Course number: ARTS2346
Course title: Ceramics I
Semester hours: 3
Foundational Component Area
A. The course “focus[es] on the appreciation and analysis of creative artifacts and works of the human
imagination.”
Ceramics I provides a cumulative focus, approaching various aspects including technical aspects of studio
techniques, to a more historical consensus of ceramic practices. Strategic and critical thought are also utilized,
including individual projects and group critiques. An introduction to basic clay vocabulary, assigned technical
readings, and the research of clay artists are weekly components of the class.
B. The course “involve[s] the synthesis and interpretation of artistic expression and enable[s] critical, creative,
and innovative communication about works of art.”
Students gain the ability to initiate and perform specific ceramics related processes. They learn the vocabulary and
techniques that are necessary to creating works of art in the clay medium. Demonstrations, lectures, critiques, as
well as individual student projects and assessments are the main components of the class.
Core Objectives
A.
Critical Thinking, Aspect 1: “Students will demonstrate creative thinking and innovation.”
Students in the class develop critical thinking and innovation through integration of pertinent ceramics vocabulary
and concepts, as well as foundational design principles. Students are expected to exercise these concepts and
principles in their active studio practice of specific assignments. This practice requires students to conceptualize
and strategize based on the parameters of each assignment. (See Appendix A)
B.
Critical Thinking, Aspect 2: “Students will demonstrate effective inquiry strategies.”
Inquiry strategies are encouraged with certain assignments that have a strong conceptual component. This more
personal, conceptual approach allows students to ask themselves very specific questions that addresses them as
an individual, an approach that is necessary to the success of the project.
Other inquiry strategies involve group critique. All students are required to participate in critiques that involve
finished work and in-progress work. Students are expected in this environment, to engage by asking questions
pertinent to the involved assignment. (See Appendix A)
C. Communication, Aspect 1: “Students will demonstrate effective development, interpretation, and
expressions of ideas through written communication.”
Students are exposed to specific techniques as well as the artists and/or works of art that signify those
techniques. In this way, a specific context allows students to understand and appreciate such techniques and
terminology, and how they are still important today. Students are regularly quizzed on such information provided
in class. (See Appendix B)
D. Communication, Aspect 2: “Students will demonstrate effective development, interpretation, and
expressions of ideas through oral communication.”
A major part of studio classes involves individual and group critique. In these critiques, students are required to
explain their chosen concepts and techniques, as well as offer analysis of their fellow students’ work. This system
of communication allows for constructive criticism and creates a consistent dialogue between students.
E. Communication, Aspect 3: “Students will demonstrate effective development, interpretation, and expressions
of ideas through visual communication.”
Students are required to complete several works of art that communication specific ideas and principles. The
success of these projects depends on the students’ ability to effectively convey these ideas. As a preliminary step,
students are expected to make several sketches and maquettes that demonstrate their predicted end result of the
project at hand. This allows to me to better understand their vision as well as holding them accountable to their
vision, as well as requiring them visually communication their ideas.
F. Teamwork: “Students will demonstrate the ability to consider different points of view and to work
effectively with others to support a shared purpose or goal.”
Group critiques require that students offer their own concepts regarding their projects as well as offering feedback
on each others’ work. This exchange of ideas and constructive criticism forces students to consider different
points of view. Students in this class must also coordinate to complete, install and take down a professional art
exhibit in the Visual Arts Gallery.
G. Social Responsibility, Aspect 3: “Students will demonstrate the ability to engage effectively in regional,
national, and global communities.”
Students are required to participate in a community art exhibit. The success of this exhibit relies on the students’
ability to communicate and cooperate with each other, as well as considering the needs of the community. By its
very nature the Visual Arts engages regional, national and global communities.
Appendix A:
Project 1: Pinch pot/Reliquary
The pinch pot/reliquary project requires critical thinking and innovation by introducing the concept of a
relic/reliquary and the historical/cultural significance of this concept. Students are required to create their own
reliquary by first choosing a relic, an object that is personal and important to them, and then creating a vessel in
which to house their relic. As well as the conceptual component of the reliquary, students must exercise technical
capabilities in this beginning hand building assignment.
Art 2346
Project 1: Pinch pot reliquary
O’Brien
Description: A reliquary is a container or shrine that houses one or more relics. A relic is an object that is considered sacred.
In historical religion, reliquaries housed items associated with people of religious significance, usually saints. Relics are an
important aspect of Buddhism, Christianity, Hinduism, Shamanism, and many other personal belief systems. Not all relics are
religious. Cultural relics are kept, as well as heirlooms and memorials to certain occasions. Starting with the pinch pot method,
make a reliquary for your chosen “relic”. Think about ways you can visually have these two objects relate to each other…shape,
texture, carvings, size, ornamentation, etc. Look up some images of relics and reliquaries online to further your ideas.
Readings: syllabus in its entirety! You are responsible for all the information in your syllabus. Handout from The Craft &
Art of Clay: chapter 1 pages 11-21(overview of clay) & chp.2 pages 23-32 (fabrication methods)
Terms: air bubbles, cheese-hard, bone-dry, burnishing, darting, foot, feet, greenware, bisqueware, leather-hard, lip, rim, luting,
paddling, pinch pots, plastic, plasticity, slip and score, shrinkage, slurry, stoneware, wedging
Saturday, September 21st @ beginning of class… (you will have overlapping projects)
Due:

Clay: One pinch pot reliquary along with your chosen relic.
Saturday, September 14th @ beginning of class…
Due:

Sketchbook: Google 3 different artists from the clay artist list I gave you. Take a few notes in your sketchbook
about their work. Make some sketches of each artists’ work (at least one of each) to help inspire your own ideas.
THEN Make at least 3 original sketches for your reliquary using your chosen relic and artists you researched as
inspiration for a total of at least 6 sketches minimum…worth 10 % of your first project grade
Appendix B:
Students are given weekly readings that address specific techniques, terminology, and concepts. In addition to
these readings, students are required to research specific artists. These ideas and artists are regularly addressed in
their studio assignments, allowing them to understand and appreciate such techniques, terminology, and artists,
and how they are still important today. Students are also regularly quizzed on such information provided in class.
NORTH CENTRAL TEXAS COLLEGE
COURSE SYLLABUS
The North Central Texas College (NCTC) Course Syllabus provides the following as required by the Texas
Higher Education Coordinating Board (THECB): (1) a brief description of the course including each major
course requirement, assignment and examination; (2) the learning objectives for the course; (3) a general
description of the subject matter of each lecture or discussion; and (4) any required or recommended
readings. Contact information for the instructor is also provided. The Course Syllabus also provides
institutional information to indicate how this course supports NCTC’s purpose and mission. Information
specific to a particular section of the course will be included in the Class Syllabus and distributed to
enrolled students.
Course Title: Ceramics I, Beginning Ceramics/Pottery
Course Prefix & Number: ARTS2346
Section Number:
Term Code:
Semester Credit Hours: 3
Lecture Hours: 32
Lab Hours: 64
Course Description (NCTC Catalog):
This course is an introduction to basic ceramic techniques including hand-building, wheelthrowing, and glazing. Students will begin the semester by learning several hand-building
techniques and will be introduced to wheel throwing during the second half of the
semester. An introduction to basic clay vocabulary and various ceramic artists will also be
provided as a cumulative learning process. The student will, by the conclusion of the course,
have an overall view of the basic technical process of working with clay. No prerequisite.
CLASS MEETING: Tuesdays 2—5:50 p.m.
Studio is available for individual work time whenever a staff or faculty member is present to
unlock door. The building should generally be open Monday through Friday, 9 a.m. to 5 p.m.
Studios are closed on weekends and holidays. We meet only once a week. You are expected
to work in the studio on your own time as well.
Course Prerequisite(s): no prerequisite no prerequisite
Course Type:
 - Academic General Education Course (from Academic Course Guide Manual but not in NCTC Core)
 - Academic NCTC Core Curriculum Course
 - WECM Course
Name of Instructor:
Campus/Office Location:
Telephone Number:
E-mail Address:
O’Brien
Gainesville Campus, 1300 Building
jillcobrien@gmail.com/cobrien@nctc.edu
Name of Chair/Coordinator:
James M. Staples
Office Location:
1306B Visual Arts Department, Gainesville, Texas
Telephone Number:
940-668-7731 ext 4480
E-mail Address:
jstaples@nctc.edu
REQUIRED OR RECOMMENDED COURSE MATERIALS
The Art and Craft of Clay by Susan Peterson (any edition!)
Other recommended texts:
Working with Clay by Susan Peterson
The Japanese Pottery Handbook by Penny Richard Wilson
The Art of Hand-built Ceramics by Susan Bruce
Hand-building Techniques by Joaquim Chavarria
Hand-built Ceramics by Kathy Triplett
Supply List:
SUPPLIES LIST:
***Note: The cabinet spaces in the clay lab do not have locks and I cannot be responsible for any lost or stolen
items.
Label all of your tools!!! Sharpies and nail polish work well.
You will need the following items:
a potter’s tool kit usually contains the following eight items:
available at Voertman’s in Denton, Trinity in Dallas
-needle tool
-metal rib
-wooden rib
-wooden knife
-carving knives
-trimming tools
-wire tool
-small sponge
in addition you will need:
-clay***(50 lbs. of Trinity stoneware cone 6-10. Bring student i.d. or syllabus for discount!) see below for
Trinity location in Dallas. You must buy this clay, no exceptions!!!
-spray bottle
-plastic bags or trashbags
-towels, rags
-at least 1small, lidded tupperware for slips and glazes
-sketchbook roughly 9”x12”
-rubber rib (available at Trinity Ceramics)
optional but highly recommended:
-tools to facet: cheese slicer, etc.
-random objects for texture
-boxes to store finished work
-apron or shirt
-lotion (clay tends to dry out your hands)
Trinity Ceramics (clay, tools, books, magazines, lots of fun ceramics stuff!)
9016 Diplomacy Row
Dallas, TX 75247
Phone:(214) 631-0540 E-mail: TrinityCeramic@sbcglobal.net Store hours-M-F 9:00 to 5:00.
COURSE REQUIREMENTS, EVALUATION METHODS AND GRADING CRITERIA
# of Graded
Course Elements
7
4
Graded Course Elements
Projects and sketchbook
Quizzes
Percentage or
Points Values
80 %
20 %
GRADING:
You will receive a final letter grade for this course. Letter grades are based on participation, attendance,
sketchbook work, and projects. Other factors determining your grade are attitude, professionalism, neatness
in presentation of studio work, care of the studio (i.e. clean up after yourself and help maintain the studio),
and cumulative development in the course. Cumulative development is applicable to all assignments in this
course and is shown in your ability to integrate previously covered course material in subsequent assignments.
Professionalism is demonstrated by preparedness, attendance, effective use of class time, consideration of your
instructor and your colleagues, and respect for the studio. Participation includes being receptive to the assignments
and information provided in class, engaging in class demos and class critiques, and working studiously in class.
Extended breaks, accumulating tardies and early departures will affect your grade. If a student is not productive in
class, I have the right to deduct points on the project grade. In other words, you must be actively working in class
and not doing other projects or going on excessive breaks; this will impact your grade.
Late work is accepted with a 20 point deduction for every class day it is turned in late. If a project is due
today for example, and you turn it in during our class time next week, then there is an automatic 20 point
deduction. If your work is late and you have an excused absence (verifiable with documentation, see absence
policy), then the work is due the day you return to class without penalty. You are also allowed to turn in
revised or redone work. See course schedule for revision deadlines. The original project grade and
revision/redo project grade will be averaged into your final grade. Realize that if, for example, you don’t turn in
project 1, you will receive a zero for that grade. You can still turn in the work before the revision deadline and that
revision/redo grade will be averaged into the zero you originally received. So, if you get an 80 for the revised
project, your averaged grade for project would be a 40. Much better than a zero!
Missed quizzes cannot be retaken, regardless of whether your absence is excused or not, but the lowest quiz
grade is dropped. Unannounced mini-tests may be given at any time.
Sketchbooks are mandatory for this class and factor in as part of your project grade. I will ask to see them often for
reference, examples, and looking at your ideas so it is imperative that you bring them to class everyday. I will ask
to see your sketchbooks on a weekly basis and you will be graded on quality and completeness for your entries
80% studio work (includes sketchbook and possible revisions/redo’s)
20% quizzes
It is your responsibility to be aware of the grades you receive and to be aware of the average you are earning.
I cannot discuss your grade with you via email; this must be done in person.
Sketchbook requirements: choose a sketchbook you are comfortable with…be sure to put your name and number in
the book in case it gets lost. Label your name clearly on the cover of the sketchbook. You will be responsible for
all entries that are assigned. These entries are part of your project grades.
Quizzes: quizzes will based on assigned readings, projects, lectures, in-class demonstrations, and any information
provided in class.
Projects: Quality of projects is based on the objectives, expectations, presentation and execution of the assignment.
At times in the semester we may have group critiques as a class. Participation grades include participating in these
critiques and showing completed or in-progress work. Make sure you come to these critiques and engage in
discussion in order to get the fullest credit possible. Also, class participation is necessary in order to complete the
work
0-59% = F, 60-69% = D, 70-79% = C, 80-89% = B, 90- 100% = A
COURSE STRUCTURE & GUIDELINES:
Each student is expected to come to class every week and to be on time. Since our time together is limited, it is
important that while you are here, you are working and putting forth your best creative effort. This includes not only
working studiously, but also keeping a sketchbook, researching artists, concepts, etc. Please bring your sketchbook
to class each week to use as immediate reference, sketching ideas, and taking notes. I will ask to see your
sketchbook on a regular basis and this will factor into your project grades.
Additionally, I will give you several quizzes that will count for 20 percent of your final course grade. These quizzes
will be based on required readings, handouts, and information provided in class.
Unannounced mini-tests may be given at any time. Missed quizzes cannot be made up, regardless of an excused
absence, however I will drop your lowest quiz grade. Expect to spend time outside of the scheduled class
doing readings, working in your sketchbook/idea research, and completing projects in the studio. Work
diligently in class to minimize the time spent outside of class.
Generally, lab sessions will start with an introduction and discussion of new concepts, announcements,
reviews, demonstration, and lectures, therefore coming to class on time is important. I expect you to come on
time and be receptive to the information given!!! Consistent tardies and lack of participation will affect your
attendance and therefore lower your grade. I will work with the class as a group and with students individually.
If the information I provide to you isn’t clear and you have done the required research/readings prior to the class, I
expect you to voice your questions. Chances are that if you have a question about something, others do too. As
long as you do your part to learn the information (i.e. participation, reading, sketchbook work, practice, etc.), I am
more than happy to give you additional help. However, students must realize the following:
1. It is your responsibility to tell me of your concerns and be receptive to advice given.
2. It is your responsibility to do all assigned work.
3. Many times the more difficult problems require considerable time and effort spent outside of the
scheduled lab class.
4. You are expected to do readings from the required text and to put into practice the information
given.
5. If you are concerned about your progress and possible final grade, you should work consistently
and diligently throughout the entire semester. I will be glad to discuss your progress with you at
any time during the semester.
Clay can be an unforgiving medium and can be very frustrating to work with; it shrinks, it cracks, it breaks. You
WILL lose some of your work; that is the nature of the medium. Keeping caught up in class and producing more
than the minimum will help you avoid these inevitable problems. Learning to throw on the potter’s wheel takes
time and a lot of practice. Be patient, practice, pay attention and it will happen. I expect you to spend additional
outside studio time. This is your homework assignment-cultivating those skills necessary to make successful pieces.
Aside from studio work and artistic research, lab upkeep is also an important component of participation and
professionalism in this class. Your contribution to the maintenance of our studio directly impacts your
grade!!! See under STUDIO/CLAY RULES
Plagiarism of any kind is not tolerated. You will receive a zero for any work that is plagiarized in any fashion. You
are not allowed to turn in something for a grade that you have made/turned in for another class or made prior to this
class. Ask well in advance if you have any questions.
Use common sense and consideration with food, beverages, and cell phones. Keep your cell phone
conversations/text messaging outside of class.
This class is intended for degree seeking students. Regardless of your intended major, if you plan to stay in
this class I expect you to put forth your full effort and realize that this class is intended to strengthen your
skills as a visual art student.
Class Guidelines:
1.
Please be honest.
2.
Be respectful of your teacher and classmates. Be respectful of the classroom. If you are disruptive you will
be asked to leave.
3.
Come to class on time and be ready to work. Return from breaks on time.
4.
Have any assigned projects, reading, homework, etc. completed before class, and ready to be turned in at
the beginning of class.
5.
You will need to allow extra time each week open in your schedule in addition to time spent in class.
Please be sure that your work schedule, personal schedule, and/or other classes are balanced in a manner
that will allow you to excel in this class. Made sure your workload is manageable.
6.
Studio care/cleanliness is extremely important. You are expected to clean up after yourself before you
leave the studio. We will clean up the classroom as a group periodically.
7.
Please do not bring friends, family, or pets to the classroom.
8.
Do not submit work previously made or made in other classes, this is a form of cheating.
9.
If you have a problem in the class please follow the chain of command: Speak with me if you have an
issue. If I can’t help you, you will be directed to the Program Coordinator, Jimmy Staples.
10. This class complies with all college policies including disability accommodation. If you have a disability
that needs accommodating I am happy to work with you and the office of disability accommodation, please
let me know right away.
11. Students are not allowed to load or unload kilns unless I specifically give you permission to do so.
12. Work left at the end of the semester will be thrown away.
13. Work that is improperly glazed or constructed (too thick, broken, cracked, etc.) will not be fired.
14. Disclaimer: I have the right to modify the syllabus, supply list, and timelines in order to help students
perform to the best of their ability.
ATTENDANCE & CONDUCT:
Attendance is mandatory for all class sessions. Because of the nature of ceramics, little work can be done at home.
Excessive unexcused absences (more than one) will result in a grade deduction. . For every accruing absence after,
your grade will be dropped by another letter grade. One unexcused absence is permitted over the course of the
semester; your second unexcused absence automatically lowers your final grade by one letter, and a third
lowers your final grade by two letters, etc. In other words, if you have four unexcused absences you will
automatically fail the course. If you have excessive absences, consider withdrawing from the course. Make sure
you are aware of the last day to withdraw from the course, add/drop dates, etc.
Punctuality is required and excessive late arrivals, extended breaks, or early departures will affect your grade. If you
miss more than 1 hour of class I will count you absent. Additional absences will be excused if they meet the
following criteria: 1) an excused absence request form (two copies are with your syllabus) completed with proper
documentation turned in to me the day you return to class, and 2) the student either attends a funeral, or is personally
treated for a medical emergency (other circumstances are subject to approval). Student athletes must provide
official documentation of their game schedule, preferably during the first week of the semester. Any absences
which are not approved or noncompliant with these terms are considered unexcused. Absences incurred during the
add/drop period count.
Attendance policies are not negotiable and can result in a failing final grade, regardless of the quantity or quality of
work produced during the semester. If you have excessive absences, consider withdrawing from the course.
Absences are only excusable by a doctor’s note or proof or a valid family emergency. Traffic jams,
oversleeping, hangovers, etc. don’t constitute an excused absence. Plan ahead; use your absences wisely.
Attendance is taken during each class session. It is your responsibility to keep track of your absences and
tardies. Ask anytime you have questions. Not knowing how many absences you have does not exempt you
from attendance policies.
If you miss class any part of a class, you are responsible for the material covered and the work that was
assigned, regardless of whether the absence is excused or not. It is not my responsibility to catch you up on
missed work, this is your job!! Missed information, lectures, demos will not be repeated because of your
absence, excused or otherwise. I advise you all to exchange numbers/emails with each other in case you miss
class.
If you plan on missing a class, make arrangements with a fellow student to submit your assignments if you plan on
being absent. Consult your classmates about what you missed. Instructors are not obliged to repeat information
for those who have failed for any reason to attend class.
Be prepared for class sessions by bringing a sketchbook and appropriate supplies and projects. Leave the studio
clean and organized. We will spend time cleaning up the studio at the end of each class session. Everyone must
participate in cleaning the studio space…this is part of your grade!!!
DISCLAIMER: I have the right to change the syllabus, supply list, and timelines to help students perform to the
best of their ability.
INSTITUTIONAL LEARNING GOALS




A quality general education curriculum in all associate degree programs.
Quality freshman and sophomore level courses in arts and sciences which parallel the
lower division offerings of four-year colleges and universities.
Quality technical programs leading directly to careers in semi-skilled and skilled
occupations, and quality technical education programs up to two years in length leading
to certificates and associate degrees.
Quality programs and services in support of adult literacy and basic skills development
as a mean of workforce enhancement and expanding access to higher education.
PROGRAM PURPOSE STATEMENT
NCTC seeks to implement its goal of offering quality general education curriculum in all
associate degrees by offering a core of general education courses designed to help students
achieve academic, career and lifelong goals. Acquiring knowledge, thinking critically, and
utilizing the methodologies of various disciplines exposed students to experiences that serve to
advance their personal growth. The chief focus of the General Education Core Curriculum at
NCTC is to emphasize Exemplary Educational Objectives and Basic Intellectual Competencies.
DEPARTMENTAL PURPOSE STATEMENT
The purpose of the Art Department is to prepare students with a vocabulary of visual form and
an extensive foundation in Art theory and practice through particular media concentration and
study in Art Appreciation.
STATEMENT OF SKILLS AND KNOWLEDGE EXPECTED OF NCTC GRADUATES
NCTC seeks to implement its goal of offering a core of general education courses designed to
help students achieve academic, career and lifelong goals. The chief focus of the General
Education Core Courses at NCTC is to emphasize basic intellectual competencies and broad
intellectual perspectives.
CORE CURRICULUM COMPONENT AREA: HUMANITIES, VISUAL & PERFORMING ARTS
The overall objective of the Humanities, Visual & Performing Arts component area is to expand
students’ knowledge of the human condition and human cultures, especially in relation to
behaviors, ideas, and values expressed in works of human imagination and thought. Through
study in disciplines such as literature, philosophy, and the visual and performing arts, students
will engage in critical analysis, form aesthetic judgments, and develop an appreciation of the
arts and humanities as fundamental to the health and survival of any society. Students should
have experiences in both the arts and humanities.
HUMANITIES, VISUAL & PERFORMING ARTS: EXEMPLARY EDUCATIONAL OBJECTIVES (EEOs)
 (HPVA1) To demonstrate awareness of the scope and variety of works in the arts and
humanities.
 (HPVA2)
To understand those works as expression of individual and human values within
a historical and social context.
 (HPVA3)
To respond critically to works in the arts and humanities.
 (HPVA4) To engage in the creative process or interpretive performance and comprehend
the physical and intellectual demands required of the author or visual or
performing artists.
 (HPVA5) To articulate and inform personal reaction to works in the arts and
humanities.
 (HPVA6)
To develop an appreciation for the aesthetic principles that guide or govern the
humanities and arts.
 (HPVA7)
To demonstrate knowledge of the influence of literature, philosophy, and/or the
arts on intercultural experiences.
STUDENT LEARNING OUTCOMES
EEO Student Learning Outcome
 Learn basic terminology of ceramics.
 Learn basic clay construction techniques of wheel-throwing and hand-building

Learn basic techniques of glazing and decorating.

Familiarize oneself with aspects of contemporary and historical ceramics.

Show cumulative development and develop the ability to verbalize strengths and weaknesses
about a ceramic work.
GENERAL DESCRIPTION OF SUBJECT MATTER FOR EACH LECTURE/DISCUSSION
Topic
General Description of Subject Matter
Pinch pot
Coil building
Slab set
Wheel thrown cylinders &
handles
Bowl thrown cylinders
Glazed ware
Final project
Starting with the pinch pot method, make a reliquary for your chosen
“relic”.
Create a 15” vessel/sculpture using the coil pot method.
Create a set of three slab pieces that function as a set.
Create 6, 5-inch cylinders on the wheel.
Create 10 handles that are functional
Create a series of footed bowls, each thrown from at least one pound
of clay.
You will be graded on color palette, craft, and execution of glazing
technique
Create one final hand built piece or one final thrown piece
BASIC INTELLECTUAL COMPETENCIES FOR THIS COURSE
 READING – Reading at the college level means the ability to analyze and interpret a variety
of printed materials – books, articles and documents. A core curriculum should offer
student the opportunity to master both general methods of analyzing printed materials and
specific methods for analyzing the subject matter of individual disciplines.
 WRITING – Competency in writing is the ability to produce clear, correct, and coherent
prose adapted to purpose, occasion, and audience. Although correct grammar, spelling,
and punctuation are each a sine qua non in any composition, they do not automatically
ensure that the composition itself makes sense or that the writer has much of anything to
say. Students need to be familiar with the writing process including how to discover a topic
and how to develop and organize it, how to phrase it effectively for their audience. These
abilities can be acquired only through practice and reflection.
 SPEAKING – Competence in speaking is the ability to communicate orally in clear, coherent,
and persuasive language appropriate to purpose, occasion, and audience. Developing this
competency includes acquiring poise and developing control of the language through
experience in making presentations to small groups, to large groups, and through the
media.
 LISTENING – Listening at the college level means the ability to analyze and interpret various
forms of spoken communication.
 CRITICAL THINKING – Critical thinking embraces methods for applying both qualitative and
quantitative skills analytically and creatively to subject matter in order to evaluate
arguments and to construct alternative strategies. Problem solving is one of the
applications of critical thinking, used to address an identified task.
 COMPUTER LITERACY – Computer literacy at the college level means the ability to use
computer-based technology in communicating, solving problems, and acquiring
information. Core-educated students should have an understanding of the limits, problems,
and possibilities associated with the use of technology, and should have the tools necessary
to evaluate and learn new technologies as they become available.
Last day to Withdraw For the Spring 2012 semester, the last day to withdraw from a course
with a “W” is April 14, 2012.
Student Rights &
Responsibilities
NCTC Board policy FLB (Local) Student Rights and Responsibilities states
that each student shall be charged with notice and knowledge of the
contents and provisions of the rules and regulations concerning student
conduct. These rules and regulations are published in the Student
Handbook published in conjunction with the College Catalog. All
students shall obey the law, show respect for properly constituted
authority, and observe correct standards of conduct.
Scholastic Integrity
Scholastic dishonesty shall constitute a violation of college rules and
regulations and is punishable as prescribed by Board policies.
Scholastic dishonesty shall include, but not be limited to cheating on a
test, plagiarism, and collusion.
NCTC is now a tobacco-free campus! You can’t smoke or dip on campus grounds unless you
are in your car!!
STUDENT SUPPORT SERVICES
ACCESS
(Disability Support)
North Central Texas College is committed to both the spirit and letter of
federal equal opportunity legislation, including the Americans with
Disabilities Act (ADA) and section 504 of the Rehabilitation Act of 1973.
NCTC is required by law to provide "reasonable accommodations" to
students with disabilities, so as not to discriminate on the basis of that
disability. It is the student’s responsibility to provide disability
documentation to the ACCESS Office which authorizes accommodations
for students with disabilities. The ACCESS Office is located in room 170
on the Corinth Campus and room 110 of the Administration (100)
Building on the Gainesville Campus. Students can also call 940-6687731 ext. 4321 or 940-498-6207.
Student Success
Center
The Student Success Center is designed to help all students at NCTC
develop tools to achieve their academic goals. The center links students
to FREE tutoring, including a Writing Center, a Math Lab, and free online
tutoring in the evening. The program helps students acclimate to
college by providing students free interactive workshops about Time
Management, Study Skills, Test Anxiety, and much more. For more
information, please visit your nearest Student Success Center.
Financial Aid,
Scholarships, and
Veterans Services
The Financial Aid Office is responsible for administering a variety of
programs for students who need assistance in financing their education.
The first step for financial aid is to complete a FAFSA. For more
information, please visit your nearest Financial Aid Office.
STUDIO RULES/INFO: Respect the lab!! Please keep everything clean and orderly. Allow at least twenty
minutes for cleaning at the end of each class period. Leaving a mess behind creates unnecessary work for others and
will result in a grade deduction. Clean your table/working area and any other area that needs maintenance. Scrape
off excess clay (a metal rib usually works well for this) from your work station and anything else that needs
cleaning. Use a damp sponge to wipe down the tables, chairs, cabinets, wheels, and floor. Every item in the studio
has a place; be sure everything goes back into its spot. Return any borrowed tools/items.
Label all of your work with your initials on the bottom of each piece. Do this before your work dries out.
Any unclaimed, unglazed, unfired work at the end of the semester will be thrown away.
Clay: Wash your wheel, your tools and your hands with paper towels and then throw away or just add this
excess clay into your slip bowl. Avoid clay going down the sink! Avoid wearing long necklaces,
bracelets, watches, rings, or loose clothing when throwing on the wheel. Keep any long hair tied safely
back in a ponytail while throwing on the potter’s wheel. These precautions are for your safety!!!
Usable clay should be wedged and returned for later use in your cabinet. Do not pour slip into the sink.
Do not bring or use any other clay or glazes than those provided for you unless you have discussed this
specifically with me.
Glazes: Do not pour glazes down the sink or in the slip bucket. You can rinse glaze off of your hands or
brushes in the sink but try not to waste any. Be very careful not to contaminate glazes with each other.
This will ruin the glaze and waste a lot of materials and time.
Running Glazes: Glaze should never touch the kiln shelves!! Runny glazes are unpredictable…they
should only be used as ‘liners’ in the inside of vessels/pots or no more than halfway down the outside of
any piece. Any other method of application will likely ruin a kiln shelf or a clay piece. To prevent this, we
‘dry-foot’ our work, meaning we do not glaze the bottoms of artwork/pots. The glazeline should stop at
least 1/8” above the bottom of your piece. Apply wax resist at least 1/8” on all pieces. Even with this
precaution, some glazes will ‘run’ and drip past this 1/8” area and stick the artwork to a kiln shelf. This can
ruin the pot and the shelf. Applying too much glaze can cause this problem. Certain combinations of
glazes will also run, and we try to keep track of these and post them on the glaze room wall. We also have
a selection of approximately 5-10 glazes that WILL RUN and you can ONLY USE THEM on the insides
of pots. Please use these with caution and never use them on the outsides of your pots. They all say “I
RUN” on the bucket and they are indicated in bold on the glaze list on the wall. Please check and be aware
of this when you are glazing.Even if you wax the bottom your work, you should dry-foot your piece with a
damp sponge after glazing to clean off any drops of glaze that are on the wax or have dried in a ‘drip’ near
the base of your piece. Clean off these areas with a damp sponge.
Student work: Sign all of your work in a discernible fashion. Finished work should be put in the glaze
room to dry on a designated shelf. If you are still working on a piece, make sure it is tightly covered with
plastic and stored in your specific storage area. In general, finished pieces should dry slowly, draped
lightly with plastic.
Firing: Work will be fired only if it is completely bone-dry. Make sure that any enclosed forms have an
air hole(s) for air to escape during firing. Failure to observe these rules will result in the EXPLOSION of
your piece in the kiln, and the collateral damage of your peers' nearby pieces. Keep all of your fired work
until the final critique. Work that is too thick, broken, or not properly glazed will not be fired. All
work must be glazed and fired by the appropriate deadline (see course schedule). Any work left behind at
the end of the semester will be thrown away. NO EXCEPTIONS!!!
About our clay and glazes: We use ‘Trinity White Stoneware’, cone 6-10. We bisque fire in an electric kiln to
cone 06 (around 1830 degrees F) and we glaze fire to cone 6 (around 2230 degrees F). Your fired work is
considered high-fire stoneware and is suitable for eatery, microwaving, and bakeware (only if you heat up and cool
down with the oven). It is not suitable for stovetop. It is not ideal for outdoor use but will probably be fine. This
clay is versatile and can be used for pottery, sculpture, and tile. With a few exceptions, all the glazes in the glaze
room buckets are cone 6 glazes. All are food-safe except ones that are appropriately labeled as such.
General Process of Clay:
Create artwork or pieces with clay in its plastic state. Plasticity is clay’s ability to assume and retain a particular
shape.
Refine artwork, carve, or attach pieces in its leather-hard state; ‘Slip-and-score’ when attaching separate pieces.
Sign or stamp all of your artwork in a discernible fashion.
Let finished artwork dry to its bone-dry state. In this state, your finished work is called greenware. Allow your
work to dry slowly by lightly draping it with plastic (helps prevent warping and cracking) and move it to the kiln
room.
Any in-progress work needs to be wrapped tightly with plastic and kept in your cabinet. If the piece is too large,
tuck it away neatly directly underneath your cabinet area.
I will fire your greenware in a bisque kiln at cone 06, approximately 1830 degrees F. Your glazeware will be fired
to cone 6, approximately 2230 degrees F.
Plan your glazes. Make specific notes in your sketchbook so that we can identify results and problems that occur
later. Prepare the glaze by stirring before each use! Glazes start to settle immediately and unmixed glazes can cause
unpredictable results. In general, glazes should have the consistency of cream. If a glaze seems too thick or thin, let
me know.
Glaze your work. If dipping, dip once or twice, letting the glaze completely dry between dips (about 3-10 minutes).
The result will be a matte, chalky finish. You can re-dip in a different color but beware of incompatible
combinations! Make sure the first dip is completely dry to avoid cross-contaminating glazes! If you are painting on
your glaze, 3-4 coats are recommended.
Dry-foot your glazed ware. You should have a good 1/8” foot on every piece waxed and free of any glaze,
underglaze, etc. Take a damp sponge and wipe drips and dots of glaze from the base and near the base. Have me
check your foot and place the glazed ware in the appropriate area. Make sure you are placing your piece on a clean
shelf. I will fire your glazeware in a glaze fire at cone 6.