Work done by effective heat transfer to wares, resulting from ramp rate, temperature and duration of firing.
Source:
Clay: A Studio Handbook
Hardbrick
Hard, dense firebrick generally used only in high-stress areas of kiln (floor, burner ports, flues, bag wall) and for corrosive firing processes (salt, soda, wood).
Source:
Clay: A Studio Handbook
Gum Additives
CMC Gum, Veegum Cer—water soluble organic thickeners often added to glazes or slips as a suspension and/or brushing agent. Also used to allow glaze adhesion to vitrified or previously glaze-fired surfaces. Most commercial low-fire glazes and underglazes contain gum additives.
Source:
Clay: A Studio Handbook
Groundhog Kiln
A long, low horizontal sprung-arch or barrel-arch wood-fired kiln, often banked with earth, traditionally used by potters on the eastern slope of the Appalachian Mountains.
Source:
Clay: A Studio Handbook
Grolleg Kaolin
Al2O3×2SiO2×2H2O—English kaolin, more costly than other choices in the United States, but gives whiter porcelain. Less plastic than TILE-6. Best kaolin for translucent bone china.
Source:
Clay: A Studio Handbook
Grog
Crushed high-fired clay graded in sizes from 15-mesh (very coarse) to 150M (extra fine) added as a source of filler or tempering grit to clay bodies to reduce shrinkage and give structure for throwing or handbuilding. Does not shrink in firing, so in medium and coarse grades will show texture through thin to medium glaze. Toxic in inhalation.
Source:
Clay: A Studio Handbook
Goldart
Buff stoneware clay, produced by Cedar Heights Clay Company.
Source:
Clay: A Studio Handbook
Glomax
Calcined kaolin.
Source:
Clay: A Studio Handbook
Glaze Resist
Decorating technique where resist materials are applied to prevent glaze from adhering to certain areas.
Source:
Clay: A Studio Handbook
Glaze Melt
The chemically active state of the melted glaze.
Source:
Clay: A Studio Handbook
Glaze Fit
The matching of glaze to clay body in terms of composition and coefficient of expansion so that it will adhere permanently.
Source:
Clay: A Studio Handbook
Glaze Firing
Kiln firing in which glazes are melted to form a smooth glassy surface.
Source:
Clay: A Studio Handbook
Glaze Compression
In high-fired wares, ideal state when clay body shrinks slightly more than glaze, putting glaze under slight compression, giving greater strength, resiliency. See crazing and shivering.
Source:
Clay: A Studio Handbook
Glass Former
The primary material that, in combination with fluxes, forms the glass essential to all fired ceramics. Primary glass-former at all temperatures is silica.
Source:
Clay: A Studio Handbook
G 200
K2O×Al2O3×6SiO2—common potash feldspar, HT alkaline flux—close match to Custer. Toxic in inhalation.
Source:
Clay: A Studio Handbook
Fuming
Process of introducing metallic salts into kiln or onto wares at about cone 018, producing thin layer of metallic surface iridescence.
Source:
Clay: A Studio Handbook
Forced Air
Firing system in a fuel-burning kiln that uses power-driven blowers or other pressurized air source to entrain primary air.
Source:
Clay: A Studio Handbook
Foot
Base of a ceramic piece.
Source:
Clay: A Studio Handbook
Fly Ash
Airborne ash in a wood-kiln.
Source:
Clay: A Studio Handbook
Fluting
Decorating technique involving carving or forming vertical flutes or grooves in surface of a piece.
Work done by effective heat transfer to wares, resulting from ramp rate, temperature and duration of firing.
Source: Clay: A Studio Handbook
Hard, dense firebrick generally used only in high-stress areas of kiln (floor, burner ports, flues, bag wall) and for corrosive firing processes (salt, soda, wood).
Source: Clay: A Studio Handbook
CMC Gum, Veegum Cer—water soluble organic thickeners often added to glazes or slips as a suspension and/or brushing agent. Also used to allow glaze adhesion to vitrified or previously glaze-fired surfaces. Most commercial low-fire glazes and underglazes contain gum additives.
Source: Clay: A Studio Handbook
A long, low horizontal sprung-arch or barrel-arch wood-fired kiln, often banked with earth, traditionally used by potters on the eastern slope of the Appalachian Mountains.
Source: Clay: A Studio Handbook
Al2O3×2SiO2×2H2O—English kaolin, more costly than other choices in the United States, but gives whiter porcelain. Less plastic than TILE-6. Best kaolin for translucent bone china.
Source: Clay: A Studio Handbook
Crushed high-fired clay graded in sizes from 15-mesh (very coarse) to 150M (extra fine) added as a source of filler or tempering grit to clay bodies to reduce shrinkage and give structure for throwing or handbuilding. Does not shrink in firing, so in medium and coarse grades will show texture through thin to medium glaze. Toxic in inhalation.
Source: Clay: A Studio Handbook
Buff stoneware clay, produced by Cedar Heights Clay Company.
Source: Clay: A Studio Handbook
Source: Clay: A Studio Handbook
Decorating technique where resist materials are applied to prevent glaze from adhering to certain areas.
Source: Clay: A Studio Handbook
The chemically active state of the melted glaze.
Source: Clay: A Studio Handbook
Source: Clay: A Studio Handbook
Kiln firing in which glazes are melted to form a smooth glassy surface.
Source: Clay: A Studio Handbook
In high-fired wares, ideal state when clay body shrinks slightly more than glaze, putting glaze under slight compression, giving greater strength, resiliency. See crazing and shivering.
Source: Clay: A Studio Handbook
The primary material that, in combination with fluxes, forms the glass essential to all fired ceramics. Primary glass-former at all temperatures is silica.
Source: Clay: A Studio Handbook
K2O×Al2O3×6SiO2—common potash feldspar, HT alkaline flux—close match to Custer. Toxic in inhalation.
Source: Clay: A Studio Handbook
Process of introducing metallic salts into kiln or onto wares at about cone 018, producing thin layer of metallic surface iridescence.
Source: Clay: A Studio Handbook
Firing system in a fuel-burning kiln that uses power-driven blowers or other pressurized air source to entrain primary air.
Source: Clay: A Studio Handbook
Base of a ceramic piece.
Source: Clay: A Studio Handbook
Airborne ash in a wood-kiln.
Source: Clay: A Studio Handbook
Decorating technique involving carving or forming vertical flutes or grooves in surface of a piece.
Source: Clay: A Studio Handbook