The Pottery Studio is a knowledge base for collectors, students and lovers of all kinds of pottery. It's a large site, over 7,600 pages - you won't see it all in one sitting - so bookmark it and come back again and again. You will always be welcome.
A | |
Agate ware | Pottery made from clays of two differing colours, not completely mixed. The result is a srtreaked effect resembling agate. |
Alumina | Aluminium oxide. It is used to bed bone china in the biscuit firing. A fine white powder with a high fusing temperature. |
Antimony oxide | Produces a yellow colour in glazes. |
Ash glaze | A glaze made with ground ash, usually wood ash and sometimes mixed with other materials. |
B | |
Bagwall | The inner wall of the kiln - it protects the pots being fired from the flames. |
Ball clay | A sedimentary clay that will withstand high firing temperatures. Plastic in quality. |
Ball mill | A grinder for reducing hard materials to powder. |
Baluster | The name given to a shape of a vase or other vessel that is slender above and bulging below. |
Bamboo knife | A piece of bamboo sharpened to a chisel edge. Used in throwing. |
Banding Wheel | A turntable used for applying lateral decoration to a pot. |
Bat | A flat disk that sits on the wheel. Used for heavy pieces that would be difficult to separate from the wheel. |
Bisque (or biscuit) | Pots that have been given a preliminary firing to render them hard enough for further work such as decoration and glazing. The higher the temperature of the bisque firing, the harder will be pot, resulting in reduced reaction between glaze and body in the final firing. |
Blunge | Mix water with clay. |
Blunger | Machine for mixing water with clay. The clay is fed into a hopper and goes through a system of angled rotating blades to mix it with the water. |
Body | The substance from which a pot is made. A mixture of one or more clays, grog, feldspars, etc., to give a material suitable for shaping and firing. |
Bone ash | Animal bones that have been baked and ground to a powder, used in the production of bone china. |
Bone china | A china made white and translucent by the addition of calcined animal bone to the body. |
Borax | Sodium borate, a mineral salt found in alkaline deposits. A form of borax purified by calcination is used as a flux in glazes. |
Bottle kiln | A large kiln, wide at the bottom and narrow at the top like a bottle. |
Burnish | To smooth the surface of a pot by rubbing with a hard object to give a finish with a polished effect. |
C | |
Calcine | Reduce to calcium carbonate. To purify a substance by subjecting it to high temperatures. |
Calcium carbonate | A white insoluble solid. Occurs naturally as chalk, limestone, marble and calcite. It is used as flux in glazes. |
Caliper (or Calliper) | A measuring device resembling a compass. Internal calipers measure internal diameters or apertures and external calipers measure outside diameters or overall sizes. External calipers look like a jockey (without his horse) and inside calipers look like a girl in a tight skirt. |
Cast | To produce shapes by pouring fluid clay into moulds. The 'negative' moulds are usually of plaster of Paris, and made from a 'positive' so that when they wear out, new ones can be made. |
Celadon | A grey-green glaze, usually pale in colour, of Chinese origin. |
Cheese-hard | . . . or leather-hard. Clay that has dried to the point where it is stiff enough to retain its shape but wet enough for further work to be done on it. |
China | Porcelain. The first porcelain imported into Europe was from China. |
China clay | Kaolin. A white clay made from pegmatite found in Cornwall. |
China stone | Pegmatite. A feldspar. |
Chrome oxide | Used to produce yellow or green colours in glazes. |
Chuck | Tube-like form to hold a pot upside-down on the wheel for trimming the foot. |
Chun | A pale blue glaze used on stoneware. |
Clay | A mixture of water an powder from decomposed feldspar. Clay is the potter's basic material. When moist it is soft and plastic; when fired becomes permanently hard. |
Climbing kiln | A multi-chamber kiln with each successive chamber at a higher level than the last. This type of kiln is of oriental origin and was popularized in Britain by Bernard Leach and his students. |
Cobalt oxide | Used to produce a blue colour in glazes. |
Coiling | Rolled clay in flat form or with a rounded section that welds to itself when fired to make a solid form. |
Cone | Cones are test pieces inserted in the kiln to indicate to the potter when a certain temperature has been reached. They are made of various glaze materials of known melting point. Two examples of cones are Seger cones, named after Hermann August Seger, and Orton cones, manufactured by the Orton Ceramic Foundation in the USA. |
Copper oxide | Used to produce green colours in glazes. When used in a reducing atmosphere it produces a red colour. |
CPA | The Craft Potters' Association. An organization to promote the work of British potters. |
Crackle | Cracks in the glaze formed intentionally as a decorative feature. (See also - Crazing) |
Crawling | Shrinkage or retraction of the glaze during firing, causing exposed areas of body. |
Crazing | A fine network of cracks in the glaze usually caused by uneven contraction and expansion of the body and the glaze during changes of temperature. In some pottery this is a design feature rather than a fault (See - Crackle), but in earthenware pots the cracks can allow moisture to penetrate to the porous body leading to further damage. |
D | |
Damper | A crude device - usually a refractory clay brick - used to block the flue of a kiln. |
Delft | Opaque lead glazed earthenware with a pattern or design painted in metal oxides on the glaze before firing. |
Dunting | Cracking or breaking of pots when cold draghts are allowed to enter the kiln. Can also be caused by the free silica in the body being too fine. |
E | |
Earthenware | Pots that are porous when unglazed. Usually fired at low temperatures. Earthenware is softer and more easily damaged than stoneware. |
Enamel | Low-fired coloured glazes. |
Endless loop | See Loop, Endless. |
Engobe | Slip - wet fluid clay used for decoration or for covering a base coloured body. This term is most often used to describe coloured slips. |
F | |
Faience | Tin glazed European earthenware, usually from France. Quimper and Desvres are good examples of faience. |
Feathering | Effect obtained by trailing a feather through wet slip decoration. |
Feldspar | (Also called felspar). A crystalline substance found in granite. |
Fettle | The removal of unwanted blemishes, seams and flash from nearly dry pots prior to glazing and firing. |
Fire | To heat pots in a kiln to a specific temperature for a specific time. |
Firing Range | The temperatures between which a clay or glaze matures or fuses. |
Flambé | A flame-like effect produced by a reduced copper oxide glaze. |
Flatware | Plates, saucers, trays, etc. |
Flint | Calcined and powdered silica. Used in earthenware bodies. |
Fluting | Grooves cut into the clay in parallel lines running in any direction. |
Flux | A substance mixed with a body or glaze to promote fusion. It effectively lowers the melting point. |
Foot | The base of a pot. |
Frit | A vitreous composition used in glazes and enamels. |
Fusibility | The ability of a material to fuse or melt. |
G | |
Galena | An ore of lead sulphide used as a glaze. |
Glaze | A vitreous substance used to decorate pottery and render it impermable to moisture. |
Glaze firing | The last firing of a pot when the glaze is applied. |
Greenhouse | Place where pots are kept to harden before biscuit firing. |
Greenware | Pottery that has not been fired. |
Grog | Gritty material added to clay to modify its behaviour in firing. It is usually ground clay that has already been fired, and can be course or fine depending on the type of work for which it is being used. |
Gypsum | Plaster of Paris. |
H | |
Hakeme | Oriental technique of applying white slip with a brush made from straws. The top ends of the straws are tied in bunch like a small besom allowing the slip to be applied to the pot thickly. |
Handbuilding | Constructing pots from pre-made parts. The components might be moulded, coiled or fashioned by hand. |
Hollow ware | Cups, jugs, bowls, etc. |
I | |
Impressed (design) | Stamped into the leather-hard clay with a tool or die. |
Impressed (mark) | Stamped into the leather-hard clay with a tool or die. |
Incised (design) | Pattern cut into the clay with a sharp tool. |
Incised (mark) | Maker's name, monogram or mark cut into the clay with a pointed tool. |
J | |
Jigger | Mould or profile used when unform shapes have to be made repetitively on the wheel. See also - Jolley |
Jolley | Mould or profile used when unform shapes have to be made repetitively on the wheel. See also - Jigger |
K | |
Kaolin | China clay. A white clay made from pegmatite found in Cornwall. |
Kiln | The oven in which pots are fired. Kilns can be fired by wood, coal, oil, gas or electricity. |
Kiln Furniture | The various items made of refractory materials that are used in the kiln to support or protect the pots. Shelves, posts, stilts, saggars, etc. |
Kiln Wash | Kaolin solution applied to kiln furniture to facilitate the easy removal of glaze drips. |
L | |
Lead-glaze | A clear glaze containing a lead component. Nowadays lead must be used in its non-poisonous bisilicate form. |
Leather-hard | . . . or cheese-hard. Clay that has dried to the point where it is stiff enough to retain its shape but wet enough for further work to be done on it. |
Limestone | Chalk. Used in lime glazes. |
Loop, Endless | See Endless Loop. |
Lustre | Metallic oxide film applied to pots after glazing and firing to produce pearly finish after a further firing in a reducing atmosphere. |
Lute | To join two pottery surfaces together with slip. |
M | |
Majolica | The technique of applying low fired tin-glazes with different oxides to produce multi-coloured effect. |
Manganese oxide | Used to produce a purple or brown colour in glazes. |
Maturing temperature | The temperature at which a body reaches its optimum strength or a glaze is fully fused. |
Mould | A concave shape made from plaster of Paris for slip casting. Also the die used for press-moulding. |
N | |
Nickel oxide | Produces a brown, green or violet colours in glazes. |
O | |
On-glaze decoration | Decoration applied after the pot has been glazed. |
Overglaze decoration | A decoration applied over an already glazed finish. |
Oxidation | Firing with a good supply of oxygen so that combustion is complete. |
P | |
Peephole | Small hole in the kiln for the potter to see what is going on inside. |
Pin dust | The term applied to the metal filings, a by-product in the manufacture of brass pins, which were added to clay to produce a green finish. The technique was used at Rye around the turn of the nineteenth century, and they devised a mark (known as the pin dust mark) to distinguish pots made from clay with brass filings from those made with undoctored clay. Before firing there was no other way of telling one from the other. |
Pinching | Indenting a pot with the fingers and thumbs before it is hard. |
Plaster of Paris | Gypsum. Calcium sulphate. Used for making moulds for slip-casting. |
Plastic (adj) | Capable of being formed into a shape or moulded. |
Porcelain | Hard, fine, high-fired material made from china clay, feldspar and silica. It is white and translucent. Also known as hard paste. |
Potarama | Our silly name for pot photographs processed using the Apple QuickTime Virtual Reality technology. Click on the items marked as Potarama pictures and you can see them in a 360 degree view. If you do not have the QuickTime plugin for your browser you will need to download it. A link is provided with each Potarama picture. |
Pug | To mix body clay. See - Wedging and Pugmill |
Pugmill | A machine to take the hard work out of 'wedging'. It is similar in operation to a domestic food mincer, The clay is put in at the top and comes out of the mouth at the bottom in the form of slices or wedges. |
Pulling | Shaping a handle. |
Pyrometer | A thermometer able to measure the very high temperatures found in kilns. |
Q | |
Quill | Pointed instrument - a porcupine quill, a thin piece of bamboo, a knitting needle, whatever - used in throwing. |
R | |
Raku | Low-fired Japanese lead-glazed earthenware. Raku is Japanese for 'enjoyment' and this type of pottery is traditionally used in Japan for the tea ceremony. |
Reduction | Firing in a reducing atmosphere. This is when there is insufficient air for the flame to burn off its carbon content. The result is a smoky atmoshere that causes metallic content in the glaze and clay to change colour. |
Refractory | Capable of withstanding very high temperatures. The kiln furniture has to be able to remain stable at temperatures in excess of the normal firing temperature an must be made of refractory materials. |
Rib | A shaped tool to facilitate the forming of pots. |
S | |
Saggar | A fireclay box used to protect pottery while it is being fired. |
Salt-glaze | Thin glaze produced by throwing salt into the kiln. The salt vapourizes and produces a fine 'orange peel' texture to the surface of the pot. |
Sand | Coarsely ground pebbles (silica). |
Sang-de-boeuf | Ox-blood. Used to describe deep red colours in glazes. |
Sedimentary clay | Clay formed by the decomposition of igneous rock. |
Sgraffito | The technique of scratching through a coating of slip to reveal the contrasting colour beneath. |
Slabbing | A building technique where flat sheets of clay are formed and jointed. Used to good effect by Troika and by Bernard Rooke. |
Slip | Fluid clay in a creamy texture used for decorating, joining and as a material for casting. |
Slip decoration | The application of slip to a pot. This can take the form of an all-over or partial coating, or a trailed, feathered, combed or brushed design. |
Slip trailing | Method of decoration where slip is trailed onto a pot through a fine nozzle. |
Slipware | Slip decorated earthenware pottery. |
Slurry | Slip with a thick consistency. |
Soaking | Keeping a steady temperature in the kiln. |
Sprig | Decorative pieces, usually press-moulded, applied to pot when it is leather hard. |
Spur marks | The marks left by the stilts used to support pottery in the kiln. Usually seen as three dots in the form of an equilateral triangle. |
Stacking | Loading a kiln with pots. Large and small items are carefully positioned to use the space most efficiently. |
Stoneware | Pottery fired at high temperature which is inherently non-porous. The clay vitrifies during firing and the surface will not absorb moisture. Stoneware can be left unglazed and still be usable for holding water, but it is more usual to glaze the inside of the vessel, at least. Stoneware is more durable than earthenware, and capable of resolving finer detail. |
T | |
Tenmoku | A Japanese name for a Chinese glaze containing iron oxide. Tenmoku glazes are characterized by their black to reddish brown colour which is lighter in colour where the glaze is thinner and darker where it is thicker. |
Terracotta | Red earthenware, usually unglazed. |
Thread | Twisted cord sometimes used instead of the thrower's wire for cutting pots off the wheel. It leaves an attractive pattern on the base of the pot. |
Throw | To make a pot on a potters' wheel. The wheel revolves and maintains a fairly constant speed as would a flywheel. The clay is thrown onto the centre of the wheel and the potter shapes it by hand to the desired form. |
Tin-glaze | White opaque glaze containing tin oxide. |
Titanium | A metallic element found naturally in many clays. It is used in glazes to produce a crystalline effect. |
Transfer printing | Method of decoration where a pattern or picture is printed onto the gelatin coating of paper and then, when wet, is slid onto the surface of a pot. The gelatin can be sensitized with silver halide allowing the same process to be used photographically. |
Tube-lining | A decorating technique where soft clay is piped from a bag via a fine tube onto the body of a pot. This creates an outline for a design that can later be enhanced by further painted decoration. |
Tunnel kiln | A kiln made in the form of a tunnel, with the highest temperature in the middle. The pots move slowly through on trucks, and the effect is similar firing in a normal kiln with a heating and a cooling period. Tunnel kilns burn all the time, allowing greater throughput. |
U | |
Underglaze decoration | A decoration applied to a biscuit or once-fired pot for subsequent covering with a transparent glaze. |
Unpacking | Unloading a kiln after firing. The most traumatic time for the potter. "The kiln is the potter's gamble; he doesn't need the pools or the lottery." - David Leach. |
V | |
Vitrification | To change to a glassy state. |
Volatilize | To cause to evaporate. Volatilized oxides can migrate from one part of the kiln to another. |
W | |
Wall pocket | A vase, usually with a flat back, that has a hole or holes for fixing to a wall. |
Wax-resist | Wax applied to a pot to prevent adhesion of slip or glaze and produce a decorative effect. |
Wedging | The cutting of clay into wedges in the process of mixing and kneading it to an even consistency. See also - Pugmill |
Wheel | A heavy horizontal wheel onto which clay is thrown and shaped. The weight of the wheel gives momentum to preserve continuity of speed. Potters' wheels can be powered by the potter's foot, an assistant, electricity or in the factory environment from mid-19C to mid-20C a belt from a shaft driven by a steam engine. |
Wire | Length of wire with a handle at each end for cutting clay. Used in throwing and wedging. |
X | |
Xenocryst | A unexpected mineral present within a rock or a crystal of another mineral. A 'foreigner'. |
Y | |
Yunomi | A drinking vessel on a raised foot of smaller diameter than the body. Usually of a basically cylindrical shape. Sometimes seen spelt 'unomi'. |
Z | |
Zettlitz kaolin | A pure kaolin found near Carlsbad in Germany used for making high temperature Seger cones. |