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Creation

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Creation - Page Text Content

S: Sam Ceramics II

BC: Don't Forget to Be Awesome!

FC: "Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep." Scott Adams | Art

1: Ceramics II Dauphinais | Samantha Lykins

2: "Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep." Scott Adams This is how I relate to art and try to portray it to others. My art is fun and whimsical and I find often people find it difficult to connect to. I’ve created my own little world filled with everything I could ever want and think of, so my brain tends to head off a different track then most people’s brain. If you manage to get pass the “strangeness” of it all you’ll get to see the beautiful inner workings to my thought process. My art is based on my obsession to have and live something more, something interesting and magical happen to me. I am attracted to messy, uncontrollable mediums, particularly watercolors, being my favorite. I also work in charcoal and clay. There is something magical in the feel of it, and not knowing how to control it.

4: Face jugs | Face jugs are humorous and usually have funny expressions. Potters began creating face jugs in their spare time. Enslaved African-Americans made bricks and pottery for use on the plantation. In their spare time, they created clay vessels with faces. These objects were highly prized in the community. They were passed down from one generation to the next. Other North Carolina potters also made face vessels. Perhaps they saw these small vessels and tried to make a face on one of their jugs. At first, no one wanted to buy face jugs because they were so unusual. When tourism in the Seagrove area grew, the demands for face jugs increased

5: The studio problem for this assignment was to create a silly or unnatural face of a cup or bowl. While I was designing this piece I was trying to create something interesting and whimsical. The element used were form,(Used ii in the 3-D aspects of the face) and Color (Used in the glazes to make him blue). The Principles used is Proportion (Used in the size of the eyes and the ears to the nose and mouth.) This piece is a medium sized cylinder pot. It has point ears as ‘handles’ a pointy nose and big eyes. I chose to create it this way because I wanted something kind of fun and strange, and I always love a good pointy nosed elf. It’s called OhMyBlu, I chose this title because it seems fitting to me. The ideas I used to develop this idea was sketching. My plans during this did not going according to plan it was going to be a wolf, but I wound up smashing him and starting over. This piece is special to me because I really love his face. The most successful parts in this one are his big pointy ears. My problems during this piece were definitely getting started. I worked through it by staying on task and buckling down. If I could rework this piece I would probably rework the colors a bit.. I have grown as an artist from this piece because it was just the start to several pieces. This one allowed me to get back in the hang of things.

6: Sgraffito/Mishima | In ceramics, by applying to an unfired ceramic body two successive layers of contrasting slip, and then in either case scratching so as to produce an outline drawing Sgraffito and sgraffiti come from the Italian word sgraffiare ("to scratch"), ultimately from the Greek (gráphein) "to write". Sgraffito has been used in Europe since classical times, and it was common in Italy in the 16th century, and can be found in African art. Mishima is a technique of inlaying slip, underglaze, or even clay into a contrasting clay body, the main clay body of the pottery piece. This technique allows for extremely fine, intricate design work with hard, sharp edges that can be difficult to reliably replicate in any other way.

7: The studio problem was to create a plate using two techniques known as sgraffito and mishima. While I was designing this piece I was trying to create something cute and could be a gift. The element used are Line,(Used in slip trailing) Shape,(Used is with all the 2-D shapes I made). The Principles used are Contrast(Used in the white on brown coloring) Rhythm(Used in the repetitive markings). This is a simple plate with a wolf and a sheep on it with a white center and brown rim. Also looks kind of foggy. I chose to create it this way because it was a simple and cute design in my head. It’s called IMISSYOU,. I chose this title because I made it for a friend that I miss. The ideas I used to develop this idea was sketching! My plans during this to a point I messed up the clear glazing. This piece is special to me because it my best friend and I. The most successful parts in this one are the little animals. My problem during this piece was the glaze. I was not able to fix it. If I could rework this piece I would fix my glaze by using only one quote. I have grown as an artist from this piece because it was a whole new technique I learned for this one.

8: Political Art Political art has been a part of the social landscape of the world for centuries. Art has always been used as a way to reflect society and shed light on issues of the day. Political art has been around from the beginning of United States history, reflected in such iconic images as the donkey representing the Democratic party. Today, "The New Yorker" magazine has gained fame for its political art.

9: The studio problem was to create a piece in a group that revealed a political or social concept. While I was designing this piece I was thinking of what the world could be working on or fixing. The element used are Line (Used white as his entire outline) and Space (Used in the emptiness of the background and everything in the white). The Principles used are Contrast (Used is the two different colors used) and Balance (Used in the wings and having it balanced in-between the chain). This is a sgraffito piece with and angel boy held above a heap of junk technology. The picture is outlined in white with the base color being brown, he is carved out but not 3-D. I chose to create it this way to have it be complicated to the eye but easy enough for my group to accomplish together. It’s called JUNKYARD,. I chose this title because us as human are obsessed with the latest and greatest new thing in this techy world and it’s really to entertain ourselves and I wish for it to not be this hectic. The ideas I used to developed this idea was sketching and talking it over with my group. My plans during this did work for this one we wanted to be 3-D at first being held up by a real chain, but we decided against it to save time. This piece is special to me because I got to work on it as a group knowing I would not keep this piece. The most successful parts in this one is the angel boy I really enjoy his anatomy. My problems during this piece were the cracking of it, because it was big and thin. I was not able to solve this problem. If I could rework this piece I would add more detail to the background. I have grown as an artist from this piece because I learned I don’t have to be a overlord when it comes to group art projects.

10: Abstraction | Abstract art uses a visual language of form, color and line to create a composition which can be completely made up or based on something from real life. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. Abstract art, nonfigurative art, nonobjective art, and nonrepresentational art are loosely related terms. They are similar, although perhaps not of identical meaning.

11: The studio problem was to create something abstract using the 3 types of hand building we know. While I was designing this piece I was trying my hardest to actually make something. The elements used are Line, (Used in the line background pieces) Color, (Used in the glazes choices I used) Space (Used in the negative space used in this piece). The Principles used are Contrast (Used in the color choices) and Movement (Used in the strange object). This piece is a crazy triangular piping with a weird demon eye looking thing. I chose to create it this way because it was the only idea I had from an abstract point of view. It’s called DAEMON,. I chose this title because it was based off a demon guy. The idea I used to develop this idea was sketching. My plans during this did not work for this one because I could not figure out how to make this balance. This piece is special to me because it’s the only abstraction I’ve ever done. The most successful parts in this one is the base. My problems during this piece were the front piece. I solved them by cutting off the top of my idea. If I could rework this piece I would re glaze it. I have not grown as an artist from this piece because I don’t think I have not done anything amazing.

12: Portrait Bust | Alphonse Mucha was born in 1860 in Ivancice, Moravia, which is near the city of Brno in the modern Czech Republic. It was a small town, and for all intents and purposes life was closer to the 18th than the 19th century. Though Mucha is supposed to have started drawing before he was walking, his early years were spent as a choirboy and amateur musician. It wasn't until he finished high school (needing two extra years to accomplish that onerous task) that he came to realize that living people were responsible for some of the art he admired in the local churches. That epiphany made him determined to become a painter, despite his father's efforts in securing him "respectable" employment as a clerk in the local court. Like every aspiring artist of the day, Mucha ended up in Paris in 1887. He was a little older than many of his fellows, but he had come further in both distance and time. A chance encounter in Moravia had provided him with a patron who was willing to fund his studies. After two years in Munich and some time devoted to painting murals for his patron, he was sent off to Paris where he studied at the Academie Julian. After two years the supporting funds were discontinued and Alphonse Mucha was set adrift in a Paris that he would soon transform. At the time, however, he was a 27 year old with no money and no prospects - the proverbial starving artist.

13: The studio problem was to create a self portrait bust using the style of another artist. While I was designing this piece I was trying to find an artist that inspired me. I was successful in finding an amazing beautiful art style, but I fail in trying reproducing that. The element used are Texture (Used in the hair and skin) and Form (Used in the body of the sculpture). The Principles used are Unity (Used in making the piece look like it belongs together and the eyes are relaxed looking at it ) and Balance (Used in the balancing of the torso to the hair). This piece is a torso with red hair. I chose to create it this way because I ran out of time and resources. It’s called Failure,. I chose this title because I did not grace Alphonse Mucha with the presence of this art. The ideas I used to develop this idea was sketching. My plans during this DID NOT work for this one because I was not able to capture my design for this one. This piece is special to me because it’s my first bust, but I hate it. The most successful parts in this one is the fact the it can actually hold its self up. My problems during this piece were the lack of time and not having enough clay to create what I had in my head. I was not able to solve the problems with this one. If I could rework this piece I would change everything I would stick with my original design. I have grown as an artist from this piece because I know I need to allow myself time to create what’s in my head.

14: Raku | The firing technique of "Raku" ware was first developed by Chojiro, founder of the first generationof the Raku dynasty, in the 16th century. Chojiro produced tea bowls for the tea ceremony using the "Raku" firing technique. "Raku" when freely and loosely translated can mean joy, enjoyment, pleasure, comfort, happiness, or contentment. The word "Raku" thereby became Chojiro's family name/title. The Raku firing technique utilizes a rapid rise in temperature in a fuel fired kiln. The Raku items are taken out of the kiln at glaze maturity, the Raku items, are then, placed in an air-tight container containing shredded newspaper and sawdust, and a short time later the Raku items are taken out of the air tight container and either air cooled or sprayed or dipped in water. The Raku firing technique and the reduction cause the items to develop vivid colors and copper sheen. Fire and smoke create matte black surfaces in unglazed areas. Oxygen deprivation, the fire, and temperature changes cause the glazes to fully or partially reduce and cause the interesting colors or patterns of color or areas of bronze, copper, or silver to develop. As a result, the items have wonderful vivid colors and sheen. Fire and smoke create the matte black surface areas. Slight variations in glaze thickness cause the glaze to react and change color. Oxygen deprivation (reduction) and temperature changes are what determine the shades of the colors that develop. As a result, no two items are exactly alike.

15: The studio problem was to create some type of vessel with Raku clay and design something inspired by the Japanese culture. While I was designing this piece I was obsessed with David Bowie, particularly Jareth from Labyrinth. The element used are Color (Used in the distinct choices) and Space(Used in the positive and negative space I used for this piece).The Principle used is Contrast (Used in the black on white coloring). This piece is a asymmetrical vase which is black and Jareth is on one side in color. I chose to create it this way because I think it captures the beauty and mystery of Labyrinth’s Jareth. It’s called WITHINYOU,. I chose this title because it’s a beautiful song from the soundtrack to the movie. The ideas I used to develop this idea were to watch the movie and sketching. My plans during this did work for this one. It’s beautiful and amazing. This piece is special to me because I love this movie and I think this is my favorite thing I did this year. The most successful parts in this one is the bust of Jareth. My problems during this piece were not knowing if my colors would come out. I had to just wait to see if it will work. If I could rework this piece I would change nothing. I have grown as an artist from this piece because I felt accomplished and I feel like I can do something in ceramics.

16: Final | During this fantastic journey of art I had my ups and my downs and I realized a bunch of things about the art world that will come in handy as I continue my ride into the art world of college. Even if this is just Ceramics 2 Mrs. Dauphinais has taught me to just do it, written assignments are going to happen and so no matter how much we all complainwe still have to do the assignment. We still have to do it because it is and always will be a grade. I feel it’s taken me far too long to get this concept, but better late than never, late as in even just two days ago I was complaining about this project. Artistically though as through all my art classes I’ve gained a stronger grip on the things I enjoy and learned to let go on the things that are going to take me a lot longer to get. For instance my ceramic knowledge, the sketching bit, I get that I’m able to think of something interesting and fun to do, but actually making it I fail almost every time, because I’m incapable of not thinking outside of carving as of now. As I’ve said though I’ve learned it’s okay, I just need to figure it out slowly and on my own time.

17: Analyzing my work is something I do every time I create something. I automatically think what I could of done differently, what is awesome, and why did I do this, but actually writing and explaining it to someone else is a strange and different experience all together and finding the right words is actually frustrating to me. Technically my work has been below average in my eyes, I know I’m in a high school ceramics class, but I’m not use to not being able to portray my thoughts or even not being at the top of an art class. I’m a competitive and strange character and not being able to achieve high-grade work is unusual for me. In theme I find in all my work is my home. It’s all the things I could possibly imagine the could make the world interesting and better. I love my strange little world filled with art and possibility and it’s the best way I could even being to describe my art. Emotionally is a whole new weird story, as I write this very sentence I’ve realized that this is my last bit of high school art. I’m not sure what this means emotionally to me yet, but I feel in the future this will be kind of a big deal. It’s like the ending to something so small in my life, but yet it’s all that I know so far how could I think of anything outside of this. I don’t think this makes sense, but it’s a big deal to me. What’s next? If I could only control it is my bigger interest, but really I can say what I do know. As of right now I am going to college. This is a fact a beautiful and fun fact in the rest of Sam’s-Life life. I’m scared and apprehensive to learn of what kind of art-related jobs there could possibly be out there for me. I hope/anticipate/trust/wish that there is something out there, some possibility of room for me out there in the immense art world. Wow, I think my brain just exploded thinking about all of this, but yes this is everything my little teenage brain is reflecting on from this course. | THANK YOU MRS. D <3

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  • Title: Creation
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