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Ceramics > Study Guide > Flashcards

Study Guide Flashcards

1
Q

What are the 7 stages of clay?

A

Raw-Slip-Plastic-Leather Hard- Bone Dry- Bisque- Fired RSPLBBF

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2
Q

What can be done at the Raw stage?

A

It’s low-fire clay.

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3
Q

What can be done at the Slip stage?

A

It can be used to attach handles and decorations to pots, mugs, lids, casseroles, and other projects.

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4
Q

What can be done at the Plastic stage?

A

It can be thrown on the wheel.

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5
Q

What can be done at the Leather Hard stage?

A

Trimming a foot on the pot, putting handles and decorations, and carving out holes and detail work.

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6
Q

What can be done at the Bone Dry stage?

A

It can be put into the bisque kiln.

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7
Q

What can be done at the Bisque stage?

A

You can add glaze to the pot before its final firing.

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8
Q

What are indicators of the Raw stage?

A

It’s dirt and it doesn’t have anything growing on it.

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9
Q

What are indicators of the Slip stage?

A

It has enough water in it to make it smooth and runny.

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10
Q

What are indicators of the Plastic stage?

A

It’s soft and easily workable.

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11
Q

What are indicators of the Leather Hard stage?

A

It’s wet but it’s strong enough to support itself, and strong enough to keep its shape when pressure is put on it.

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12
Q

What are indicators of the Bone Dry Stage?

A

Clay is in its most fragile state; a tiny nudge could potentially knock a piece off.

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13
Q

What are indicators of the Bisque Stage?

A

Clay is porous enough to absorb water; no additions can be added to the pot.

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14
Q

What happens after clay dries?

A

When clay starts to dry, water evaporates from it. As this happens, the particles of clay are drawn closer together resulting in shrinkage. Many problems with clay are formed by uneven rates of drying, which create stresses in the clay. … Groggy clays such as sculpture bodies shrink the least.

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15
Q

What are the rules regarding attachments? What is the process called?

A

The wetter the clay is, the better; pieces with similar dampness should be attached. The process is called slipping and scoring; first, you must score both the surface of what you want to attach and the thing it is being attached to. Then, you apply slip to both things; finally, you blend them together.

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16
Q

What state does clay need to be for the first fire?

A

Bone Dry

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17
Q

What state does clay need to be for the second fire?

A

Bisque

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18
Q

Define Form

A

shape, figure, or structure.

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19
Q

Define Texture

A

grain or surface quality; the visual and especially the tactile quality of a surface: rough texture.

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20
Q

Define Proportion

A

relative amount; ratio. The correct or desirable relationship of size, quantity, or degree between two or more things.

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21
Q

Define Components

A

sections, parts, or pieces (alike a module)

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22
Q

Define Aesthetics

A

the way something looks, especially when considered in terms of how pleasing it is; and ideas of what is beautiful or artistic. Philosophy of aesthetics: the study of aesthetic values – the beautiful and the sublime (awe inspiring).

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23
Q

Define Unity

A

the arranging of separate components to achieve and overall aesthetic impression; harmony, singleness or constancy.

24
Q

Define Functional

A

useful, well-designed, practical, or performing.

25
Q

Define Slip & Score

A

process where two or more surfaces of clay are roughed up, and slip is added in order to form a proper join.

26
Q

Define Assemblage

A

a work of art made from a collection of different objects.

27
Q

Define Sculpture

A

a creation of 3-dimensional art, especially by carving, modeling, or casting.

28
Q

Define Alter

A

to make changes, modify, rework, or adjust.

29
Q

Define Sculpt

A

to carve, mold, form, or shape

30
Q

Define Additive

A

make a whole by combining separate parts (assemblage); produced by the addition of something.

31
Q

Define Subtractive

A

beginning with a whole, the process of removing portions of the whole to create a new object. Most often this occurs when hollowing out a thick form.

32
Q

Define Slab

A

a thick, flat, broad piece of clay, especially when cut or trimmed. Slab pieces can be used in a soft state to create objects that are more draped &/ or organic; slabs can be allowed to slightly dry and stiffen to create more rigid, geometric forms.

33
Q

Define Coil

A

the building block in ceramics for creating coil pottery. Can be hand formed or extruded. Typically long and round.

34
Q

Define Kiln

A

a specialized oven or furnace used for processes such as for firing pottery or bricks. Can be gas-fueled, or electric.

35
Q

Define Firing

A

the ceramic process for transforming a raw piece of clay into its fixed state. The first fire is called a bisque fire. After glazes have been added there is a second fire we call a glaze fire.

36
Q

Define Symbol

A

a sign with specific meaning; something that represents something else.

37
Q

Define Symbolize

A

represent or identify by using a symbol.

38
Q

What are some tools/machines?

A

Ribbon/Loop Tool-Wire Cutter-Scraper-Modeling Tool- Sponge-Potter Rib-Needle Tool- Exacto Blade

39
Q

What are some ceramic processes?

A

Slipping and Scoring-Pinching-Rolling Coils-Rolling Balls

40
Q

Define Hand-Building

A

This term is used to reference several techniques of building pots using only the hands and simple tools rather than the potters’ wheel. (The term used for creating pottery using the potter’s wheel is “throwing”.)

41
Q

Define Pinch

A

“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”.

42
Q

Define Coil

A

This is the technique of building ceramic forms by rolling out coils, or ropes, of clay and joining them together with the fingers or a tool.

43
Q

Define Slip

A

Slip is liquid clay. The easiest way to make slip is to gradually sift or spoon dry, powdered clay into a small cup of water. Stir well as you add because it will tend to thicken up after it sits for a minute or two. You want it to be about the consistency of thick cream.

44
Q

Define Slip & Score

A

Score and slip refers to a method of joining two pieces of clay together. First, score the clay; this means that you make scratches in the surfaces that will be sticking together. Then you slip it; that is you wet the surface with some slip, using it like glue. Next, you press the two pieces together. It is very important to always score and slip clay that is leather hard. If you do not, the pieces will likely pop apart when they are fired.

45
Q

Define Molding

A

In this technique, flat slabs of clay are pressed into molds in order to create various shapes or forms.

46
Q

Define Stamping

A

This is the technique of pressing forms into the clay to get decorative effects.

47
Q

Define Firing

A

This is the process of heating the pottery to a specific temperature in order to bring about a particular change in the clay or the surface.

48
Q

Define Bisque

A

The term bisque refers to ceramic ware that has been fired once without glaze.

49
Q

Define Greenware

A

This refers to ceramic ware that has not been fired.

50
Q

Define Glaze

A

A glass-like surface coating for ceramics that is used to decorate and seal the pores of the fired clay.

51
Q

Define Oxidation

A

A kiln firing with a full supply of oxygen (as opposed to a reduction firing). Electric kilns are this type.

52
Q

What are the steps for Glazing?

A

The general process of glazing ceramics is by mixing your glazes, applying the glaze to bisque-ware, letting it dry, then finally loading it into the kiln for the glaze firing. The kiln is slowly brought up to the appropriate temperature for the silica in the glaze to melt, then slowly cooled again.

53
Q

What are the tools needed for glazing?

A

Brush-Glaze-Kiln

54
Q

What is important for Glaze application?

A

Swept it Clean/Rinse it off- Let it Dry- Three Coats; let it dry in between coats- Lightest to darkest colors works best- Nothing on the bottom

55
Q

Why darkest to lightest colors for glazing?

A

There is a practical reason for working dark into light: dark glazes hold their color better than light glazes. … Dark colors over a lighter shade of the same color will add depth and create a dramatic, elegant effect. Avoid mixing totally different colors - most likely, the combinations will look too sharp and dated.

56
Q

Why nothing on the bottom for glazing?

A

If you glaze the bottom of a pot, the glaze melts during firing. While melting and then cooling, it sticks to the shelf.

Ceramics (3 decks)

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