Course Description: Problems in the design and production of functional pottery. Work may be wheelthrown, handbuilt or a combination of each.

Grading: Grades will be primarily based on assigned projects with emphasis on design, craftsmanship and how well the form performs its function. Participation in classroom activities is an integral part of the learning and evaluation process.

Student responsibilities: Everyone is responsible for keeping the studio clean and safe. Do as much wet clean up as possible. Avoid activities that create clay dust. Clean equipment as soon as you are finished with it. Open labs are a privilege and may be revoked if the studio is not maintained.

Materials: clay [ cone 6 ], tools, 2 calipers (or one that measures both inside & outside at the same time), plastic bucket, towels. For wheelthrown work: bats (suggest minimum of 4) & bat pins.

Semester Project
Dinnerware set consisting of 4 dinner plates, 4 bread plates, 4 salad bowls, 4 cups & saucers or tumblers & pitcher, 2 serving bowls, 2 lidded serving containers, lidded sugar container and creamer

Functional Descriptives:Functional vs. Non-Functional: We might envision functional pottery as vessel forms or containers that are utilitarian, ceremonial, or function solely as art objects. Non-functional objects might be described as pure forms with no utilitarian connotations.
Characteristics of Pottery Forms:
Lip: First area seen. How and what does it express? Restrictive or open? Strong or visually weak? Does it terminate the form?
Volume: Hollow volume. Identifies the object as a container. Restrictive or expansive? Is it a vertical axis [stability/growth] or
is it a diagonal axis [movement/change] or horizontal axis
[ quiet/relaxed]? Is the form strong [based on sphere, cylinder, cone, pyramid, cube, etc.]?
Surface: Skin of the volume. Color,texture, pattern and their relationship to the form.
Foot: Last area seen. Integrated into the form or acts as a pedestal. Does the form seem precarious or steady? Does the pot sit lightly or firmly on a surface?
Ceramic artist Walter Ostrom describing his pottery: " a pot... in use, it should contain, present, and enhance both its content and its context."

THE TECHNICAL ASPECTS
When designing functional pottery the artisan is obligated to consider the anticipated use of the object and how well it will perform its task. More often than not, the rule of form follows function will generally dictate the shape of the pot. Over design, instead of undersized or inadequate, will usually lead to a more successful piece. Most functional ware is intended to contain something. The first consideration must then be the introduction and the removal of whatever the pot contains. The size of the finished work is important as this determines how much the container can hold.

A bowl with perpendicular or flaring walls will perform much better than one which turns in or is constricted at the lip. The lip should be somewhat thicker than the wall, rounded and smooth. A thin lip or one with sharp edges will be prone to chipping during use and glazes have a tendency to pull away from a sharp edge. The foot ring should be of sufficient diameter to both visually and functionally stabilize the pot. The function of the pitcher form relies on several factors. The spout must be well defined to create a channel for the liquid otherwise the liquid will overlap the side. The end of the spout is one area where a sharper edge is desirable. When the pitcher is brought back to the vertical position after pouring a thicker or rounded lip will allow some liquid to dribble down from the spout. The handle must be of adequate size to allow for the weight of both the pitcher and the liquid it contains. A handle with extreme curves, sticks out from the body too far or is positioned too high will be uncomfortable. A somewhat flattened handle is easier to grasp than a round one and a thumb stop improves the grip. The amount of space between the handle and body should be sufficient to allow the introduction of the entire hand. A handle, which spans the negative curve of the body, will perform its function well. The size and weight of the pitcher are considerations. The pitcher should fill all of the cups if it is part of a set. An empty pitcher should be light enough to pick up with one hand. The lidded container has two parts to consider, the body and the lid. A casserole or serving pot should be wide and readily accessible with no tight corners or undercuts in the body. Handles should be of sufficient size to allow picking up the form with potholders. The correct fit of a lid allows for a little side to side movement. Too tight a fit will lead to chipping of the lid or pot. Handles on the lid, whether strap or thrown knob, must be large enough to pick up with a potholder. The teapot is perhaps the most difficult of all the functional forms. One must consider the interaction of the body, lid, handle and spout. A rounded body usually functions best in channeling the liquid to the spout. The spout constricts the flow of the liquid to form a stream; thus the shape should not constrict then flare out, as the liquid will follow the form. The end of the spout should be somewhat sharp to cut the flow of the liquid when pouring is finished. The spout must also be positioned such that the bottom edge of the tip is higher than the level of the tea when the pot is full. Strainer holes cut in the body will hold back the tea leaves and help regulate the liquid flow. The handle, whether made of clay or a non-clay material, attached to the back, side or spanning the top, must be of sufficient size to carry the weight of pot and liquid. Lids positioned across the top should not interfere with removal of the lid or introduction of the tea. The lid, depending on the design, should have a low center of gravity or deep rim to prevent it from falling out during use. A smooth foot ring is desirable to lift the hot pot from the table surface.

TECHNICAL ASPECTS OF FUNCTIONAL POTTERY - CONTINUED
Decoration of the functional form is an important aspect of its design. The use of glazes containing lead should never be used on surfaces that will come into contact with food or liquids. I would advise the complete avoidance of all lead bearing decorative materials; they are as much a hazard to the artisan as they are a potential hazard to the user of the pottery. I would also advise against the use of overglazes or metallic lusters on the interior surfaces of functional ware. Areas that come into contact with foods should be protected with a smooth coating of glaze to seal the surface. A glossy, non-crazing neutral color glaze is usually the best choice for the interior of lidded forms. The interiors of bowl forms are usually the area seen and thus decorated. Careful selection of the decorating technique is necessary to create a serviceable surface in the bowl.