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| A sharp instrument used to cut, pierce,and incise designs on clay. |
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| A mixture of clay and water in the consistency of mush, that acts like a glue when it is put between two pieces of clay. |
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| The scratching of the clay surface, prior to applying slip, so that the slip penetrates the clay and bonds the two pieces better. |
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| A clay form created by manually pinching and manipulating a mass of clay into a desired shape. |
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| Creating the walls of ceramic forms by melding together ropes of clay. |
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| Creating a ceramic form by hand-building walls using flat rolled-out pieces of clay. |
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| The device used in ceramics to fire (bake) our ceramic art work. The kiln takes about 8 hours to heat up and an additional 12 hours to cool down. It fires at about 2000 F. |
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| An electric or manual machine with a flat, rotating disk used for throwing clay. |
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| Cabinets where we put our ceramic in progress, to circulate and dry to the "bone dry" state before firing. |
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| To wedge means to cut clay into manageable pieces and push and press on clay to expel all air bubbles trapped in the clay. If not done thoroughly, air bubbles will cause the clay piece to burst in the kiln, damaging the kiln and other pieces of work. |
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| The state of clay when it goes into the kiln. The clay has no water in it and is referred to as "bone dry". |
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| The state of clay when it comes out of the kiln. It is a permanent state and is hard enough to have glaze applied. |
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| A mixture of ground minerals and fluxes, that is applied to fired clay. It results in a glassy coating and forms a water-tight surface. |
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| Designs or pieces added to a clay form in the leather hard state to further enhance its beauty and decoration. |
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| The state of the ceramic art work after the glaze has been applied and the piece has been fired for a second time. |
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The state of the clay when all water has been pulled from the clay. The clay becomes a chalky white color, and when held up to your face, does not feel cold.
It is now referred to as greenware and is ready for the first kiln firing. |
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| The state of clay when a lot of the moisture has been pulled from the clay, but it is still soft enough to carve. It is at this stage where we can attach other pieces of clay & add other embellishments before allowing it to dry completely. |
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| Used to cut clay off a larger piece and to cut in half to check for air pockets. |
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| A wooden instrument used to roll out slabs of clay to an even thickness. |
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| A device used with water to moisten the surface of the clay and smooth surface. |
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| A flat wooden or metal tool used to smooth wet or leather hard clay. |
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| Wooden or plastic instruments that help to shape and carve out clay. |
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| A clay tool with wire loops at each end used to carve clay. |
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| An instrument upon which a clay vessel is placed that turns easily and helps the potter to apply accurate decoration. |
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| Cone-shaped test pieces that are inserted in the kiln to let the potter know when a certain temperature has been reached. |
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| A flat disk or slab of sturdy material on which pottery is formed or dried. |
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| The base of a container. It should never be glazed or the pot will stick to the kiln shelf. |
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| A tool that can be inserted into clay to cut out holes. |
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| Air trapped within the clay body. |
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| Flat wooden sticks placed on either side of a piece of clay when rolling with a rolling pin to assure even thickness of the slab of clay. |
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| A bottle with spray attachment, filled with water, which is used to keep clay moist while working the clay. |
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