using a
variety of image sources
o Creating/Communicating: Create 2D & 3D images that demonstrate effective use
of particular elements and principles
o Perceiving/Responding: Identify particular techniques used in selected processes
o Perceiving / Responding: Students perceive and respond to images in ways that
demonstrate awareness of the sources, techniques, and strategies of image
development and design
o Perceiving / Responding (Context): Students perceive and respond to images and
the ways these images reflect and affect personal, social, cultural and historical
contexts.
o Creating / Communicating: It is expected that students will manipulate visual
elements and principles of art and design within a specific visual expression area to
achieve a specific purpose
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REQUIRED PROGRAM MODEL CONTENT: CERAMICS & SCULPTURE 11 & 12
Technical Competence
• knowledge and skilled use of materials for ceramics and sculpture:
 - ceramics materials (e.g., clay bodies, glazes, stains)
 - sculpturematerials(e.g.,wood,plastic,wire,paperpulp)
 - single medium, mixed media
• knowledge and skilled use of tools and equipment for ceramics and
sculpture:
o - tools and equipment for manipulating materials (e.g., wheels,
forms,
chisels, electric drill)
o - tools and equipment for surface treatment and decoration (e.g.,
glue guns,
knives, modelling tools)
o - tools and equipment used in ceramic and sculpture processes
(e.g., kilns,
pug-mills)
• knowledge and skilled use of processes and techniques for
ceramics and
sculpture:
o - additive processes (e.g., hand-building, assemblage, stitching)
o - subtractive processes (e.g., carving, sanding, filing)
o - modelling processes (e.g., throwing, casting, hand-modelling)
o - surface treatment processes (e.g., polishing, glazing, staining)
o - decorative processes (e.g., engraving, embossing, fretwork)
• knowledge and skilled use of image-development strategies as they
apply to ceramics and sculpture
• knowledge and skilled use of visual elements and principles of art
and design as they apply to ceramics and sculpture
Presentation Applications
• considerations for venue, audience, and purpose
• artist’s statements
• documentation of product and process (e.g., photographic
records)
• exhibition considerations (e.g., interactions with space, mounting,
lighting,
installation)
Visual Culture
• artists, artworks, and movements in ceramics and sculpture across
a variety of contexts
• purposes and applications of ceramics and sculpture (e.g., public
art, functional art)
• terminology related to ceramics and sculpture
• career pathways related to ceramics and sculpture
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FIRING TEMPERATURES & PROCEDURES
LOW FIRE:
- Temperature (for CONE 04 GLAZES): 1922
- Delay Time: None
- Hold Time: Soft
- Rate per hour: 250 
- Plugs: Keep in to force chemical reactions with glazes
- Turn on vents! (Individual & Main System)
HIGH FIRE:
- Temperature (for CONE 05 GLAZES): 2151
- Delay: None
- Hold Time: Soft
- Rate per hour: 350
- Turn on vents! (Individual & Main System)
SOAK:
-
Temperature: 250
Rate per hour: 50
Turn on vents! (Individual & Main System)
MIXING UNDERGLAZES USING OXIDES
- Ratio is 4 oz per 2 litres
- Roughly 1 oz of oxide per litre of slip
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SGRAFFITO NAMEPLATES: CERAMICS 11-12
Student Name (Block #)________________
Key Concepts:
 What would I want my nameplate to say about me?
 What happens when we push the boundaries of a traditional nameplate?
 How can Sgraffito be incorporated into my work and what happens when
we use it?
 Are nameplates limited to being a craft?
 What is appropriation and how is the term relevant to your art?
+
=
???
Building & Glazing Techniques to include:
 Sgraffito: The process of scratching or incising through a layer of underglaze or coloured slip on
unfired ware to reveal the colour of the clay body underneath
 Relief: (Latin – Relevo means ‘to raise’) To give the impression that the sculpted material has been
rasied avove the background plane
 Addition: Adding clay and building the surface through slipping and scoring
Assignments: What am I being graded on? (60 pts total)
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1
1
Sketchbook Assignments
1. Modified Nameplate Design
2. Sgraffito – What’s it all about?
3. Self Assessment of Final Project
Sgraffito
Test Plate
1. 4 x 4 Tile
2. Sketchbook Design
Transfer
Final Project: Nameplate
1. Minimum 8x4
2. Functional?
3. Sgraffito Contrast,
Creativity & Difficulty
4. Overall Finished Quality
Clean Up & Handling of Materials
1. Station Clean Up
2. Handling of Materials
/15 points
/10 points
/25 points
/10 points
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Overall finished quality criteria: ___Cracks? ___Chips? ___Uneven Glazing? ___Other (
)
SGRAFFITO NAME PLATES (60 pts Total)
PROJECT
Marks
1. JOURNAL ASSIGNMENTS
Name Plate Reflection – What is a nameplate? What symbols / imagery
would I use to create a nameplate that says something about me?
5|4|3|2|1|0
Name Plate Design
5|4|3|2|1|0
Sgraffito Sketchbook Entry (using eraser for negative space)
5|4|3|2|1|0
Self Assessment & Critique of Work
5|4|3|2|1|0
TOTAL: ___/20
2. TEST PLATE (TILE)
Correct Size & Sgraffito Demonstrated (minimum 4 x 4 tile)
5|4|3|2|1|0
Transfer of sketchbook design submitted?
5|4|3|2|1|0
TOTAL: ___/10
3. FINAL PROJECT – NAME PLATE
Correct Size & Functionality (minimum 8 x 4, either holes or backing to
support the work)
5|4|3|2|1|0
Sgraffito:
Contrast / Range of Value:
5|4|3|2|1|0
Creativity & Difficulty:
5|4|3|2|1|0
Overall Finished Quality (Cracks, Chips, Uneven Glazing,
Other________________)
5|4|3|2|1|0
TOTAL: ___/20
6. Clean Up & Materials
Handling and Respecting Equipment (Demonstrating preparation,
cleanup, care, and storage of materials and artworks)
TOTAL: ___/10
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(1) LESSON PLAN: Out with the old, Nameplates Unit Intro
Lesson Title: Out with old
Lesson #_1_ Out of _5_ for Unit: SGRAFFITO NAME PLATES
Course/Class Title: Ceramics 11-12
Instructor: Student Teacher Andrew Smith, SA Marta Adamovich (Eric Hamber)
Lesson Start/End Dates (2015): Wed. Feb 11, 2015
KEY REFERENCE LINK: http://www.ceramicnameplates.com.au
LESSON PLAN COMPONENTS:

Lesson Objectives
o Students will be introduced to Sgraffito Nameplates Unit and will understand what is expected of them
o Students will understand the function of a nameplate and alternative ways to approach constructing their own
o Students will be able to actively engage in a discussion on how ceramics fits into the craft vs art discussion
o Students will be able to communicate and understand the concept of appropriation

BC PLO’s/IRP’s
o Creating / Communicating: It is expected that students will manipulate visual elements and principles of art and
design within a specific visual expression area to achieve a specific purpose
o Perceiving / Responding: Students perceive and respond to images in ways that demonstrate awareness of the
sources, techniques, and strategies of image development and design
o Perceiving / Responding (Context): Students perceive and respond to images and the ways these images reflect
and affect personal, social, cultural and historical contexts.
Guiding Questions:
o Start with: What’s the purpose of a nameplate? Where have I seen them before?
o What does a nameplate say about us?
o How can we take an old, traditional medium (name plates) and bring it into the modern age?
o What is appropriation and how does it apply to name plates?
Prior Knowledge:
o Students will have worked with previous building techniques including slab, coil & pinch
Materials & Visual References:
o Images for presentation of Nameplates (house plates, mail box names)
o Images of text based ceramics and sgraffito
o Chalkboard: Assignment & Expectations with **approximate assignment due date (Feb 24, 2015)
o Student Sketchbooks
Teacher Sample if applicable
o Exemplar: Glazed sgraffito name plate (Mr. Smith)
o Basic: Mr. Smith name plate sample that doesn’t go further than holes & basic text
o Glazed sgraffito flower sample
Key Vocabulary:
o Nameplate: A nameplate identifies and displays a person’s or product’s name.
o Sgraffito: The process of scratching or incising through a layer of coloured slip or underglaze on unfired ware to
reveal the colour of the clay body beneath. (can resemble woodcuts or linoleum cut prints)
o Appropriation: Take something from other things (art history) by borrowing, modifying, or using existing
elements in new contexts.





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o
Craft: Activity involving skill in making things by hand
‘MEAT’ OF LESSON (DELIVERY)
 Lesson Hook/Intro
o Include 1-2 images of Todd Barricklow Sgraffito Boxes
o Images of the day looking at traditional nameplates
o Images (stimulating, exemplars) of ceramics with text, Sgraffito techniques
 Activities with **Approximate Timings for 75 minute classes**
o [5 mins] Attendance & Welcome
o [10 mins] Mr. Smith Intro
 Ceramics background: Grade 10 intro
 Mr. Stupka and his influence on me as a potter
 Ceramics endless possibilities
 Process based artist & how building something tangeable with ceramics borders on the functional vs
non-functional line
 Setting expectations. Include jobs list and carrying over from Ms. A’s list
o [10 mins] Classroom discussion – what do we think a nameplate is used for? What are our thoughts on the
nameplates shown on the screens? How can we push the idea of a nameplate further?
 Appropriation Introduction and borrowing from a previous example.
 Sgraffito introduction with samples.
o [20 mins] Sketchbook activity – Find a nameplate and sketch it in your journal.
 How could you then adapt this plate using a sgraffito technique to make it your own?
o [20 mins] Students will cut 4x4 tiles, (1cm thickness) and have them ready for next class
o [5 mins] Clean up & Stations Check In


Modifications:
o ELLs: This project can be adapted and students can print their names in their own languages. Mandarin
symbols/lettering looks quite strong black & white sgraffito techniques
o Accelerated: Students who are currently working on the wheel or other projects will be asked to create their 4x4
tiles like their classmates. Their final project, however, can be adapted to other clay building techniques, as long
as they use sgraffito as their glazing/decorating process.
Closure & Clean-up Structure (how you close the lesson, what procedures are part of clean-up)
o Stations check with teacher. NOTE: Students must come to next class with a design in their sketchbook that has
their name clearly printed, with the incorporation of at least one symbol or type font adaptation
CONSIDERATIONS OF LESSON (RESPONSIBILITIES)
 Assessments: Summative and/or Formative (include your rubrics here in the lesson plan)
o /5 Nameplate reflection. What is a nameplate? How does it apply to the craft vs art discussion?
o /5 Nameplate design in sketchbook (8 x 4) mimimum. Backing or holes for functionality?
o /2 (10 pts unit total): Clean up and Station Check in with teacher
 Teacher Reflections
o Were there any students especially challenged by the concepts of this lesson?
o Were there lesson dynamics that helped or hindered learning?
o What classroom management techniques supported student learning?
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(2) LESSON PLAN: Sgraffito
Lesson #_2_ Out of _5_ for Unit: SGRAFFITO NAME PLATES
Course/Class Title: Ceramics 11-12
Instructor: Student Teacher Andrew Smith, SA Marta Adamovich (Eric Hamber)
Lesson Start/End Dates (2015): Wed. Feb 11
KEY REFERENCE LINK: http://www.lakesidepottery.com/Pages/Pottery-tips/How-to-create-sgraffitopottery-tutorial.htm
LESSON PLAN COMPONENTS:







Lesson Objectives
o Teacher-led Sgraffito demonstration will see students able to demonstrate and experiment with the new
technique
o Students will have an understanding of under-glazes and slip glazes and how they’re used in firing
o Students will be able to transfer their sketchbook drawings to leather hard clay
BC PLO’s/IRP’s
o Creating/Communicating: Create 3D images to achieve specific purposes, using a variety of image sources
o Creating/Communicating: Create 2D & 3D images that demonstrate effective use of particular elements and
principles
o Perceiving/Responding: Identify particular techniques used in selected processes
o Demonstrate the appropriate preparation, cleanup, care, and storage of materials and artworks in all stages of
development
Guiding Questions: (what students need to know to be successful – what art knowledge/skills?)
o How can clay be sculpted & carved in the leather hard stage?
Prior Knowledge (what students need to know to be successful – what art knowledge/skills?)
o How to use transfer paper and successfully trace their design onto the clay to make an impression
Materials & Visual References (including technology, handouts, online resources, etc. - use proper citations/referencing of
artworks)
o Wire stylus or loop tool (wooden modeling tool works)
o Rubber shaper or wooden tool for cleaning line debris
o Dry Paint Brushes
o Leather hard clay
o Transfer / tracing Paper, Pencils
o Sketchbook design sample
Teacher Sample if applicable (of finished product, steps, and/or techniques along the way)
o Tile samples with sgraffito to be made available by teacher
o Need to have tile samples in stages: Bisque as well as clear-Glazed (will go over glazing during demo)
o **Emphasis on the fact that underglazes will come out of the kiln lack-luster and need to be fired with
overcoating clear glaze for a shiny effect
Key Vocabulary (with definitions in student-friendly terms)
o Underglaze / Slip Glaze: A colour or design applied to pottery before it is fired & glazed
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o
o
Sgraffito: The process of scratching or incising through a layer of coloured slip or underglaze on unfired ware to
reveal the colour of the clay body beneath.
Leather-hard: Clay has been partially dried to a point that additional shrinking will no longer happen. Clay is firm
enough to be joined without distorting, can still be worked.
‘MEAT’ OF LESSON (DELIVERY)
 Lesson Hook/Intro
o Images of the day looking at Greek Urns, sgraffito techniques
o Looking at both B&W sgraffito as well mutli-colour capabilities
o Todd Barricklow Sgraffito samples of mastering the technique
o Tile samples
 Teaching Strategies
o Sgraffito Demonstration Steps:
1. Using sketchbook design, trace the design onto transfer paper
2. Trace the pattern through tracing paper on to the clay slab
3. Lift tracing paper to ensure design has transferred onto clay
4. Apply underglaze or coloured slip evenly with 2 coats (ensure tracing marks can still be seen)
5. Remove colour where desired using loop, carving tools (use rubber or dry brush to remove loose clay)
6. Put clay on shelves for firing.
 Activities with **Approximate Timings for 75 minute classes**
o [5 mins] Attendance & Check in
o [5 mins] Images of the day (Todd Barricklow class discussion about techniques and details on Sgraffito)
o [15 mins] Group 1 Sgraffito Demonstration | Group 2 Finalizing Drawing Sketches (Erasing in the negative space)
o [15 mins] Group 2 Sgraffito Demonstration **NOTE: Go through glazing process once complete
o [20 mins] Working Time, Transferring Design to Paper
o [10 mins] Clean up & Stations Check In
 Closure & Clean-up Structure (how you close the lesson, what procedures are part of clean-up)
o Stations check with teacher
o Set expectations for next class
CONSIDERATIONS OF LESSON (RESPONSIBILITIES)
 Assessments: Summative and/or Formative (include your rubrics here in the lesson plan)
o /5 Sketchbook tile design template, reference to “What is sgraffito?” What do I think about sgraffito?
o /5 Ceramic Tile using Sgraffito technique
o /2 (10 pts unit total): Clean up and Station Check in with teacher
 Teacher Reflections
o Were there any students especially challenged by the concepts of this lesson?
o Were there lesson
dynamics that helped or hindered learning?
o What classroom
management techniques supported
student learning?
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(3) LESSON PLAN: Build it up, Take it down
Lesson #_3_ Out of _5_ for Unit: SGRAFFITO NAME PLATES
Course/Class Title: Ceramics 11-12
Instructor: Student Teacher Andrew Smith, SA Marta Adamovich (Eric Hamber)
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16
Lesson Start/End Dates (2015): Tues. Feb 17
KEY REFERENCE LINK: http://www.ceramicnameplates.com.au
LESSON PLAN COMPONENTS:







Lesson Objectives
o Students will be introduced to Sgraffito artist Todd Barrickow and his style of slab boxes
o Students will understand what objects/shapes work well with sgraffito and how to create successful projects
o Students will have decided on which display technique will work for their piece (using holes for hanging, back
support or foot for those using the wheel) as well as the outline shape they wish to work with.
BC PLO’s/IRP’s
o Creating / Communicating: It is expected that students will manipulate visual elements and principles of art and
design within a specific visual expression area to achieve a specific purpose
o Creating / Communicating: Use a variety of image-development strategies to create a images on a single concept
Guiding Questions: (what students need to know to be successful – what art knowledge/skills?)
o How can we construct our own nameplates that modernize the craft?
o What will the type of lettering (typography) and symbols I choose say about me?
o How can I maximize the effects of Sgraffito (high contrast) when developing my design for my nameplate?
Prior Knowledge (what students need to know to be successful – what art knowledge/skills?)
o Previous clay building experience with slipping & scoring, addition and relief
o From last class, emphasis on making bold shapes & lines that aren’t too delicate when carving/scratching
Materials & Visual References
o Images of the day: Todd Barricklow, possible student samples with interesting as well as over-complicated
designs that may not work well for sgraffito
o Student sketchbook drawings will be required before transferring desing on to clay
Teacher Sample if applicable (of finished product, steps, and/or techniques along the way)
o Glazed sgraffito name plate (Mr. Smith) with addition / relief incorporated
o Stages of leather hard clay for backing, tool to make hole in sides
Key Vocabulary (with definitions in student-friendly terms)
o Leather-hard: Clay has been partially dried to a point that additional shrinking will no longer happen. Clay is firm
enough to be joined without distorting, can still be worked.
o Relief (Relevo Latin to Raise): To give the impression that the sculpted material has been raised above the
background plane
o Addition: Adding clay through slipping and scoring
o Sgraffito: Use Marta’s student friendly definition – Italian for “to scratch”
‘MEAT’ OF LESSON (DELIVERY)
 Lesson Hook/Intro
o Images of the day looking at graffiti, other lettering and imagery in clay
o Images (stimulating, exemplars) of ceramics with text, sgraffito techniques
 Activities with **Approximate Timings for 75 minute classes**
o [5 mins] Attendance & Check in, Overview of what’s going to happen in class
o [10 mins] Visuals – Powerpoint:
 Images of the day:
 Todd Barricklow: Emphasis on line quality, creativity with Sgraffito technique (look at way to
use faces and linocut techniques)
 Barricklow’s slab boxes
 Text samples – student work by asking those who have completed stages to bring some into the middle
of the room (look at complicated versus simple, bold lines that aren’t too small)
 Criteria expectations for unit (holes for hanging, support backing or foot for those working on the
wheel)
o [10 mins] Demo of Nameplate functional criteria
 Creating two holes that can be used for hanging and/or
 Molding a back support
o [40 mins] Work Time, building & Sgraffito Application
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Expectation is nameplate test tile should be completed by end of this class and ready on the greenware
shelf for firing
 Expectation is students will be checking in with Mr. Smith to approve their full name plate designs
 Minimum 4x8 piece (double the test plate sample) that uses sgraffito technique.
 What colours are we going to work with?
 What style are we using?
 How have we taken aspects of traditional name plates and recontextualized them?
o [10 mins] Clean up & Stations Check In
Closure & Clean-up Structure (how you close the lesson, what procedures are part of clean-up)
o Stations check with teacher. NOTE: Students must come to next class with a design in their sketchbook that has
their name clearly printed, with at least one symbol
CONSIDERATIONS OF LESSON (RESPONSIBILITIES)
 Formative: Check in with students about nameplate designs. Able to see other examples and creativity among students in
the class with different lettering (discuss Arabic, Chinese, English, etc)
 Assessments: Summative and/or Formative (include your rubrics here in the lesson plan)
o /5 Sgraffito Plate: Contrast;
o /5 Sgraffito Plate Creativity & Difficulty
o /5 Overall Finished Quality (Cracks, Chips, Uneven Glazing, Other____ )
o /2 (10 pts unit total): Clean up and Station Check in with teacher
(4) LESSON PLAN: Test Plate Glazing, Moving on Up to full size
Lesson #_4_ Out of _5_ for Unit: SGRAFFITO NAME PLATES
Course/Class Title: Ceramics 11-12
Instructor: Student Teacher Andrew Smith, SA Marta Adamovich (Eric Hamber)
Lesson Start/End Dates (2015): Fri. Feb 20
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LESSON PLAN COMPONENTS:
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Lesson Objectives
o Students will have designated work time to construct their name plates and decorate their work using sgraffito
o Students will be able to apply different Sgraffito techniques, pushing the limits of the nameplate assignment
BC PLO’s/IRP’s
o Creating / Communicating: It is expected that students will manipulate visual elements and principles of art and
design within a specific visual expression area to achieve a specific purpose
o Creating / Communicating: Use a variety of image-development strategies to create a images on a single concept
Guiding Questions: (what students need to know to be successful – what art knowledge/skills?)
o How can we construct our own name plates that modernize the craft?
o How can using Sgraffito elevate the level of my work and speak to my intended message?
o What can I add to this project to strengthen the final work?
Prior Knowledge
o Completed demonstrations in sgraffito
o Introduced to Sgraffito specialist Todd Barricklow and his techniques
Materials & Visual References
o Images of the day: Exemplars & Name Plate Possibilities
Key Vocabulary (with definitions in student-friendly terms)
o Underglaze / Slip Glaze: A colour or design applied to pottery before it is fired & glazed
o Sgraffitto: The process of scratching or incising through a layer of coloured slip or underglaze on unfired ware to
reveal the colour of the clay body beneath.
‘MEAT’ OF LESSON (DELIVERY)
 Lesson Hook/Intro
o Images of the day looking at graffiti, other possible combinations in text frames
o Images of the day looking at sgraffito and how it has been used
 Activities with **Approximate Timings for 75 minute classes**
o [5 mins] Attendance & Check in, Overview of what’s going to happen in class
o [10 mins] Images of the day & class discussion:
 Graffiti text – emphasizing the composition that uses up the entire space
 Rachel Wolf Sgraffito vase. Details on using full working space, using the negative space around the
image
 Pueblo Ceramics – Balance in blacks vs whites, heavy contrast
 Combination to strengthen the piece – can we add glazes around the sgraffito? How does colour make
the black and white contrast really stand out?
o [55 mins] Work Day, Finalizing Sgraffito samples as well as nameplates
o [10 mins] Clean up & Stations Check In
 Closure & Clean-up Structure (how you close the lesson, what procedures are part of clean-up)
o Stations check with teacher. NOTE: Students will need sketchbooks for next class.
o Wrap up emphasizing composition & balance within the ceramics. How are we creating strong name plates?
CONSIDERATIONS OF LESSON (RESPONSIBILITIES)
 Assessments: Summative and/or Formative (include your rubrics here in the lesson plan)
o /2 (10 pts unit total): Clean up and Station Check in with teacher
(5) LESSON PLAN: Sgraffito Ownership
Lesson #_5 for Unit: SGRAFFITO NAME PLATES
Course/Class Title: Ceramics 11-12
Instructor: Student Teacher Andrew Smith, SA Marta Adamovich (Eric Hamber)
Lesson Start/End Dates (2015): Tues. Feb 24, 2015
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LESSON PLAN COMPONENTS:
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Lesson Objectives
o Students will walk away with an understanding of what they are being graded on – concept of ownership &
originality. (Appropriation) Taking aspects of what they think works well from other artists and movements to
apply that to their own
o Criteria: Must be at least 4x8, hanging ability through either holes or backing to stand up
BC PLO’s/IRP’s
o Demonstrate competent use of techniques specific to selected materials, technologies, and processes
o Explain how particular combinations of elements and principles influence personal preference / Justify use of
image-development strategies in works
o Critique the use of the visual elements and principles of art and design in a variety of media artworks
Guiding Questions: (what students need to know to be successful – what art knowledge/skills?)
o How do I evaluate my own work and have I pushed myself with this project?
Materials & Visual References
o Chalkboard: Self Assessment of nameplate assignment:
 Name | Block Number | Heading (Title)
 Final sketch of nameplate in at least 4x8
 What have I learned from my Test Plate?
 What do I need to change?
 What worked well and will I use for my larger nameplate?
 What patterns or symbols will go with my nameplate?
Key Vocabulary (with definitions in student-friendly terms)
o Self assessment: The process of looking at one’s own work to understand areas of improvement
o Appropriation: Take something from other things (art history) by borrowing, modifying, or using existing
elements in new contexts.
‘MEAT’ OF LESSON (DELIVERY)
 Lesson Hook/Intro
o Images of
 Activities with **Approximate Timings for 75 minute classes**
o [10 mins] Attendance & Check in with class updates. Morning Bulleting
o [10 mins] Class discussion on creativity and taking ownership of the assignment
 How have you used sgraffito to the maximum effect? (contrast, using the full work space that’s
provided)
 What is your inspiration for this work? Where did you get your ideas from?
 Can we use relief or addition for our nameplates?
 What did I learn from my test plate sgraffito sample?
 Does it matter if your plate is square 4x8? Can we do other shapes? Use torn clay for our edges?
o [40 mins] Work Day:
 Students need to have 4x8 name plate designs ready for approval, should begin scratching/carving
o [5 mins] Clean up & Stations Check In with Mr. Smith
 Let students know if they have not been achieving maximum marks and need to clean stations
 Closure & Clean-up Structure (how you close the lesson, what procedures are part of clean-up)
o Stations check with teacher. NOTE: Students will need sketchbooks for next class.
CONSIDERATIONS OF LESSON (RESPONSIBILITIES)
 Assessments: Summative and/or Formative (include your rubrics here in the lesson plan)
o /5 Correct Size & Functionality (minimum 8 x 4, either holes or backing to support the work)
o /5 Sgraffito Contrast | /5 Creativity & Difficulty (Relief, Addition demonstrated?)
(6) LESSON PLAN: Sgraffito Ownership
Lesson #_6 for Unit: SGRAFFITO NAME PLATES
Course/Class Title: Ceramics 11-12
Instructor: Student Teacher Andrew Smith, SA Marta Adamovich (Eric Hamber)
Lesson Start/End Dates (2015): Thurs. Feb 26, 2015
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LESSON PLAN COMPONENTS:
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Lesson Objectives
o Students will be provided work time to near completion of their nameplates with two full classes left to
complete the assignment.
o Students will walk away with a firm understanding of what ‘bone dry’ is and how that stage of clay for sgraffito
can be harmful through silica dust
BC PLO’s/IRP’s
o Demonstrate competent use of techniques specific to selected materials, technologies, and processes
o Explain how particular combinations of elements and principles influence personal preference / Justify use of
image-development strategies in works
o Critique the use of the visual elements and principles of art and design in a variety of media artworks
Materials & Visual References
o Teacher Sample: Bone dry sample that is beyond the workable moisture level. Scratching leads to dust or
granular shavings, rather than a peel or clean piece of clay
Key Vocabulary (with definitions in student-friendly terms)
o Bone Dry: Stage of clay that is no longer workable for classroom purposes. Bone dry is where the clay needs to
be before it’s ready for the kiln. **Will be room temperature and no longer damp / cool to the touch
‘MEAT’ OF LESSON (DELIVERY)
 Lesson Hook/Intro
o Images of
 Activities with **Approximate Timings for 60 minute class**
o [5 mins] Attendance & Check in with class updates. Morning Bulleting
o [3 mins] Class discussion on creativity and taking ownership of the assignment
o [40 mins] Work Day:
 Students need to have 4x8 name plate designs ready for approval, should begin scratching/carving
 Test plates should be finished
 Nearing completion for large nameplates on Greenware shelving
o [5 mins] Clean up & Stations Check In with Mr. Smith
 Let students know if they have not been achieving maximum marks and need to clean stations
 Closure & Clean-up Structure (how you close the lesson, what procedures are part of clean-up)
o Stations check with teacher. NOTE: Students will need sketchbooks for next class.
(7) LESSON PLAN: How to wrap up Sgraffito nameplates
Lesson #_7_ Out of _7_ for Unit: SGRAFFITO NAME PLATES
Course/Class Title: Ceramics 11-12
Instructor: Student Teacher Andrew Smith, SA Marta Adamovich (Eric Hamber)
Lesson Start/End Dates (2015): Monday, March 2, 2015
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LESSON PLAN COMPONENTS:
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


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Lesson Objectives
o Students will have an understanding of what’s required of them for project completion including sketchbook
assignments, glazed test plate and final glazed name plate
o Students will have time to finish nameplates and load them onto the green ware shelf for drying
BC PLO’s/IRP’s
o Demonstrate competent use of techniques specific to selected materials, technologies, and processes
o Explain how particular combinations of elements and principles influence personal preference / Justify use of
image-development strategies in works
o Critique the use of the visual elements and principles of art and design in a variety of media artworks
Guiding Questions:
o Do I understand what’s required of me so I can achieve maximum marks based on the work I have produced?
o How do I evaluate / assess my own work?
o How have I incorporated the new glazing technique [sgraffito] into my work? How does that impact my work?
Materials & Visual References
o Chalkboard: Self Assessment of nameplate assignment:
 Test Plate (4 x 4 & glazed?)
 FINAL NAME PLATE:
 Required Dimensions? (minimum 4 x 8)
 Functional? (holes or stand, or other method)
 Sgraffito Contrast, Range of Difficulty?
 Overall Finished Quality?
 Sketchbook Assignments (as outlined on handout)
 Sgraffito – What’s it all about? Include an artist. Who is Barricklow and what do you like / not
like about his work?
 Test Plate Design & Name Plate Final Designs
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SELF ASSESSMENT:
 How did I use Sgraffito for this assignment?
 How did I come up with my design idea?
 What did I learn from my Test plate?
 How is my nameplate unique / original?
Key Vocabulary (with definitions in student-friendly terms)
o Self assessment: The process of looking at one’s own work to understand areas of improvement
‘MEAT’ OF LESSON (DELIVERY)
 Activities with **Approximate Timings for 75 minute classes**
o [5 mins] Attendance & Check in, Morning Bulletin
o [10 mins] Review of how to complete self-assessment.
 Criteria for project to be submitted on Friday: 3 Sketchbook Assignments, Test Plate & Nameplate
 Reminder Greenware on Monday, can glaze Wednesday & Submit Friday. Overlapping with new
assignment for Culture Pots.
o [55 mins] Work Day & Self Assessment Wrap Up (need to gauge class progress & determine if critique tickets are
a possibility)
o [5 mins] Clean up & Stations Check In.
 Closure & Clean-up Structure: Students can ask for progress and points overall during the unit.
o Closure: Mention that nameplates should be on the shelf. Classroom will be open Monday afternoon for
additional work time. Need to have work submitted on Friday for marking.
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