ANDREA FABREGA

READ THE INFORMATION BELOW ABOUT ANDREA FABREGA - AND RESPOND TO TWO OF THE FOLLOWING PROMPTS BY FRIDAY, MARCH 23rd AT 6:00 PM.

MAKE SURE YOUR NAME IS IN YOUR RESPONSE.

PLEASE MAKE SURE THAT YOUR RESPONSES ARE EACH AT LEAST 5 SENTENCES LONG AND ANSWER ALL THE BULLET-POINT QUESTIONS TO RECEIVE FULL CREDIT!

REMEMBER - THIS IS A HOMEWORK ASSIGNMENT - DO NOT USE TEXT LANGUAGE: CAPITALIZE, USE PUNCTUATION AND CHECK YOUR SPELLING!!

ANDREA FABREGAFrom: The Whole World in Her Hands by Elizabeth Obreza Palo Alto Weekly, Friday, July 6, 2007 http://www.paloaltoonline.com/weekly/morguepdf/2007/2007_07_06.paw.section1.pdf

PROMPT #1

"Andrea Fabrega’s fingers don’t get as muddy as most ceramic artists’ do. However, with the help of such tools as a root canal reamer and a “corndog” sponge — which looks like an oblong sponge on a stick — her fingers create 1-and-a-half-inch tall vessels that hold their own with their larger counterparts. The only way to make a ceramic 'statement in a small space,' says Fabrega, is to 'get the fingers out of the way.'


After nearly 20 years of working in miniature ceramic form, Fabrega knows what reactions to expect from passersby at the festival. Someone usually says, 'You must have small hands' or 'Let me see your hands.' Fabrega, whose art is inspired by the doll world she loved as a child, also quotes a compliment in disguise: 'My friends Barbie and Ken would really like your work.'


Fabrega made her first tiny pots when she was 14. When it was time to prepare for college, though, 'I put away the art side of me (because) I had to get serious,' said Fabrega, who received her bachelor’s in economics from Carnegie Mellon University. After a few years of being 'dissatisfied with every job I had,' Fabrega said, she asked herself an unusual career question: 'What was it that I really loved when I was little?' This led Fabrega to a remembrance of her love for “making tiny things,” which began with making small silver pots and doll furniture. Now 'I’m trying to distill the essence of a big pot in a tiny space,' Fabrega said.


Most of her signature ceramic works are miniatures of the ancient Greek, Chinese, Japanese, German, Islamic and Korean vessels she admires. For example, she loves ancient Greek terra cotta vessels. Though terra cotta particles are too coarse to throw on a pottery wheel, she throws accurate forms of these Greek vessels from very fine porcelain and then glazes them with a slip (liquid clay) made of terra cotta particles. 'I master forms and styles across countries and periods and then choose what I want to do for my own work,' Fabrega said. She said she has incorporated leaves, gourds, dragons and the 'entire animal kingdom' into these ancient forms.


Almost three years ago Fabrega began transforming her miniature pots into human faces. 'I wasn’t an artist until I could sculpt the human face,' she said, reflecting on the great interpreters of the human form such as Michelangelo and Leonardo. 'I don’t have a plan for who comes out of the pot,' Fabrega says as she admires her translucent shelf of ethnically diverse tiny ceramic faces. She gives noses, chins, eyes and mouths to these tiny pots. A delicate face of an Asian female is particularly intriguing to Fabrega, who has decided that the slight bulge in the figure’s neck is beautiful and not an imperfection as she initially thought.


…Though she’s attracted a lot of interest in her work, many people hesitate before buying a piece, asking, 'What am I going to do with it?’ Fabrega said. To make the more-accessible version of the porcelain miniature, Fabrega flattens out a tiny pot using a square of plywood and then blows air into it with a straw to perfect its contour. After firing the pot upside down on a stake and glazing it with the help of a diamond grabber, which looks like a mechanical pencil with three retractable metal prongs, Fabrega hangs it on a cord or on a silver chain. One necklace is a Picasso inspired vessel of a 'tiny pot lady holding an even tinier pot,' she said. She thinks the vessel necklace looks best with a leaf or blade of grass resting in the vessel’s flattened lip.


Most would assume that the creator of such small and intricate clay-workings must be patient, but Fabrega insists, 'I’m not a patient person.” Still, she said, 'I love the technical challenge (of making tiny pots).' In fact, the most difficult aspect of making ceramic miniatures is creating a glaze that is the perfect thickness and the 'right marriage of glaze to pot,' Fabrega said. A glaze that is too thin will look dry and a glaze that is too thick will obscure the ceramic piece’s details. Overall, success in ceramic miniatures requires 'work and sticking to your vision,' Fabrega said.


Her labor of love is 'all about proportions,' she said. 'Somehow I express how much I love something by presenting it in miniature because I really get to know it and understand it.' Though Fabrega work is tiny, she believes 'tiny differences make a big impact.'"



PROMPT #1

• Look at Fabrega’s pottery.
• Which of her pieces appeal to you the most?
• What do you think would be the most difficult part for you if you were to create this type of pottery?
• Why?

PROMPT #2

• Do you think Fabrega’s pottery is exceptional for its quality or for the fact that not many people create this type of pottery?
• If you were to create an unusual type of pottery, what would you create? Why?

PROMPT #3

• Fabrega’s pottery sells for hundreds of dollars - would you be willing to spend $300 on a piece of pottery you could hide in the palm of your hand? Why or why not?
• Why do you think Fabrega’s pottery is so expensive?
• Fabrega spends hours and hours and hours on individual pots - as do potters that create larger pieces - should there be a difference in the price?

PROMPT #4

• If you were going to ask Fabrega 5 questions about her pottery (her process, inspiration, etc.) what would you ask?

  

NOI VOLKOV

READ THE INFORMATION BELOW ABOUT NOI VOLKOV - AND RESPOND TO TWO OF THE FOLLOWING PROMPTS BY FRIDAY, MARCH 16th AT 6:00 PM.

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REMEMBER - THIS IS A HOMEWORK ASSIGNMENT - DO NOT USE TEXT LANGUAGE: CAPITALIZE, USE PUNCTUATION AND CHECK YOUR SPELLING!!



NOI VOLKOV

“Art History has always been a passion of mine. My work depicts famous works, artists, and artistic movements in various ways to illustrate their influence on the art world. I mix artists in unexpected ways but there is always an artistic thread that binds them together. My work is like a tribute to all the artists who have ever inspired me. My work is also intended to put emphasis back on past masters in a fun, unexpected way.

I am a sculpture and a painter, I combine both by hand sculpting forms and painting on them as if on a canvas. Together I feel my two mediums come combine to create my personal style.” – Noi Volkov

From: http://www.noivolkov.net/index.php  



“The Soviet Union provided extraordinary classical art education to its most promising artistic talents, who were expected to produce heroic worker art in return.

Noi Volkov earned a Bachelor of Fine Arts from Odessa Gregor Art College and a Masters of Fine Art in ceramics from Lenningrad Muchina College. His painting of “Christ Appearing to Brezhnev” was not exactly what the state was looking for, however, and it led to Volkov’s arrest by the KGB and ultimate emigration to the United States.

His current work is unmistakable, unfettered by anyone’s expectations but his own, and drawing deeply from classical imagery. He is an obvious master of his material(s).

There is a sly wit at work in most of his pieces juxtaposing ikonic [if you don’t know what it means….look it up!] images, taken apart and reassembled in unexpected, thought provoking reincarnations.”


from: http://www.williamzimmergallery.com/artist_info/noi_volkov.html

For more info on Noi Volkov: http://www.noivolkov.net/


PROMPT #1

• Read the information above about Noi Volkov’s inspiration and his life.
• If you were to create a teapot with what inspires you on it, what kind of teapot would you create?
• Describe what your teapot would look like. Discuss:
• Size
• Color
• Texture
• The forms of the teapot.

PROMPT #2

• Volkov considers himself a sculptor and a painter; his teapots are a delightful combination of the 3-dimensional and the 2-dimensional.
• If you could choose two types of creative talent that you would like to combine in your own life, what would you choose? ** Note: the talents don’t have to be for visual artwork – they can include performance, dance, writing, music, vocals, etc…..
• Why would you make this choice?
• What kind of artwork would you create? Describe one piece you may create….

PROMPT #3

• Compare Noi Volkov’s pottery with that of Jim McDowell or Tim See - both of whom we have studied on the blog.
• What similarities are there between the potters' work?
• What are the differences between the potters' work?
• Which do you prefer and why?

PROMPT #4

• Imagine that you are a potter who creates pottery (or any type of artwork) that infuriates the government and you are arrested because of the artwork you create.
• How far do you think a government can or should go in relation to censoring an individual’s self-expression?
• How would you respond if you were censored for your artistic self-expression? Volkov lived in Russia under a very oppressive government and you live in one of the freest countries in the world in relation to self-expression.
• Would you attempt to emigrate as Volkov did or would you try and work within your country to change things?
• How do you think living in such an oppressive country would affect your artwork?

RESEARCH

READ THE INFORMATION BELOW ABOUT RESEARCH AND RESPOND TO TWO OF THE FOLLOWING PROMPTS BY FRIDAY, MARCH 9th AT 6:00 PM.

MAKE SURE YOUR NAME IS IN YOUR RESPONSE.

PLEASE MAKE SURE THAT YOUR RESPONSES ARE EACH AT LEAST 5 SENTENCES LONG AND ANSWER ALL THE BULLET-POINT QUESTIONS TO RECEIVE FULL CREDIT!


REMEMBER - THIS IS A HOMEWORK ASSIGNMENT - DO NOT USE TEXT LANGUAGE – CHECK YOUR SPELLING, GRAMMAR AND USE PROPER CAPITALIZATION!!


RESEARCH

This week I'd like you to think about how you choose your references and resources when designing your functional pottery.

Below are two well-know pottery websites. Go to each website, roam around and then answer the prompts below.



Clay Art Web Guide: http://vickihardin.com/links/index.htm


Ceramics Arts Daily: www.ceramicartsdaily.org/

PROMPT #1:

• Choose an artist from one of the two websites that you would like to use as a resource or reference for one of your projects. You will be making a personalized cup on the potter's wheel, a set of unique salt-and-pepper shakers and a smoke-fired slab candle holder.
• Paste the link to the artist's website or their work in your response.
• Describe the artist's work.
• Describe why you chose this artist's pottery - how will you use this artist as a resource or a reference?
• How will you incorporate the potter's forms/shapes into your own work? Their textures? Their glazing/underglazing/colors?

PROMPT #2:

• All artists create artwork that is based on their own personal experiences. Artists also freely use ideas from other sources. There is a fine but definite line between copying or plagiarizing another person's artwork and using their work as inspiration or appropriating parts of their work, techniques or concepts and incorporating them into your own artwork.
• Dictionary.com defines plagiarism first as "the unauthorized use or close imitation of the language and thoughts of another author and the representation of them as one's own original work."
• Where do you draw the line when using other artists as inspiration?
• Give an example of definite artistic plagiarism.
• Give an example of using another person's artwork as legitimate inspiration.

PROMPT #3

• Paul Gaugin said, "Art is either plagiarism or revolution."
• Gaugin gave only two options.....is the topic this black and white?
• In a minimum of 5 sentences, give your response to Gaugin's statement.

PROMPT #4

• Ron Ranson said, "It should be obvious why it's easier to copy someone else's painting, rather than work on site or even from a photograph. All the selection, rejection and design have already been done for you."
• Ranson believes it is very easy to copy another person's artwork - that all choices have been made for you and basically that you learn or create nothing new.
• What do you think prompts artists to copy another person's artwork as opposed to simply using it as a resource or source of inspiration?
• Have you ever been tempted to plagiarize someone's work?
• Why did or didn't you plagiarize their work?

TIM SEE

READ THE INFORMATION BELOW ABOUT TIM SEE - AND RESPOND TO TWO OF THE FOLLOWING PROMPTS BY FRIDAY, MARCH 2nd AT 6:00 PM.

MAKE SURE YOUR NAME IS IN YOUR RESPONSE.

PLEASE MAKE SURE THAT YOUR RESPONSES ARE EACH AT LEAST 5 SENTENCES LONG AND ANSWER ALL THE BULLET-POINT QUESTIONS TO RECEIVE FULL CREDIT!

REMEMBER - THIS IS A HOMEWORK ASSIGNMENT - DO NOT USE TEXT LANGUAGE: CAPITALIZE, USE PUNCTUATION AND CHECK YOUR SPELLING!!

TIM SEE

Ceramics is my passion. For the past ten years I have been devoted to the craft of turning wet clay into a wide variety of sculptural and functional art works. My voracious appetite for testing and trying new things taught me early on that success with clay depends on persistence and patience. Exploring each approach for its limitations and growth potential is the method in which I develop new work. It is about taking a trait and exploiting it, dividing the parts to make decisions systematically. Each approach, raku, wood firing, porcelain and redware is addressed differently. The opposing approaches permit my exploration of motifs and ways of working that may not exist if all four were not explored. Not only does each firing process open windows to their own worlds but also unlocks answers in other methods of building and firing.

Experimenting and evolving in all areas is a necessity to my work and me.  Each process is going in different directions but once in awhile they cross paths and share moments.  Failures are as important as successes in the development of new ideas. I make a lot of mistakes or work that doesn’t hit the mark, but without pushing the limits of the materials and of the ideas you become stagnant. I glimpse a few steps ahead at what is coming up but with each push forward the future changes and new paths appear or a new process is formed. Previously abandoned styles are revisited with the current knowledge and are recultivated. Breathing new life into traditional methods and functional forms is extremely rewarding and continues to motivate me to explore ceramics.

From: http://timseeclay.com/  

PROMPT #1

• Look at Tim See’s pottery. You will notice that he has a few distinct styles in which he works.
• Which of his styles appeal to you the most? Why?
• What do you think would be the most difficult part for you if you were to create pottery like See creates?
• Why?

PROMPT #2

• One of Tim See’s stylistic influences is Steampunk. Steampunk is defined by http://www.dictionary.com/  as, “a subgenre of science fiction and fantasy featuring advanced machines and other technology based on steam power of the 19th century and taking place in a recognizable historical period or a fantasy world.”
• Tim See uses small gear, cogs, wires and other pieces of machinery in his functional Steampunk pottery; this – as well as their shapes/forms - gives them a distinct sculptural aspect.
• Compare See’s work to the Steampunk sculptures of Pierre Matter at: http://pierrematter.com/
• If you were going to create artwork with Steampunk inclinations or aspects, would you be more apt to create functional artwork or sculptural artwork (or an intriguing combination of the two)? Explain your thinking.
• What aspects of See’s Steampunk-inspired pottery do you appreciate the most?
• Are there any aspects or techniques that you would like to incorporate into your own work?

PROMPT #3

• Often, in the Steampunk tradition, artists create “historical” fiction that explains their artwork. Although the information is fictional, it is written as if it were true historical fact.
• Read the “history” behind See’s Steampunk Tea Set at: http://www.etsy.com/listing/83814597/steampunk-tea-sett  
• Choose another piece of his Steampunk pottery and write your own “historical” information for the piece.
• Please include the link to the piece of pottery about which you are writing!!

PROMPT #4

• If you were going to ask Tim See 5 questions about his pottery (his process, inspiration, pricing, studio, etc.) what would you ask?
• Please make sure your questions are in-depth and thoughtful!

FORM AND FUNCTION

READ THE INFORMATION BELOW ABOUT FORM AND FUNCTION - AND RESPOND TO TWO OF THE FOLLOWING PROMPTS BY FRIDAY, FEBRUARY 24th AT 6:00 PM.

MAKE SURE YOUR NAME IS IN YOUR RESPONSE.

PLEASE MAKE SURE THAT YOUR RESPONSES ARE EACH AT LEAST 5 SENTENCES LONG AND ANSWER ALL THE BULLET-POINT QUESTIONS TO RECEIVE FULL CREDIT!

REMEMBER - THIS IS A HOMEWORK ASSIGNMENT - DO NOT USE TEXT LANGUAGE – CHECK YOUR SPELLING, GRAMMAR AND USE PROPER CAPITALIZATION!!

FORM AND FUNCTION

FORM refers to the shape of an object.

FUNCTION refers to the use of an object.

FORM AND FUNCTION and function refers to the RELATIONSHIP BETWEEN THE USE OF THE CONTAINER AND IT’S SHAPE.

Simply put, in functional ceramics, WHAT a container is used for determines it’s SHAPE.

The form is determined by the function. For example, a coffee mug has a shape that fits into a person’s hand easily, has thick walls to keep the heat in the coffee and has a lip that makes drinking hot liquid easy and spill-free.

A container with a long, thin neck, a bulbous body and a handle may be used to pour liquid in a slow manner. Olive oil is often kept in such containers that have long necks and small openings to slow down the pouring speed. Iced tea kept in such a container would be an annoyance; iced tea is kept in a pitcher with a wide mouth, a lip to keep in the ice and a sturdy handle.

The form of the projects that you will be creating will be determined by how you plan to use your pottery.

PROMPT #1

• Look at the pottery on the right.
• Choose 5 pieces of pottery and describe the function for which you think they have been designed.
• Explain your thinking for each piece - what about the pottery makes you think it is designed for a specific use?
• Remember....5 sentences minimum!  

PROMPT #2

• Look at the pottery on the right.
• Choose three pieces of pottery.
• Describe the function of each piece of pottery - be specific!
• Describe what you could do to each piece to change the function dramatically.

PROMPT #3

• Sometimes when functional potters create their artwork, they treat their pottery almost as if it were a sculpture - and the function becomes secondary to the sculptural aspects of the pottery.
• If you were a potter, what would you want to do with your artwork - Would you focus mostly on the functional aspects of your pottery or the sculptural aspects of your pottery?
• What is your thinking behind this decision?
• How would you market your work? Would you market yourself as a functional or sculptural ceramic artist?

PROMPT #4

• If you were going to design a piece of pottery that had a distinct but unusual function - AND had a unique sculptural aspect - what would you create?
• For what function or use would your pottery be designed?
• What kind of sculptural aspects would your pottery have?
• Describe this imaginary piece of pottery in as much detail as possible!

 

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TEXTURE

READ THE INFORMATION BELOW ABOUT TEXTURE - AND RESPOND TO TWO OF THE FOLLOWING PROMPTS BY FRIDAY, FEBRUARY 17th AT 6:00 PM.

MAKE SURE YOUR NAME IS IN YOUR RESPONSE.

PLEASE MAKE SURE THAT YOUR RESPONSES ARE EACH AT LEAST 5 SENTENCES LONG AND ANSWER ALL THE BULLET-POINT QUESTIONS TO RECEIVE FULL CREDIT!

REMEMBER - THIS IS A HOMEWORK ASSIGNMENT - DO NOT USE TEXT LANGUAGE – CHECK YOUR SPELLING, GRAMMAR AND USE PROPER CAPITALIZATION!!

TEXTURE

Texture refers to how something feels or looks like it feels. Clay has the delightful property of being able to capture a myriad of textures simply by pressing objects into the clay. Clay may be made to look like stone, bark, lace, burlap, leather, whipped cream or icing, terry cloth, metal or made as smooth as glass. The number of textures that you can create in clay are infinite.

Texture is often used to create emphasis in a piece of pottery. For example, a smooth area (and smooth IS a texture) may be emphasized by placing it next to a highly textured area. This method of contrasting textures is used by many potters. Look at the examples on the right.

PROMPT #1

• You've spent two weeks creating the form of your African-inspired Face Jug. At this point, please take a few minutes and think about the textures your will create on your jug.
• If you had to change the texture on your jug right now, how would you change it?
• Do you prefer pieces of pottery with texture or do you prefer smoother surfaces? Why?
• Did you do any experimenting with texture while creating your jug? If so, what did you try and what techniques did you like or not like about your experiments?

PROMPT #2

• One way to create texture is to press objects into clay - this method is called embossing.
• If you were to choose a pot from the pieces on the right and were going to change a texture on one of the pots by embossing the surface, what kind of textures would you emboss into the pot?
• In what way would this improve the look of the piece?

PROMPT #3

• Other ways to create texture are to carve into the clay or to build areas of the clay up to create a textured surface.
• Choose one of the pieces of pottery on the right that has a smooth surface and describe how you would improve the pot by creating carved or built up area to create a textured surface.
• In what way would this improve the look of the piece?

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JIM McDOWELL - AFRICAN FACE JUGS

READ THE INFORMATION BELOW ABOUT JIM McDOWELL AND AFRICAN FACE JUGS - AND RESPOND TO TWO OF THE FOLLOWING PROMPTS BY FRIDAY, FEBRUARY 10th AT 6:00 PM.

MAKE SURE YOUR NAME IS IN YOUR RESPONSE.

PLEASE MAKE SURE THAT YOUR RESPONSES ARE EACH AT LEAST 5 SENTENCES LONG AND ANSWER ALL THE BULLET-POINT QUESTIONS TO RECEIVE FULL CREDIT!

REMEMBER - THIS IS A HOMEWORK ASSIGNMENT - DO NOT USE TEXT LANGUAGE – CHECK YOUR SPELLING, GRAMMAR AND USE PROPER CAPITALIZATION!!

History of the African- American Face Jug ~Jim McDowell

"Some many years ago while attending a gathering after a family funeral, I found myself intrigued by a conversation between my father and some elder family members. They were talking about something called face jugs and how they related to our family history.

This is the African-American face-jug oral history as it was passed down in my family, the McDowell-Poston family. My father, James T. McDowell, Sr., told me the story as he received it from his father, Boyce McDowell, who was a tombstone maker In Gaffney, South Carolina, and he got it from his father, my great-grandfather who lived during slavery times.

Slaves were not allowed to have tombstones, they said, so sometimes pottery or even a face jug served as their grave markers. My great-great-great-great Aunt Evangeline was a village slave potter in Jamaica. She made face jugs, too. The story handed down from Evangeline was that slaves placed personal items on their loved ones' graves along with face jugs. The ugly face on the jug evolved something like this: Slaves from Africa revered their ancestors and participated in ancestor honoring, or what we might call ancestor worship. African slaves were taken to the Caribbean to be acclimated and there they picked up the religion of voodoo.

Eventually ancestor worship, voodoo, and Christianity amalgamated into the tradition of the face jug. Many slaves who came to this country converted to Christianity and acquired a belief in the devil. They combined all their beliefs and came up with the ugly face jug. Apparently it had to be ugly enough to scare the devil away from your grave so your soul could go to heaven. When he was still living, my father gave me a face jug he acquired on a trip to Jamaica many decades ago. It is crudely made with rough features and I treasure it.

Some researchers from the Smithsonian contacted me once to see if I could add anything to their studies of face jugs. They told me of meeting an old black farmer in the South who took them out into a field believed to be a slave burial ground. He showed them shards of pottery and what looked like face jug remnants in the earth.

This topic has no written history, but the oral tradition in my family, along with other information I've gleaned, is my inspiration for the face jugs I create. I put a cigar in the mouths of some face jugs. Slaves were not allowed to smoke so the cigar signifies defiance, the man who does not consider himself a "boy," and of course delivers, symbolically, a strong epithet to the slaveholder. I remember all of these things when making a face jug. I add stained glass to some of the jugs so that when they are fired it streams down like tears.

When I started making face jugs about 15 years ago I heard about Slave Potter Dave from Edgefield, South Carolina, who could read and write and I was drawn to his story. Dave was owned by publishers of a newspaper. In the face of adversity and under the risk of severe punishment, this slave potter created jugs with rebellious sayings on them. Although there are no accounts that he ever made face jugs, I wanted to honor this courageous man and keep the tradition and spirit of Slave Potter Dave alive by writing messages on my jugs as Dave had done. I make face jugs to pay homage to my ancestors, those who survived the Middle Passage."

from http://www.blackpotter.com/

For examples by more face jug potters:

• http://www.amerifolk.com/pottery/FaceJugs/index.php
• http://meaderspottery.org/
• http://www.face-jugs.com/

PROMPT #1

• McDowell likes to quote Daniel Rhodes, also a potter: "Earth, water, fire - these are the ingredients of pots and human beings alike, and each formula contains an element of chance. Do not seek perfection in pots or people, for your search will be unrewarded, and you will miss knowing many good pots and good people."
• In what ways do McDowell's pots reflect this quote?
• How would you apply this quote to your life?

PROMPT #2

• If you were going to make a face jug, what type of face would you put on the jug? Describe the expression.
• What size would your jug be?
• What type of textures would you use?
• What colors would you use on your face jug?
• Would you place quotes or sayings on your face jug? If so - what would you write?

PROMPT #3

• Imagine that you were not allowed to mark the graves of the ones you love who have died with a tombstone for fear of severe punishment and that one of your only options was to create a face jug as a marker and to keep your loved ones' souls safe.
• For whom would you create a face jug?
• What would you inscribe on the face jug?
• Would you keep the jug at the gravesite or would you eventually take it home? Why would you make this choice?

PROMPT #4

• Some face jugs are created with a certain "primitive" look - the faces are not refined and often the features are exaggerated and relatively simple. These jugs are made to be similar to the traditional jugs of the untrained potters/sculptors of the past.
• If you were going to create a face jug, would your jug be more contemporary/realistic or more primitive/traditional?
• What features would you exaggerate? Why?
• Imagine that you were going to create a jug that didn't scare away evil spirits - but instead was going to attract kind or good spirits - what would this type of jug look like?