In a fuel kiln, the internal pressure resulting from proper balance of combustion pressure and damper setting, resulting in more economical and efficient heatwork.
Translates “cellar kiln”—Traditional Japanese kiln evolving from the bank-kiln, and featuring a long, swelling inclined tubular ware chamber, with lower extreme serving as firebox. Characteristically produces heavy flame-flashing and residual-ash effects.
Materials such as glass, which have no regular repeating crystalline structure.
Source:
Clay: A Studio Handbook
Aluminum Silicate
Broad category of materials composed primarily of alumina and silica. Includes raw materials such as clay and feldspar, as well as fired clay and glaze.
Source:
Clay: A Studio Handbook
Alumina Hydrate
Al(OH)3—alumina source, rarely used in clay bodies or glazes, because all needed alumina comes from clay and feldspar. Used primarily for shelf wash and wadding—better adhesion and suspension than aluminum oxide (Al2O3). Small additions increase viscosity of glaze melt. Should not be used as matting agent in functional glazes—produces immature glaze.
Source:
Clay: A Studio Handbook
Alkaline Fluxes
In low-fire, boron fluxes. In high-fire, the feldspars.
Source:
Clay: A Studio Handbook
Alkaline Earths
A category of high-fire fluxes, which includes calcium, magnesium, barium, and strontium. Encourage hard, durable, but often matt glaze surfaces.
Want to learn more about this ceramic term? Check out this post in the Daily!
Additive A
A wood-extract product used as a clay additive to give greater plasticity, increase dry strength, and improve workability. Especially effective in bodies with a high percentage of kaolins. Does not change color of clay.
Source:
Clay: A Studio Handbook
Acid
In clay and glaze chemistry, the glass-formers, which combine with bases (fluxes) and neutrals (refractories or stabilizers).
Refractory wall in some fuel-burning kilns to deflect heat and flames from direct contact with the wares.
Source: Clay: A Studio Handbook
For more information on loading and firing wood kilns, watch Simon Levin's informative video!
Source: Clay: A Studio Handbook
In a fuel kiln, the internal pressure resulting from proper balance of combustion pressure and damper setting, resulting in more economical and efficient heatwork.
Source: Clay: A Studio Handbook
For more information on gas kiln design and firing, download this freebie!
Well-known flashing slips for wood fire, but no longer being mined.
Source: Clay: A Studio Handbook
Heavy deposition of fly-ash onto surface of wares, furniture, and kiln interior in a wood kiln.
Source: Clay: A Studio Handbook
Low-relief clay shapes added to scored, slurried leather-hard surface for decoration.
Source: Clay: A Studio Handbook
Want more? Kari Radasch explains her process for decorating with applique in this Daily post!
The process of cooling a heated object gradually to allow internal shrinkage stress to equalize without damage.
Source: Clay: A Studio Handbook
Translates “cellar kiln”—Traditional Japanese kiln evolving from the bank-kiln, and featuring a long, swelling inclined tubular ware chamber, with lower extreme serving as firebox. Characteristically produces heavy flame-flashing and residual-ash effects.
Source: Clay: A Studio Handbook
Want more? Check out this great article on building an anagama for a high-school ceramics class!
Materials such as glass, which have no regular repeating crystalline structure.
Source: Clay: A Studio Handbook
Broad category of materials composed primarily of alumina and silica. Includes raw materials such as clay and feldspar, as well as fired clay and glaze.
Source: Clay: A Studio Handbook
Source: Clay: A Studio Handbook
Source: Clay: A Studio Handbook
A category of high-fire fluxes, which includes calcium, magnesium, barium, and strontium. Encourage hard, durable, but often matt glaze surfaces.
Source: Clay: A Studio Handbook
Dive deeper into this pottery term with this Ceramics Monthly Technofile article!
Source: Clay: A Studio Handbook
Source: Clay: A Studio Handbook
Wares featuring swirling marbleized colors, resulting either from surface slip effects or marbleized colored clays.
Source: Clay: A Studio Handbook
Want to learn more about this ceramic term? Check out this post in the Daily!
A wood-extract product used as a clay additive to give greater plasticity, increase dry strength, and improve workability. Especially effective in bodies with a high percentage of kaolins. Does not change color of clay.
Source: Clay: A Studio Handbook
In clay and glaze chemistry, the glass-formers, which combine with bases (fluxes) and neutrals (refractories or stabilizers).
Source: Clay: A Studio Handbook