CaF2—limited use as flux. As with Cryolite, fluorine reacts w/silica at high temperatures, can cause pinholing, blisters. Useful in special-effect crater-glazes. Highly toxic in inhalation and ingestion.
Source:
Clay: A Studio Handbook
Flue
Passages in kiln for flames or exhaust gases.
Source:
Clay: A Studio Handbook
Flocs
Commercial flocculant used in glazes—1/4 tsp. per gallon of glaze.
Source:
Clay: A Studio Handbook
Flashing Slip
Slip that is painted or dipped onto wares in order to promote flashing effects in the firing.
Source:
Clay: A Studio Handbook
Flashing
Color change in fired clay or slip due to direct flame contact and residual ash deposition in wood firing, or due to variable currents of vapor deposition in salt and soda firing. Flashing can occur on almost any light-colored clay body, but is most dramatic on porcelain bodies and slips.
Source:
Clay: A Studio Handbook
Flameware
Wares made to stand stove-top heat. Explosions from trapped moisture, and resulting lawsuits have caused studio flameware to disappear from the domestic market.
Source:
Clay: A Studio Handbook
Flame Flashing
Surface effects caused by direct flame contact on wares.
Source:
Clay: A Studio Handbook
Firing Ramp
The profile or schedule for temperature change in a kiln-firing, often including both the heating and cooling ramps.
Source:
Clay: A Studio Handbook
Firing Down
Maintaining some heat input after maturation, to slow down the cooling process, or to maintain reduction atmosphere during cooling. See reduction cooling.
Source:
Clay: A Studio Handbook
Firebox
The part of a fuel-burning kiln where fuel gases combust before contacting wares. Gas kilns need little if any firebox, whereas wood and oil kilns produce long hot flames whereas require a large firebox unless flame-flashing and ash-slagging (with wood) effects are sought.
Source:
Clay: A Studio Handbook
Fire Clay
Highly refractory secondary clays with minimal fluxes and usually fairly coarse particle size—low shrinkage, buff-color, often non-plastic.
Source:
Clay: A Studio Handbook
Fettling Knife
Long tapered knife useful for trimming cast or pressed pieces, and for separating mold components.
Source:
Clay: A Studio Handbook
Faience
Widely used (and misused) term referring to any earthenware pottery glazed with an opaque glaze (usually white) and overglaze decoration.
Source:
Clay: A Studio Handbook
Faceting
Decorating technique involving cutting or paddling flat facets in the clay surface.
Source:
Clay: A Studio Handbook
Eutectic
Chemical phenomenon where two materials in combination melt at lower temperature than either material by itself.
Source:
Clay: A Studio Handbook
Ergonomics
The science of comfortable and effective utility, determining how well a functional object or device works with the human body.
Source:
Clay: A Studio Handbook
Epsom Salts (Magnesium Sulfate)
MgSO4—water soluble, rarely used as magnesium source in glazes. Most often used as flocculant for slips and glazes. Often added to porcelain and porcelaineous stoneware bodies (1/2 of 1% of dry materials weight) to counteract deflocculating alkalinity released by kaolins or fluxes.
Source:
Clay: A Studio Handbook
EPK: Edgar Plastic Kaolin
Al2O3×2SiO2×2H2O—pure white kaolin, less plastic than Tile-6 kaolin, frequently used in glazes.
Source:
Clay: A Studio Handbook
Element
Any of a group of slightly over 100 substances on earth that may exist as individual atoms, and from which all materials on earth are composed.
Source:
Clay: A Studio Handbook
Egyptian Paste
A self-glazing clay body in which soluble alkaline fluxes effloresce to the surface as the piece dries, and subsequently form a thin glassy coating in the firing.
CaF2—limited use as flux. As with Cryolite, fluorine reacts w/silica at high temperatures, can cause pinholing, blisters. Useful in special-effect crater-glazes. Highly toxic in inhalation and ingestion.
Source: Clay: A Studio Handbook
Passages in kiln for flames or exhaust gases.
Source: Clay: A Studio Handbook
Commercial flocculant used in glazes—1/4 tsp. per gallon of glaze.
Source: Clay: A Studio Handbook
Slip that is painted or dipped onto wares in order to promote flashing effects in the firing.
Source: Clay: A Studio Handbook
Color change in fired clay or slip due to direct flame contact and residual ash deposition in wood firing, or due to variable currents of vapor deposition in salt and soda firing. Flashing can occur on almost any light-colored clay body, but is most dramatic on porcelain bodies and slips.
Source: Clay: A Studio Handbook
Wares made to stand stove-top heat. Explosions from trapped moisture, and resulting lawsuits have caused studio flameware to disappear from the domestic market.
Source: Clay: A Studio Handbook
Surface effects caused by direct flame contact on wares.
Source: Clay: A Studio Handbook
The profile or schedule for temperature change in a kiln-firing, often including both the heating and cooling ramps.
Source: Clay: A Studio Handbook
Maintaining some heat input after maturation, to slow down the cooling process, or to maintain reduction atmosphere during cooling. See reduction cooling.
Source: Clay: A Studio Handbook
The part of a fuel-burning kiln where fuel gases combust before contacting wares. Gas kilns need little if any firebox, whereas wood and oil kilns produce long hot flames whereas require a large firebox unless flame-flashing and ash-slagging (with wood) effects are sought.
Source: Clay: A Studio Handbook
Highly refractory secondary clays with minimal fluxes and usually fairly coarse particle size—low shrinkage, buff-color, often non-plastic.
Source: Clay: A Studio Handbook
Long tapered knife useful for trimming cast or pressed pieces, and for separating mold components.
Source: Clay: A Studio Handbook
Widely used (and misused) term referring to any earthenware pottery glazed with an opaque glaze (usually white) and overglaze decoration.
Source: Clay: A Studio Handbook
Decorating technique involving cutting or paddling flat facets in the clay surface.
Source: Clay: A Studio Handbook
Chemical phenomenon where two materials in combination melt at lower temperature than either material by itself.
Source: Clay: A Studio Handbook
The science of comfortable and effective utility, determining how well a functional object or device works with the human body.
Source: Clay: A Studio Handbook
MgSO4—water soluble, rarely used as magnesium source in glazes. Most often used as flocculant for slips and glazes. Often added to porcelain and porcelaineous stoneware bodies (1/2 of 1% of dry materials weight) to counteract deflocculating alkalinity released by kaolins or fluxes.
Source: Clay: A Studio Handbook
Al2O3×2SiO2×2H2O—pure white kaolin, less plastic than Tile-6 kaolin, frequently used in glazes.
Source: Clay: A Studio Handbook
Any of a group of slightly over 100 substances on earth that may exist as individual atoms, and from which all materials on earth are composed.
Source: Clay: A Studio Handbook
A self-glazing clay body in which soluble alkaline fluxes effloresce to the surface as the piece dries, and subsequently form a thin glassy coating in the firing.
Source: Clay: A Studio Handbook