So, if there is anyone reading this who knows of a space that could possibly be used as a small studio space for two wheels and a handful of devoted ceramicists, please contact BrownClay2009@gmail.com.
Monday, May 11, 2009
Help!
The studio we so proudly pictured in our last post will no longer be the home of Brown Clay. The Visual Art Department informed us with three weeks of the semester left to go that we can no longer use the space. We have to clear out and try to find a new space, and we have to do this while in the storm of finals and packing.
So, if there is anyone reading this who knows of a space that could possibly be used as a small studio space for two wheels and a handful of devoted ceramicists, please contact BrownClay2009@gmail.com.
So, if there is anyone reading this who knows of a space that could possibly be used as a small studio space for two wheels and a handful of devoted ceramicists, please contact BrownClay2009@gmail.com.
Friday, April 3, 2009
The Studio
I thought it was about time we posted some pictures of our studio. Built from sweat and clay.
Take a look-see:
Take a look-see:
Monday, March 23, 2009
Red Glaze
I emailed Curt Buethe of Urimusic Pottery to ask him about red glazes, and basically he said it's a no-go on the red if we want to create it ourselves: "I am doing work on clay to get reds and oranges at cone 5, not cone 6 like you are doing. You will have a very hard time getting reds at cone 6 without extensive experience with copper reds at cone 6."
So probably if we want red it would be better to buy a little bit instead of trying to make it.
Sunday, March 22, 2009
NCECA Conference '09 - April 8-11
The National Council for Education on the Ceramic Arts
http://nceca.net/
The National Council for Education on the Ceramic Arts has a yearly conference which is inspiring and comprehensive. This year it will be held on April 8th-11th in Phoenix. There are often student scholarships available. Don't miss this exciting opportunity if you can get out to Arizona!
http://nceca.net/
The National Council for Education on the Ceramic Arts has a yearly conference which is inspiring and comprehensive. This year it will be held on April 8th-11th in Phoenix. There are often student scholarships available. Don't miss this exciting opportunity if you can get out to Arizona!
Contemporary Artists Working in Clay
http://www.artaxis.org/artist.htm
This is a juried network of artists.
http://www.ceramicartsdaily.org/magazines/Ceramics%20Monthly/2008CMEmergingArtists.aspx
These are artists selected for their emerging talent by the Ceramics Monthly magazine in 2008.
http://www.avicam.com/
Here are samples of works from a site started in Australia and which includes diverse forums for discussing conceptual and technical issues in Ceramics.
This is a juried network of artists.
http://www.ceramicartsdaily.org/magazines/Ceramics%20Monthly/2008CMEmergingArtists.aspx
These are artists selected for their emerging talent by the Ceramics Monthly magazine in 2008.
http://www.avicam.com/
Here are samples of works from a site started in Australia and which includes diverse forums for discussing conceptual and technical issues in Ceramics.
Articles on Ceramics
http://www.criticalceramics.org/
Articles on Ceramics and great listings for residencies.
http://www.ceramicstoday.com/
Global perspective on Ceramics.
http://www.nytimes.com/2008/11/30/nyregion/westchester/30artswe.html?_r=3
NY Times article 11/28/08
Art Review Ideas Abound in Clay: Ceramics That Go Beyond Bowls
Articles on Ceramics and great listings for residencies.
http://www.ceramicstoday.com/
Global perspective on Ceramics.
http://www.nytimes.com/2008/11/30/nyregion/westchester/30artswe.html?_r=3
NY Times article 11/28/08
Art Review Ideas Abound in Clay: Ceramics That Go Beyond Bowls
Artist's Toolkit / Develop Your Visual Thinking !
Formal Visual Analysis: The Elements & Principles of Composition
By Jeremy Glatstein
Formal analysis is an important technique for organizing visual information. In other words, it is a strategy used to translate what you see. This strategy can be applied to any work of art, from any period in history, whether a photograph, sculpture, painting or cultural artifact.
The Elements of Art
The elements of formal analysis are building blocks that can be combined to create a larger structure.
Line is the most basic building block of formal analysis. Line can be used to create more complex shapes or to lead your eye from one area in the composition to another.
Value is the degree of light and dark in a design. It is the contrast between black and white and all the tones in between. Value can be used with color as well as black and white. Contrast is the extreme changes between values.
Shapes are created when lines are combined to form a square, triangle, or circle. Shapes can be organic (irregular shapes found in nature) or geometric (shapes with strong lines and angles such as circles, triangles, and squares).
Forms are three-dimensional shapes with length, width, and depth. Balls, cylinders, boxes and pyramids are forms. Space is the area between and around objects. Increasing or decreasing the amount of space around an object affects the way we view that object.
Color differentiates and defines lines, shapes, forms, and space. Even black and white images have a huge number of different shades of gray.
Texture is the surface quality that can be seen and felt. Textures can be rough or smooth, soft or hard. Textures are often implied. For instance, a drawing of a rock might appear to have a rough and hard surface, but in reality is as smooth as the paper on which it is drawn.
The Principles
Notice how the following principles integrate the elements of formal analysis and build on one another.
Balance is created in a work of art when textures, colors, forms, or shapes are combined harmoniously.
Contrast is the use of several elements of design to hold the viewer's attention and to guide the viewer's eye through the artwork. In this image, the texture of the trees contrasts with the texture of the water.
Movement is the way a viewer's eye is directed to move through a composition, often to areas of emphasis. Movement can be directed by lines, contrasting shapes, or colors within the artwork.
Emphasis is created in a work of art when the artist contrasts colors, textures, or shapes to direct your viewing towards a particular part of the image.
Pattern is the repetition of a shape, form, or texture across a work of art.
Proportion is created when the sizes of elements in a work of art are combined harmoniously.
Unity is created when the principles of analysis are present in a composition and in harmony. Some images have a complete sense of unity, while some artists deliberately avoid formal unity to create feelings of tension and anxiety.
By Jeremy Glatstein
Formal analysis is an important technique for organizing visual information. In other words, it is a strategy used to translate what you see. This strategy can be applied to any work of art, from any period in history, whether a photograph, sculpture, painting or cultural artifact.
The Elements of Art
The elements of formal analysis are building blocks that can be combined to create a larger structure.
Line is the most basic building block of formal analysis. Line can be used to create more complex shapes or to lead your eye from one area in the composition to another.
Value is the degree of light and dark in a design. It is the contrast between black and white and all the tones in between. Value can be used with color as well as black and white. Contrast is the extreme changes between values.
Shapes are created when lines are combined to form a square, triangle, or circle. Shapes can be organic (irregular shapes found in nature) or geometric (shapes with strong lines and angles such as circles, triangles, and squares).
Forms are three-dimensional shapes with length, width, and depth. Balls, cylinders, boxes and pyramids are forms. Space is the area between and around objects. Increasing or decreasing the amount of space around an object affects the way we view that object.
Color differentiates and defines lines, shapes, forms, and space. Even black and white images have a huge number of different shades of gray.
Texture is the surface quality that can be seen and felt. Textures can be rough or smooth, soft or hard. Textures are often implied. For instance, a drawing of a rock might appear to have a rough and hard surface, but in reality is as smooth as the paper on which it is drawn.
The Principles
Notice how the following principles integrate the elements of formal analysis and build on one another.
Balance is created in a work of art when textures, colors, forms, or shapes are combined harmoniously.
Contrast is the use of several elements of design to hold the viewer's attention and to guide the viewer's eye through the artwork. In this image, the texture of the trees contrasts with the texture of the water.
Movement is the way a viewer's eye is directed to move through a composition, often to areas of emphasis. Movement can be directed by lines, contrasting shapes, or colors within the artwork.
Emphasis is created in a work of art when the artist contrasts colors, textures, or shapes to direct your viewing towards a particular part of the image.
Pattern is the repetition of a shape, form, or texture across a work of art.
Proportion is created when the sizes of elements in a work of art are combined harmoniously.
Unity is created when the principles of analysis are present in a composition and in harmony. Some images have a complete sense of unity, while some artists deliberately avoid formal unity to create feelings of tension and anxiety.
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