Submitted by: Barry Lucy, Ruidoso High School, Ruidoso, NM UNIT: Social Comment - Paperclay - Sculpture Lesson: Homeless Awareness - Paperclay Sculpture Grade Level: High School (advanced)
Students were required to do a series of thumbnail preparatory sketches for their sculptures before mixing their paperclay and constructing their ideas. Emphasis was placed on the elements and principles of occupied and unoccupied space and texture in their constructions. Finalized sculptures were fired unglazed to further emphasize the spatial and textural elements.
Paper Clay 16oz - Creative Paperclay Modeling Material is a non-toxic, biodegradable modeling material that can be sculpted, molded or shaped, and air dries (no baking!) to a hard finish that can be carved, or sanded.
Medium=Paper Clay=equal parts toilet paper pulp+ sloppy clay
+ Process=Slab, coil, or paddle and anvil depending upon desired form
+ Elem/Princ.=Occupied/unoccupied Space and Texture
+ Concept/Concern=Homelessness in US
+ Reference/Influence=Outsiders and Others Gallery, Minneapolis, MN,
Blend toilet paper scraps and enough warm water to make a "TP smoothie" and mix with an equal amount by approximate weight of sloppy clay. Pug this mixture by hand until relatively homogeneous. The cellulose fibers of the paper serve to strengthen the mixture and retard shrinkage when dry and burn out easily when fired. Paperclay mixture can be poured onto a cafeteria tray or plaster bat for drying, then cut and cemented with some reserved sloppy paperclay, wet on dry, to create slab constructions, or kept at a wedge-able stage and coiled or used in other handbuilding techniques. Damp paperclay may be stored in plastic sealable bags and refrigerated to prevent decomposition of paper fibers.
Students were to create a visual response to the plight of homeless populations in our communities. The response could include visual references to the idea of shells as "shell-ters" from a story told them of a homeless person I had met who was found living in an unused bandshell in East River Park in New York City and a class discussion of their own personal encounters with homeless people in our and other communities. Of particular concern were the homeless children sheltered at the Jardin de los Ninos in Las Cruces, NM.
Working with Paperclay and Other Additives - This highly technical account includes discussions and illustrations of the work of ceramic artists who work with this type of clay. There are no projects as such, but the description of materials and methods is valuable for potters working with this medium.
As these were projects done by AP Studio 3D Design students, the rubric established by the College Board for portfolio evaluation was used in an individual-to-teacher self-critique on a scale of 1-6, 1 being poor to 6-excellent, with respect to the overall effect of the piece and its use of space and texture.
Alternate Rubric (for those who do not have the AP rubric)
Assignment: Paperclay Sculpture
Circle the number in pencil that best shows how well you feel that you completed that criterion for the assignment.
Criteria 1 – Sketches and planning
9 – 8
6 or less
Criteria 2 – Execution of plans -overall presentation of ideas - use of texture and space
9 – 8
6 or less
Criteria 3 – Forming techniques/construction
9 – 8
6 or less
Criteria 4 – Effort: took time to develop idea & complete project? (Didn't rush.) Good use of class time?
9 – 8
6 or less
Criteria 5 – Craftsmanship – Neat, clean & complete? Skillful use of the art tools & media?
9 – 8
6 or less
x 2 = 100
National Standards (those covered will depend on how much class discussion there is and presentation of other works)
1. Understanding and applying media, techniques, and processes
2. Using knowledge of structures and functions
3. Choosing and evaluating a range of subject matter, symbols, and ideas
5. Reflecting upon and assessing the characteristics and merits of their work and the work of others
Students apply media, techniques, and processes with sufficient skill, confidence, and sensitivity that their intentions are carried out in their artworks
Students demonstrate the ability to form and defend judgments about the characteristics and structures to accomplish commercial, personal, communal, or other purposes of art
Students identify intentions of those creating artworks, explore the implications of various purposes, and justify their analyses of purposes in particular works
Students conceive and create works of visual art that demonstrate
an understanding of how the communication of their ideas
relates to the media, techniques, and processes they use
Students evaluate the effectiveness of artworks in terms of
organizational structures and functions
Students apply subjects, symbols, and ideas in their artworks and
use the skills gained to solve problems in daily life
Students describe meanings of artworks by analyzing how specific
works are created and how they relate to historical and
(Advanced) Students communicate ideas regularly at a high level of
effectiveness in at least one visual arts medium
Students create artworks that use organizational principles and
functions to solve specific visual arts problems
Students reflect analytically on various interpretations as a
means for understanding and evaluating works of visual
Students initiate, define, and solve challenging visual arts
problems independently using intellectual skills such as
analysis, synthesis, and evaluation
(Advanced) Students demonstrate the ability to compare two or more
perspectives about the use of organizational principles
and functions in artwork and to defend personal
evaluations of these perspectives
(Advanced) Students correlate responses to works of visual art with various techniques for communicating meanings, ideas, attitudes, views, and intentions
Students create multiple solutions to specific visual arts
problems that demonstrate competence in producing
effective relationships between structural choices and artistic functions