This course introduces students to working with clay through ceramic processes and techniques. It has an emphasis on using different clay bodies, surface decoration techniques and glaze application. Aspects of form and function will be explored through themes referencing both historical and contemporary ceramics. Ceramics will be considered in relation to the broader arena of visual art, craft, design and contemporary concerns related to materials and place. Work health and safety (WHS) instruction is an integral part of this course.

Students may complete this course twice for a maximum credit value of 12 units, provided they enrol in a different topic in each instance/semester. Please note that the course content, assessment structure, and reading list will change depending on the topic and the expertise of the lecturer convening the course. Please refer to the class summary for the specific term in which you wish to enrol for a detailed description.

Topics may include, but are not limited to, the following:

• Introduction to Wheelformed Ceramics

Wheelformed ceramics focuses on the fundamentals of wheel throwing. This includes throwing with terracotta and white stoneware clays, for the making of both tableware and sculptural objects. There is an emphasis on practise as well as experimentation, with a mindfulness towards being resourceful with materials and firing. Thrown work is decorated by working into and onto the surface of the clay using carving, incision, underglaze, oxides and glaze. Practical workings with clay are underscored by lessons on kiln loading and firing. There are weekly lectures which incorporate examples of artists who work with clay on the wheel across both traditional and experimental techniques. There is an emphasis on experimenting with materials, surfaces and form and on considering the politics and poetics of material origins and transformations that are inherent in ceramic practices.

• Introduction to Handformed Ceramics

In Handformed ceramics, there is a focus on the fundamentals of hand building, including pinching, slab forming, coiling and extruding. There is also exploration of various surface decorating techniques, including carving, incision, underglaze, oxides and glaze. Practical workings with clay are underscored by lessons on kiln loading and firing. This course has weekly lectures which incorporate examples of artists who work with clay across traditional ceramic techniques as well as through experimental sculptural and conceptual practices. There is an emphasis on experimentation with materials, surfaces and form and in exploring the politics and poetics of material origins and transformations that are inherent in ceramic practices. 

Learning Outcomes

Upon successful completion, students will have the knowledge and skills to:

1. identify and use basic techniques and principles appropriate to ceramics;
2. employ safe and professional studio work processes using the specialised equipment;
3. explore and evaluate the creative possibilities of materials and techniques in response to set projects; and
4. develop works that respond to contemporary ceramic theories and art practices.

Field Trips

The course may involve visits to local institutions and workshops. Transport, parking and associated fees are the resposibility of the student.

Additional Course Costs

This course will have a Materials Fee. At the ANU School of Art & Design, each workshop sources appropriate specialist materials, which are made available to students to facilitate their working effectively, efficiently and safely within our programs. The School of Art & Design is able to supply materials that don’t compromise ANU obligations under the Work Health and Safety Act 2011 (WHS), and that have been assessed as suitable for each course. The Materials Fee  is payable for the School of Art & Design to supply consumables and materials that become your physical property. You can choose to pay the Materials Fee and have these materials supplied to you through the School of Art & Design, allowing you to take advantage of the GST-free bulk purchasing power of the ANU. These materials are also WHS compliant. The exact cost of the Materials Fee will be updated in the Class Summary for each semester in which the course is offered. The full SOAD policy can be read here: https://soad.cass.anu.edu.au/required-resources-and-incidental-fees.

AFTERHOURS ACCESS

Students have the option to obtain additional access to workshop and studio spaces outside of class delivery. Afterhours Access is defined as access to workshop and studio spaces outside of business hours (8am – 6pm) between 6pm - 10pm Monday to Friday, and 9am - 4pm Saturday and Sunday. It is afforded to students by paying an Afterhours Access Fee each semester.

Recommended Resources

Whether you are on campus or studying online, there are a variety of online platforms you will use to participate in your study program. These could include videos for lectures and other instruction, two-way video conferencing for interactive learning, email and other messaging tools for communication, interactive web apps for formative and collaborative activities, print and/or photo/scan for handwritten work and drawings, and home-based assessment.

ANU outlines recommended student system requirements to ensure you are able to participate fully in your learning. Other information is also available about the various Learning Platforms you may use.

Staff Feedback

Students will be given feedback in the following forms in this course:

• written comments
• verbal comments
• feedback to whole class, groups, individuals, focus group etc

Student Feedback

ANU is committed to the demonstration of educational excellence and regularly seeks feedback from students. Students are encouraged to offer feedback directly to their Course Convener or through their College and Course representatives (if applicable). Feedback can also be provided to Course Conveners and teachers via the Student Experience of Learning & Teaching (SELT) feedback program. SELT surveys are confidential and also provide the Colleges and ANU Executive with opportunities to recognise excellent teaching, and opportunities for improvement.

Class Schedule

Week/Session	Summary of Activities	Assessment
1	Introduction to the course, Ceramics staff and the Ceramics Workshop Study approach, Course Learning Outcomes, Student Support, Wattle, Student Representatives, Assessments Ceramics Workshop - WHS and procedures, workshop tour, workshop materials fee, after hours access fee LECTURE: Introduction to Ceramics and Ceramic TechnologyDEMONSTRATION: Clay - types of kneading, Induction to pottery wheel, centering, making a cylinder and a bowl, Personalised stamp. STUDIO PRACTICE: Kneading clay, Personalised stamp making, Pottery wheel - centering	HOMEWORK: Choose an artist from the set list for Assessment Task 1 and one other wheel-throwing ceramic artist from elsewhere. Bring an image of each artist's work to share and discuss in class in Week 2. Assessment Task 1List of artists
2	LECTURE: The Wheel as a Tool for MakingTUTORIAL: Discuss Assessment Task 1, How to discuss/ critique artwork/ artists, Small group discussion of selected artists for Assessment Task 1 ACTIVITY: Draw variations of cylinders, considering proportion/ with variations of handles DEMONSTRATION: Recap - Introduction to wheel throwing, Centering, throwing cylinders and bowls, Cleaning the wheel and workshop, Allocation of 1 x bag of Stoneware No. 10 to each student STUDIO PRACTICE: Centering, Throw cylinders	HOMEWORK: Read the Set Reading and take notes in your Visual Journal, think about how you would answer the questions on Week 3 information. Studio Practice: Review the following videos and practice your centering and opening up. Here are a selection of videos that will help you get started with wedging/kneading, centering and throwing a cylinder The cylinder is the basis of many forms and worth mastering with an even wall.
3	LECTURE: Can you handle it? TUTORIAL: Discussion of Set ReadingACTIVITY: Sketch ideas of imagery you might use on your cylinders. DEMONSTRATION: Turning/Trimming cylinders, Types of handles - pulled, extruded, coil, wire cut, hand formed, Induction to clay extruder, Attaching handles, Throwing bowls, Recycling your own clay STUDIO PRACTICE: Turning, Handles	HOMEWORK: Ensure you have 2 turned cylinders ready, dry and put on the 'to be bisqued/ greenware' trolley in the kiln room to be bisque-fired for Week 4. Consider the imagery you might use on your round 3D cylinder forms for surface decoration in Week 4. Revise the videos below for techniques for turning /trimming
4	LECTURE: Surface DecorationTUTORIAL: Introduce your selected artists for Assessment Task 1 to other students as a small group discussion DEMONSTRATION: Glaze room induction, glazing a bisque fired cylinder, types of glazes (dust masks allocated) Surface decoration demonstration using the maiolica technique with underglazes Allocation of Bennetts Terracotta clay Turning bowls STUDIO PRACTICE: Glaze 2 bisque fired cylinders and experiment with surface decoration using underglaze. Put completed cylinders on 'Cone 6' glaze trolley for firing in kiln room this week. Throw bowls and cylinders.	Assessment Task 1 due today HOMEWORK: Watch/ read about the different approaches, materials and techniques to maiolica used by artists
5	LECTURE: Set TheoryTUTORIAL: Discuss glaze and decoration results Further discussion of Assessment Task 2 'Set Theory'. Consider, draw and plan your Task 2 studio work (2 cylinders with handles and a set of 4 bowls). DEMONSTRATION: Kiln induction, kiln firing and technology (in preparation for quiz), Glazing a bowl with tongs, Throwing sets of bowls STUDIO PRACTICE: Consultations with each student to talk about their ideas for Assessment Task 2, Throwing, turning, glazing, decorating in preparation for submitting Assessment Task 2 (in Week 8)	HOMEWORK: Read the set reading. Take notes in your Visual Journal and think about how you might answer the questions on Week 6 information. By this time in the semester you should be coming in to the workshop in your own time to practice throwing. Make sure you are spending enough time to hone your skills. Practice practice! If there are any special brushes or tools that you need to achieve the surface decoration results you are after, you will need to source them yourself.
6	TUTORIAL: Discussion of the set readingSTUDIO PRACTICE: Continue working towards Assessment 2 Individual consultations with all students to ensure that you are on track with Assignment 2 If you need something demonstrated again or need feedback, please ask A timetable of bisque and glaze firings will be scheduled during the teaching break so you can make sure your work is progressing and will be ready for assessment in Week 8.
7	LECTURE: Developing a Creative Concept. This lecture is to prepare you for thinking about Assessment Task 3 TUTORIAL: Draw closed forms, forms with bellies and shoulders, vases, bottles etc. DEMONSTRATION: Slab roller induction, making slabs/ tiles with rolling pin and guides or slab roller. Wheel throwing - revising collaring in. Bellied forms - bottles; Closed forms - spheres. List of common weights and measures, Robin Hopper 'Functional Pottery'STUDIO PRACTICE: Make 2 tiles approximately 10 x 10cm in either Stoneware No. 10 or Bennetts Terracotta (2 total). Smooth surface and dry flat. To be bisque fired by Week 9. Finalise Assessment Task 2 studio work and firings.	HOMEWORK: Assessment Task 2 is due Week 8. Ensure your submitted work will be completely fired and ready by checking kiln firing schedules. Remember to complete the online quiz on Kiln Packing and Technology.
8	ASSESSMENT TASK 2 DUE Set up Assessment Task 2 studio work on half a table covered with butchers paper. Write your name on the paper and any other information you find relevant. The assessment task comprises 2 cylinder forms with handles and a set of 4 bowls. Make clear which works are for assessment and which work is support material. Present your Visual Journal for review alongside your work. Work will be ready for collection by 1.30pm on the day of assessment. ACTIVITY: By 9.30am after setup we will have a discussion about critique sessions before each student outlines their work followed by questions/ comments by other students. Remember you should have completed the online quiz on Kiln Packing and Technology. LECTURE: Contain-Connect, Introduction and discussion of Assessment Task 3 Contain-Connect, Handout - Establishing a Studio Practice	DURING ASSESSMENT: Please leave the Ceramics Workshop and find a suitable place to think about and write an exploratory proposal for Assessment Task 3. HOMEWORK: Read the set reading.Take notes in your Visual Journal and think about how you might answer the questions on Week 9 information.
9	LECTURE: Colour Mixing and Line BlendsTUTORIAL: Discussion of set reading: 'Where Craft Starts' by Tom MartinDEMONSTRATION: Using a Line Blend for material testing. Colour blending with metal oxides and stains. Throwing demonstration - altering form, joining in sections STUDIO PRACTICE: Experiment and test colour blending on your bisqued and glazed test tiles. Keep good notes in your Visual Journal. Ensure you are aware of which glaze and kiln firing temperature you plan on using for each type of clay (Stoneware No. 10 fires to Cone 6/1200C, Bennetts Terracotta fires to Cone 03/1100C) (Workshop Clear glaze and White Gloss glaze fire to 1100C and 1200C, Workshop Satin White only fires to 1200C). Put tiles in kiln room on correct shelf for firing this week. Work on Assessment Task 3	HOMEWORK: Research two artists that place your Contain/Connect project in context.
10	LECTURE:Colour Mixing and Line BlendsDEMONSTRATION:Using a Line Blend for material testing. Colour blending with metal oxides and stains Studio Work:  Experiment and test colour blending on your bisqued and glazed test tiles. Keep working on your Assessment Task 3 project.	Homework  Read the set reading.
11	LECTURE: DisplayTUTORIAL: Discussion of set reading, 'Kelly Austin In Search of Place' by Rebecca Coates (CAP 2022)CRITIQUE SESSIONACTIVITY: Do a calendar, working backwards from Week 14 assessment day (Wednesday 6 November or Thursday 7 November) to meet kiln firing deadlines, drying times, finishing work. DEMONSTRATION: Throwing off the hump, Spray Application of Glaze, Throwing Lids and GalleriesSTUDIO PRACTICE: Continue working on Assessment Task 3 Individual consultations
12	No lecture this week. TUTORIAL: Photographing work, induction for photographic set up STUDIO WORK: Complete Assessment Tasks 3 and 4 ready for assessment in Week 14. Take note of kiln firing schedules and assist in kiln packing/ unpacking if you have time.	Assessment preparation
13	Wednesday 5th /Thursday 6th November 2025: ASSESSMENTFriday 7th November: Collect workCongratulations, well done!

Tutorial Registration

ANU utilises MyTimetable to enable students to view the timetable for their enrolled courses, browse, then self-allocate to small teaching activities / tutorials so they can better plan their time. Find out more on the Timetable webpage.

Assessment Summary

Assessment task	Value	Due Date	Learning Outcomes
Written comparative case study	10 %	14/08/2025	3,4
Set theory: studio practice	30 %	25/09/2025	1,2,3,4
Contain-connect: Studio project	40 %	06/11/2025	1,3,4
Visual Journal and 500w Critical Reflection	20 %	06/11/2025	3,4

* If the Due Date and Return of Assessment date are blank, see the Assessment Tab for specific Assessment Task details

Policies

ANU has educational policies, procedures and guidelines , which are designed to ensure that staff and students are aware of the University’s academic standards, and implement them. Students are expected to have read the Academic Integrity Rule before the commencement of their course. Other key policies and guidelines include:

• Academic Integrity Policy and Procedure
• Student Assessment (Coursework) Policy and Procedure
• Extenuating Circumstances Application
• Student Surveys and Evaluations
• Deferred Examinations
• Student Complaint Resolution Policy and Procedure
• Code of practice for teaching and learning

Assessment Requirements

The ANU is using Turnitin to enhance student citation and referencing techniques, and to assess assignment submissions as a component of the University's approach to managing Academic Integrity. For additional information regarding Turnitin please visit the Academic Skills website. In rare cases where online submission using Turnitin software is not technically possible; or where not using Turnitin software has been justified by the Course Convener and approved by the Associate Dean (Education) on the basis of the teaching model being employed; students shall submit assessment online via ‘Canvas’ outside of Turnitin, or failing that in hard copy, or through a combination of submission methods as approved by the Associate Dean (Education). The submission method is detailed below.

Moderation of Assessment

Marks that are allocated during Semester are to be considered provisional until formalised by the College examiners meeting at the end of each Semester. If appropriate, some moderation of marks might be applied prior to final results being released.

Participation

Students are expected to engage in class exercises and studio practice, so that they can become proficient in the relevant skills and techniques. An approach that engenders experimentation, originality, conceptual development and technical competency is encouraged. 

It is expected that critical and intellectually rigorous thinking is brought to individual work as well as group feedback sessions - delivered respectively and generously.

Participation in the weekly classes is essential to fulfilling the learning outcomes of this course. Studio clean-ups sessions are scheduled into the end of specific classes and it is expected that you also contribute to these.

Assessment Task 1

Written comparative case study

Research and write a critical, illustrated case study comparing the work of two artists/designers whose work and practices are relevant to the course theme of wheel formed ceramics. Select one artist from the set list and one artist of your choice (not on the list) relevant to your interest in the topic. 

Rubric

Course Marking Criteria	HD	D	CR	P	F
Explore and evaluate the creative possibility of ceramic-related materials, techniques and conceptual frameworks in relation to set projects LO3	Critically discusses with exceptional understanding of how ceramic form, surface, materials and display create meaning. Interprets and makes highly astute observations about similarities and differences in concepts, perspectives and practice of the artists in question. Exceptional relationships are established between conceptual discussion and supplied imagery.	Superior understanding of how ceramic form, surface, materials and display create meaning. Interprets and makes astute observations about similarities and differences in concepts, perspectives and practice of the artists in question. Superior quality of relationships is established between conceptual discussion and supplied imagery.	Good quality of understanding of how ceramic form, surface, materials and display create meaning. Interprets and makes good observations about similarities and differences in concepts, perspectives and practice of the artists in question. Relationships are established to a good quality between conceptual discussion and supplied imagery.	Satisfactory understanding of how ceramic form, surface, materials and display create meaning. Interprets and makes observations about similarities and differences in concepts, perspectives and practice of the artists in question. Satisfactory relationships are established between conceptual discussion and supplied imagery.	Knowledge of relationships is not evidenced in discussion and completed project work
Identify historical and theoretical contexts to develop works that respond to contemporary ceramic theories and art practices LO4	Demonstrates an exceptional and comprehensive understanding of the theoretical and historical underpinnings of the practices of the artists in question. Highly convincing arguments are consistently supported by evidence from academic sources.	Demonstrates a superior understanding of the theoretical and historical underpinnings of the practices of the artists in question. Convincing arguments are consistently supported by evidence from academic sources.	Demonstrates a good quality of understanding of the theoretical and historical underpinnings of the practices of the artists in question. Convincing arguments are generally supported by evidence from academic sources.	Satisfactory understanding of the theoretical and historical underpinnings of the practices of the artists in question.  Arguments are sometimes supported by evidence from academic sources.	Insufficient evidence of contextual, historical, or theoretical knowledge.

Assessment Task 2

Set theory: studio practice

The studio project ‘Set Theory’ introduces students to the technique of wheel throwing for creating vessel forms, fundamental ceramic technology and engages students in the design of and concepts behind contemporary and historical sets of ceramic objects.  

 

For this task students will practice a range of skills and acquire knowledge about different aspects of studio research and practice through activities that develop proficiency in material manipulation through the wheel, tools and equipment use, technical processes, surface decoration techniques, kiln firing and ideation for ceramic art and design. All submitted ceramic works need to be complete – bisque fired, glazed, decorated and glaze fired. 

Rubric

Course Marking Criteria	HD	D	CR	P	F
Utilise techniques appropriate to ceramics in response to studio projects LO1	Foundational ceramic skills and use of ceramic tools and equipment developed to an outstanding level. Wheel throwing, finishing and decorating demonstrated to an exceptionally high standard.	Foundational ceramic skills and use of ceramic tools and equipment developed to a superior level. Wheel throwing, finishing and decorating demonstrated to a high standard.	Foundational ceramic skills and use of ceramic tools and equipment developed to a level of good quality. Successful wheel throwing, finishing and decorating are consistently demonstrated.	Foundational ceramic skills and use of ceramic tools and equipment developed to a basic level. Wheel throwing, finishing and decorating are demonstrated with satisfactory success.	Foundational ceramic skills and use of ceramic tools and equipment are insufficiently developed.  Wheel throwing, finishing and decorating are incomplete or not demonstrated.
Utilise WHS procedures appropriate to ceramics in response to studio projects L02	Kiln Firing and Packing quiz is completed and exceptional level of detail in list of WHS guidelines submitted in Visual Diary.	Kiln Firing and Packing quiz is completed and very high level of detail in list of WHS guidelines submitted in Visual Diary.	Kiln Firing and Packing quiz is completed and good level of detail in list of WHS guidelines submitted in Visual Diary.	Kiln Firing and Packing quiz is completed and satisfactory level of detail in list of WHS guidelines submitted in Visual Diary.	Kiln Firing and Packing quiz is not completed and there is an unsatisfactory level of detail in list of WHS guidelines submitted in Visual Diary.
Explore and evaluate the creative possibility of ceramic-related materials, techniques and conceptual frameworks in relation to set projects LO3	Methodically and experimentally demonstrates curiosity in exploring and testing ceramic materials to achieve exceptional project results.   Studio work clearly and thoughtfully expresses concept through form, surface, material and process to an exceptional level.	Consistently demonstrates curiosity in exploring and using ceramic materials to achieve superior project results.   Studio work clearly and thoughtfully expresses concept through form, surface, material and process to a superior level.	Regularly demonstrates curiosity in exploring and using ceramic materials to achieve above average project results of good quality.   Studio work expresses concept through form, surface, material and process to a level of good quality.	Satisfactorily demonstrates curiosity in exploring and using ceramic materials to achieve basic project results. Studio work expresses satisfactory conceptual content in relationship to ceramic process.	Insufficient exploration of ceramic materials evidenced in project works.   No evidence of conceptual content in studio work.
Identify historical and theoretical Ceramics contexts relevant to Workshop projects LO4	Project integrates a highly developed contextual, historical, and theoretical understanding of the field to an exceptional level.	Project integrates a strong contextual, historical, and theoretical understanding of the field to a superior level.	Project integrates a good quality of contextual, historical, and theoretical understanding of the field.	Work  evidences satisfactory analysis of contextual, historical, or theoretical knowledge applied to the project.	Insufficient evidence of contextual, historical, or theoretical knowledge in project work.

Assessment Task 3

Contain-connect: Studio project

In this substantial project students will develop two series of predominantly wheel formed works that explore form and surface, and conceptually respond to the theme ‘Contain-Connect’. The project will draw on historical and contemporary precedents, course lectures, demonstrations, readings, tutorials, discussions and set class activities.  

Two artworks will be presented for assessment, consisting of 10 wheel-thrown vessels in total. They should employ techniques and processes introduced during the course, including demonstrated surface treatments. All works should be bisque fired, glazed, decorated and glaze fired. The final presentation of works should be considered and executed for enriched audience engagement. 

Your submission should also present evidence as support material, of an iterative development of your concepts, skills and technical exploration. Iteration means many works, the ideas and skills that constitute them, developed progressively, through thinking and practice. In this approach, each new version is informed by a critical reflection on previous works, including set tasks and other explorations.

Rubric

Course Marking Criteria	HD	D	CR	P	F
Utilise techniques appropriate to ceramics in response to studio projects LO1	Foundational ceramic skills and use of ceramic tools and equipment developed to an outstanding level. Wheel throwing, finishing and decorating demonstrated to an exceptionally high standard.	Foundational ceramic skills and use of ceramic tools and equipment developed to a superior level. Wheel throwing, finishing and decorating demonstrated to a high standard.	Foundational ceramic skills and use of ceramic tools and equipment developed to a level of good quality. Successful wheel throwing, finishing and decorating are consistently.	Foundational ceramic skills and use of ceramic tools and equipment developed to a basic level. Wheel throwing, finishing and decorating are demonstrated with satisfactory success.	Technical skills are below standard.
Explore and evaluate the creative possibility of ceramic-related materials, techniques and conceptual frameworks in relation to set projects LO3	Studio work and conceptual development clearly and thoughtfully responds to the theme Contain: Connect through an outstanding level of methodical and experimental exploration of form, surface, material.   Digital Catalogue insightfully evaluates and communicates the relationship between concept and process to an exceptional level.	Studio work and conceptual development clearly responds to the theme Contain: Connect through a very high level of methodical and experimental exploration of form, surface, material.   Digital Catalogue evaluates and communicates the relationship between concept and process to a superior level.	Studio work and conceptual development responds well to the theme Contain: Connect through a high level of methodical and experimental exploration of form, surface, material.   Digital Catalogue evaluates and communicates the relationship between concept and process to a high level.	Studio work and conceptual development responds to the theme Contain: Connect through a degree of experimentation and exploration of form, surface, material.   Digital Catalogue evaluates and communicates some of the relationships between concept and process.	Studio work and conceptual development dosen’t responds to the theme Contain: Connect adequately.  There is insufficient experimentation and exploration of form, surface, material.   Digital Catalogue doesn’t evaluate and communicate the relationships between concept and process sufficiently.
Identify historical and theoretical contexts to develop works that respond to contemporary ceramic theories and art practices LO4	Project integrates a highly developed and exceptional contextual, historical, and theoretical understanding of the field.  Digital catalogue is effectively supported by highly relevant academic resources.	Project integrates a strong contextual, historical, and theoretical understanding of the field to a superior level.  Digital catalogue is effectively supported by relevant academic resources.	Project integrates a good quality of contextual, historical, and theoretical understanding of the field.  Digital catalogue is supported by relevant academic resources.	Work  evidences some analysis of contextual, historical, or theoretical knowledge applied to the project and documented in the Digital Catalogue to a satisfactory level.	Insufficient evidence of contextual, historical, or theoretical knowledge in project work or Digital Catalogue.

Assessment Task 4

Visual Journal and 500w Critical Reflection

Your Visual Journal is a workbook, a record of information, study progression, course participation, reflection on set readings, enquiry and ideas that represent what you have learnt during the course. Journals are fundamental tools for artists and designers, and a key part of any creative practice. Think of it as a visual thinking space where you can record and explore ideas freely, work through challenges quickly and iteratively. Your journal will become a valuable resource for future reference and add interest to your practice. Ideally you will use it to record and visualise your thinking, document and reflect on your experiences on a weekly basis. 

A 500-word critical reflection on how your research and course experience has informed the development of your work. Referenced information should include readings from book, journals, internet articles and your own works, other collected material and works observed during exhibition visits to physical and online galleries. Always acknowledge the source of your written and visual materials. The critical reflection will be included in your Digital Catalogue 

Rubric

Course Marking Criteria	HD	D	CR	P	F
Explore and evaluate the creative possibility of ceramic-related materials, techniques and conceptual frameworks in relation to set projects LO3	Comprehensively and insightfully documents material exploration, testing and resolution of clay, surface materials and glaze to an outstanding level.  The relationship between concept and process is imaginatively explored through research, writing, sketching and critical reflection to an exceptional level.	Comprehensively documents material exploration, testing and resolution of clay, surface materials and glaze to an superior level. The relationship between concept and process is explored through research, writing, sketching and critical reflection to a superior level.	Comprehensively documents material exploration, testing and resolution of clay, surface materials and glaze to a good quality level. The relationship between concept and process is explored through research, writing, sketching and critical reflection to a sound level.	Documents some of the material exploration, testing and resolution of clay, surface materials and glaze. The relationship between concept and process is explored through research, writing, sketching and critical reflection to a satisfactory level.	Insufficient documentation of exploration of ceramic materials.   Knowledge of relationships is not evidenced in documentation. Insufficient sketching, research, and reflection.
Identify historical and theoretical contexts to develop works that respond to contemporary ceramic theories and art practices   LO4	Makes exceptionally relevant reference to other artists and other academic research. Strong evidence of contextual, historical, and theoretical research, consistently and astutely linked to student’s own studio practice and critical reflection.	Makes superior reference to other artists and other academic research relevant to the project. Strong evidence of contextual, historical, and theoretical research, consistently linked to student’s own studio practice and critical reflection.	Refers to other artists and other academic research. Evidence of contextual, historical, and theoretical research, with links to student’s own studio practice and critical reflection to a level of good quality.	Satisfactory reference to other artists or other academic research. Satisfactory evidence of contextual, historical, and theoretical research in student’s own studio practice and critical reflection.	No evidence of research on either other artists or other academic research.

Academic Integrity

Academic integrity is a core part of the ANU culture as a community of scholars. The University’s students are an integral part of that community. The academic integrity principle commits all students to engage in academic work in ways that are consistent with, and actively support, academic integrity, and to uphold this commitment by behaving honestly, responsibly and ethically, and with respect and fairness, in scholarly practice.

The University expects all staff and students to be familiar with the academic integrity principle, the Academic Integrity Rule 2021, the Policy: Student Academic Integrity and Procedure: Student Academic Integrity, and to uphold high standards of academic integrity to ensure the quality and value of our qualifications.

The Academic Integrity Rule 2021 is a legal document that the University uses to promote academic integrity, and manage breaches of the academic integrity principle. The Policy and Procedure support the Rule by outlining overarching principles, responsibilities and processes. The Academic Integrity Rule 2021 commences on 1 December 2021 and applies to courses commencing on or after that date, as well as to research conduct occurring on or after that date. Prior to this, the Academic Misconduct Rule 2015 applies.

 

The University commits to assisting all students to understand how to engage in academic work in ways that are consistent with, and actively support academic integrity. All coursework students must complete the online Academic Integrity Module (Epigeum), and Higher Degree Research (HDR) students are required to complete research integrity training. The Academic Integrity website provides information about services available to assist students with their assignments, examinations and other learning activities, as well as understanding and upholding academic integrity.

Online Submission

You will be required to electronically sign a declaration as part of the submission of your assignment. Please keep a copy of the assignment for your records. Unless an exemption has been approved by the Associate Dean (Education) submission must be through Turnitin.

Hardcopy Submission

For some forms of assessment (hand written assignments, art works, laboratory notes, etc.) hard copy submission is appropriate when approved by the Associate Dean (Education). Hard copy submissions must utilise the Assignment Cover Sheet. Please keep a copy of tasks completed for your records.

Late Submission

Individual assessment tasks may or may not allow for late submission. Policy regarding late submission is detailed below:

• Late submission not permitted. If submission of assessment tasks without an extension after the due date is not permitted, a mark of 0 will be awarded.
• Late submission permitted. Late submission of assessment tasks without an extension are penalised at the rate of 5% of the possible marks available per working day or part thereof. Late submission of assessment tasks is not accepted after 10 working days after the due date, or on or after the date specified in the course outline for the return of the assessment item. Late submission is not accepted for take-home examinations.

Referencing Requirements

The Academic Skills website has information to assist you with your writing and assessments. The website includes information about Academic Integrity including referencing requirements for different disciplines. There is also information on Plagiarism and different ways to use source material. Any use of artificial intelligence must be properly referenced. Failure to properly cite use of Generative AI will be considered a breach of academic integrity.

Extensions and Penalties

Extensions and late submission of assessment pieces are covered by the Student Assessment (Coursework) Policy and Procedure. Extensions may be granted for assessment pieces that are not examinations or take-home examinations. If you need an extension, you must request an extension in writing on or before the due date. If you have documented and appropriate medical evidence that demonstrates you were not able to request an extension on or before the due date, you may be able to request it after the due date.

Privacy Notice

The ANU has made a number of third party, online, databases available for students to use. Use of each online database is conditional on student end users first agreeing to the database licensor’s terms of service and/or privacy policy. Students should read these carefully. In some cases student end users will be required to register an account with the database licensor and submit personal information, including their: first name; last name; ANU email address; and other information.
In cases where student end users are asked to submit ‘content’ to a database, such as an assignment or short answers, the database licensor may only use the student’s ‘content’ in accordance with the terms of service – including any (copyright) licence the student grants to the database licensor. Any personal information or content a student submits may be stored by the licensor, potentially offshore, and will be used to process the database service in accordance with the licensors terms of service and/or privacy policy.
If any student chooses not to agree to the database licensor’s terms of service or privacy policy, the student will not be able to access and use the database. In these circumstances students should contact their lecturer to enquire about alternative arrangements that are available.

Distribution of grades policy

Academic Quality Assurance Committee monitors the performance of students, including attrition, further study and employment rates and grade distribution, and College reports on quality assurance processes for assessment activities, including alignment with national and international disciplinary and interdisciplinary standards, as well as qualification type learning outcomes.

Since first semester 1994, ANU uses a grading scale for all courses. This grading scale is used by all academic areas of the University.

Support for students

The University offers students support through several different services. You may contact the services listed below directly or seek advice from your Course Convener, Student Administrators, or your College and Course representatives (if applicable).

• ANU Health, safety & wellbeing for medical services, counselling, mental health and spiritual support
• ANU Accessibility for students with a disability or ongoing or chronic illness
• ANU Dean of Students for confidential, impartial advice and help to resolve problems between students and the academic or administrative areas of the University
• ANU Academic Skills supports you make your own decisions about how you learn and manage your workload.
• ANU Counselling promotes, supports and enhances mental health and wellbeing within the University student community.
• ANUSA supports and represents all ANU students