Jomon

Where better to begin than the Jomon Culture in Japan, starting around 10,000 BC.  The info on the web is extensive.   One of the best books on Jomon is by Douglas Moore Kendrick.  The school library doesn't have a copy, but I will make mine available up stairs in the Ceramic Resource Room.

A chronology of early to late forms can be found on page 20 of Kendrick's book.  These simple drawings show the development of style during this period.  I am often struck by the similar stylistic arch or maturity seen in cultures. This is often seen in individual artists as well.  From the early, relatively quiet emphasis on form and shape to more ornate and elaborate visual elements.  The emphasis on the rim in the later Jomon periods make the point we made in class this week.  "Definition,"  the treatment of the foot and the rim sets up everything else in the pot.  Think of it compositionally as framing the piece.  All good works have this.  We will talk more about this next week.  For your research this week, look at pots for this aspect.  How strong are the defining elements of the work you are looking at?

Draw as many different shapes as possible.  The rim treatment will be key. Draw. I want to see sketches.  They will be our first references for discussion of your work.

Review from class...

∆ Strong slab for base, thicker base coil; good pressure weld here;

∆ When coiling the wall, overlap the new coil, at least halfway, to the inside of the last coil, roll and pinch. Make a good pressure weld; work on the wall "away" from you, that is, the thumb should be on the inside of the wall when pressing;  try mastering the coil making technique I showed you;  

∆ Build up the form coil by coil;  erase with a rib the coil rings as soon as possible;  this allows you to better see the form and shape as it develops, making corrections easier;

∆ Adjust the form as you go;  compress the wall with two hand as shown in class to bring wall into the shape,  push the form out for same;  keep the shape "fair" as possible, much like a boat builder works the hull;  Stand back from the piece to see the shape developing;  

FORM IS IN YOUR HEAD FROM THE START.  THE SHAPE IS THE LINE OF THE FORM FROM ANY GIVEN SIDE.  SHAPE VARIATIONS RESULT FROM THE PROCESS OF FORMING THE PIECE AND ARE A WELCOMED PART OF THE PROCESS.  

∆ Break the plane to visually lift the form from the surface it sits on;

∆ Treat the rim- do something with it that works with the form (or in some cases counters the form, creating tension, like Jomon!).  The rim is where the viewer's eye goes first.  

The form is the single most important aspect of any piece.  All other visual elements pale by comparison.  Work on "seeing" good form.

Let other works influence yours.  It is how you learn.  Your work will be unique automatically, and your collective influences will always be different from any other's.  Use what you find in art history that speaks to you.  

Google Jomon ceramics,  the images are wonderful...

We will begin to look at surface treatments next class.  Impression, applique, marking, stamping...  Enjoy looking at pots this week. Work on technique and control!!