Class Section 33252R Office Number 213/821-2891
Total Page：16
File Type：pdf, Size：1020Kb
USC FACE 211: Intro to Ceramics T-Th 2-4:50 Professor: Katie Queen Class Section 33252R Office Number 213/821-2891 Office Hours: 1:00 – 2:00 T-Th Email: [email protected]
Overview: This is an introductory level studio course in ceramics. It is intended to give a basic yet broad understanding of ceramics techniques and aesthetics, through demonstrations and visual aids. The following techniques will be covered: pinch, coil and slab. Assignments will encourage problem solving in working with the three dimensional form. Students will be responsible to attend two ceramics related events during the semester and will be required to write a short review on each. There is a required Ceramics Course Reader for FACE 112 available at the USC Bookstore. Enrollment: After missing 3 classes the student’s grade and ability to complete the course will be negatively impacted. It will not be possible to pass the course with seven absences. If you miss the 1st or 2nd days of class without speaking to me before hand, you will be dropped from the course. For each subsequent absence (excused or otherwise), the student’s letter grade will be lowered by 0.5 grade. Being absent on the day a project, quiz, paper, exam, or critique is due can lead to an “F” for that project, quiz, paper, exam, or critique. It is always the student’s responsibility to seek means (if possible) to make up work missed due to absences, not the instructor’s, although such recourse is not always an option due to the nature of the material covered. It should be understood that 100% attendance does not positively affect a final grade. Any falsification of attendance may be considered grounds for a violation of ethics before the University Office of Student Judicial Affairs. Tardies can accumulate and become equivalent to an absence. Attendance will be taken at the beginning of each class. o A student is considered tardy if they arrive to class 1-10 min after the beginning of class; they are considered absent if they arrive 11 min or later. o After a first warning, students who persist in the following disruptive activities: sleeping, texting, emailing or online browsing for purposes other than class research, will result in a tardy for that class session. o Students will be considered absent if they leave without the instructor’s approval before the class has ended or if they take un-approved breaks that last longer than 30 min. If a student leaves class without the instructor’s permission for more than 15 min during or at the end of class, this break will be noted. Any combination of three of the above (being tardy, taking over a 15 min break or leaving early) will equal one absence.
Requirements and Responsibilities: This ceramic studio like most is a communal place where you have to be considerate of others around you at all times. Please practice respect towards all those using the studio, from this or any other class. This means keeping the entire space clean and not exposing yourself or others to toxic materials, respecting others workspace and work, with regards to talking or making too much noise.
Safety: All students have access to the studio outside of class 24/7. If there is another class in session, the student must get permission from the instructor. This is a Lab Lecture course; you are required to work hours outside of the class period to finish your assignments. There is a locker that has a key to the ceramics studio and you will be given the locker combination the first week of class. . DO NOT WORK ALONE AT NIGHT. Call Campus Cruisers (x 04911) for transportation or someone to walk you home late at night. If they don’t respond, call the Department of Public Safety (x06000). Locker combination: D-N-A At the end of ever class you will be responsible to clean up the following: Wheels and surrounding area All tables, floors & wedging -Sinks must be clean of all must be wiped clean from tables must be wiped down clay; all wax and oxide wet or dry clay including all and clean of any wet or dry brushes must be cleaned out trimmings if any. clay or Glaze and returned to where you found them.
*Make sure that all your over used clay is disposed of in the recycling buckets and that all of your work is signed and put onto its appropriate shelf. Unsigned work will be thrown away. Make sure to label all your tools with your name, the tools are expensive and get lost easily. Please do not bring in clay from home or work to be fired from others schools. Timing is everything with clay. You can’t rush things and you can’t leave your work unattended for too long either. Projects can’t be left to do last minute; it’s virtual impossible with the nature of this material. So, pace yourself!
Calls, Music and Friends: If you must have your cell phone on keep it on vibrate. Please take calls outside. Texting is not permitted in my class at any time and calls are considered rude during demos and presentations, you will be asked to leave for the day if you do this. Any unusual use of the phone will be noticed and will affect your grade. Music is great during work time only. During demos and presentations you must have devices out of sight. All students are responsible for all information announced during class. Visitors are not permitted into class unless Okayed with me before hand.
Dress Code: No skirts while throwing. If you are wearing low- rise jeans, a long shirt must be worn to cover your exposed tailbone. All lose neck shirts must be accompanied by a tank top while throwing on the potter’s wheel. Clay is very messy, so make sure you have clothes that are o.k. To get dirty. Aprons are a great way to minimize getting dirty and having an old towel handy to clean your hands is required. Close toe shoes are required, shoes that easily slip off are not allowed while using the potter’s wheel. Flip flops are not allowed into the studio. Fingernails must be cut short and hair pulled back with a hair tie or headband.
Required Tools: You are responsible to purchase these tools by the next class meeting and have them with you each week. You will be dropped from the course if you fail to have tool by the 2 nd class. -Clay tool kit for the FACE 112 class only cost $29.99 -Course Reader cost $17.81 -The lab fee pays for many of the expendables used in the ceramics studio, such as glazes, up to $36 of clay, stains and related equipment. The student is responsible for providing personal tools, clay purchases above the class allotment, specialty glazes and Course Reader. A class tool kit is available through the USC Student Bookstore.
You may store your clay in shared lockers, just outside the ceramics classroom. 25 pounds of clay - specific clay bodies assigned for each piece are available from the ceramics area.
Additional items you will need to purchase at any hardware store, grocery or bookstore: Bucket 1 gallon Combination Lock (shared) Large Sponge Serrated Rib Apron optional sponge WLS wire Sgrafitto tool Box kitchen trash bags Sketchbook optional Sumi Bamboo Brushes Surform Optional Fine Sandpaper optional Masking Tape Utility Knife optional
Assignments: -6 projects worth a total of 600 pts -Ceramic PowerPoint 100 pts -Midterm written and Critiqued Glaze work 200 pts -Final written and Critiqued Glaze work 200 pts ---Participation 100 -Total 1200 point
Exam Policy: Both the mid-term and final exams are clearly stated on the course outline. Makeup exams will only be given under emergency situations like hospitalization and or a death. If you do not attend final, you can not pass this course. Grading: All assignments are evaluated on the basis of how well you grasped the concept of the assignment. Your excellence in thinking and performance within the domain of the course will be considered. The aesthetic quality of your work is important. You must demonstrate disciplined creativity and in-depth involvement in the assignment, as seen in your completed work (energy and concentration). Conceptual and expressive development, (visual intelligence, power of perception, and disciplined creative sensitivity) will all be evaluated. Skill and style development (craftsmanship and technique) are imperative to your success in this course. Remember, effort devoted to work, as evidenced in finished work- working a long time does not in itself warrant a high grade- work must meet aesthetic and craftsmanship standards to achieve an "A" or "B" grade. All assignments are based on a point system. Your grade is based off of your points earned for the semester and divided by the points possible for the class and the average will be your grade for the course. 100-90 = A 89-80 = B 79-70 = C 69-60 = D 59 and below = F
Re-do Work Acceptance Policy: If work is not completed in full by the due date you will receive a zero for that project. Each project is worth 100 points. If you complete a project on time and earn a poor grade, you are able to re-do the project in full for a better grade. This can take place anytime throughout the semester, up until the last wet working day. I will only grade fully completed work, not partially done assignments.
Statement for Students with Disabilities -Students requesting academic accommodations based on a disability are required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP when adequate documentation is filed. Please be sure the letter is delivered to the professor as early in the term as possible. DSP is open Monday through Friday, 8:30-5:00. The office is located in the Student Union room 301 and their phone number is (213) 740-0776.
Statement on Academic Integrity – USC seeks to maintain an optimal learning environment. General principles of academic honesty include the concept of respect for the intellectual property of others, the expectation that individual work will be submitted unless otherwise allowed by an instructor, and the obligations both to protect one’s own academic work from misuse by others as well as to avoid using another’s work as one’s own. All students are expected to understand and abide by these principles. Scampus, the Student Conduct Code in Section 11.00, while the recommended sanctions are located in Appendix A: http:www.usc.edu/dept/publications/SCAMPUS/gov/ Students will be referred to the Office of Student Judicial Affairs and Community Standards for further review, should there be any suspicion of academic dishonesty. The Review process can be found at: http://www.usc.edu/student-affairs/SJACS/
Roski admissions information – For information and an application to become a Fine Arts minor; please visit http://roski.usc.edu/minors/ Please contact Christina Aumann
You will be bombarded by so much information- verbal, visual, technical, historical and conceptual- that you’ll need to collect it all into a book through the term. Throughout the semester I will be collecting these books for extra credit towards your over all grade if you need it. This book must include, but may not be limited to:
-Notes of all demonstrations -All lectures with images printed and glued in
-Thumbnail sketches of every piece made with glaze combinations -Images or drawings of vessels you discover in books, museums, etc.
Clippings: -Articles you come across and those I hand out, if any. -Postcards, photos, images that appeal to you -Photocopies from books and magazines and the Internet.
-Journal writing -Ideas and observations you have along the way -Your own criteria for making good work -Your response to each project and process
This book must be separate from your other books. I expect this book to have at least 60 pages filled with the above criteria anything less will not be graded.
Glazing! 1. We only glaze bisque ware. This means that the clay has been fired once and has a semi dense chalky like surface. 2. Wash off your work with a damp sponge to remove dust before glazing. I would recommend you do these 15 minutes before you begin waxing to allow the water to evaporate in the bisque. Not too much water! 3. You must wax the bottoms only of your work 1/4” up the side of the. The wax is water based so you must give it about 30 minutes to dry before you can begin to glaze. 4. Stir the glaze very thoroughly. If you don’t the result is very disappointing. 5. Wipe off any excess glaze on the bottoms of your objects. 6. Glaze the inside, then the outside. 7. Glaze thickness on your work should be about the thickness of a dime. Scratch the bottom of you piece to see if it meets this requirement or a 2 second dip. 8. Once you have followed all of the above, take your finished work to the “Glaze Shelf”. Make sure to load your work on shelves all the way to the back, closest to the back as possible 9. Always remember if you are using a Shino in combination with other glazes. Shino must be applied 1st. *Shino first or be cursed! 10. All runny glazes can only be applied to the insides of your work 11. As a beginner, glaze the work that you like least 1st to practice for the favorites 12. Document in your sketchbook each work and glazing record. Self-directed field trip to a Gallery or Museum of your choice. Write a paper that incorporates the elements and principles of art while in a visual analysis of ceramic art. 1. First, you must choose an exhibition or show (ceramic art or mixed media with ceramics). 2. Once you have chosen an exhibition that is interesting to you, you must head over in person to the gallery or museum that is hosting the exhibit. Once you arrive, you need to take a photo of yourself outside the museum or exhibit, or, if allowed, next to the art work itself. 3. Once you are inside, please answer the following questions: -What show did you attend? Give me an overview of the exhibit. Describe for me what you see. -What is the title of the show and how does it relate to the work? -Tell me about the artist or the artists chosen. 4. Now pick out two works or art in the exhibit, one that you enjoy and one that you find visually unpleasing or that makes you uncomfortable. Please give a visual analysis of both these works. Describe them to me as if I were blind. When describing them you must use the Elements and Principles of Art Vocabulary to explain the work. This can be found below. Only use the vocabulary words that apply to the objects you are describing. 5. With your ideas of likes and dislikes explain why it works for you or why it does not. Elaborate. 6. Overall, did you enjoy or dislike the show and why.
Paper Requirements -Separate Title Page -Must be typed in 12 font only, 1” margin, 2 to 4 full page of typed word for full credit, no less then 2 -Double spaced only -Must include picture of yourself at exhibit and the ticket into the show if there is one on a separate page.
Galleries and Museums Getty Museum Museum of Contemporary Art Los Angeles County Museum Craft and Folk Art Museum Norton Simon Museum Hammer Museum American Museum of Ceramic Art Japanese American National Museum Ruth Chandler Williamson Gallery Kellogg Art Gallery Ace Gallery Acme Gallery Cherry Martin Gallery Western Projects Mark Moore Gallery Mark Fox Gallery Formal Visual Analysis: The Elements and Principles of Art By Gerry Glatstein Formal analysis is an important technique for organizing visual information. In other words, it is a strategy used to translate what you see into written words. This strategy can be applied to any work of art, from any period in history, whether a photograph, sculpture, painting or cultural artifact. The Elements The elements are a formal analysis of building blocks that can be combined to create a larger structure, which is a composition in whole. Line is the most basic building block of formal analysis. Line can be used to create more complex shapes or to lead your eye from one area in the composition to another. Value is the degree of light and dark in a design or image. It is the contrast between black and white and all the tones in between. Value can be used with color as well as black and white. Contrast is the extreme changes between values. Shapes are created when lines are combined to form a square, triangle, or circle. Shapes can be organic (irregular shapes found in nature) or geometric (shapes with strong lines and angles such as circles, triangles, and squares). Forms are three-dimensional shapes with length, width, and depth. Balls, cylinders, boxes and pyramids are forms. Space is the area between and around objects. Increasing or decreasing the amount of space around an object affects the way we view that object. Color differentiates and defines lines, shapes, forms, and space. Even black and white images have a huge number of different shades of gray. Texture is the surface quality that can be seen and felt. Textures can be rough or smooth, soft or hard. Textures are often implied. For instance, a drawing of a rock might appear to have a rough and hard surface, but in reality is as smooth as the paper on which it is drawn.
The Principles Notice how the following principles integrate the elements of formal analysis and build on one another. Note: Each principle below refers to the photograph of paddlers at left to illustrate key concepts. Balance is created in a work of art when textures, colors, forms, or shapes are combined harmoniously. In this image, notice how the photographer achieves a sense of balance by dividing the image into two sections: one half occupied by trees, and the other half by the water. Contrast is the use of several elements of design to hold the viewer's attention and to guide the viewer's eye through the artwork. In this image, the texture of the trees contrasts with the texture of the water. Movement is the way a viewer's eye is directed to move through a composition, often to areas of emphasis. Movement can be directed by lines, contrasting shapes, or colors within the artwork. In this work of art, our eye moves up through the pattern in the rippling surface of the water to the two paddlers. From there, our eye moves to the contrasting textures and colors of the foliage in the top half of the image. Emphasis is created in a work of art when the artist contrasts colors, textures, or shapes to direct your viewing towards a particular part of the image. In this image, the colors of the paddlers' jackets contrasts with the muted tones of the background. Our attention is immediately drawn to the paddlers, even though they are relatively small in scale. Pattern is the repetition of a shape, form, or texture across a work of art. The light reflecting off of the waves in the water creates a pattern in the bottom half of the image. Proportion is created when the sizes of elements in a work of art are combined harmoniously. In this image, all of the proportions appear exactly as one would expect; the human figures are much smaller in scale than the natural world that surrounds them. Unity is created when the principles of analysis are present in a composition and in harmony. Some images have a complete sense of unity, while some artists deliberately avoid formal unity to create feelings of tension and anxiety. In this image, the large areas of contrasting textures, patterns and colors create a sense of balance and unity within the composition. Beginning Ceramics FACE 112 Instructor K. Queen USC Project List
Pinch Pot Abstract (non-pictorial) Rattles 50 Pts This project is an introduction into clay. Demonstrating to each student how the clay feels and works. You are required to make 1 rattle, which will consist of 2 hollow pinch pots joined by scoring a bead of clay which will need to be applied for sealing the joint. Requirements: -1 rattle -Hollow interior with half-inch walls or less. Thick rattles will not be graded. -Thought-out and executed design with patterning and surfaces. MUST BE ABSTRACT. Rendering known objects will not be graded.
Slab Built Abstract Rattle 50 Pts This project is an introduction into slab built clay, showing each student how the clay feels and works when slab building. You are required to make 1 rattle, which will have at least 3 slab parts joined by scoring and bead of clay will need to be applied for sealing the joint. Requirements: -1 rattle -Hollow interior with half-inch walls or less, thick rattles will not be graded -Thought out and executed design with patterning and surfaces, MUST BE ABSTRACT, rendering known objects will not be graded.
Coil Built Netsuke Objects 100 pts Netsuke are a form of miniature sculptures unique to Japan. They exist because traditional clothing-namely the kimono-has no pockets. In Lieu the Japanese used inro (segmented boxes) and other hanging containers, which were held at the side by netsuke. These containers were used to carry money, medicine, writing implements, etc. A cord was strung through the inro and out of its top, under the obi (kimono sash) and through the netsuke, which, as it sat on top of the obi, prevented the inro and cord from slipping out from beneath the sash.
Netsuke, evolved over time from being strictly utilitarian into objects of great artistic merit and an expression of extraordinary craftsmanship. Such objects have a long history reflecting the important aspects of Japanese folklore and life. Netsuke production was most popular in Japan around 1615-1868.
Traditional netsuke differs from purely decorative forms of sculpture in that function imposes strict limitations on design. Netsuke must be compact and free of delicate edges or protrusions that might catch the kimono sleeves or fabric. They also must be made of material that is strong enough to hold the weight of the inro. They also must be designed and built to withstand the rigors of daily use. In addition, a hole or pair of holes to accommodate the inro cord must be cut into the netsuke without interfering with the design
In this assignment you are asked to design and build using the coil technique your own netsuke. Subject matter chosen for this assignment can be real, imagined, mythical, classic, exotic or everyday, with the best evoking a presence and liveliness. Now that you know the challenges posed to a carver of netsuke, you will also need to follow the same guidelines when designing and building your netsuke. I am allowing you to make your netsuke any size you want.
Netsuke Requirements: Coil built Must be compact and free of delicate edges or protrusions In addition, a hole or pair of holes to accommodate the inro cord must be cut into the netsuke without interfering with the design Well crafted with clean finished details You are required to make 1 Soft Slab Containers and Vessels 100 pts Students will explore folding and bending soft clay slabs into small containers. Demonstrations will focus on forms with simple clean lines. By varying the added elements, pieces can change expression. This project can move quickly, so students will be working on multiple pieces at the same time. Requirements: -Thin slabs -clean lines of construction, points will be deducted for sloppy seams -You must turn in 4 for grading.
Figurative Vessel or Sculpture Using the human figure as your inspiration, you have been asked to construct a coil built figurative form of your own design. This project can be sculptural (non-functional) or vessel oriented. Will it be male, female, both or neither? Do you plan to have your figure be realistic or abstract? Requirements: -Must be around 12” to 18” in height or width. -You can coil build, pinch or slab build. -Must incorporate the human form -No cut up body parts or headless naked women, must be well thought out with drawings
Hand Built Animal Trophy with Hard Slab Geometric Mounted Backs 100 pts Trophy hunting is the act of hunting animals to kill and display. The trophy is conserving parts of the slain animal usually the skin, antlers and or head, the carcass itself is sometimes used for food, depending on the animal and the hunters intentions; These trophies are seen as souvenirs of a successful hunt or fishing expedition by the hunter. Often the head or entire body of the hunt is processed by a taxidermist, although sometimes other body parts such as teeth, tusks or horns are used as the trophies as well. These items are often displayed in ones home or office, some hunters even have special rooms called "trophy rooms or game rooms," in which the hunter's weaponry is displayed along with the animal trophy.
There are firm supporters and opponents of trophy hunting. Public debate about trophy hunting often centers on the question of the morality of sportsmanship of the actual hunt. There are also many concerns and questions of the extent to which the money paid by trophy hunters benefits the population of game animals and the local economy in which this kind of activity takes place.
In this assignment you will be creating your very own animal trophy. You are welcome to voice your own values into the concept and execution of your trophy while designing it’s layout or this could be a simple expression of sculpting an animal that you find beautiful. Not only are you required to sculpt the animal, but you are also being asked to build with a slab a geometric mount for your trophy that must be completed and secure for final grading.
Requirements: Animal rendered Must be realistic and anatomically correct No smaller then 5” and no larger then 15” Well crafted with finished details Artist Inspired Project Must be in connection to the artist selected for Power Point Lecture. 100 pts What ceramic artist inspires you? Who’s work do you relate to or admire? You will need to research the artist that you chosen and be prepared to answer any questions in critique. I want to know the history of the artist, who they were, where they came from. Why and how they made art? How did or do they feel about art and craft? How do they fit into the art world? I also want a very detailed explanation of what kind of art they made or make. How does this artist style change over time and why? Who influenced them etc.? Don’t forget to add your own opinion; I want to know what you think about it as well. I must approve the artist you choose before you begin.
After you have designed your PowerPoint you need to pick a vessel or object that this artist has created. You must either duplicate or create you own piece that is influenced by this one object or vessel. Proposals are due before you begin. Requirements: -Can be coil built, slab built, or built with any skills you have obtained by taking this course. -Must be completed with all details, glaze etc. for grading. -Must resemble your artist’s work -Must be 10” to 18” in size
Ceramic Artist / PowerPoint Presentation Please choose from the following list or find an artist of your own liking to research and present to the class in an informal PowerPoint presentation. I want to know the history of the artist, who they were, where they came from. Why and how they made or make art? Include in your paper interesting facts about their art and life. How did he or she feel about art and craft? How does this artist fit into the art world? I also want a very detailed explanation of what kind of art they made / make. How has this artist’s style might have changed over time and why. Who influenced them etc. Don’t forget to add your own opinion; I want to know what you think about it as well. Don’t fill your paper full of boring facts that don’t mean anything, keep me interested. Keep in mind that a lot of artists are still living and you are more then welcome to contact them directly for an interview, might be the easiest approach.
Technical PowerPoint information- -Limited text in Presentation, you should not be reading from the projector. -Limited special effects, too much extra can distract from the work itself. -Talk slowly and allow enough time between images so your audience can absorb the information. -Practice before hand, speak loudly, keep us engaged and tell a great story.
You must select an artist by October 14th, review the artists on the below list and select 2 two that appeal to you. Kerstin Abraham Yael Atzmony John Balistrari Barnaby Barford Tim Berg Susannah Biondo-Gemmel Heather Nameth Bren Meredith Brickell Sally Brogden Christie Brown Jeremy Brooks John Byrd Rebecca Catterall Beth Cavener Stichter Patti Chalmers Ane Fabricius Christiansen Shay Church Johan Creten Phoebe Cummings Chad Curtis Guy Michael Davis Kim Dickey Kate Doody Michael Eden David East Philip Eglin Michelle Erickson Ryan Fitzer Jennifer Forsberg Gert Germeraad Shannon Goff Heidi Preuss Grew Gerit Grimm Matthew Groves Del Harrow Matthias Merkel Hess Marian Heyerdahl Takashi Hinoda Nina Hole Eric Hollender Jun Kaneko Beth Katleman Andrea Keys Jessica Knapp Mie Kongo Torbjørn Kvasbø Steven Young Lee Beth Lo Linda Lopez Tyler Lotz Paul Mathieu JJ McCracken Ian McDonald Allison McGowan Margaret Meehan Jeffry Mitchell Gregg Moore Peter Morgan Kristin Morgin Mona Naess Jeanne Quinn Anders Ruhwald Kjell Rylander Paul Sacaridiz Benji Schulman Bobby Silverman Jeffrey Sincich Caroline Slotte Forrest Snyder Linda Sormin Mara Superior Clare Twomey Monica Van den Dool Mikey Walsh Rebecca Warren Matt Wedel Adam Welch Anne Wenzel Brian Widmaier Charlotte Wiesman Rebecca Wilson Jen Woodin Week 1 August 26th Tuesday Introductions, syllabus handout, studio norms and walk through. Demonstrations of abstract rattles, Power point lecture, workdays Week 2 September 2nd Workdays Week 3 September 9th Workdays rattles due Tuesday at the end of class for grading. Introducing Netsuke projects, PowerPoint lecture, sketch ideas and workdays Week 4 September 16th Workdays Week 5 September 23rd Workdays Netsuke due at the end of class Thursday Week 6 September 30th Introducing soft slab project and figurative sculpture with Power point lecture Week 7 October 7th Workdays Tuesday Mid-term review, Thursday mid-term Week 8 October 14th Workdays, inspired project artist must be selected today. Week 9 October 21st Figurative sculpture and soft slab projects due at the end of class Tuesday. Thursday introducing artist inspired project and animal trophy project with Power point lecture. Week 10 October 28th Workdays with Power point lecture Week 11 November 4th workdays Week 12 November 11th Workdays Last day of wet work November 13th projects to be graded at the end of class Week 13 November 18th Power point lectures, glazing Week 14 November 25th Tuesday Power point lectures, glazing. no class Thursday 27th Thanksgiving Week 15 December 2nd Glazing, lectures, Thursday final review, clean up. Last glazing day December 4th Week 16 December 9th Finals week, no class Tuesday. Final exam Thursday December 11th 2 – 4 pm all person belonging need to be out of studio by December 17th.
*This is only an outline and the schedule is subject to change at any given time. *Workdays will include studio time, loading and unloading of kilns, cleanup TBD. *You are required to participate and are graded for it *You must have your syllabus every class day, if you lose it, it is your responsibility to make a second copy.