Ceramic Vocabulary Flashcards

(67 cards)

1
Q

Having to do with clay or glass or the making of objects from clay or glass.

A

Ceramic

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2
Q

Clay that has been watered down; acts as glue in slip/score technique. Slip a fine, liquid form of clay applied to the surface of a vessel prior to firing. Slip fills in pores and gives uniform color.

A

Slip

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3
Q

Method used in hand building to connect two pieces of clay together.

A

Slip/score technique

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4
Q

Is the process of kneading the clay so as to remove air pockets and create uniform consistency of clay.

A

Wedging

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5
Q

One of the oldest ways of forming pottery. Long strands of clay which are laid on top of each other and joined through blending coil to coil. Coil pieces can be almost any shape and any size.

A

Coil method

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6
Q

High-ware clay. Stoneware is waterproof even without glaze; the resulting ware is sturdier that earthenware.

A

Stoneware

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7
Q

A flattened out piece of clay; you may use a rolling pin or slab roller to achieve a slab of clay. Clay slabs are cut to shape and joined together using scoring and wet clay called slip. Slabs can be draped over or into forms, rolled around cylinders or built-up into geometric forms. Large forms are difficult because of stresses on the seams and because the slab naturally sags. Some potters get around this by working fibers into the clay body. The fibers burn out during the firing, leaving a network of tiny holes.

A

Slab

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8
Q

Clay that is completely dried but not yet fired.

A

Bone dry

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9
Q

A term used to describe unfired clay objects in general.

A

Greenware

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10
Q

Clay objects that have been fired for the first time and without any glaze applied to them.

A

Bisque ware

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11
Q

Bisque ware that has been glazed then fired.

A

Glaze ware

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12
Q

Is a special knife-like tool with a fairly flexible blade for cutting into moist and leather-hard clay.

A

Fettling Knife

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13
Q

A special tool with a wooden handle and a wire loop at one or both ends, used for carving and hollowing out clay forms.

A

Loop tool

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14
Q

A term used to describe the technique of adding small clay forms as decoration on the surface of pottery forms; also called applied decoration.

A

Sprigging-on

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15
Q

Is a decoration technique, created by carving lines into the clay or carving small areas out of the clay but not perforating it.

A

Incising

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16
Q

A furnace designed specifically for heating clay to the temperatures necessary to make it permanently hard and stone like. Kilns can be electric, natural gas, wood, coal, fuel oil or propane. Materials used to heat the kiln can affect the work: wood ash can build up on the surfaces of a piece and form a glaze at high temperatures. Some potters introduce chemicals into the kiln to influence the effects of the firing. Famed ceramist Beatrice Wood achieved a luster effect by throwing moth balls into the kiln.

A

Kiln

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17
Q

The heating coils of an electric kiln. (Tired or burned-out elements refer to elements which carry too little or no electrical current for producing heat).

A

Element

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18
Q

The bottom of a piece that rests upon a surface (may be wheel thrown or hand-built). There are two kinds: raised and flush.

A

Footing

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19
Q

Clay is hardened by heating it to a high temperature, fusing the clay particles. Primitive pottery is usually fired on the ground or in pits with whatever flammable material is available. Kilns allow a more efficient use of materials and more control over the atmosphere during a firing. Firing has two basic atmospheres. Oxidation and Reduction, these two atmospheres will affect the color of the final piece.

A

Firing

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20
Q

Glass-forming chemicals, usually with colorants added, that applied in liquid form to bisque ware and fired in a kiln, form a pleasing, usually glossy coating to the surface of the clay. Glaze can be colored, opaque, translucent or matte.

A

Glaze

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21
Q

Clay in liquid form.

A

Slip clay

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22
Q

A plaster disk or slab for clay work.

A

Bat

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23
Q

A clay form made from a mold. May also be referred to “plaster castings”.

A

Casting

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24
Q

Is liquid clay used in the process of forming objects with molds. Also referred to as “slip”.

A

Casting Slip

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25
A term which usually refers to the bone china of England, but also is associated with vitreous white wares and porcelain.
China
26
Is a thin coat of color that will soak into the greenware or bisque ware.
Conditioning Coat
27
A mixture of ceramic materials that is designed to soften and bend when the proper mixture of time and temperature is reached in the interior of the kiln.
Cone
28
Is a small clay cone holder used when cones are placed on the shelf of the kiln to stand.
Cone Plaque
29
Is the mixture of time and temperature at which the cone will bend to show the kilns temperature on the shelf.
Cone Temperature
30
A low-fire clay body which is fired to maturity at approx. 2000 F.
Earthenware
31
A product that has been tested and determined to be safe for use on surfaces which come in contact with food or drink.
Food-safe
32
A shiny, glass-like finish.
Gloss
33
The refractory coating applied to the top of the kiln shelves to protect them from glaze drips.
Kiln Wash
34
Greenware that is allowed to become firm but still retains its wet look.
Leather-hard
35
A soft finish with little or no shine.
Matte
36
Color which does not allow other colors to show through.
Opaque
37
Small holes in the side of a kiln used for viewing shelf cones and ventilating the kiln during the firing process.
Peep Holes
38
Tiny holes in the final surface finish of a glaze or Underglaze.
Pin Holes
39
Refers to the ability of clay to be formed into a shape and retain it.
Plasticity
40
Articles made of refractory material which support kiln shelves during firing.
Posts
41
A satin-like surface which has a slight sheen to it.
Semi-Matte
42
Colors which generally allow only dark colors to show through.
Semi-Opaque
43
Slightly colored and/or speckled colors which allow most colors to show through with only slight distortions.
Semi-Transparent
44
The cone temperature that is fired on the shelf of a kiln. The amount of heating the ware actually receives.
Shelf Cone Temperature
45
Usually refers to a natural sponge used for cleaning and decorating greenware. There are also synthetic sponges available for ceramics.
Sponge
46
Clear base colors which are free from cloudiness or distortion.
Transparent
47
A color which is usually applied to greenware and in most cases is covered with a glaze.
Under glaze
48
Small holes made by puncturing the wet greenware with a needle tool when two pieces of ware have been attached. These small holes allow the air and gases to escape during firing. Also refers to the peep holes in the side of the kiln.
Vent Holes
49
A brownish-orange earthenware clay body commonly used for ceramic sculpture.
Terra cotta
50
The term throw comes from Old English meaning spin. A piece of clay is placed on a potter's wheel head which spins. The clay is shaped by compression while it is in motion. Often the potter will use several thrown shapes together to form one piece (a teapot can be constructed from three or four thrown forms).
Wheel thrown
51
This term refers to the one of several techniques of building pots using the only the hands and simple tools rather than the potters wheel. The term used for creating pottery using the potter's wheel is "throwing".
Handbuilding
52
"Pinch" in ceramics is a method of shaping clay by inserting the thumb of one hand into the clay and lightly pinching with the thumb and fingers while slowly rotating the ball in the palm of the other hand. Pots made in this manner are called "pinch pots".
Pinch
53
In this technique, flat slabs of clay are pressed into molds in order to create various shapes or forms.
Molding
54
When speaking of clay, we refer to three basic stages of dryness: wet, leather-hard and bone dry.
Stages of Dryness
55
Sgraffito is a decorating technique developed centuries ago. In its simplest embodiment, leather-hard clay is coated with an engobe or slip of contrasting color and then a pattern or picture is added by carving through or scraping off the slip to reveal the clay underneath.
Sgraffito
56
In this decorative technique, patterns or designs are created by brushing a wax medium over an area of clay, slip, or glaze to resist the final glaze application when the wax is dry.
Wax Resist
57
Slip trailing is another decoration method. Slip (a liquid clay) is applied to the greenware through a tube or nozzle, much like icing a cake.
Slip Trailing
58
This is the technique of pressing forms into the clay to get decorative effects.
Stamping
59
The process of making majolica consists of first firing a piece of earthenware, then applying a tin enamel that upon drying forms a white opaque porous surface. A design is then painted on and a transparent glaze applied. Finally the piece is fired again. This type of ware was produced in the ancient Middle East by the Babylonians, and the method remained continuously in use.
Majolica
60
This refers to a method of creating designs by folding different colored clay together into "rods" or bars, then slicing them as if you were slicing rolled cookies. This duplicates a design over and over for each slice.
Mille Fiore
61
A kiln firing in which there is insufficient oxygen to consume the free carbon emanating from the heated glaze and clay, resulting in the formation of carbon monoxide. Oxygen-starved carbon monoxide pulls oxygen from the clay body and glaze, forming color changes in the coloring oxides.
Reduction
62
A kiln firing with a full supply of oxygen (as opposed to a reduction firing). Electric kilns are this type.
Oxidation
63
Raku is a method of firing pottery that takes a ceramic piece in its raw state, greenware, and quickly (in 45 minutes to an hour rather than 8 to 18 hours) takes the temperature up to almost 2000 degrees.
Raku
64
The opening at the top of a vase
Mouth
65
The (usually) narrower part that leads from the body of the vase to the mouth.
Neck
66
This is the main part of the vase. It is usually the largest part.
Body
67
This is the part of the vase that meets the floor.
Foot