Project Keramika

8/11/2019 Project Keramika

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Project No LLII-108Step by Step to Crafts Cooperation between Kuli!a an

Kur"#nai $rt Sc%ools

Methodical Material for the New Study Syllabus

CERAMICS

&%e syllabus is intene for two acae'ic years&%e scope of t%e syllabus( )* %ours per wee+

, %ours per year

*010


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Kurnai, the town at the river Venta, has been distinguished from other townsand cities of Lithuania because of pottery famous for its deep traditions. Richdeposits of red clay lie in the picturesque surroundings of the town. herefore even in

ancient times, pottery prospered there, and the town was !nown as the "#apital of$otters%. &fter the 'irst (orld (ar, appro)imately twenty families of potters lived inKurnai. he traditions of this craft have been continued nowadays. hey arecontinued by fol! artists, professional artists as well as the young artists of the town.*ne of the integral parts of the curriculum of &rt education of Kurnai &rt +chool isceramics. he obective of ceramics as the teaching subect is to continue thetraditions of ceramics adapting them to the conte)t of modern life.

-onvina +avic!ien,he -irectress of Kurnai &rt +chools

SUMMARY

Art education is the component of general human culture. Art culture does not comenaturally. Art education begins with pre-school education and continues throughout life. Theacquired knowledge opens the wonderful world of arts to some people it helps to becomecreators, to others - conscious valuers and users of art.

The present methodical material has been developed implementing the project !tep by !tepto "rafts "ooperation between #uldiga and #ur$%nai Art !chools& '()ingsnis po *ingsnio +amatininkyst bendradarbiavimas tarp #uldigos ir #ur$%n meno mokykl( financed by the

program of cross-border cooperation of /atvia and /ithuania 0112-0134.The methodical material is a syllabus intended to the basic course of informal art

education, the studies of ceramics art.This syllabus may be integrated into the curriculum of spatial e5pression or may be

distinguished as an optional subject. The syllabus consists of the theoretical and practicalactivities. The material includes the objectives, tasks of ceramics teaching, special requirements toenvironment, means necessary to implementation thereof, requirements to a specialist. The briefhistory of ceramics, the classification thereof is also presented here. The main tools and rawmaterials of ceramics as well as the methods of preparation thereof are presented herein.


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6oreover, there are presented the main stages of forming of ceramics7 hand building, throwing,stencilling, forming, manufacturing of plaster moulds, and construction of clay slabs. The mainstages and kinds of firing7 8aku, yeast ceramics, black ceramics9 the most popular methods ofdecoration in /ithuania7 coloured clay mass, engobe, gla:es. The teaching program, whichincludes the major tasks, recommended numbers of hours for theoretical and practical activities, ofa particular topic is presented for each chapter.

The duration of the syllabus is 0 academic years.The training process consists of two hours per wee!, / hours per year.

TABLE OF CONTENTS

1. Abstract .................................................................................................................................52. Teaching Program for Intro!ction to Ceramics ............................................................1"#. Intro!ction to Ceramics ....................................................................................................11

$.1. C%assification of ceramics b& f!nction .......................................................................11$.2. The main ra' materia% ................................................................................................1$$.#. Characteristics of c%a& ..................................................................................................15$.$. (ass )re)aration ..........................................................................................................15

5. Program for Teaching the Techni*!es of Ceramics Forming..........................................1+,. Techni*!es of Ceramics Forming ......................................................................................1-

,.1. Sma%% too%s an instr!ments ........................................................................................1- ,.2. an b!i%ing .........................................................................................................1- ,.#. Thro'ing .......................................................................................................................1/

,.$. Stenci%%ing ......................................................................................................................2",.5. Formation ......................................................................................................................2"


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,.,. (an!fact!ring of )%aster mo!%s................................................................................21,.+. Constr!ction of c%a& s%abs ..........................................................................................21

+. Program for Teaching of the Stages an T&)es of Ceramics Firing.................................2#-. Stages an T&)es of Ceramics Firing ................................................................................2$

-.1. 0r&ing ............................................................................................................................2$-.2. Firing .............................................................................................................................25-.#. a! Ceramics ............................................................................................................2,-.$. 3east Ceramics .............................................................................................................2,-.5. B%ac Ceramics..............................................................................................................2+

/. Program for Ceramic 0ecoration Teaching.....................................................................#"1". Ceramic 0ecoration.............................................................................................................#1

1".1. Co%o!re (ass 0ecor .................................................................................................#1 1".2. Engobe .........................................................................................................................#2 1".#. 4%aing .........................................................................................................................#211. Anne6 I. 7Contin!ation of the O% Craft Traitions 8(oe%%ing of C%a& To&s9

:hist%es;7. ...............................................................................................#512. Anne6 II. 7Aa)tation of the O% Forms of Lith!anian Ceramics in (oern Ceramics8be%%s an com)ositions thereof;. ?irgi%i@a Si%estra !finsien> ..........................................#-1#. Anne6 III . 70esign an (o!%ing of ooDanthro)omor)hic Personages. Petrasatias.....................................................................................................................................$11$. Anne6 I?. GThe O% Forms of Ceramics in Contem)orar& Art7. Petras

atias...............................................................................................................................$$15. 4%ossar& ................................................................................................................................$+1,. eferences ............................................................................................................................$/


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ABSTRACT

;ducational institutions providing comprehensive education form the integral art cognitionby their curriculums.


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pedagogues, material facilities of the school?. 4n the 4441rd and 4V1th forms, ceramics shall be taughtas an optional subect >2 academic hours per wee!?.

he basics of ceramics shall be introduced to the pupils of primary education forms. hesepupils shall perform simple tas!s hand building small ceramics. hey shall learn to form simplefull volume figures of one piece of clay and stic!ing separate parts. hey shall form reliefs andopenwor! slabs of rolled clay sheets. #old gla


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$upils watch the process of firing of blac! ceramics in the studio of ceramicists Regina and

Vytautas =ataiHiai.

& pupils of form 4V helps to bury the !iln of blac! ceramics.


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2. o learn toprepare clayby sifting it.

3. o learn toprepare clayby grindingdry clay.

otal /otal 0C

INTO0HCTION TO CEA(ICShe word ceramicscomes from the ;ree!word IJMNOJPQI >keramikos?, Iof potteryI or

Ifor potteryI, from IJMNSQI >keramos?, IpotterTs clay, tile, pottery%. 4t is one of the oldestbranches of the applied decorative arts and crafts. he origin thereof reaches the prehistoric times.

#eramic manufacturing consists of preparation of raw materials, forming, drying and firing>hardening in fire?. #eramics may be formed using the plastic, semi dry or dry and slipcastingtechniques. 4n ceramics li!e in no one other craft, the idea and practicality, applicability,

professionalism and fol! traditions are so closely intertwined. he art critic $aulius ;alaun,describing Lithuanian fol! pottery wroteG I#eramics is an old, very old monument of a human

being. 4n the period of time covered by the mist of thousands of years, in the first glows of birth ofhuman mind and from the very separation of the functions of the purely bestial instinct in the timesof cut stone, we can see pottery even between the very first domestic appliances of a human being%>$. ;alaun ILietuviU liaudies menasI >Lithuanian 'ol! &rt?. 093C?.

4n the territory of Lithuania, there remain ceramic samples from a very distant past.&rchaeological digs give us the most !nowledge about the oldest ceramics. hey prove that even in

the 444 rd. =illennium E#, people, who lived in the territory of Lithuania, made wares of clay. heywere rough, of simple shape, construed by hand from coils of clay, polished and fired in a simplefireplace. hey were decorated with modest comb or corded patterns. he surface grinded with awisp of grass was abraded. Later, the shapes of wares became nicer, in 1th century, a potter:swheel was invented. he most of the elements of old ceramics moved to the ne)t centuries andreached our times without any significant changes. 4n V1th century the articles of daily ceramicswere started to cover by glapots?, dishes for food consumption >bowls, slabs, cups?, foodstorage containers >ars, ugs, hampers?, lantern lamps, candlestic!s, toys >whistles?, flower vasesand etc. (ares for coo!ing were dipped into liquid bread dough immediately after firing in order to

8
http://en.wikipedia.org/wiki/Greek_languagehttp://en.wikipedia.org/wiki/Greek_language


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avoid lea!ing. hus the walls of such wares became blac!A therefore these wares were named"blac! pots%. -ishes for food consumption were embellished with modest patterns. Eowls, plates,cups were decorated with simplified floral ornaments. he most beautiful wares were ugs. heywere decorated in green, red, yellow coating, using styli


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-ecorative ceramics. #andlestic!. -ecorative ceramics. Eell.

*ne of the manifestations of round sculpture in ceramics is fictile toys. 'ree patterning ,laconic, generalised forms, e)pressive silhouettes are characteristic to them. (histles, which were

brought to children by adults from feasts and fairsG duc!s, chanticleers, fo)es, doggies, pigs, ridersriding a horse or a ram. Rural potters conveyed the characteristic qualities of birds, animals in thesesmall, simple sculptures giving them some humour.

-ecorative ceramics. (histles.D7 =&4@ R&( =&7R4&L

he main raw material used in ceramics is clay B sediment. #lay is mostly composed ofhydrosilicate minerals. he main chemical substances are silicic >4V? o)ide and alumina >&l2*3?.#lay is formed from other roc!s, as chemical weathering and hydrothermal product. *ver 3C typesof clay have been distinguished.

Varve>or varved clay? is clay with visible annual layers, formed by seasonal differences inerosionand organic content. his type of depositis common in former glacial la!es. (hen glacialla!es are formed there is very little movement of the water that ma!es the la!e, and these erodedsoils settle on the la!e bed. his allows such an even distribution on the different layers of clay. heclassic varve archetypeis a light Y dar! coloured couplet deposited in a glacial la!e. he light layerusually comprises a coarser laminaset of siltand fine sanddeposited under higher energy conditionswhen meltwater introduces sediment load into the la!e water. -uring winter months, whenmeltwater and associated suspended sediment input is reduced, and often when the la!e surfacefree


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clay article dries, the remaining hollows are filled with clay particles until one props to another.+ince that moment clay stops shrin!ing and loses its plasticity. -rying the clay for a longer periodwould result spongy mass. he thic!er walls of an article, the higher are the differences ofhumidity between the surface and internal walls of the article. 4f the surface of the walls of anarticle hardens faster than the inner mass >fails to dry in the same time and to reduce the volume?,than inner tensions appear and herewith deformations and gaps.4t is accepted to classify clays according to their fire resistance. Digher than 058C[# B fire resistantA 'rom 035C to 058C[# B hardly meltingA Lower than 035C[# B easily melting.

'ire resistance demonstrates, at which temperature the clay being heated softens as muchthat the sample thereof deforms impacted by the own mass.

$ure clay melts only at very high temperatures >appro)imately 08CC[?, impure >simple? claysmelt at appro)imately 02CC[# temperature. $ure clays may be found especially rarely, traces of

e)traneous substances are found in all natural clays. 4n practice, the clays, which impurities do notchange considerably the qualities of the clay, are considered pure.

$R7$&R&4*@ *' =&++7+#eramic mass consists of one or several types of processed clay. he mass may have a

similitude of dough, may be liquid or dry depending on the nature of manufacturing.#lay for mass ma!ing is subect to processing in three different waysG0. =anual selection, when a piece of clay is sliced by a wire to thin slices and the big

impurities are e)tracted.2. 'ine dry clay and other substances are sieved and mi)ed.

3. -ried clay is crumbled and poured by water allowing standing still for a longer period oftimeA the dilute mass is filtered through a thic! copper sieve.

he mass is hardened by evaporating water or dewatering using plaster. $lastic clay isconsidered as fat and less plastic B as thin. 4t ma!es impact on shrin!ing of clay and deformationthereof during drying and after firing. he plasticity may be adusted inserting to the clay somesand, !aolin, firestone, sawdust. Dowever the components must be evenly distributed in the mass.

00


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TE TEACIN4 PO4A( OF TE (ETO0S OF CEA(ICS FO(IN4

*bectives of teaching#ontents of the

subect

-esignatedhours

heory$racticaltraining

0. o !now the names of tools andinstruments for wor!ing withclay and to !now how to applythem in accordance with their

purpose.2. o !now the possibilities of useof sculptural wor!ing tools andtools for wor!ing with plaster.

3. o !now the tools of glamoulding? technique.

2. o !now and be able to use themethod of clay forming by

pressing.3. o be able to ma!e a plaster

mould.

'orming 0 0C

0. o !now how and be able to rolla sheet of clay.

2. o !now how and be able toma!e the evolvent of an article.3. o be able to paste parts.

#onstruction ofclay slabs

2C

02


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otal 3 6Cotal

63

TE (ETO0S OF CEA(IC FO(ATIONhe most famous methods of ceramic forming are the followingG hand building, stencilling,

swaging pressing, slipcasting >moulding? and construction of clay slabs. +ome articles are madefreely by hands, others are partially or totally mechanised.

+=&LL (*RK4@; **L+ &@- 4@+RW=7@+here are lots of small various wor!ing tools, however the most necessary, which have been

used by potters since the oldest times, shall be distinguished. he most characteristic tool of apotter is a trowel >also !nown as splinter, be!eris, varielis?. his is a slab of encaustic clay or wood,sometimes of metal or plastic with a hole for a finger used to finish the e)ternal surface of pots andto form and finish the inside of bowls. & steel wire >which sometimes is twisted of two wires?with tips at the ends is the most suitable to cut clay. & thin needle >awl? is also used to cut throwing

clay and to chec! the thic!ness of walls. & sponge or soft foam rubber is used to blot up a warebeing thrown. +teel shaves with turned bac! ends, rings or loops with holders are suitable forthrown wares. & rolling1pin and plan!s of various thic!ness are used to ma!e clay slabs. #lay ishammered by a wooden hammer or sand swab >a bag of strong cloth filled with sand?.

Various wooden and metal tools are used to perform the wor!s of sculpture and plasterG ribs>rigid flat tools?, scrapers, !nives, rasps. 'our wooden supports with metal fi)ers and curved ringsof metals or carton are used to enclose a plaster1cast.

'lat and round soft brushes, scrapers and a rubber balloon with a hollow stal! are needed todecorating and gla


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cloth in order to prevent slumping of the ware from the weight of the walls. Wsing the hand buildingtechnique, you may ma!e a clay ware of clay circles >fla!es? and clay strips. +ymmetrical andasymmetrical as well as rectangular wares are formed using the hand building technique. 4t is notworth to imitate throwing. Various figures, whistles and other souvenirs may be had built.

his method is very suitable to beginners, whereas it allows feeling of clay as an interestingsubstance and the beauty of thins created of clay. Xapanese people follow such aesthetics ma!ing hand

built ceramics.

& hand built ar.DR*(4@;

&lthough ancient 7gyptians and ;ree!s had a foot controlled throwing wheel, suchtechnique of ware forming appeared in our region only in 0C1th century. he oldest potter:s wheelhas been named by archaeologists as a manual throwing wheel or a "stovyla%. 4n the unction of

VBV41th centuries, a foot1controlled throwing wheel was used rather often.& throwing wheel consists of two wooden circles of different sinowadays a metal wire is used? and placedcarefully by dry hands on a wooden board.

&ncient potters used a clay mass with gravel impurities to manufacture pots. +uch method ofclay preparation to manufacture pots, designated to ba!ing in bread1ma!ing oven or coo!ing on anopen fire remained until the beginning of the 2C1th century. he granules of gravel increase the pot:sresistance against changes of temperatures. #lay shrin!s, when it is dried, but the particles of graveldo not shrin!. (hen a pot is dried, lots of small micro1crac!s emerge, these small gaps of airamortise temperature deviations. 'iring such wares in a ceramic !iln, they cleave rarely. #oo!ingfood on an open fire, when one side heats up more than another, they are also more durable andcleave more rarely due to deviations of temperatures than the wares, pots made of homogenous claymass. Dand built and thrown pots are also more durable due to fluctuations of the thic!ness ofthe wall.

hrowing stages.+7@#4LL4@;4t is a semi1mechanical method. 4t is convenient, when it is required to form bigger

quantities of equal articles >usually open or flat wares?. & plaster holder is fi)ed to a throwingmachine, where a plaster mould is placed. & lever with the fi)ed holder of a mould is built on the

right side of the machine. 4t helps to form the inner or outer surface of an article. & lump of plasticclay is placed into the form. 4t shall be pressed well to the walls of the form starting from the middleand then, having lowered the lever, it is smoothed with the mould, herewith removing the surplus of

0/


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clay. &t the end, the clay may be damped with a sponge in order to ensure better slipping of themould. he form is ta!en out and another one is placed instead of it. &fter some time, the articlemay be ta!en, which shall be retouched, when dried. 4n the second case, clay is placed on a conve)form. his method is more suitable to manufacture flat articles. =ore plaster moulds are necessaryin order to improve the stencilling. 4n industry, this process is more mechanised and automated,quic!ly rotating rollers are used instead of the moulding !nife. he smooth well clay and removethe surplus thereof.

'*R=4@;4t is performed, when an article is not round, relief and etc. 4t is possible to form in two

waysG0. Ey pressing.2. Ey slip1casting.

Ey pressing, when soft clay is pressured by hands into the form. +lip1casting is a techniquefor the mass1production ofpottery, especially for shapes not easily made on a wheel. & liquid clay

body slip>usually mi)ed in ablunger? is poured intoplastermouldsand allowed to form a layer, the

cast, on the inside cavity of the mould. 4n a solid cast mould, ceramic obects such as handles andplatters are surrounded by plaster on all sides with a reservoir for slip, and are removed when thesolid piece is held within. 'or a hollow cast mould, once the plaster has absorbed most of the liquidfrom the outside layer of clay the remaining slip is poured off for later use. he cast piece isremoved from the mould, IfettledI >trimmed neatly? and allowed to dry. his produces a greenware

piece which is then dried before firing, with or without decoration and gla


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$laster moulds.

#*@+RW#4*@*'#L&F +L&E+his method is very popular in modern ceramics. 'lat and volumetric wares, bo)es,

architectural and abstract plastics as well as lots of other things may be formed using this method.'urthermore, angular and round obects are formed and they are even supplemented with thrown,hand1built or pressed elements. he thic!ness of the slab range from C.5 to 3 cm B it depends on thestructure of the clay mass and the siof 0 B0.5 thic!ness?. hey are rolled manually. +hrin!ing clay tends to shrin!A therefore it is rolled in twodirections. &rticles made of slabs rolled in one direction deform and cleave. he slabs of small si


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heory $racticaltraining

0. o !now about the changes ofthe qualities of clay drying the

fictile article.2. o !now the most importantconditions of regular drying.

3. o !now how to dry a fictilearticle regularly.

-rying 0

0. o !now the changes of clayqualities firing fictile article.

2. o !now the principle ofoperating of a !iln.

3. o be able to adapt regimes offiring in accordance with theneeds.

'iring 0

0. &bility to fire fictile articleusing wood1wool.

Ra!u ceramics /

0. o be able to fire a fictile articleusing the yeast of wheat, rye,

beetroot.

Feast ceramics 0

0. o !now the technology offiring of blac! ceramics.

2. o be able to distinguish thearticles of blac! ceramics.

Elac! ceramics 0

otalG / /otalG8

STA4ES AN0 T3PES OF CEA(ICS FIIN4-RF4@;-rying of articles B water evaporation from them B is the very important process of

ceramics manufacturing, on which the quality of products depends. *nly well dried articles are ofhigh quality and more resistant to cleavage. &rticles are dried from 5 to 0C days. #lay shrin!sdrying in normal conditions, whereas water e)isting on the surface of separate particles, evaporates.+hrin!ing during drying depends on plasticity of the clay. Very plastic clay shrin!s 0C105 Z, ofaverage plasticity 10C Z, low plasticity /1 Z. #lay fired at the temperatures of 95C10CCC[#shrin!s \ 0 Z, this value of shrin!ing shows, how much bigger the articles should be formed inorder to receive them of required si


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4n the room of drying, there should not be any draughts. +ufficient space shall be left aroundthe article. 4n the event if ne)t to the article is a wall or any other thing, the article may deform.hinner places and conve)ities of the article may be covered. he whole article shall dry evenly.-rying of plates is the most difficult. hey are placed on wooden grids and the proecting cornersthereof shall be covered, whereas they begin to dry first of all and the plate may deform.

4n the wor!shop of a ceramicist.'4R4@;he most important process in ceramics is firing. (ell dried fictile articles are placed into a

!iln and fired at 0CCC] #1 05CC ] # temperatures. 7lectrical firing !ilns are used nowadays for firingof fictile articles. &rticles shall be ta!en of the !iln only when they are cooled. he articles shall be

placed in the !iln in such a way to place as many as possible and to remain gaps of sufficient siin other cases, there may be a hole in the middle of the cover?. 'iring onesand others in the yeast, the fired articles shall be placed underneath the unfired articles. #hipsupports may be placed under the articles in order to avoid covering of the holes of the bottom bythe articles. &t first, it is necessary to !eep a small fire under the container, and having heated it,sto!e harderA some pitchy billets, tar1paper and other smo!ing substances may be thrown at the endof firing. +uch !iln must be well sealed. Wnfired articles shall be fired for /1 5 hours and 2 hoursare enough to smo!e a bisque >he most suitable temperature is 8CC] #?. +uch "!iln% is suitable alsofor firing with wood1wool. 4t is not recommended to fire in a very windy day. 4t is better thatwea!er wind would blow directly to the firelighter or to the side thereof.

R&KW #7R&=4#+Ra!u technique is an old Xapanese clay processing method. +hapes are created of very "thin%

ceramic masses >the clay consists lots of firestone, feldspar?. hey are covered by special gla


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-ishes designated to tea drin!ing created several hundred years ago are the significant and valuednowadays part of the heritage of Xapanese culture.

Ra!u ceramics

F7&+#7R&=4#+his technology is distinguished for its peculiarity. & hot, glowing up to 9CC degrees articleis ta!en out of a !iln and soa!ed into the yeast of wheat, rye, beetroots, cabbages or peas.

Feast ceramics.ELK #7R&=4#+he tradition of blac! ceramics reaches the prehistoric times. Wngla


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TE PO4A( OF TEACIN4 OF CEA(IC 0ECOATION

*bectives of teaching#ontent of the

subect

@umb

er ofhours

heory $racticaltraining

0. o !now the methods ofincrustation decoration2. o be able to decorate afictile article encrusting it withcoloured clay mass.

3. o be able to decorate afictile article using the methodof marble coloured clay mass.

-ecoration usingthe method ofincrustation

0C

0. o !now the technique ofengobe.

2. o be able decorate using theengobe technique.

-ecoration usingthe engobetechnique

/

0. o !now the methods ofsculptural decoration.2. o be able to decorateimpressing, incising.3. o be able to decorateattaching.

+culpturaldecoration

0C

0. o !now the types ofgla


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0ECOATION OF CEA(ICS-ecoration of fictile articles is a very important stage of the technological process. -ecor isnot only functional but also aesthetic advantage. he character thereof, the e)cellence of

performance and influence depends on the individual point of view and s!ills of a ceramist.+ometimes decor is determined by the spirit of the period of time and the purpose of an article.7ven since the most ancient times, the art of ceramics decoration has been developed finding newand improving the old ones methods. he understanding appeared slowly that a form and decorsupplement each other.here are lots of various methods of decorationA sculptural, pictorial and graphical. +culpturaldecoration is possible only wor!ing with plastic clay and the pictorial and graphical ones B from the

beginning to the end of creation.

-ue to the specifics of the technology of ceramics, decoration totally differs from the easelpainting. & ceramist paints "blindly%, whereas he sees the result only after firing with gla


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bit using a spatula. his blan! is possible to slice along and across. hus stripped or chec!ed slabsare produced. hese slabs are used to form flat wares or bo)es.

'or a change, the both methods of formation may be combined together. & thic!er form iscut by wire highlighting the beauty of te)ture. 7ngobe is the mass of coloured clay, whichcovers some part or the whole surface of an article. 4t is the oldest and cheapest pictorial method ofdecoration of ceramics. &n article is covered and decorated wetting, pulverising by brush and using amottle tool or a special medical balloon. he thic!ness of covering shall be from C.0 to C.2 mm.

&ccording to water soa!ing, the engobes are differentiated to porous and not very porous.he first ones are usually used to decorate maolica, because then it is easier to gla


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cold gla


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will ma!e new ones. =y brother grew up and startedshowing interest to other things. &nd i remained in lovewith clay. =y father brought me 1 a teenager to a mar!et

place. here people brought fictile wares. 4 loo!ed tothese wares watching the patterns on them. =y father

bought two pots, and i could not stop admiring. hen wegrew up. (e did not have any masters of clay, so i didnot have anybody to teach me this craft. &nd when imarried a +amogitian man from Kurnai, 4 learned thata potter $aulaus!as lived in =icaiHiai. Dis dwelling1house and clay wor!shop was in =icaiHiai. & throwingartist Vit!aus!as wor!ed in that smo!y cottage1wor!shop. he throwing wheel was rotated by foot. 4was very interested to see all thatG how does a thrown

pot upspring, how is it fired in a !iln. hen 4 modelledby first whistles. he mother of the master $aulaus!ashand built whistles. "+it down, child, 4:ll teach you how

to sculpt"1 gave some clay. 4 managed to sculptsomething li!e a bird, however 4 could not ma!e it towhistle. 4 brought some clay home, 4 was trying andtrying. -id not manage. Later 4 was employed in an oldceramics factory. hen my eyes were opened. 4remember the first seminar of fol! artists in the ceramicsfactory. 4 got acquainted with a craftswoman ofwhistles, unfortunately 4 do not remember her name.+he taught me to sculpt whistles. &t the beginning, 4wasn:t very successful, but later 4 got my hand in this.Later 4 got acquainted with a craftswoman of whistlesfrom `iauliai 1 4rena Vaidilaus!ien, who shared here)perience with me. -am!us was my throwing teacher.De taught me throwing using a throwing machine.his year is the /C1th for me as a fol! craftswoman. 4 donot separate with clay, whereas i still love wor!ing withit.

Xanina Kinelien#eramicist

autodailini!U sungos nar nuo 0969metU.-arbaiG stalo servi


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a thing designated to playing and entertainment, however it is also aninstrument of psychical development of a child.The toys of ithuanian children were similar to the toys of the

neighbouring countries they reected the life of rural people. /ounggenerations were educated using games to live and to live in concord with theenvironment. Diligence of children was educated on the example of theirparents teaching and involving to the useful to family work from the veryyoung years. 0hildren crafted, modelled themselves # thus starting to lovenature and ac1uiring working skills.

Fictile whistles are ranked as toys designated for entertainment. 2histlesfound in ithuania are sub3ect to the following classi$cation to two types4oomorphic and anthropomorphic 5 4oomorphic articles. The whistles of theform of a horse, goat, or other unclear four-footed form belong to the mostnumerous subtype of the $rst type. *rticles are small6 usually do not exceed 78cm length. 9sually whistles are well $red and are often gla4ed. 9sually the

whistles of animal form have two holes on their sides to change the height of asound. :ome part of the 4oomorphic whistles of the second subtype of the formof birds also have holes to ad3ust the height of a sound. n addition to theabovementioned numerous whistles of an animal and bird form, one moresubtype of 4oomorphic whistles # frogs - is sub3ect to distinction. The whistle offrog shape, which did not survive physically, but is mentioned in the report ofinvestigations, is sub3ect to assignment to this subtype.

3. $reparation of clay and wor!ing place, implementation of the selected s!etch B handbuilding, decorating, insertion of the mechanism of whistling. $reparation of an article todrying2e s1uee4e the clay cut to form a whistle and form the body of the toy

on a thumb. The walls of the article have to be of e1ual thickness. 2eroll a slab of the same thickness and cut the bottom of the sculpture fromit. Then we attach the bottom. Thus we receive a hollow form, whichmay be used to form a wished animal. 2e perform this attaching parts,scratching and etc. !aving performed the artistic part, we start to form awhistling mechanism. 2e puncture a hole on the top or the side of thesculpture - it will allow making several sounds. *t one end of thesculpture, we stick a roll of clay hori4ontally. 2e puncture an ori$ce in ithori4ontally, which reaches the space of the sculpture. The ori$ce shallnot be too narrow, because clay shrinks drying. * hole shall be made onthe bottom of the sculpture too. This hole shall reach the ori$ce madebefore. The ori$ces shall be cleaned well, any tithes of clay shall not beleft, because later they would not allow to make a sound. Dried whistlesshall be polished with a dry sponge and $red. The $red $ctile toys may bedecorated with gla4es. The articles of black ceramics may be decoratedonly using cold gla4es.

Practice SeminarHand Building of Fictile Toys Whistles

:tages of activities

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7 presentation of the topic.; ndividual searches for the shape of a toy, sketching. )reparation of the article for drying.

Xanina Kinelien teaches the participants of the plain1air to ma!e whistles

(histles created by pupils

Anne6 II

0ISCOHSE%'orming of #eramics Wsing the =ethod of hrowing >Eells and #ompositions thereof?%

>to the proect "+tep by +tep to the #raftsmanship B #ooperation between Kuldiga and Kurnai&rt +chools"?

Virgilia +ilvestra ùfins!ien#eramicist, fol! artist

+tudied in Kaunas +tepas u!as:s &rts and

#rafts echnical +chool. Das participated in e)hibitionssince 0962. 4s active participant and organiser of fol!art movement.

(or!s. -ecorative vases, plates, bells weree)hibited in e)hibitions and fairs in Lithuania andforeign countries. Das created huge ceramic panels to

public buildings KurnU and ìauliai towns.4n 2CC5, the name of the fol! artist of the year

of ìauliai -istrict was granted to her.

2


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0. $resentation of the theme

Kurnai is the country of clay. $eople have dug clay, made various pots since the old times.he wares of a certain purpose were madeG ugs for mil!, !vass, vine, ars for cream, fat, confiture,

mushrooms, tiles to grind poppies, flowerpots. 'urthermore, lots of various small and bigger bowlswere made.2. 4ndividual searching for an idea, s!etching.

4n changing life conditions, when interiors changed, changed also the forms and purposes ofceramics. he old wares maintained their main form, however their decor has changed. @owadays

ugs, ars, pots, bowls are decorated with bright enamel, matted gla


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7 )resentation of the topic.; ndividual searches for the shape of a toy, sketching.


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&daptation and application of the available !nowledge and e)perience acquired in thelessons of history, literature to form the idea and individual design. 4ntroduction of a multi1notional,surrealistic view B peculiarities of arrangement of a mystery, poetic forms, the language ofmetaphors. Wsing of mythology !nowledge designing the s!etches of a


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ResultAnne6 I?

0ISCOHSEhe 'orms of *ld #eramics in @owadays &rt"

>to the proect "+tep by +tep to the #raftsmanship B #ooperation between Kuldiga and Kurnai&rt +chools%?

Ra!ti!as $etrasa poet, prosaist, painter, graphicist,

sculptor.-ate and place of birthG 08.02.095ìauliai.

;raduated iauliai $edagogical Wniversity -rawing and-raughtsmanship.+ince 0983, has wor!ed at iauliai $edagogical Wniversity.-rawing -epartment.+ince 2CC6 has been a member of LR+.&wardsG

4n 2CC, the premium of culture and art of ìauliai #ity forthe created artistically valuable literature wor!, forcherishing of the art of word and artistic universalitycombining fine arts and literature.EibliographyGLetG eil%ra$>iai. 1 ìauliaiG ?iauliai @edagogical


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+tages of activitiesG0? $resentation of the theme.2? +!etching.

3? $reparation of the wor!ing place and clay./? Rolling of clay, cutting of details, attaching, decorating.5? $reparation of the article for drying.

he participants of the plain1air watch the presentation

#reative wor! in the class of sculptureG

4ndividual creative wor! of pupils and teachers.#onveying of the design ideas to the particular design. 7ducation of the s!ills of the

craft of ceramics, wor!ing culture. -ecoration of articles with the elements of corded ceramics.$upils from Kuldiga &rt +chool wor! >picture 0?, the teacher of 'ine &rts of Kurnai &rt +chool 4.^ebHiu!ien >picture 2?, the manageress of Kuldiga &rt +chool 4. *picture 3?.

Results

4LOSSA3

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AbstractB not concreteA e)isting only in the mindA separated from embodimentA receivedabstractingA not related with the reality, not based on e)perience.

Aerogra)hB a device designated to pulverise paints using compressed air on the paper or clothsubect to mottling.

Engobe 1 & white or coloured clay, porcelain slip coating applied to a ceramic body to give itdecorative colour or improved te)tureA & clay slip which is coloured with metal o)ides or stains,used for coating the surface of a pot either before or after bisque firing.

Anthro)omor)hic B of human semblance, similar to a human being, the attribution of humancharacteristics to non1human creatures and beings, phenomena, material states and obects orabstract concepts.

As&mmetr&B the absence of, or a violation of, a symmetry.Oberse 1 the face turned towards the observerA commonly used in reference to coins, medals and

art. he term, obverse, and its opposite, reverse, describe the two sides of units of currency andmany other !inds of two1sided obects 1 most often in reference to coins, but also to papercurrency, flags , medals, drawings, old master prints and other wor!s of art, and etc.

BasDre%ief 1 & three1dimensional sculptural impression, view or ornament is which the image standsust slightly out from the flat bac!ground.Bis*!e 1 also called biscuit, is a fired piece of ungla


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Interior 1 the inside of a building, premise, room, container, cavern, or other enclosed structureequipped and upholstered artistically.

Ceramics 1 the art of ma!ing and decorating potter, the art of pottery manufacturing, the branch offine art, fired fictile or other material articles.

Com)osition 1 the placement or arrangement of visual elements or ingredients in a wor! of art, theinterrelationship thereof and relationship with the totalityA structure, framewor!, constitution,architectonics.

ConcentricB having a common centre.Stoe ti%eB a glaengobe? two successive layers of contrasting slip, and then in either case scratching so asto produce an outline drawing.

Si%ho!ette 1 an outline of a solid obect >as cast by its shadow?.

S&mbo%B having the publicly understandable meaning of some abstract concept, ideaA an arbitrarysign that has acquired a conventional significance.

S&mmetr& 1 e)act reflection of form of parts on opposite sides of a dividing line or plane or centre.S!rrea%ismB the artistic movement of modernistic art and an aesthetic philosophy that aims for the

liberation of the mind by emphasieitherroc! or marble?, metal, glass, or wood.

(oe%%ing too%B a sculptor:s tool a small stic! with a widened tip of various shapes.St&%e 1 refers to the aspects of the visual appearance of a wor! of art or the totality of some wor!s of

art that relate it to other wor!s by the same artist or one from the same period, training, location,IschoolI or art movement, the peculiarity of sensual e)pression.

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http://en.wikipedia.org/wiki/Plasterhttp://en.wikipedia.org/wiki/Ceramics_(art)http://en.wikipedia.org/wiki/Ceramics_(art)http://en.wikipedia.org/wiki/Slip_(ceramics)http://en.wikipedia.org/wiki/Plasterhttp://en.wikipedia.org/wiki/Ceramics_(art)http://en.wikipedia.org/wiki/Slip_(ceramics)


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Sam)%e 1 the e)ample in according with which equal things are produced en masseA the drawing ofnatural siover03CC [#? .

S)arB is an ancient term that is used to refer to a category of crystals that have readily discerniblefaces. #rystalliespecially with respect tothe sibelow 00CC o #, 2C02 o '? made from fireclay, which is porous and permeable. he clay can be any colour although iron red is usuallyassociated with erracotta.

Traition 1 & part of historically formed forms of culture that is passed from person to person orgeneration to generation, possibly differing in detail from family to family, such as customs,

images, symbols, ideas?.T!rnetteB a turning plate, which may be rotatedA used for hand building, decorating.HrnB a fictile vessel with a wide nec! >a vessel for ashes or cremains of a deceased person?.Core ceramicsB fictile wares decorated with the imprints of a cord.Thro'ing 1 the manufacture of pottery by hand on a throwing wheel.4rae% is roc! that is of a specific particle siC.C69 in? in its smallest dimension >about 0Y02 of an inch? . he ne)t smaller si

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