Includes functional objects crafted of clay, with or without decoration. Purely decorative items should be judged under Sculpture.

NOTE: Containers finished with period leaf-based glazes or some other period sealers can be poisonous if used with food. Entrants who substitute modern glazes, and who note the reasons for the substitution, will not lose points in Authenticity.

DOCUMENTATION (0-4 points)

• 0: No actual documentation
• 1: 3x5 card with any one of the following: country of origin, period of origin, characteristics of style for that period, reference
• 2: 3x5 card with any two of the above
• 3: 3x5 card with any three of the above
• 4: 3x5 card with all four of the above

• Materials (e.g. terra cotta for American Indian)
• Construction technique
• Style and/or function (no ashtrays)
• Finishing including ornamentation, colors and/or glazes

COMPLEXITY (1-5 points) Rank the ambition of the entry, not the workmanship, on a scale of 1-5 based on the following:

• Size and/or number of parts to piece or set (e.g. huge amphora, cup with handle, lidded tureen, tea set)
• Construction methods (easy techniques include molded, slab and coiled - depending on size; hard ones include free hand sculpting and wheel thrown)
• Style (consider straight lines versus curves, number and degree of each, plus fluting in the lip, etc.)
• Ornamentation (including slip, s'graffito, applique, carving, and sculpting)
• Glaze (consider number of glazes applied and firing technique, such as raku)

WORKMANSHIP (1-5 points)Rank the success of the entry based on the following:

• Symmetry (Is piece lop-sided? Does lid fit?)
• Evenness (Is clay wall uniform from top to bottom?)
• Thickness (Is clay body excessively heavy?)
• Trimming (Has potter paid attention to the underside of the piece?)
• Finishing (Has glaze and/or ornamentation been carefully applied?)

CREATIVITY (1-6 points)

• 1: Direct copy of period piece
• 2: Copy but with original touches in glazing and/or ornamentation
• 3: Copy but with original variations on glaze and/or ornamentation, size and/or shape
• 4: Design incorporates elements from more than one source into a single work
• 5: Same as above with variations on glaze and/or ornamentation, size and/or shape
• 6: Original design in style of given country and period

• 1-2 Piece is unattractive; style, size and glazes do not work well together.
• 3-4 Better cohesion of style, size and glaze.
• 5-6 Whole piece works well; shape, size and color are harmonious and pleasing to the eye.

DOCUMENTATION (0-4 points)Must have at least 3 pages of discussion (NOT including visuals and bibliography). More is acceptable. Give score based on the following:

• 0: No documentation or very inaccurate documentation.
• 1: Minimum information (time, place, style)
• 2: Same as #1 with visual reference (photocopies, pictures, postcards, etc.) to period examples, but little or no discussion of period practice; OR same as #1 plus discussion of period practice, but no visual references.
• 3: Same as #1 plus visual references and discussion of period practices, as they relate to materials (clay, glazes, stains, etc.) and construction techniques (wheel-thrown, hand-built, slip-cast, etc.) used in entry.
• 4: Same as #3 but very complete examples and discussion, including rationale for all design elements, materials, and techniques used in this entry, and their appropriateness to intended use of piece. Explains original research or experiment. Explains any deviations or variations from period norm.

• 0: Blatantly modern in one or more elements: e.g. construction (slip cast from a commercial mold, etc.), decoration (modern motifs, etc.), materials (commercial decals, etc.), or intended use of item.
• 1: Generally period, with some obviously modern elements present, OR obvious mixture of elements from different cultures or periods (e.g. Florentine motifs to decorate a 9th century oil lamp, etc.)
• 2: Overall period style and execution, with minor inconsistencies (e.g. reproduction of an earthenware piece in stoneware).
• 3: Form, construction techniques, and decoration are period; materials are period or reasonable equivalents. Some modern measures may be used if they achieve a period result (e.g. firing in a gas or electric kiln).
• 4: Special effort to achieve a completely period product by use of period design, materials, tools, techniques, etc.; e.g. glazes made by hand, fired in a wood-burning kiln, etc.

• difficulty and variety of materials used (clay, glazes, etc.)
• difficulty of form (joints, proportion, handles, lids, etc.)
• difficulty and variety of construction techniques (thrown, cast, etc.)
• difficulty and variety of decoration (motifs, colors, sculpting, etc.)
• scope of endeavor (size of work relative to amount of detail)

WORKMANSHIP (0-6 points)Rank the success of the attempt on a scale of O to 6 based on the following.

• form and design: balance, proportion, handle placement, structure, etc.
• execution: watch for uneven walls, sloppy joints, "overworking," etc.
• function: does it do what it should? Watch for leaky pitchers, dribbling spouts, uncomfortable handles, etc. Is weight correct for intended use?
• finishing and decoration: smoothness of edges, glazing, design, etc.

CREATIVITY (0-4 points)Give score based on the following:

• 0: Piece isn't logical in context of period.
• 1: Logical combination of a few copied elements.
• 2: Evidence of original work logical to period context, in design or execution (e.g. motif taken from period non-ceramic source, and adapted for clay).
• 3: Creative interpolation in combination of elements; much innovation logical to period context (e.g. original design for an item which might have been used in period, based on period written references).
• 4: Original, innovative combination of period materials, techniques, and designs, as might have been done by a creative period artist. Special consideration such as personalization to an event, individual or idea.

NOTE: This category is subjective; however, the judge should take into account prior category scores, aesthetic appeal, presentation, intuitive response, and other such items not previously addressed.