Pottery and Ceramics

17 Grade 10 Fine Arts questions on Pottery and Ceramics, with worked marking schemes. 17 questions are available on this topic in full.

1. Question 1

   1 mark

   A school pottery club in Homa Bay digs its clay from land near a river and wants to avoid damaging the riparian area. Which practice best protects the land?

   A. Digging close to the water where the clay is softest

   B. Digging fresh pits at a new spot every term

   C. Refilling the pits and replanting the dug area

   D. Removing the grass cover to reach the clay faster

   (1 mark)

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2. Question 2

   6 marks

   Learners at a school in Kitui have dug clay from a riverbank for a pottery project. Outline, in the correct order, six stages they should follow to prepare the clay until it is ready for modelling. (6 marks)

   (6 marks)

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3. Question 3

   4 marks

   A learner is planning a decorated pellet vase for a school exhibition.

   (a) Distinguish between a plane and a contour as elements of 3-D art. (2 marks)

   (b) Explain how the learner can create texture on the surface of the vase. (2 marks)

   (4 marks)

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4. Question 4

   1 mark

   A learner models a pellet vase with one very large, burnished pellet motif at the front. It is many times bigger than any other decoration on the vase, so it is the first thing viewers notice. Which principle of 3-D art has the learner applied?

   A. Balance

   B. Harmony

   C. Proportion

   D. Dominance

   (1 mark)

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5. Question 5

   6 marks

   Kerubo plans to model a pellet vase that is symmetrical and well proportioned.

   (a) Make a sketch of the side view of a vase she could model and label any three of its parts. (4 marks)

   (b) Explain how her design should apply the principle of proportion. (2 marks)

   (6 marks)

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6. Question 6

   4 marks

   After firing, learners display their pellet vases so that their classmates can appraise them. Outline four criteria the class should use to appraise the vases. (4 marks)

   (4 marks)

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7. Question 7

   4 marks

   (a) Describe a simple test a learner can carry out to check whether a clay sample is plastic enough for pellet modelling. (2 marks)

   (b) Explain why clay with too much sand in it is unsuitable for pellet modelling. (2 marks)

   (4 marks)

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8. Question 8

   5 marks

   Describe the procedure a learner should follow to model a vase using the pellet technique, starting with the base and ending when the rim is complete. (5 marks)

   (5 marks)

   Marking scheme

   Any five of the following, 1 mark each (5 marks): - Knead and wedge the clay so it is of even consistency and free of air. - Flatten a lump of clay into a slab and cut out a circular base of even thickness. - Roll the clay into pellets of uniform size. - Score and apply slip to the surfaces where the pellets will join. - Press the first ring of pellets firmly onto the edge of the base. - Build up the wall course by course, staggering the pellets so the joints do not line up. - Smooth the pellets on the inside wall to seal the joints while supporting the outside with the other hand. - Control the profile by placing pellets slightly outwards to widen the form and slightly inwards to narrow it. - Allow the lower courses to firm up before adding many more layers. - Turn the work and check the shape from all sides as it rises. - Form the neck and finish the rim neatly with a final ring of pellets or a coil.

9. Question 9

   1 mark

   A ceramics teacher shows learners a stoneware mug fired at about 1200 °C. It holds water even without a glaze because its clay particles partly melted and fused into a dense, glass-like mass. Which property of clay does this illustrate?

   A. Shrinkage

   B. Vitrification

   C. Refractoriness

   D. Plasticity

   (1 mark)

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10. Question 10

    1 mark

    After modelling a pellet vase, Otieno covers it loosely with a polythene sheet for the first few days of drying. What is the main reason for doing this?

    A. So that the vase absorbs moisture and grows stronger

    B. So that the clay becomes more plastic for firing

    C. So that dust does not settle on the decorations

    D. So that it dries slowly and evenly without cracking

    (1 mark)

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11. Question 11

    5 marks

    Describe how learners should fire their pellet vases in a sawdust drum kiln, from loading the vases to removing them after firing. (5 marks)

    (5 marks)

    Marking scheme

    Any five of the following, 1 mark each (5 marks): - Make sure the vases are bone-dry, and warm them first near the fire so that no moisture is left. - Spread a layer of sawdust or other dry fuel on the floor of the drum. - Arrange the vases with space between them and fill around and inside them with sawdust or wood shavings. - Place more layers of vases and fuel, ending with a thick layer of fuel on top. - Light the fuel from the top and cover the drum with a lid that has vent holes so the fuel smoulders slowly. - Let the temperature rise gradually and keep watch, controlling the air flow through the vents. - Let the fuel burn out completely and allow the kiln to cool slowly, for several hours or overnight. - Remove the vases carefully, using gloves or tongs. - Brush off the ash and inspect the vases for cracks or other firing defects.

12. Question 12

    4 marks

    A family in Machakos stores drinking water in an unglazed earthenware pot. The pot keeps the water cool even on hot afternoons.

    (a) Name the property of fired clay that makes this possible. (1 mark)

    (b) Explain how this property keeps the water cool. (2 marks)

    (c) State one disadvantage of this property in a pot used for storing cooking oil. (1 mark)

    (4 marks)

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13. Question 13

    1 mark

    After firing her pellet vase in the school kiln, Wanjiku notices that it no longer softens when soaked in water, unlike her unfired vase. Why is this so?

    A. The water in the clay has been sealed inside the walls

    B. The pellets have shrunk tightly against one another

    C. Heat has permanently changed the clay into ceramic

    D. Smoke has coated the surface with a waterproof soot

    (1 mark)

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14. Question 14

    5 marks

    Learners plan to build a kiln from recyclable materials such as an old metal drum and used bricks to fire their pellet vases.

    (a) State two factors they should consider when choosing a site for the kiln in the school compound. (2 marks)

    (b) State three safety precautions they should observe while firing the vases. (3 marks)

    (5 marks)

    Marking scheme

    (a) Any two, 1 mark each (2 marks): - Far from classrooms, dormitories, kitchens and other buildings. - Away from flammable materials such as dry grass, firewood stores or fuel. - In an open, well-ventilated area. - Wind direction, so that smoke blows away from people and buildings. - Away from overhanging trees and overhead power lines. - On firm, level ground. - Away from play areas and busy paths. - Close to water, sand or a fire extinguisher. (b) Any three, 1 mark each (3 marks): - Firing should be supervised by the teacher at all times. - Wear protective clothing and closed shoes, and avoid loose clothing. - Use long tongs and heat-resistant gloves to handle hot items. - Keep water, sand or a fire extinguisher nearby. - Stand upwind to avoid breathing smoke. - Keep a safe distance from the kiln and do not lean over it. - Never leave the fire unattended. - Allow the kiln and vases to cool before removing them. - Put out the fire completely after firing.

15. Question 15

    4 marks

    Kamau's pellet vase sagged and collapsed when it was half-built, while Atieno's pellet vase turned out lopsided.

    (a) State one likely cause of each problem. (2 marks)

    (b) Suggest how each problem could be prevented. (2 marks)

    (4 marks)

    Marking scheme

    (a) One cause for each problem, 1 mark each (2 marks). Collapse, any one: - Clay too wet or soft to support its own weight. - Building too high too quickly before the lower part had firmed. - Walls too thin. - Pellets placed too far outwards, creating an overhang. Lopsided shape, any one: - Pellets of uneven sizes. - Uneven pressure when joining the pellets. - Vase not turned or checked from all sides while building. - Base uneven or off-centre. (b) One matching prevention for each problem, 1 mark each (2 marks). Collapse, any one: - Use clay of the right, firmer consistency. - Let the lower courses stiffen (towards leather-hard) before adding more. - Keep the walls evenly thick. - Widen the form gradually. Lopsided shape, any one: - Roll pellets from equal amounts of clay so they are the same size. - Apply even pressure to every joint. - Build on a turntable, banding wheel or board and turn the work often. - Check the profile regularly against a template or by eye from all sides.

16. Question 16

    1 mark

    During a class critique, Achieng points to the open space enclosed by the curved handle of a clay jug. Which element of 3-D art is she identifying?

    A. Contour

    B. Plane

    C. Texture

    D. Void

    (1 mark)

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17. Question 17

    4 marks

    Pottery has been practised for generations by Kenyan communities such as the Abagusii, Akamba, Luo and Abaluhya.

    (a) State two cultural values of pottery to such communities. (2 marks)

    (b) State two economic values of pottery to a Kenyan potter today. (2 marks)

    (4 marks)

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