Student Teacher: Joel Dodson

Date / Week: Feb. 20, 27

Mar. 5, 19,31
Apr. 2

Lesson Title: Personal Cultural Motifs: White Clay Coil Vessels

Grade Level: 8th Grade

Number of Students: 10 Students

Time available for this lesson: 6 40 Minute Periods, 240 minutes total

Central Focus (Big Idea): Students will learn that ceramics can be used to express one’s
cultural identity using motifs to decorate clay coil vessels.

Given the central focus, describe how the standards and objectives within your learning
segment support the development of students’ abilities to create, present, or respond to visual
art by incorporating at least one of the following components:
i) interpreting art (analyzing art-making approaches, theories, art forms, genres, etc., used to
convey meaning)
ii) developing works of art/design (using techniques, methods of experimentation, or
investigation)
iii) relating art to context (personal, social, cultural, or historical perspectives) while providing
opportunities for student choice (of content, methods, or styles).

Social Issues / Concepts of the Lesson

Essential Questions:
● What designs or patterns will you be using to decorate your vessel?
● Where are your designs or patterns from?
● When did they originate?
● Who developed the motif?
● How will your vessel represent that culture?

Illinois Arts Learning Standards:

Standard #
VA:Cr2.1.8 Demonstrate willingness to experiment, innovate, and take risks to pursue
ideas, forms, and meanings that emerge in the process of art making or designing.

In this lesson:
VA:Cr2.1.8 Students will experiment with different forms and textures to identify certain
cultural backgrounds.
VA:Cr3.1.8 Apply relevant criteria to examine, reflect on, and plan revisions for a work of
art or design in progress.

In this lesson:
VA:Cr3.1.8 Relevant criteria would be using cultural motifs on clay vessels.

VA:Pr4.1.8 Develop and apply criteria for evaluating a collection of artwork for
presentation.

In this lesson:
VA:Pr4.1.8 Students should be able to apply the motifs on their artwork for the exhibition.

VA:Pr6.1.8 Analyze why and how an exhibition or collection may influence ideas, beliefs,
and experiences.

In this lesson:
VA:Pr6.1.8 The motifs displayed for exhibition should inform people of other cultures from
around the world.

VA:Re7.1.8 Explain how a person’s aesthetic choices are influenced by culture and
environment and impact the visual image that one conveys to others.

In this lesson:
VA:Re7.1.8 The artwork should be influenced by different cultures around the world.

VA:Cn11.1.8 Distinguish different ways art is used to represent, establish, reinforce, and
reflect group identity.

In this lesson:
VA:Cn11.1.8 Cultural identity will be established by creating vessels relating to an art
style.
1. Objectives: IALS Goal Codes
OBJECTIVE I
Conceptual - Given powerpoint and visual examples of cultural motifs VA:Cr2.1.8
students will fluently identify the difference between certain motifs and
art styles from different cultures.

OBJECTIVE II
Conceptual - Given examples of different kinds of bowls students VA:Cr2.1.8
will successfully evaluate what kind of bowl they want to create.

OBJECTIVE III
Conceptual - Given examples of cultural diversity students will VA:Cn11.1.8
knowledgeably describe cultural diversity in artwork to better
understand
its importance.

OBJECTIVE IV VA:Pr4.1.8
Conceptual - Given time in class students will appropriately write
an
artist statement talking about why they chose the cultural
background
used in their piece. VA:Pr6.1.8

OBJECTIVE V
Skills - Given a demonstration on rolling coils, slabs, score and
slipping students will knowledgeably explain how to create a coil
pot. VA:Cr3.1.8

OBJECTIVE VI
Skills - Given clay and ceramics tools students will creatively construct
the coil vessels. VA:Pr4.1.8
OBJECTIVE VII
Skills - Given clay and ceramics tools students will creatively
construct VA:Re7.1.8
the final part of building their coil vessels up to 5-10” tall.

OBJECTIVE VIII
Skills - Given brushes, underglaze, and glaze students will
appropriately
glaze the outside of their piece with clear glaze.
 2. Assessment Criteria:
OBJECTIVE I
Conceptual - Students fluently identified the difference between certain motifs and art
styles
from different cultures.

OBJECTIVE II
Conceptual - Students successfully evaluated what kind of bowl they want to create.

OBJECTIVE III
Conceptual - Students knowledgeably described cultural diversity in artwork to better
understand
its importance.

OBJECTIVE IV
Conceptual - Students appropriately wrote an artist statement that talked about why they
chose
the cultural background in their piece.

OBJECTIVE V
Skills - Students creatively constructed coil vessels using clay techniques slab, coil, score
and
slip.

OBJECTIVE VI
Skills - Students creatively constructed the vessels they are making up to 5-10” tall.

OBJECTIVE VII
Skills - Students creatively constructed the final part of building their coil vessels.

OBJECTIVE VIII
Skills - Students appropriately underglazed and glaze the outside of their piece.

3. Learner Characteristics:
3.1 Developmental Rationale
This lesson is important for the 8th Graders because it touches on an important theme
throughout the world. According to George (1992),“If we look more carefully at each of these
examples, we begin to see how they offer significant opportunities in the development of
knowledge and skill” ( p. 6). George is talking about the intersections of social concerns like
living in a changing world, cultural diversity, environmental protection, human rights, and
effects
of media to name a few. This provides many subjects to teach students about the outside
world
 beyond the classroom. The knowledge I want to pass down to these students are the many
cultures in this world, but also the motifs that identify one from another.
There is another idea that is important for students to grasp as well. That being
perspective,
because oftentimes they get caught up in their own environment and do not think about
others’
thoughts, feelings, or beliefs. Pennisi (2013) explains, “...communication strategies, three of
which were post-it critiques, signs, and conferencing. Post-it critique were ‘post-it’ sized
student
questions or comments on students’ artwork and artwork shown in class, used as catalysts
for
conversation” (p. 134). Using the artwork created in class it would be beneficial to have
everyone participating in the assignment would all bring something to discuss about. With
ceramics there is a large cultural phenomenon that surrounds the medium. According to
Wachowiak (1993) he states,
“Discuss art visuals of ceramic pottery and sculpture from ancient as well as
contemporary cultures. Include Greek vases of the Hellenic period, Chinese Tang
figurines, the outstanding life-size ceramic warriors and horses unearthed at Xian,
Japanese Haniwa creations, and clay vessels in the form of human figures from Mexico
and Peru. Library copies of Ceramic Monthly can bring the students up to date on the
newest developments in the field of ceramic pottery and sculpture” (p. 121).

With all these examples of different time periods of ceramics we can take a dive as a
class into different kinds of cultures that some may or may not have had the experience with.
Children can discover more about different parts of the world by researching new ideas.
Continents have way more than meets the eye when it comes to all the different countries that
reside in one. For example Africa has fifty four different countries and Asia has forty eight
countries. Therefore by the end of the lesson students will have a purpose to discuss different
regions of the world.

3.2 Students with special needs

Students with special needs that limit their motor skills as far as rolling coils is concerned can
be
given the option to create a pinch pot or a plate. In this case they can still complete the
assignment. With the motifs they can be given the option to develop their own motifs with
an
artist statement to explain their thoughts on their work.

4. Literature and References

4.1 Rationale of this lesson
Many of today’s artists that we see in museums are of a specific demographic. Most of
the time it is white males that take control of art museums around the world and throughout
the mainstream history of art. Recognizing the different kinds of cultures involved throughout
the world gives us as a class the opportunity to explore new aesthetics that we are not familiar
with. What makes this a great lesson for students is that they get to do their own research on a
particular culture and have their chance to represent it through their own work as an
interpretation. The students can also look into their ancestry as well to learn something about
themselves if they decided to create something relating to their family.

4.2 Background of the topic

Coil pottery has been around for thousands of years with no known creator, but it is a
primitive technique that has been passed down throughout time. Creating a single clay slab,
rolling coils, and attaching multiple coils together will create the rough formation of a vessel
that will then be smoothed out with a flat piece we know today as a rib tool. Prehistoric ages
most likely used just their hands with water to allow their fingers to glide against the clay.
When applying pottery to cultural motifs from around the world the lesson will give students
the opportunity to understand that ceramics is a universal artform that stretches all across the
world. Anywhere from Western European, African, Indian, North American, and Asian ceramics
all have their own styles and influences from different eras. Take the Japanese for example,
granted that many of their ceramic making techniques are adopted from the Chinese, they have
different time periods with different takes on form and design. Such as Jomon 250 B.C.,
Muromachi (1185 - 1568), and Momoyama (1568 - 1615) which focused heavily on domestic
wares such as tea bowls, cups, and utensils for tea ceremonies that were heavily popular at the
time.

Japanese time periods and dates researched from:

http://www.moco.or.jp/en/intro/history_c/japan.php

4.3 Information about related artists, styles, movement or cultures

Roberto Lugo is a potter from Philadelphia Pennsylvania that creates works about famous
people
of color that made a great deal to civil rights or just famous people as well. The figures would
always be surrounded by motifs with graffiti or brass knuckles for example to show the
environment of an urban environment touched by gang violence.

Faith Ringgold is a quilt artist that uses many motifs of African and American culture in her
pieces. She also empowers women in her work since she was an influential feminist. In some
of
her work she would make references to the United States view on black Americans from the
point of view of the caucaisans. Some of her work showed the women having control of
artwork
rather than Vincent Van Gogh.

Lei Xue is a Chinese ceramics artist that deals with the motifs of classic Chinese china ware.
He
makes the connection of past Chinese culture to present day Chinese culture with crumpled
porcelain cans that resemble the amount of tea people drank in the past and even today.
Greek Pottery known as “Aegean” meaning early Greek pottery included Minoan pottery,
Cycladic pottery, Minyan ware, and Mycenaean pottery. These styles featured many motifs
including patterns, figures, and contrast of the fired clay color with the dark black underglaze
that was used in the style.

Celtic symbols including knots and crosses are commonly found in Irish/Celtic mythology.
Each
symbol relates to their own respective spirit, gods, goddesses, and images of tales. Symbols
included the Triquetra, Carolingian Cross, Celtic Cross, The Triple Spiral, and The Celtic Knot.

West African Adinkra symbols including greatness, vigilance, courage, mercy, Mother Earth,
endurance, wisdom, loyalty, support, perseverance, mortality, change, initiative, good
fortune,
unity, and commitment.
Chinese Zodiac signs including rat, ox, tiger, rabbit, dragon, snake horse, goat, monkey,
rooster,
dog, and pig.

4.4 Art Terms/Vocabulary/Higher Level Thinking Verbs

Additive - applying more of a material to an object.
Analyze - identify key elements of one’s work.
Bat - Flat plastic or wooden board to place artwork on.
Bisque - Unglazed ceramics that has been fired to Cone 010 - 04.
Bisque Firing - First firing of clay without glaze to become ceramics at Cone 010 - 04.
Bone Dry - Clay without any moisture; Dried out.
Ceramics - The art of creating work from clay.
Critique - Review one’s work focusing on its strengths and weaknesses.
Clay - Plastic material made from earth minerals combined with silica.
Coils - Ceramics technique that rolls out clay to create a tube shape.
Coil Pottery - Creating vessels using the coil method of rolling clay.
Compare/contrast - identify the similarities of different elements or the differences of a
piece.
Describe - Talk about details found in a piece.
Earthenware - Clay found in the earth around sea level; most common clay to find.
Handbuilding - Using your hands to create works without the aid of mechanical tools.
Glaze - Liquid glass that when fired creates a smooth surface on the outside of the ceramic
work.
Glaze Firing - The second or final firing of ceramics for liquid glazes: lowfire, midrange, and
high
firings.
Greenware - Raw unfired clay.
Grog - Clay impurities.
Interpret - Create a meaning based off of what you see.
Kiln - Brick lined oven that fires clay.
Leatherhard - Drying stage of clay that lets it retain its shape.
Motif - Decorative design or pattern; recurring element or symbol.
Question - A phrase that leads to discussion of an answer that needs to be solved.
Score - Clay incisions.
 Sgraffito - Removing a layer of underglaze to reveal the color underneath.
Slab - Flattened clay that takes up a surface area.
Slip - Water that is concentrated with clay.
Subtractive - Removal of material from an object.
Underglaze - Colored clay slip that is used to decorate the outside or inside of a piece. Can
be
used before or after bisque firing.
Wedging - Method of mixing clay to remove air pockets by folding them out.

4.5 Description of visual examples

The Triquetra -
Original meaning being
triangle and is formed three Vesica
Pisces
with an added circle. This is a very
famous celtic symbol.

500 B.C.E.

Amphora Achilles slaying Penthesilea

Ancient Greek Vase Pottery Museum
Copy
530 B.C.E. Created by the Greek Art
Shop

Greek pottery showed symbols and

patterns with people acting out scenes
that refer to royalty or war. Many of
these
pots could be used for food, drink,
storage, or ashes.

12.2” x 8.07”
 Roberto Lugo’s ceramics of Martin
Luther
King Jr. and Barack Obama shows
motifs
of graffiti and a crown on top of the
teapot. These men were very influential
to the black community which is of the
reason Roberto put them on this piece.

Martin Luther King Jr. / Barack Obama,

2016
Porcelain, china paint, luster
8” × 5 ½” × 11 ¼”

Faith Ringgold’s quilt of famous black

women in history including the Civil
Rights era. The women are creating a
sunflower quilt in front of Vincent Van
Gogh which is off to the side
not participating in the project. The
commentary made by this is that black
women can make art too. It’s not just
the
white male artists that get all the
attention.

Sunflower Quilting Bee at Arles, 1991

Acrylic on canvas with pieced fabric
border
74” x 80”

Lei Xue is a Chinese artist that makes

porcelain works that makes
commentary
about the past and contemporary
world.
In this case people drink tea from cans
rather than teacups.

Drinking Tea, 2010

Porcelain
5” x 2” x 2” per can

West African Adinkra symbols stand for

many concepts that the people
represented. Oftentimes these designs
were incorporated into the walls of
architecture or cloths.

These are the calligraphic symbols of the

Chinese Lunar Calendar, which is
oftentimes celebrated for Chinese New
Year. This holiday celebrates the coming
of spring.
 Sugar skulls represent the departed souls
of the Earth. The holiday that these skulls
are associated with is Dia de los Muertos
which celebrates the relatives that have
passed in people’s families. These skulls
are adorned with various vibrant colors
and floral patterns.

Thaneeya McArdle
Incandescent, 2016
Digital, 12” x 12”

These patterns were often associated with

the Navajo weaving by the Native
American women. They created blankets
that were also known as mantas. The
weaving technique was taught to Navajo
men by the mythological spirit known as
the Spider Woman. Later on in the 16th
century it is known that the Navajo
learned weaving from the Pueblo people
in the southwest.

4.6 List of references

Admin. “Navajo Weaving.” Native American Netroots, 15 Oct. 2012,
nativeamericannetroots.net/diary/1389.

Admin. (n.d.). Celtic Symbols from Ancient Times. Retrieved from https://www.ancient-
symbols.com/celtic_symbols.html

George, P. S. (1992). The Middle School -- and Beyond. Alexandria, VA: ASCD.
 Herzberg, J. (2011, December 13). Basic Ceramics Vocabulary. Retrieved February 4, 2020,
from http://leecollegelibrary.com/ceramics/vocab/vocab.html

McArdle, Thaneeya. “Day of the Dead Art: A Gallery of Colorful Skull Art Celebrating Dia De
Los Muertos.” Art Is Fun, 2020, www.art-is-fun.com/day-of-the-dead-art.

Owens, C. (2019, September 20). Roberto Lugo Studio: Pottery Saved My Life. Retrieved
February 4, 2020, from http://robertolugostudio.com/

Princeton University (Ed.). (n.d.). Princeton University: Environmental Health and Safety.
Retrieved February 4, 2020, from https://ehs.princeton.edu/health-safety-the-campus-
community/art-theater-safety/art-safety/ceramics

Ringgold, F. (n.d.). Harlem. Retrieved from

https://www.faithringgold.com/portfolio/sunflower-quilting-bee-at-arles-1997-ed/

mOc Osaka. “A Brief History of Japanese Ceramics: A Guide to Ceramics: The Museum of
Oriental Ceramics,Osaka.” A Brief History of Japanese Ceramics | A Guide to Ceramics | The
Museum of Oriental Ceramics,Osaka, 2014, www.moco.or.jp/en/intro/history_c/japan.php.

Xue, L. (n.d.). Madrid, Spain. Retrieved from https://www.artsy.net/artwork/lei-xue-drinking-

tea

5. Integration/Connecting Links
5.1 Idea Mapping
 5.2 Instructional Resources and Materials:

Admin. “Navajo Weaving.” Native American Netroots, 15 Oct. 2012,

nativeamericannetroots.net/diary/1389.

Admin. (n.d.). Celtic Symbols from Ancient Times. Retrieved from https://www.ancient-
symbols.com/celtic_symbols.html

George, P. S. (1992). The Middle School -- and Beyond. Alexandria, VA: ASCD.

McArdle, Thaneeya. “Day of the Dead Art: A Gallery of Colorful Skull Art Celebrating Dia De
Los Muertos.” Art Is Fun, 2020, www.art-is-fun.com/day-of-the-dead-art.

Owens, C. (2019, September 20). Roberto Lugo Studio: Pottery Saved My Life. Retrieved
February 4, 2020, from http://robertolugostudio.com/

Princeton University (Ed.). (n.d.). Princeton University: Environmental Health and Safety.
Retrieved February 4, 2020, from https://ehs.princeton.edu/health-safety-the-campus-
community/art-theater-safety/art-safety/ceramics

Ringgold, F. (n.d.). Harlem. Retrieved from

https://www.faithringgold.com/portfolio/sunflower-quilting-bee-at-arles-1997-ed/

Xue, L. (n.d.). Madrid, Spain. Retrieved from https://www.artsy.net/artwork/lei-xue-drinking-

tea

Google Slides - To show examples of artists that I connected to the motifs and coil pot
assignment. This will show ceramics vocabulary and terms relating to cultural backgrounds as
well. The slideshow will also show examples of slab and coil technique and also how to
smooth out the outside of the walls.
Teacher Sample - A teacher sample will be shown to the class to demonstrate how the end
result of coil building would look like.
Visual Board - includes artists, example of project, vocabulary, overview, and example of
symbols.
Day 1 Handout - The take home assignment, which has the students identify what culture they
want to create on their coil pot by listing:
Where is it from?
What time period?
The shape of the piece.

file:///E:/Art%20Teaching/344/344%20Readings/Middle%20Level%20Readings/Middle
%20School%20&%20Beyond%203%20(George).pdf
 5.3 Art Materials for the Lesson:

Brushes for glazing

Canvas mats
Clear glaze
Empty cup
Kemper Knife
Kiln
Pin Tools
Plastic forks
Rubber Rib
Spray bottles full of water
White Low Fire Clay
Wooden Rib
Wooden clay tool
Red, Orange, Yellow, Green, Blue, Purple, Brown, White, and Black underglazes

6. Management and Safety Issues:

Students will be working with clay and should be aware of the precautions with clay dust.
Students need to be aware that shaking the canvas mats on their table tops can put the dust
into the air which will be accidentally inhaled. This can overtime cause damage to their
respiratory systems and can cause tuberculosis.

6.1 Organization of Supplies

On the first day of class the students will see a Google slideshow that will be already set
up along with the visual board for the students to examine throughout the entire lesson
exception being the slideshow. Once class starts on day one the presentation will begin
introducing their assignment. The next thing to engage the students in would be to transition to
the visual boards that show different cultural motifs and the next one being ceramics
techniques. The students after being shown the material will be allowed to use their
Chromebooks to research a culture and will fill out the think sheet that will be handed out to
them.
On day two the students will have canvas mats laid out for them at their tables prior to
class. Clay will be stored in the box it came in, but divided up into five pounds for each of the ten
students. Tools will be distributed by the teacher on the wet work days. Spray bottles will be
shared between students if there are not enough for the whole class. Day two is also the day of
the teacher’s demonstration. First thing students will be shown is how to roll out a slab from a
rolling pin. Next will be to roll out a coil using your hands. Then score and slip to seal the coil to
the slab. They will repeat this process for three coils to then use their metal rib to smooth out the
sides. Once demonstration is done students can begin to use their supplies till the end of class.
Each student is responsible for cleaning up their table and returning their supplies to the teacher
and as follows:
○ Collect and clean tools to place in the supply bin.
○ Reclaim any leftover clay for use in the next class.
○ Remove canvas mats.
Day three will have their wetwork supplies set out just like day two, but will have more
time to create their work.
○ Collect and clean tools to place in the supply bin.
○ Reclaim any leftover clay for use in the next class.
○ Remove canvas mats.
Day four will have another demonstration at where the teacher will show how to apply a
design to the outside of the piece. Techniques can be standard underglaze and sgraffito to add
any design that they chose in their think sheet. Additionally paint brushes will be passed out to
underglaze the design to the piece along with wetwork tools prior to class. However, they should
be at the bone-dry stage at that time.
On day five work will be already fired and will be able to glaze which will be spread out
throughout the table groups in the science lab. Different paint brushes will be distributed all over
the classroom.
○ Once students finish glazing they will turn in their work to be glaze fired.
Day six will be the last day and students will write their artists statements on with
Chromebooks for the exhibition. To finish the class the students will participate in a critique.

6.2 Clean-Up of Supplies

Students at separate tables will all return their tools to their designated spots. Canvas mats
will be placed back to where they came from. Students will all grab damp sponges to wipe down
their tables to clean them of remaining clay slip or dust left over.

7. Vocabulary:
Additive - applying more of a material to an object.
Analyze - identify key elements of one’s work.
Bat - Flat plastic or wooden board to place artwork on.
Bisque - Unglazed ceramics that has been fired to Cone 010 - 04.
Bisque Firing - First firing of clay without glaze to become ceramics at Cone 010 - 04.
Bone Dry - Clay without any moisture; Dried out.
Ceramics - The art of creating work from clay.
Critique - Review one’s work focusing on its strengths and weaknesses.
Clay - Plastic material made from earth minerals combined with silica.
Coils - Ceramics technique that rolls out clay to create a tube shape.
Coil Pottery - Creating vessels using the coil method of rolling clay.
Compare/contrast - identify the similarities of different elements or the differences of a
piece.
Describe - Talk about details found in a piece.
Earthenware - Clay found in the earth around sea level; most common clay to find.
Handbuilding - Using your hands to create works without the aid of mechanical tools.
Glaze - Liquid glass that when fired creates a smooth surface on the outside of the ceramic
work.
Glaze Firing - The second or final firing of ceramics for liquid glazes: lowfire, midrange, and
high
 firings.
Greenware - Raw unfired clay.
Grog - Clay impurities.
Interpret - Create a meaning based off of what you see.
Kiln - Brick lined oven that fires clay.
Leatherhard - Drying stage of clay that lets it retain its shape.
Motif - Decorative design or pattern; recurring element or symbol.
Question - A phrase that leads to discussion of an answer that needs to be solved.
Score - Clay incisions.
Sgraffito - Removing a layer of underglaze to reveal the color underneath.
Slab - Flattened clay that takes up a surface area.
Slip - Water that is concentrated with clay.
Subtractive - Removal of material from an object.
Underglaze - Colored clay slip that is used to decorate the outside or inside of a piece. Can
be
used before or after bisque firing.
Wedging - Method of mixing clay to remove air pockets by folding them out.

8. In-Class Activities:
Day One
Time Learning Activities Purpose
Orientation/Engagement/Motivation:
1 minute Say hello to the class once arriving to the
classroom.

3 minutes Brief introduction of the Teacher to Help establish the relationship

students, students all call out their name between the teacher and students.
and they will mention a favorite hobby of Students will also begin to think
theirs as an icebreaker (Teacher goes about their personal life.
last).
● Hello class! My name is Mr.
Dodson and we will go around and
introduce ourselves and say one
hobby you enjoy in your spare
time.

Name tags will be passed out to the

corresponding students as they say their
names.

Motivational Dialogue:
4 minutes Topic Question:
● Who can tell me what culture is? Students begin to think about
(quality of society that has certain cultural motifs.
traits compared to other societies)

● Who can tell me what a motif is?

(symbols or patterns that have
some meaning to them)

● How are they connected?

(Many different societies
have their own symbols which
have their own meanings to them)
3 minutes Association Questions:
● What ancestry are you apart of? How could ancestry be used for
(Teacher examples: I am German, motifs?
English, Irish, and Swedish)

● What cultures are you familiar Stimulates thinking about historical

with? knowledge of past civilizations.

● Do you know of any motifs off the
top of your head?
Presentation/Explicit Instruction:
The beginning of the slideshow will show
the students what culture means.
2 minutes What is culture?
Symbols they have seen prior to the
lesson.
Students will see definitions of terms
culture and motifs to put the two
together.

● A society’s traits that make it what

it is.
2 minutes What is a motif?

● Decorative design or pattern;

recurring element or symbol.

Examples of where motifs are found: Motifs placed in real world

● Culture examples.
● Artwork
● Clothing
● Table cloths
● Quilts
● Pottery

3 minutes Specific Cultural Motifs:

● Celtic
● Greek
● Roman
● African
● Japanese
● Chinese
● Indian
● Russian
● Middle Eastern
● English

2 minutes Roberto Lugo Students get to see a contemporary

● Uses graffiti art motifs to reference
the urban environment.
● Paints people of color on his pots
to show a greater representation of
colored people in the world of art.
○ “What kind of message is
2 minutes Lugo trying to create with
his work?”
Faith Ringgold
● Artwork shares African and
American Values
● Artwork makes commentary on the
segregation of African Americans
and women.
● Challenges male artists like
2 minutes Vincent van Gogh for being more
recognized than female artists.
○ “What kinds of artists do
you most commonly see
today?”
artist use modern art techniques in
pottery.
Students also get to see an artist
that uses quilting as an artform
which uses motifs in the form of
patterns of the fabric.
Students have the opportunity to
understand the artworld’s bias
towards white male artists.
Students get to see another
contemporary form of art, while
maintaining ancient Ming dynasty
motifs.

Lei Xue
● Ceramics artist that makes
classical work based on modern
 life and media.
1 minute ● Work Drinking Tea focuses the Teacher establishes credibility with
consumption of tea from cans the students.
rather than tea cups.
○ “How does Drinking Tea
talk about the present day?”
● Paints Looney Tunes characters
on his pottery.
○ “Do you think it is weird or
creative to put cultural icons
like Looney Tunes
characters on a piece?”

Mr. Dodson’s Pottery

● Examples of:
○ Essence of Life
○ What Lies Within
○ JOLO Amphora

5 minutes Structured Practice/Exploration:

In the slideshow show the cultural motifs Students will begin to understand
slide. what shapes or patterns certain
● Ask students to identify what type cultures use which make them
of patterns they see in the different from one another.
presentation. (Greek and African
patterns are geometric whereas
Japanese patterns are more
organic.)

Students receive day one handout. Handout will engage students with
● Ask students what they are already the teacher in discussion.
thinking about creating one by one
around the classroom.
5 minutes Guided Practice/Feedback:

Students engage in a five minute Students work together in

conversation with their peers on what they discussion to have an idea on what
may or may not want to create. they will create.
● Students will write down what they
may consider creating.

5 minutes Closure
What cultural motifs are being used in the Closing questions to think about
students' work? throughout the lesson.
(European, Latin American, African, Asian,
Middle Eastern, Australian, and North
American.)
What size will they create their work?
(5-10” tall.)

What is a motif?
(Decorative design or pattern; recurring
element or symbol.)
Why are motifs used?
(Motifs are designs that come from
specific cultures.)
Where do these motifs come from?
(Different regions of the world.)
Based off of the images shown, do
the patterns make sense where they
are placed?
Break away from traditional designs
and create something new in a
contemporary fashion.

Do you have a personal connection to

these motifs?
(If so the student will talk about where they
come from.)

Students will have to critically think about

where to place patterns based upon how
the vessel is constructed.
 The motifs must be thought about how
they will appear with color to help connect
them to the culture they were apart of.
However, being able to make designs with
different colors can make a piece more
unique as well which should be
encouraged.

Day Two
Time Learning Activities Purpose
Orientation/Engagement/Motivation:

1 minute Welcome students back to class. Have the

first student that walks into class be
responsible for handing out name tags.

A brief review of content from the previous

class.

Motivational Dialogue:
2 minutes Topic Question:
● What were the main ideas of last Reminds the students on the
class? (Culture, motifs, artists purpose of the project, connecting
mentioned such as Roberto Lugo, the previous class on day two.
Faith Ringgold, and Lei Xue.)

● What is culture? (society that has

specific values that make it what it
is.

● What is a motif? (design or pattern

that is recurring.)

1 minute Association Questions:

● Do these symbols share anything
with our own ancestry or
environment around us?

1 minute Transition Question:

● What does pottery have anything
to do with this? (pottery has many
functions including food, drink,
storage, urns, decor, personal
expression, transportation.)
Students learn that pottery is used
to document important functional
purposes in life.

Presentation/Explicit Instruction:

15 Teacher Demo
minutes ● Students will gather around the
 demo table.
● Teacher will show how to roll a
slab based on the visual board’s
description.
● First thing to do is wedge the clay
using the ram’s head technique to
roll out any air bubbles left in the
clay.
○ Taking about 8 oz of clay, Students will learn ceramics
flatten it by slamming it techniques.
against the table. Once
resembling a “slab” shape
use a rolling pin to work the
middle lump out towards
the edges.
○ You only need about a two
to three inch round slab for
the base of the coil pot.
● Cutting a two and a half inch
circular slab the teacher will begin
to roll coils.
○ Take a handful of clay and
squeeze between your
hand to start forming the
coil.
○ After that you need to roll it
out. Best thing to do is start
from the center and move
your way outward and then
back in to roll the coil.
○ Make sure to use the right
amount of downward force
that doesn’t squish the clay,
but also doesn’t deform the
clay as it rolls.
○ Once the coil is about the
size of your thumb lightly
press down to make it into
a slab.
○ Using your fork score the
side of the coil.
○ Apply water with the spray
bottle by spritzing the
scored side gently.
○ Score the outside
circumference of the
circular slab and stick the
coil to the base.
○ Cut the excess coil by
overlapping them and
cutting them with the
 kemper knife.
○ Score and slip the inside of
the coil to stick them
together.
○ Repeat the same process
of scoring and slipping the
rolled out coils to build the
piece.
○ Also it helps to roll out a
bunch of coils to build the
pot faster.
● The teacher shows that using a
ruler removes the lines of the coils
by whacking the outside of the pot
with a hand on the inside
supporting each blow from the
ruler.
● The rubber wedge tool also
removes coil marks.
● Once the coil pot reaches around
three inches the teacher will finish
the demonstration.

Techniques Demonstrated
● Slab rolling
● Cutting shapes from slab
● Rolling coils
● Scoring and Slipping
● Wedging

15 Independent Practice/Application:
minutes
Students will head to their seats and begin Students will begin to utilize the
to work on coil pots. techniques the teacher taught to
them.
● If there are no further questions,
you may go back to your seats and
get started on your coil pots.
● Wedge your clay to push out the
air pockets.
● Use your sketch to create your coil
pot and begin to roll your slabs.
● Remember to score and slip the
coil to the slab to make sure they
stick together.
● Use your ruler to paddle out the
coil marks and also use the the
rubber rib to do the same thing.

5 minutes Closure
Students will clean up Students will take care of the
 ● Each table will have a designated classroom and materials used in the
student to: lesson.
○ Collect and clean tools to
place in the supply bin.
○ Reclaim any leftover clay
for use in the next class.
○ Remove canvas mats.

Students will be responsible for storing

their work. They will do this by placing
work in plastic bags and dampening with a
plastic bag.
How will the students use form and design
to represent cultural motifs found in the
world?
(Using underglaze or sgraffito to make
connections to the culture they are trying
to replicate.)
Students will understand how to
take care of clay by storing it
properly.
Students will use their knowledge of
the concepts and skills
demonstrated in the lesson thus far
to accurately construct the cultural
motifs shown in historical or even
contemporary artworks.

Day Three
Time Learning Activities Purpose
Orientation/Engagement/Motivation:

1 minute Welcome students back to class. Have the

first student that walks into class be
responsible for handing out name tags.

A brief review of content from the previous

class.

Motivational Dialogue:
2 minutes Topic Question:
● What were the main ideas of last Reminds the students on the
class? (Slab rolling, rolling coils, purpose of the project, connecting
score and slip, cutting shapes from the previous class on day two.
slab, and cutting shapes from
 slab.)

● What is your cultural motif going to

do for your piece in the end?
(Inform others the significance of
the cultural background.)
● How can differentiating motifs
create newer meanings on a
1 minute piece? (Depending on the
symbolism of the sign.)

Association Questions:
● How can you represent yourself
1 minute into the piece and make it personal
to yourself? (Adding personal
motifs like music, sports, art, or
food.)

Transition Question:
● Are there any questions on what Students will develop ideas to ask
designs you should or want to put the teacher.
on your work or building
techniques before starting? (any
concept or skill that students feel
uncomfortable with is acceptable
for reviewing.)

30 Independent Practice/Application:
minutes
Students will head to their seats and begin
to work on coil pots.

● If there are no further questions,

you may go grab your piece and
get to work.
● Wedge your clay to push out the
air pockets.
● Use your sketch to create your coil
pot.
● Remember to score and slip the
coil to the slab to make sure they
stick together.
● Use your ruler to paddle out the
coil marks and also use the the
rubber rib to do the same thing.
● Since it is getting taller make sure
it begins to get leatherhard.
● Keep building up your coil pot up to
five inches or higher.
● Once done with construction start
letting it get bone dry.
5 minutes Closure
Students will clean up Students will take care of the
● Each table will have a designated classroom and materials used in the
student to: lesson.
○ Collect and clean tools to
place in the supply bin.
○ Reclaim any leftover clay
for use in the next class.
○ Remove canvas mats.

Students will be responsible for storing

their work. They will do this by placing
work in plastic bags and dampening with a
plastic bag.
How did you pace yourself throughout
constructing the coil pot from start to
finish? Did you encounter any difficulty
when building the walls of the vessel?
(Students will discuss their successes and
failures to the teacher by showing their
progress to the class.)
Students will understand how to
take care of clay by storing it
properly.
Students will use their knowledge of
the concepts and skills
demonstrated in the lesson thus far
to accurately construct the cultural
motifs shown in historical or even
contemporary artworks.

Day Four
Time Learning Activities Purpose
Orientation/Engagement/Motivation:

1 minute Welcome students back to class. Have the

first student that walks into class be
responsible for handing out name tags.

A brief review of content from the previous

class.

Motivational Dialogue:
2 minutes Topic Question:
● Who can tell me what underglazing Students will understand how color
is? can have a value and meaning
● What is the difference between behind them.
leatherhard and bone dry?

Association Questions:
● What ways can we utilize color on
1 minute the outside of our coil pots to
further engage us in the cultural
connections between us and the
piece itself? (the coil pot will show
 our appreciation of the artistic
nature of the cultural motifs.)

Transition Question:
● What kinds of lines and shapes are
1 minute you using to create a design for the
outside of the piece? (Geometric or
organic designs.)
● What does your sketch say about
the culture you are trying to
portray?
● Are you wanting to break away
from your original idea in favor of a
new one?
Presentation/Explicit Instruction:

5 minutes Teacher Demo

● Students will gather around the Students will learn ceramics
demo table. techniques.
● The teacher will show the
fundamentals of underglaze and
the use of sgraffito
○ Okay class once your piece
is leatherhard to bone dry
you can begin to add
underglaze to the outside.
○ If you already etched your
design to the outside you
can fill in the spaces with a
colored underglaze of your
choice.
○ However, you can add
underglaze and remove it
with sgraffito to reveal the
clay from underneath.
○ When underglazing add
about two coats to fully
cover the bone dry clay
underneath.

Techniques Demonstrated
● Underglazing
● Sgraffito
25 Independent Practice/Application:
minutes
Students will head to their seats and begin Students will begin to utilize the
to work on coil pots. techniques the teacher taught to
them.
● If there are no further questions,
you may go back to your seats and
get started on underglazing your
 pots.
● Try using sgraffito to add a
reductive quality to your piece.
● Use your sketch to create your coil
pot design.
● Remember to add about two coats
of underglaze to get a solid color.

5 minutes Closure
Students will clean up Students will take care of the
● Each table will have a designated classroom and materials used in the
student to: lesson.
○ Collect and clean tools to
place in the supply bin.
○ Reclaim any leftover clay
for use in the next class.
○ Remove canvas mats.

Students will be responsible for storing

their work by leaving it uncovered.
Did you use specific colors to convey a
personal meaning?
(Red for anger, blue for sad, green for
sick, and etc.)
What can you tell the teacher and the rest
of the class on your progress?
(Student shows what they did to the
class.)
Students will understand how to
take care of clay by storing it
properly.
Students will use their knowledge of
the concepts and skills
demonstrated in the lesson thus far
to accurately construct the cultural
motifs shown in historical or even
contemporary artworks.
 Day Five
Time Learning Activities Purpose
Orientation/Engagement/Motivation:

2 minutes Welcome students back to class. Have the

first student that walks into class be
responsible for handing out name tags.

A brief review of content from the previous

class.

3 minutes Motivational Dialogue:

Topic Question:
● Who can tell me what bisque firing Students will understand how glaze
is? (first firing of ceramic pottery strengthens the work.
before it is glazed)
● Who can tell me what a glaze is?
(the glass like layer that coats the
outside of a ceramic piece)

2 minutes Association Questions:

● What do you think the glaze will do
to benefit the piece? (reinforces the
coil pot to make it stronger)

2 minutes Transition Question:

● What do you think of a coil pot that
is left unglazed or glazed?
● Will it serve a better purpose if
glazed? (glaze makes it a better
surface to eat or drink off/out of)

Presentation/Explicit Instruction:

5 minutes Teacher Demo

● Students will gather around the Students will learn ceramics
 demo table. techniques.
● The teacher will show the
fundamentals of glazing pieces.
○ The first thing you want to
do is shake up the glaze
bottle by holding the lid with
your index finger while
wrapping the rest of your
fingers around the side.
○ Shake vigorously to mix the
contents inside.
○ Once mixed dip your
cleaned brush in and apply
it to the outside.
○ Coat everywhere except
the bottom of the piece for it
will stick to the kiln shelf.
○ Once completely coated do
another layer of glaze.
○ Keep in mind that this step
is optional if you would
rather underglaze the piece
and have a matte finish.
Techniques Demonstrated
● Glaze

20 Independent Practice/Application:
minutes
Students will head to their seats and begin Students will begin to utilize the
to work on coil pots. techniques the teacher taught to
them.
● If there are no further questions,
you may go back to your seats and
get started on glazing or
underglazing your work.
● Remember to add about two coats
of glaze to make sure the full effect
of the clear glaze works.

5 minutes Closure
Students will clean up Students will take care of the
● Each table will have a designated classroom and materials used in the
student to: lesson.
○ Collect and clean tools to
place in the supply bin.
○ Reclaim any leftover clay
for use in the next class.
○ Remove canvas mats.
○ Turn in student handouts to
the teacher.
Students will be responsible for storing
their work by leaving it uncovered.
What does glazing do for the piece you
just created?
(Strengthens the piece.)
Students will share their progress at the
end of the lesson.
Students will understand how to
take care of clay by storing it
properly.
Students will use their knowledge of
the concepts and skills
demonstrated in the lesson thus far
to accurately construct the cultural
motifs shown in historical or even
contemporary artworks.
 Day Six
Time Learning Activities Purpose
Orientation/Engagement/Motivation:

1 minute Welcome students back to class. Have the

first student that walks into class be
responsible for handing out name tags.

A brief review of content from the previous

class.

2 minutes Motivational Dialogue:

Topic Question:
● Who can tell me what we did last Students will talk about the purpose
class? (glazing/glaze firing and its of glaze.
benefits for strengthening the
pottery)

1 minute Association Questions:

● With the cultural motifs shown on Students will use their knowledge of
the visual board, what is your cultural motifs to recognize the
lasting impression about your significance of symbolism in their
work? work.

1 minute Transition Question:

● When analyzing your work, how Students will use their observational
does it look different from a literal judgement to assess the
and cultural perspective to another significance of cultural diversity.
student’s work?

Independent Practice/Application:

5 minutes Students will be given time to write an

artist statement about their work and their Students will reflect upon their own
thoughts on… work to justify why they created their
● Culture coil pots.
● Color choice.
● Patterns
● Symbols

These artist statements will be a

paragraph long.
2 minutes Presentation/Explicit Instruction:

Teacher will go through an example of a Students will learn how to properly

critique using own work, pushing critique another artist’s work while
discussion with facilitation questions: being respectful.
● Pick a concept (being culture,
 symbolism, design, or diverse) and
why is it successful in this piece
and why?
● What could this piece improve
with?
● What is the piece’s biggest
strength?

A critique is not supposed to degrade the

artist, but rather enlighten them to new
ideas and skills they may have overlooked
in the artmaking process.
Comments like “Bad, I don’t like, terrible,
etc.” are not an appropriate response.
All feedback must be constructive rather
than destructive.

3 minutes After the teacher lays down the critique
foundation, he will explain the meaning
behind the piece and introduce the
discussion of the student’s artists.
Students will show the ability to
discuss their analysis and
interpretation of others’ culturally
diverse coil pots in a classroom
critique.

23 Guided Practice/Feedback:
minutes
Students will participate in a critique
following the teacher’s instruction. The
teacher will call on a student by random if
no student is willing to participate.
2 minutes Closure
Students will clean up
● One student will collect all name
tags and turn them in to the
teacher.
● Each individual student is
responsible for returning their
finished jar into the art collection
bin with a piece of paper inside
with their name on it.

9. Critical Comments and Reflections:

9.1 Successes:
Students kept their attention on me during the three lessons that I had with them. Did not have
any side chatter while I was talking during the introduction and demonstration of each day.
Some students got the idea of how thick the slabs should be for the base and the coils as well.
Students were not afraid to ask for help, but not all of them did. No student acted out of
disrespect towards me; not that they had to.

9.2 Problems:
Clean up procedures for days two and three were not smooth sailing. I didn’t tell the class how
they were going to clean up with explicit instructions. So as a result they were standing around
talking rather than cleaning tools, tables, putting work away, and sitting down. Some students
were absent so I had to come up with ideas on how to catch them up.

9.3 Adjustments:
Use framework 9.1 - 9.3 to address issues below:
The open ended questions I had in my class was about making the motifs relate to your
own design. I wanted to get the students to talk about how they will orient the design onto
their piece in their own way rather than being completely inspired by one piece they saw
online. For example if they were to copy the layout of one piece rather than fit in their own
design. Such as pattern A goes next to pattern B.
Since the class was unfortunately cancelled due to the COVID-19 pandemic we could not
finish our work. From what we had so far was the building process of small coil vessels with
some good coils and slabs, but also uneven coils and slabs. After helping some students with
some tips like standing up when rolling slabs and coils helped some students like Yesenia roll
them out more efficiently.
Closure dialogue at the end of each lesson got me to recap the day and also let students
know what the next class session would be like. On day one I asked students, “Can someone tell
me what culture is?” The common answer from students would be, “Culture is the traditions
and lifestyle of a group of people. Culture can also be music, food, clothing, and artwork.” The
class was eager to answer that one along with motifs which they answered back, “Motifs are
patterns and designs from culture.” For day two I asked students about what coils, slabs, score
and slip. were. Coils being rolled out tubes of clay to be stacked on top of slabs with the score
and slip technique is the foundation of building coil vessels. Day three, the final day I asked
students about how their experience was for rolling coils for their vessels since that would have
been the second to last day rolling them out. The responses from the students that struggled
with them the most gave me concerned looks, but I knew that they would get the hang of it by
the time of the leather hard stage. I told them at the end that the next class would be the day
they finish up the form of the coil pot, because after that they would get to underglaze them for
bisque firing.
I would say the class was half good quality and the other half could have used
improvements. For the students with good technique they understood that even pressure
needs to be rolled out throughout the coil. Some of the students were not able to follow the
instruction of slabs and coils being no thinner than their thumbs. A handy tip would be no
smaller than half an inch minimum. I think if I showed examples of what happens to thin
ceramics it can make the students aware of what clay does under circumstances. I will assume
that most of the class has only worked with clay a few times up until now. The kiln is a place
where the clay transforms into ceramic through high temperatures. This can cause the bone dry
clay to warp and crack when not taken care of properly. As for the coils I wish I told them in the
demonstration to stand up to help with the shape of the coil to help make it uniform. Also some
students would not make the coil roll over in a full range of motion. By that the entire
circumference of the coil must be rolled against the table to stretch out the clay without
flattening it and making a thin slab.
I would constantly walk around the two tables talking to every student that I could.
Most of the time students would raise their hands to summon me over for help. I would work
with them until they felt comfortable with what I told them to do. When doing the research I
kept hovering around each student asking them about what they are into culturally or even
about their own heritage. I would ask them to think about an array of patterns to record onto
their think sheets to use as a reference for day four or five for carving or underglazing designs.
For day two and three they were constructing and most students would try to talk to me about
their work. My main concern was to make sure that each student was keeping their work thick
enough to protect it in the kiln for bisque firing, since quite a few students made paper thin
slabs. Overseeing all my students was probably my main priority when teaching for the three
days I had with them.
Improvements to the lesson would involve more open ended questions. Questions like
how do these cultural motifs represent you as a person if they do? If not, explain where you
might have first seen them from? Any movies, television shows, or even video games? I think I
should also talk about visual culture since art is the study and production of visual culture.
Perhaps introduce it on day one as subject to my students to open up with. What is visual
culture? Rather than just ask them what is culture? Using the term visual is more specific, which
will get them to think about things they can see rather than what they can hear like music. I
could then go into motifs right after that and with the hint that it is something visually found in
culture. Another thing I could ask is to have the students share their culture with the class so
that everyone can get an idea of what other students are doing to help create a discussion.
When it came to my visual boards however, I wish I put more effort into their design by
adjusting the sizes of some texts, but I enjoyed the look of my World Cultures visual board since
I made it look like the French flag. My demonstration on day two missed the most important
aspect of ceramics. I forgot to talk about wedging to help with removing air pockets in the clay
to avoid an explosion in the kiln. Lastly the clean up needs to half of the students pick up the
table’s work and put them on the storage shelf. The other half cleans the tools at a separate
sink and returns the tools to the teacher. Once the students that put the work away they clean
the tables up and sit in their chairs when done as well as the students with the tools. They then
wait for the teacher to do the closure to dismiss the class to then line up by the door.
The students behaved and did not talk over me during my lessons and gave me their full
attention. Eighth graders are very intelligent too so they could understand my academic
language and if they did not understand a word they would ask me what a term meant. When
doing the demonstration they all got to see what I was doing without obscured vision. They
knew what tod do, but had to learn how to do it by themselves which is the challenge of coil
building.
Task 1 Part C:
Attachments:
1. Scoring rubric and assessment tools

Assessment Low Medium High Score

Objectives Performance Performance Performance
(1) (2) (3)

I: Students Student does Student Student fluently

fluently not identify the somewhat identifies the
identified the difference identifies the difference
difference between certain difference between certain
between certain motifs and art between certain motifs and art
motifs and art styles motifs and art styles
styles from different styles from different
from different cultures. from different cultures.
cultures. cultures.

II: Students Student Student Student

successfully successfully successfully successfully
evaluated what evaluated what evaluated what evaluated what
kind of bowl kind of bowl kind of bowl kind of bowl
they want to they wanted to they wanted to they wanted to
create. create. create. create.

III: Students Student does Student Student

knowledgeably not somewhat knowledgeably
described knowledgeably knowledgeably described
cultural diversity describe cultural describes cultural diversity
in artwork to diversity in cultural diversity in artwork to
better artwork to in artwork to better
understand better better understand
its importance. understand understand its importance.
its importance. its importance.

IV: Students Student does Student Student

appropriately not somewhat appropriately
wrote an artist appropriately appropriately writes an artist
statement that write an artist writes an artist statement that
talked about statement that statement that talks about why
why they chose talks about why talks about why they chose
the cultural they chose they chose the cultural
background in the cultural the cultural background in
their piece. background in background in their piece.
their piece. their piece.

V: Students Student does Students Student

knowledgeably not somewhat knowledgeably
constructed coil knowledgeably knowledgeably constructed a
vessels with constructed a constructed a coil vessel with
score and slip. coil vessel with coil vessel with score and slip.
score and slip. score and slip.

VI: Students Student does Student Student

creatively not creatively somewhat creatively
constructed the construct the creatively constructed the
vessels they are vessel up to 5- constructed the vessel up to 5-
making up to 5- 10” tall. vessel up to 5- 10” tall.
10” tall. 10” tall.

VII: Students Student does Students Student

creatively not creatively somewhat creatively
constructed the construct the creatively constructed the
final part of final part of constructed the final part of
building their his/her coil final part of building his/her
coil vessels. vessels. his/her coil coil vessels.
vessels.

VIII: Students Student does Student Student

appropriately not somewhat appropriately
underglazed and appropriately appropriately underglazed and
glazed the underglazed and underglazed and glazed the
outside of their glaze the outside glazed the outside of
piece with clear of his/her piece outside of his/her piece
glaze. with clear glaze. his/her piece with clear glaze.
with clear glaze.
2. Handouts
Personal Cultural Motifs: White Clay Coil Vessels Day 1 Handout

Vocabulary Handouts

3. Visual examples for instruction Include PPT slide images of 4-6 slides per page.
Teacher’s Example:
Artist Statement:

The cultural concept I chose to recreate are greek motifs on a five inch coil pot. The
main reason as to why I chose to depict Greece is because I went to Sycamore High School and
their mascot is a spartan. It has a personal connection to my past experience of being in high
school about four years ago at the time of writing this. Capturing coil pots in their purest form
would be to create it the same way the ancient Greeks did long ago. There is a decorative
geometric spiral band that I placed in the middle, because that was one of the most popular
designs you would see in ancient greek pottery, textiles, or architecture. Coil pots are my
favorite project for ceramics, because they give the artist the opportunity to create many forms
and structures using basic, but effective techniques. I think this piece could use more design,
but is successful in capturing the Greek theme.

Key Components:
a. Start with what you created
b. Why you created it
c. What else appeals to you about it
d. Strengths and weakness
e. What would you do different
4. Students’ artwork examples

5. Class Photos and St. Mary exhibition photos (For Bound Lesson Only)