See
detail
See detail
Art Equation:
Medium=Paperclay=equal parts toilet paper pulp+ sloppy clay
+ Process=Slab, coil, or paddle and anvil depending upon desired form
+ Elem/Princ.=Occupied/unoccupied Space and Texture
+ Concept/Concern=Homelessness in US
+ Reference/Influence=Outsiders and Others Gallery, Minneapolis, MN,
Homeless Awareness Show El Jardin de los Ninos Homeless Children's' Shelter, Las Cruces, NM
Paperclay
article by Brian Gartside http://www.gartside.info/paperclaychart2.htm http://www.gartside.info
/paperclaychart1.htm
Additional Resources
Resources from Graham Hay web site.
http://www.grahamhay.com.au
/paperclay.html
Sculptures by Graham Hay
http://www.grahamhay.com.au
/galleryindex.html
Paperclay links:
http://www.ceramicstoday.com
/links/paperclay.html
Media Preparation:
Blend toilet paper scraps and enough warm
water to make a "TP smoothie" and mix with an equal
amount by approximate weight of sloppy clay. Pug this
mixture by hand until relatively homogeneous. The
cellulose fibers of the paper serve to strengthen the mixture
and retard shrinkage when dry and burn out easily when fired.
Paperclay mixture can be poured onto a cafeteria tray or plaster
bat for drying, then cut and cemented with some reserved sloppy
paperclay, wet on dry, to create slab constructions, or kept at
a wedge-able stage and coiled or used in other handbuilding
techniques. Damp paperclay may be stored in plastic
sealable bags and refrigerated to prevent decomposition of paper
fibers.
Concept:
Students were to create a visual response
to the plight of homeless populations in our communities.
The response could include visual references to the idea of
shells as shell-ters from a story told them of a homeless person
I had met who was found living in an unused bandshell in East
River Park in New York City and a class discussion of their own
personal encounters with homeless people in our and other
communities. Of particular concern were the homeless
children sheltered at the Jardin de los Ninos in Las Cruces, NM.
Process:
Students were required to do a series of
thumbnail preparatory sketches for their sculptures before
mixing their paperclay and constructing their ideas.
Emphasis was placed on the elements and principles of occupied
and unoccupied space and texture in their constructions.
Finalized sculptures were fired unglazed to further emphasize
the spatial and textural elements.
Assessment:
As these were projects done by AP Studio
3D Design students, the rubric established by the College Board
for portfolio evaluation was used in an individual-to-teacher
self-critique on a scale of 1-6, 1 being poor to 6-excellent,
with respect to the overall effect of the piece and its use of
space and texture.
Alternate Rubric (for those who do
not have the AP rubric)
|
Assessment Rubric
|
|
Student Name: |
Class Period:
|
|
Assignment:
Paperclay
Sculpture
|
Date Completed:
|
|
Circle the
number in pencil that
best shows how well you feel that you completed that
criterion for the assignment.
|
Excellent
|
Good
|
Average
|
Needs
Improvement
|
Rate
Yourself
|
Teacher’s
Rating
|
|
Criteria 1 – Sketches and planning
|
10
|
9 – 8
|
7
|
6 or less
|
|
|
|
Criteria 2 –
Execution of plans -overall presentation of ideas - use of
texture and space
|
10
|
9 – 8
|
7
|
6 or less
|
|
|
|
Criteria 3 –
Forming techniques/construction
|
10
|
9 – 8
|
7
|
6 or less
|
|
|
|
Criteria 4 – Effort: took time to
develop idea & complete project? (Didn’t rush.) Good
use of class time?
|
10
|
9 – 8
|
7
|
6 or less
|
|
|
|
Criteria 5 – Craftsmanship – Neat, clean & complete? Skillful use of the
art tools & media?
|
10
|
9 – 8
|
7
|
6 or less
|
|
|
|
Total:
50
x
2 = 100
(possible
points)
|
Grade:
|
|
|
|
|
Your Total
|
Teacher Total
|
Student
Comments:
Teacher
Comments:
National Standards (those covered
will depend on how much class discussion there is and
presentation of other works)
| 1.
Understanding and applying media, techniques, and
processes |
2.
Using knowledge of structures and functions |
3.
Choosing and evaluating a range of subject matter,
symbols, and ideas |
5.
Reflecting upon and assessing the characteristics and
merits of their work and the work of others |
| Students
apply media, techniques, and processes with sufficient
skill, confidence, and sensitivity that their intentions
are carried out in their artworks |
Students
demonstrate the ability to form and defend judgments
about the characteristics and structures to accomplish
commercial, personal, communal, or other purposes of art |
|
Students
identify intentions of those creating artworks, explore
the implications of various purposes, and justify their
analyses of purposes in particular works |
| Students
conceive and create works of visual art that demonstrate
an understanding of how the communication of their ideas
relates to the media, techniques, and processes they use |
Students
evaluate the effectiveness of artworks in terms of
organizational structures and functions |
Students
apply subjects, symbols, and ideas in their artworks and
use the skills gained to solve problems in daily life |
Students
describe meanings of artworks by analyzing how specific
works are created and how they relate to historical and
cultural contexts |
| (Advanced)
Students communicate ideas regularly at a high level of
effectiveness in at least one visual arts medium |
Students
create artworks that use organizational principles and
functions to solve specific visual arts problems |
|
Students
reflect analytically on various interpretations as a
means for understanding and evaluating works of visual
art |
| Students
initiate, define, and solve challenging visual arts
problems independently using intellectual skills such as
analysis, synthesis, and evaluation |
(Advanced)
Students demonstrate the ability to compare two or more
perspectives about the use of organizational principles
and functions in artwork and to defend personal
evaluations of these perspectives |
|
(Advanced)
Students correlate responses to works of visual art with
various techniques for communicating meanings, ideas,
attitudes, views, and intentions |
| |
Students
create multiple solutions to specific visual arts
problems that demonstrate competence in producing
effective relationships between structural choices and
artistic functions |
|
|
